All ISEE Upper Level Reading Resources
Example Questions
Example Question #421 : Literature Passages
Adapted from Aristotle's Politics: A Treatise on Government by Aristotle (trans. Ellis 1895)
Now with respect to these honors, which he proposes to bestow on those who can give any information useful to the community, this, though very pleasing in speculation, is what the legislator should not settle, for it would encourage informers, and probably occasion commotions in the state. And this proposal of his gives rise also to further conjectures and inquiries; for some persons have doubted whether it is useful or hurtful to alter the established law of any country, if even for the better. We cannot immediately determine upon what he here says, whether it is advantageous to alter the law or not. We know, indeed, that it is possible to propose to new model both the laws and government as a common good. Since we have mentioned this subject, it may be very proper to enter into a few particulars concerning it, for it contains some difficulties, as I have already said, and it may appear better to alter them, since it has been found useful in other sciences.
Based on his proposed continued discussion, what can we infer about the author's manner of reasoning in this book?
None of the other answer choices is correct.
He sees few things as being relevant to his particular undertakings.
He fairly pays attention to details before rushing into theories.
He grudgingly admits his lack of information.
He contests almost everyone's opinions.
He fairly pays attention to details before rushing into theories.
Clearly, Aristotle admits here that the problem of changing and improving the law is one that "contains some difficulties." He therefore says that he should consider particular cases and problems, as this will hopefully shed light on the problem at hand. At least from what we can tell, his overall tone is very judicious and pays heed to arguments and details as long as they are helpful to his task, and not mere distractions.
Example Question #463 : Passage Based Questions
Adapted from “Economy” in Walden by Henry David Thoreau (1854)
On the whole, I think that it cannot be maintained that dressing has in this or any country risen to the dignity of an art. At present men make shift to wear what they can get. Like shipwrecked sailors, they put on what they can find on the beach, and at a little distance, whether of space or time, laugh at each other's masquerade. Every generation laughs at the old fashions, but follows religiously the new. We are amused at beholding the costume of Henry VIII, or Queen Elizabeth, as much as if it was that of the King and Queen of the Cannibal Islands. All costume off a man is pitiful or grotesque. It is only the serious eye peering from and the sincere life passed within it which restrain laughter and consecrate the costume of any people. Let Harlequin be taken with a fit of the colic and his trappings will have to serve that mood too. When the soldier is hit by a cannonball, rags are as becoming as purple.
The childish and savage taste of men and women for new patterns keeps how many shaking and squinting through kaleidoscopes that they may discover the particular figure which this generation requires today. The manufacturers have learned that this taste is merely whimsical. Of two patterns which differ only by a few threads more or less of a particular color, the one will be sold readily, the other lie on the shelf, though it frequently happens that after the lapse of a season the latter becomes the most fashionable. Comparatively, tattooing is not the hideous custom which it is called. It is not barbarous merely because the printing is skin-deep and unalterable.
I cannot believe that our factory system is the best mode by which men may get clothing. The condition of the operatives is becoming every day more like that of the English; and it cannot be wondered at, since, as far as I have heard or observed, the principal object is, not that mankind may be well and honestly clad, but, unquestionably, that corporations may be enriched. In the long run men hit only what they aim at. Therefore, though they should fail immediately, they had better aim at something high.
What is the purpose of the sentence beginning, “Like shipwrecked sailors”?
To provide an image to evoke the sense of randomness involved in the wearing of clothing
To mock the lower classes of Thoreau's time for their poor choices in clothing
To decry the lack of clothing available to the military classes
To discuss the problems of clothing for displaced people, using shipwrecked sailors as an example
To describe a kind of masquerade ball that could be had on an island with few clothes
To provide an image to evoke the sense of randomness involved in the wearing of clothing
The two sentences before this one remark that clothing is not at all an art in much of the world. The implication is that people do what they can with regard to clothes, wearing whatever happens to come to them. They do not organize their appearance but just "wear what they can get." The sentence in question provides an image that is meant to be evocative of the situation. It compares people of his day with shipwrecked sailors who wear whatever clothes they can find, without planning it like an art.
Example Question #697 : Psat Critical Reading
Adapted from Candide by Voltaire (1918 trans.)
"Grandeur," said Pangloss, "is extremely dangerous according to the testimony of philosophers. For, in short, Eglon, King of Moab, was assassinated by Ehud; Absalom was hung by his hair, and pierced with three darts; King Nadab, the son of Jeroboam, was killed by Baasa; King Ela by Zimri; Ahaziah by Jehu; Athaliah by Jehoiada; the Kings Jehoiakim, Jeconiah, and Zedekiah, were led into captivity. You know how perished Croesus, Astyages, Darius, Dionysius of Syracuse, Pyrrhus, Perseus, Hannibal, Jugurtha, Ariovistus, Cæsar, Pompey, Nero, Otho, Vitellius, Domitian, Richard II of England, Edward II, Henry VI, Richard III, Mary Stuart, Charles I, the three Henrys of France, the Emperor Henry IV! You know—"
"I know also," said Candide, "that we must cultivate our garden."
"You are right," said Pangloss, "for when man was first placed in the Garden of Eden, he was put there ut operaretur eum, that he might cultivate it; which shows that man was not born to be idle."
"Let us work," said Martin, "without disputing; it is the only way to render life tolerable.”
The whole little society entered into this laudable design, according to their different abilities. Their little plot of land produced plentiful crops. Cunegonde was, indeed, very ugly, but she became an excellent pastry cook; Paquette worked at embroidery; the old woman looked after the linen. They were all, not excepting Friar Giroflée, of some service or other; for he made a good joiner, and became a very honest man.
Pangloss sometimes said to Candide: "There is a concatenation of events in this best of all possible worlds; for if you had not been kicked out of a magnificent castle for love of Miss Cunegonde, if you had not been put into the Inquisition, if you had not walked over America, if you had not stabbed the Baron, if you had not lost all your sheep from the fine country of El Dorado, you would not be here eating preserved citrons and pistachio-nuts."
"All that is very well," answered Candide, "but let us cultivate our garden."
What is the purpose of the long catalogue of names in the first paragraph?
To recount historical facts for the reader
To catalogue the philosophical reasons for Pangloss' argument
To detail the ills of grandeur
To connect this passage to the history of the actual world
To show the pedantic character of Pangloss
To show the pedantic character of Pangloss
You will note that later in the passage, Pangloss again starts to launch into a long list, detailing the steps in the "concatenation" of events in the world. He is cut off by Candide in both cases. The general portrayal of his character in this passage is that of someone concerned with stating many little details on a topic. A "pedant" describes such a person, and "pedantic" is the adjective form.
Example Question #1 : Context Dependent Meaning Of Phrases Or Sentences In Literary Fiction Passages
Adapted from Candide by Voltaire (1918 trans.)
"Grandeur," said Pangloss, "is extremely dangerous according to the testimony of philosophers. For, in short, Eglon, King of Moab, was assassinated by Ehud; Absalom was hung by his hair, and pierced with three darts; King Nadab, the son of Jeroboam, was killed by Baasa; King Ela by Zimri; Ahaziah by Jehu; Athaliah by Jehoiada; the Kings Jehoiakim, Jeconiah, and Zedekiah, were led into captivity. You know how perished Croesus, Astyages, Darius, Dionysius of Syracuse, Pyrrhus, Perseus, Hannibal, Jugurtha, Ariovistus, Cæsar, Pompey, Nero, Otho, Vitellius, Domitian, Richard II of England, Edward II, Henry VI, Richard III, Mary Stuart, Charles I, the three Henrys of France, the Emperor Henry IV! You know—"
"I know also," said Candide, "that we must cultivate our garden."
"You are right," said Pangloss, "for when man was first placed in the Garden of Eden, he was put there ut operaretur eum, that he might cultivate it; which shows that man was not born to be idle."
"Let us work," said Martin, "without disputing; it is the only way to render life tolerable.”
The whole little society entered into this laudable design, according to their different abilities. Their little plot of land produced plentiful crops. Cunegonde was, indeed, very ugly, but she became an excellent pastry cook; Paquette worked at embroidery; the old woman looked after the linen. They were all, not excepting Friar Giroflée, of some service or other; for he made a good joiner, and became a very honest man.
Pangloss sometimes said to Candide: "There is a concatenation of events in this best of all possible worlds; for if you had not been kicked out of a magnificent castle for love of Miss Cunegonde, if you had not been put into the Inquisition, if you had not walked over America, if you had not stabbed the Baron, if you had not lost all your sheep from the fine country of El Dorado, you would not be here eating preserved citrons and pistachio-nuts."
"All that is very well," answered Candide, "but let us cultivate our garden."
To what does the little society mentioned in the underlined sentence refer?
The society in which the characters all live
The province in which this story is taking place
None of the other answers
Humanity in the garden of Eden
The group of characters in the narrative
The group of characters in the narrative
All that we know about this passage is that these people are speaking together about working. Martin proposes that they work "without disputing." While perhaps a greater familiarity with the Voltaire's book might lead you to interpret this differently, all that we can tell is that this small group is setting about to work together in a simple manner. (This is actually the case in the context of the text as a whole as well.)
Example Question #2 : Analyzing Tone, Style, And Figurative Language In Literature Passages
Adapted from Treasure Island by Robert Louis Stevenson (1883)
He was a very silent man by custom. All day he hung round the cove or upon the cliffs with a brass telescope; all evening he sat in a corner of the parlor next the fire and drank rum and water very strong. Mostly he would not speak when spoken to, only look up sudden and fierce and blow through his nose like a fog-horn; and we and the people who came about our house soon learned to let him be. Every day when he came back from his stroll he would ask if any seafaring men had gone by along the road. At first we thought it was the want of company of his own kind that made him ask this question, but at last we began to see he was desirous to avoid them. When a seaman did put up at the Admiral Benbow (as now and then some did, making by the coast road for Bristol) he would look in at him through the curtained door before he entered the parlor; and he was always sure to be as silent as a mouse when any such was present. For me, at least, there was no secret about the matter, for I was, in a way, a sharer in his alarms. He had taken me aside one day and promised me a silver fourpenny on the first of every month if I would only keep my "weather-eye open for a seafaring man with one leg" and let him know the moment he appeared. Often enough when the first of the month came round and I applied to him for my wage, he would only blow through his nose at me and stare me down, but before the week was out he was sure to think better of it, bring me my four-penny piece, and repeat his orders to look out for "the seafaring man with one leg.”
How that personage haunted my dreams, I need scarcely tell you. I would see him in a thousand forms, and with a thousand diabolical expressions. Now the leg would be cut off at the knee, now at the hip; now he was a monstrous kind of a creature who had never had but the one leg, and that in the middle of his body. To see him leap and run and pursue me over hedge and ditch was the worst of nightmares. And altogether I paid pretty dear for my monthly fourpenny piece, in the shape of these abominable fancies.
The tone of the passage’s last sentence suggests that at this point in the story, the narrator thinks that __________.
the fourpenny piece is not worth all of the trouble it brings the narrator
the seafaring man with one leg does not exist
the fourpenny piece is the subject of the narrator's nightmares
the fourpenny piece is stolen property
the fourpenny piece is worth far more than the narrator thinks his work is worth
the fourpenny piece is not worth all of the trouble it brings the narrator
The passage’s last sentence is “And altogether I paid pretty dear for my monthly fourpenny piece, in the shape of these abominable fancies.” To “pay pretty dear” for something is to pay a great deal for it; here, especially after discussing his terrible nightmares, we can assume that the speaker thinks that the four-penny piece is not worth all the trouble it brings him. We can also arrive at this answer by canceling out all of the other ones: nothing in the sentence suggests that the four-penny piece is stolen property. The speaker clearly does not think that he is paid too much for his trouble, because he is talking about how he went through so much trouble to get it. The four-penny piece itself is not the subject of the speaker’s nightmares; the man with one leg is. If you didn’t read the sentence’s comma, you may have read “my monthly fourpenny piece in the shape of these abominable fancies,” which may have led you to choose this answer; it’s important to read very carefully to avoid incorrect answers that may anticipate you misreading something. Finally, the sentence tells us nothing about whether the seafaring man with one leg exists or not; we only know that he is the subject of the narrator’s nightmares. However, the fact that the narrator is being paid to watch out for him suggests that he is a real person.
Example Question #1 : Determining Authorial Tone In Argumentative Humanities Passages
Adapted from a letter of Thomas Jefferson popularly known as “A Dialogue Between the Head and Heart” (October 12th, 1786) in Volume II of Memoir, Correspondence, and Miscellanies, from the Papers of Thomas Jefferson (1830)
(Note: This work is presented like a play having two characters, the “Head” and the “Heart.” In the following passage, we are privy to the words of the “Head.”)
Every thing in this world is matter of calculation. Advance, then, with caution, the balance in your hand. Put into one scale the pleasures which any object may offer, but put fairly into the other the pains which are to follow, and see which preponderates. The making an acquaintance is not a matter of indifference. When a new one is proposed to you, view it all round. Consider what advantages it presents, and to what inconveniences it may expose you. Do not bite at the bait of pleasure, till you know there is no hook beneath it. The art of life is the art of avoiding pain, and he is the best pilot, who steers clearest of the rocks and shoals with which it is beset. Pleasure is always before us, but misfortune is at our side; while running after that, this arrests us.
The most effectual means of being secure against pain is to retire within ourselves and to suffice for our own happiness. Those which depend on ourselves are the only pleasures a wise man will count on, for nothing is ours, which another may deprive us of. Hence the inestimable value of intellectual pleasures. Ever in our power, always leading us to something new, never cloying, we ride serene and sublime above the concerns of this mortal world, contemplating truth and nature, matter and motion, the laws which bind up their existence, the laws which bind up their existence, and that Eternal Being, who made and bound them up by those laws.
Let this be our employ. Leave the bustle and tumult of society to those who have not talents to occupy themselves without them. Friendship is but another name for an alliance with the follies and the misfortunes of others. Our own share of miseries is sufficient: why enter then as volunteers into those of another? Is there so little gall poured into our cup, that we must heed help to drink that of our neighbor? A friend dies, or leaves us: we feel as if a limb was cut off. He is sick: we must watch over him, and participate of his pains. His fortune is shipwrecked: ours must be laid under contribution. He loses a child, a parent, or a partner: we must mourn the loss as if it were our own.
What is the use of the language in the underlined selection, “we ride serene and sublime above the concerns of this mortal world”?
To provide a rhetorical argument for the study of modern physics in depth
To show how intellectual pursuits make us immortal
To take part in a poetic revelry about the joys of academia
To poetically overwhelm the reader into disliking his or her friends
To provide a poetic image of the peace of the tranquil nature of the intellectual life
To provide a poetic image of the peace of the tranquil nature of the intellectual life
This image is used to buttress the "Head's" arguments that we should be detached from others when living our lives. It is a poetic image, but it is meant to express the fact that we can be "above the concerns of this mortal world" by pursuing intellectual knowledge (which is independent and in our own control, it argues). To be "above the mortal world" does not mean to be immortal as much as it means to be detached from all the woes that confront us in our (mortal) lives.
Example Question #22 : Analyzing Authorial Tone And Method In Humanities Passages
Adapted from a letter of Thomas Jefferson popularly known as “A Dialogue Between the Head and Heart” (October 12th, 1786) in Volume II of Memoir, Correspondence, and Miscellanies, from the Papers of Thomas Jefferson (1830)
(Note: This work is presented like a play having two characters, the “Head” and the “Heart.” In the following passage, we are privy to the words of the “Head.”)
Every thing in this world is matter of calculation. Advance, then, with caution, the balance in your hand. Put into one scale the pleasures which any object may offer, but put fairly into the other the pains which are to follow, and see which preponderates. The making an acquaintance is not a matter of indifference. When a new one is proposed to you, view it all round. Consider what advantages it presents, and to what inconveniences it may expose you. Do not bite at the bait of pleasure, till you know there is no hook beneath it. The art of life is the art of avoiding pain, and he is the best pilot, who steers clearest of the rocks and shoals with which it is beset. Pleasure is always before us, but misfortune is at our side; while running after that, this arrests us.
The most effectual means of being secure against pain is to retire within ourselves and to suffice for our own happiness. Those which depend on ourselves are the only pleasures a wise man will count on, for nothing is ours, which another may deprive us of. Hence the inestimable value of intellectual pleasures. Ever in our power, always leading us to something new, never cloying, we ride serene and sublime above the concerns of this mortal world, contemplating truth and nature, matter and motion, the laws which bind up their existence, the laws which bind up their existence, and that Eternal Being, who made and bound them up by those laws.
Let this be our employ. Leave the bustle and tumult of society to those who have not talents to occupy themselves without them. Friendship is but another name for an alliance with the follies and the misfortunes of others. Our own share of miseries is sufficient: why enter then as volunteers into those of another? Is there so little gall poured into our cup, that we must heed help to drink that of our neighbor? A friend dies, or leaves us: we feel as if a limb was cut off. He is sick: we must watch over him, and participate of his pains. His fortune is shipwrecked: ours must be laid under contribution. He loses a child, a parent, or a partner: we must mourn the loss as if it were our own.
Which of the following best describes the tone of this passage?
Reflective
Exalting
Depressing
Exhortatory
Despondent
Exhortatory
There is a certain "preachy" tone to this passage. Though it might seem depressing that the "Head" thinks what it does, still, the tone of the passage itself is not meant to be depressing—at least not directly. The "Head" wants to convince the reader (and the "Heart" to whom it is talking) to take a course of action: to shun friends, be employed with independent things like intellectual pursuits, and so on. Therefore, it is "exhorting" the reader (strongly urging us) to do something. The tone is best called "exhortatory."
Example Question #71 : Main Idea, Details, Opinions, And Arguments In Argumentative Humanities Passages
Adapted from a letter of Thomas Jefferson popularly known as “A Dialogue Between the Head and Heart” (October 12th, 1786) in Volume II of Memoir, Correspondence, and Miscellanies, from the Papers of Thomas Jefferson (1830)
(Note: This work is presented like a play having two characters, the “Head” and the “Heart.” In the following passage, we are privy to the words of the “Head.”)
Every thing in this world is matter of calculation. Advance, then, with caution, the balance in your hand. Put into one scale the pleasures which any object may offer, but put fairly into the other the pains which are to follow, and see which preponderates. The making an acquaintance is not a matter of indifference. When a new one is proposed to you, view it all round. Consider what advantages it presents, and to what inconveniences it may expose you. Do not bite at the bait of pleasure, till you know there is no hook beneath it. The art of life is the art of avoiding pain, and he is the best pilot, who steers clearest of the rocks and shoals with which it is beset. Pleasure is always before us, but misfortune is at our side; while running after that, this arrests us.
The most effectual means of being secure against pain is to retire within ourselves and to suffice for our own happiness. Those which depend on ourselves are the only pleasures a wise man will count on, for nothing is ours, which another may deprive us of. Hence the inestimable value of intellectual pleasures. Ever in our power, always leading us to something new, never cloying, we ride serene and sublime above the concerns of this mortal world, contemplating truth and nature, matter and motion, the laws which bind up their existence, the laws which bind up their existence, and that Eternal Being, who made and bound them up by those laws.
Let this be our employ. Leave the bustle and tumult of society to those who have not talents to occupy themselves without them. Friendship is but another name for an alliance with the follies and the misfortunes of others. Our own share of miseries is sufficient: why enter then as volunteers into those of another? Is there so little gall poured into our cup, that we must heed help to drink that of our neighbor? A friend dies, or leaves us: we feel as if a limb was cut off. He is sick: we must watch over him, and participate of his pains. His fortune is shipwrecked: ours must be laid under contribution. He loses a child, a parent, or a partner: we must mourn the loss as if it were our own.
What is being proposed in the underlined sentence that begins “Put into one scale the pleasures…”?
A method for transacting important sales
None of the other answers
A careful method of calculation
A manner of making choices in life
An antiquated method of weighing things using balanced scales
A manner of making choices in life
The language here is figurative, and the speaker is saying that we should balance out the pleasures and pains of any action when thinking about what to do. If the pains "outweigh" the pleasures, then we should avoid that action. The whole decision depends upon the direction in which the pains and pleasure "preponderate"—that is, on the side which "weighs more" or has more in its favor.
Example Question #231 : Language In Literature Passages
Adapted from "A Scandal in Bohemia" in Adventures of Sherlock Holmes by Sir Arthur Conan Doyle (1892 ed.)
To Sherlock Holmes she is always the woman. I have seldom heard him mention her under any other name. In his eyes she eclipses and predominates the whole of her sex. It was not that he felt any emotion akin to love for Irene Adler. All emotions, and that one particularly, were abhorrent to his cold, precise, but admirably balanced mind. He was, I take it, the most perfect reasoning and observing machine that the world has seen, but as a lover he would have placed himself in a false position. He never spoke of the softer passions, save with a gibe and a sneer. They were admirable things for the observer—excellent for drawing the veil from men’s motives and actions. But for the trained reasoner to admit such intrusions into his own delicate and finely adjusted temperament was to introduce a distracting factor which might throw a doubt upon all his mental results. Grit in a sensitive instrument, or a crack in one of his own high-power lenses, would not be more disturbing than a strong emotion in a nature such as his. And yet there was but one woman to him, and that woman was the late Irene Adler, of dubious and questionable memory.
I had seen little of Holmes lately. My marriage had drifted us away from each other. My own complete happiness, and the home-centred interests which rise up around the man who first finds himself master of his own establishment, were sufficient to absorb all my attention, while Holmes, who loathed every form of society with his whole Bohemian soul, remained in our lodgings in Baker Street, buried among his old books, and alternating from week to week between drugs and ambition, the drowsiness of drugs, and the fierce energy of his own keen nature. He was still, as ever, deeply attracted by the study of crime, and occupied his immense faculties and extraordinary powers of observation in following out those clues, and clearing up those mysteries which had been abandoned as hopeless by the official police. From time to time I heard some vague account of his doings: of his summons to Odessa in the case of the Trepoff murder, of his clearing up of the singular tragedy of the Atkinson brothers at Trincomalee, and finally of the mission which he had accomplished so delicately and successfully for the reigning family of Holland. Beyond these signs of his activity, however, which I merely shared with all the readers of the daily press, I knew little of my former friend and companion.
One night—it was on the twentieth of March, 1888—I was returning from a journey to a patient (for I had now returned to civil practice), when my way led me through Baker Street. As I passed the well-remembered door, which must always be associated in my mind with my wooing, and with the dark incidents of the mystery that was solved there, I was seized with a keen desire to see Holmes again, and to know how he was employing his extraordinary powers. His rooms were brilliantly lit, and, even as I looked up, I saw his tall, spare figure pass twice in a dark silhouette against the blind. He was pacing the room swiftly, eagerly, with his head sunk upon his chest and his hands clasped behind him. To me, who knew his every mood and habit, his attitude and manner told their own story. He was at work again. He had risen out of his drug-created dreams and was hot upon the scent of some new problem. I rang the bell and was shown up to the chamber which had formerly been in part my own.
His manner was not effusive. It seldom was; but he was glad, I think, to see me. With hardly a word spoken, but with a kindly eye, he waved me to an armchair, threw across his case of cigars. Then he stood before the fire and looked me over in his singular introspective fashion.
The narrator's personality can best be described as __________.
severe
rude
haughty
curious
mischievous
curious
The narrator seems curious and interested in Sherlock's goings-on; the fact that the narrator stops in to see Sherlock after passing his residence and realizing he is home attests to both of these characterizations.
Example Question #722 : Passage Based Questions
Adapted from "A Scandal in Bohemia" in Adventures of Sherlock Holmes by Sir Arthur Conan Doyle (1892 ed.)
To Sherlock Holmes she is always the woman. I have seldom heard him mention her under any other name. In his eyes she eclipses and predominates the whole of her sex. It was not that he felt any emotion akin to love for Irene Adler. All emotions, and that one particularly, were abhorrent to his cold, precise, but admirably balanced mind. He was, I take it, the most perfect reasoning and observing machine that the world has seen, but as a lover he would have placed himself in a false position. He never spoke of the softer passions, save with a gibe and a sneer. They were admirable things for the observer—excellent for drawing the veil from men’s motives and actions. But for the trained reasoner to admit such intrusions into his own delicate and finely adjusted temperament was to introduce a distracting factor which might throw a doubt upon all his mental results. Grit in a sensitive instrument, or a crack in one of his own high-power lenses, would not be more disturbing than a strong emotion in a nature such as his. And yet there was but one woman to him, and that woman was the late Irene Adler, of dubious and questionable memory.
I had seen little of Holmes lately. My marriage had drifted us away from each other. My own complete happiness, and the home-centred interests which rise up around the man who first finds himself master of his own establishment, were sufficient to absorb all my attention, while Holmes, who loathed every form of society with his whole Bohemian soul, remained in our lodgings in Baker Street, buried among his old books, and alternating from week to week between drugs and ambition, the drowsiness of drugs, and the fierce energy of his own keen nature. He was still, as ever, deeply attracted by the study of crime, and occupied his immense faculties and extraordinary powers of observation in following out those clues, and clearing up those mysteries which had been abandoned as hopeless by the official police. From time to time I heard some vague account of his doings: of his summons to Odessa in the case of the Trepoff murder, of his clearing up of the singular tragedy of the Atkinson brothers at Trincomalee, and finally of the mission which he had accomplished so delicately and successfully for the reigning family of Holland. Beyond these signs of his activity, however, which I merely shared with all the readers of the daily press, I knew little of my former friend and companion.
One night—it was on the twentieth of March, 1888—I was returning from a journey to a patient (for I had now returned to civil practice), when my way led me through Baker Street. As I passed the well-remembered door, which must always be associated in my mind with my wooing, and with the dark incidents of the mystery that was solved there, I was seized with a keen desire to see Holmes again, and to know how he was employing his extraordinary powers. His rooms were brilliantly lit, and, even as I looked up, I saw his tall, spare figure pass twice in a dark silhouette against the blind. He was pacing the room swiftly, eagerly, with his head sunk upon his chest and his hands clasped behind him. To me, who knew his every mood and habit, his attitude and manner told their own story. He was at work again. He had risen out of his drug-created dreams and was hot upon the scent of some new problem. I rang the bell and was shown up to the chamber which had formerly been in part my own.
His manner was not effusive. It seldom was; but he was glad, I think, to see me. With hardly a word spoken, but with a kindly eye, he waved me to an armchair, threw across his case of cigars. Then he stood before the fire and looked me over in his singular introspective fashion.
Which of the following accurately describes the passage?
Written in first person from the perspective of Sherlock Holmes
Written in second person
Written in first person from the perspective of Irene Adler
Written in first person
Written in third person omniscient
Written in first person
The use of "I" throughout the passage clearly indicates that it is written in first person perspective. We can tell that the speaker is not Sherlock Holmes because the "I" is describing Holmes using the third person pronoun "he," and Irene Adler is mentioned as "she," so we can draw similar conclusions about the narrator not being her. So, "Written in first person" is the best answer choice.
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