All ISEE Upper Level Reading Resources
Example Questions
Example Question #2 : Analyzing Authorial Tone And Method In Prose Fiction Passages
Adapted from Once on a Time by A. A. Milne (1922)
The Princess was still puzzled. "But I'm grown up," she said. "I don't want a mother so much now."
The King turned his flagon round and studied the other side of it.
"A mother's—er—tender hand," he said, "is—er—never——" and then the outrageous thing happened.
It was all because of a birthday present to the King of Barodia, and the present was nothing less than a pair of seven-league boots. The King being a busy man, it was a week or more before he had an opportunity of trying those boots. Meanwhile he used to talk about them at meals, and he would polish them up every night before he went to bed. When the great day came for the first trial of them to be made, he took a patronizing farewell of his wife and family, ignored the many eager noses pressed against the upper windows of the palace, and sailed off. The motion, as perhaps you know, is a little disquieting at first, but one soon gets used to it. After that it is fascinating. He had gone some two thousand miles before he realized that there might be a difficulty about finding his way back. The difficulty proved at least as great as he had anticipated. For the rest of that day he toured backwards and forwards across the country, and it was by the merest accident that a very angry King shot in through an open pantry window in the early hours of the morning. He removed his boots and went softly to bed.
It was, of course, a lesson to him. He decided that in the future he must proceed by a recognized route, sailing lightly from landmark to landmark. Such a route his geographers prepared for him—an early morning constitutional, of three hundred miles or so, to be taken ten times before breakfast. He gave himself a week in which to recover his nerve and then started out on the first of them.
The author’s tone in this passage could best be described as __________.
haughty
tedious
serious
conversational
lethargic
conversational
The author is presenting a fantasy story in a casual and humorous manner, and breaking it up with asides such as "as perhaps you know" in the line, "The motion, as perhaps you know, is a little disquieting at first, but one soon gets used to it." Based on these characteristics, the author's tone is best described as "conversational."
Example Question #3 : Analyzing Tone, Style, And Figurative Language In Literature Passages
Adapted from A Tramp Abroad by Mark Twain (1880)
One day it occurred to me that it had been many years since the world had been afforded the spectacle of a man adventurous enough to undertake a journey through Europe on foot. After much thought, I decided that I was a person fitted to furnish to mankind this spectacle. So I determined to do it. This was in March, 1878.
I looked about me for the right sort of person to accompany me in the capacity of agent, and finally hired a Mr. Harris for this service.
It was also my purpose to study art while in Europe. Mr. Harris was in sympathy with me in this. He was as much of an enthusiast in art as I was, and not less anxious to learn to paint. I desired to learn the German language; so did Harris.
Toward the middle of April we sailed in the Holsatia, Captain Brandt, and had a very pleasant trip, indeed.
After a brief rest at Hamburg, we made preparations for a long pedestrian trip southward in the soft spring weather, but at the last moment we changed the program, for private reasons, and took the express-train.
We made a short halt at Frankfort-on-the-Main, and found it an interesting city. I would have liked to visit the birthplace of Gutenburg, but it could not be done, as no memorandum of the site of the house has been kept. So we spent an hour in the Goethe mansion instead. The city permits this house to belong to private parties, instead of gracing and dignifying herself with the honor of possessing and protecting it.
Frankfort is one of the sixteen cities which have the distinction of being the place where the following incident occurred. Charlemagne, while chasing the Saxons (as he said), or being chased by them (as they said), arrived at the bank of the river at dawn, in a fog. The enemy were either before him or behind him; but in any case he wanted to get across, very badly. He would have given anything for a guide, but none was to be had. Presently he saw a deer, followed by her young, approach the water. He watched her, judging that she would seek a ford, and he was right. She waded over, and the army followed. So a great Frankish victory or defeat was gained or avoided; and in order to commemorate the episode, Charlemagne commanded a city to be built there, which he named Frankfort—the ford of the Franks. None of the other cities where this event happened were named for it. This is good evidence that Frankfort was the first place it occurred at.
The point of view from which the passage is told can best be described as that of __________.
a harlequin
a tourist
the third-person perspective
a serious explorer
a conscientious objector
a tourist
The passage is obviously written from the first person perspective because it makes use of the word "I," and is either autobiographical or is masquerading as being autobiographical. As it is about traveling throughout Europe and the narrator talks about visiting certain attractions, we can assume that the narrator is acting as a tourist. This is regardless of the narrator's initial statement that he intends to act as an adventurer.
Example Question #221 : Language In Literature Passages
Adapted from A Tramp Abroad by Mark Twain (1880)
One day it occurred to me that it had been many years since the world had been afforded the spectacle of a man adventurous enough to undertake a journey through Europe on foot. After much thought, I decided that I was a person fitted to furnish to mankind this spectacle. So I determined to do it. This was in March, 1878.
I looked about me for the right sort of person to accompany me in the capacity of agent, and finally hired a Mr. Harris for this service.
It was also my purpose to study art while in Europe. Mr. Harris was in sympathy with me in this. He was as much of an enthusiast in art as I was, and not less anxious to learn to paint. I desired to learn the German language; so did Harris.
Toward the middle of April we sailed in the Holsatia, Captain Brandt, and had a very pleasant trip, indeed.
After a brief rest at Hamburg, we made preparations for a long pedestrian trip southward in the soft spring weather, but at the last moment we changed the program, for private reasons, and took the express-train.
We made a short halt at Frankfort-on-the-Main, and found it an interesting city. I would have liked to visit the birthplace of Gutenburg, but it could not be done, as no memorandum of the site of the house has been kept. So we spent an hour in the Goethe mansion instead. The city permits this house to belong to private parties, instead of gracing and dignifying herself with the honor of possessing and protecting it.
Frankfort is one of the sixteen cities which have the distinction of being the place where the following incident occurred. Charlemagne, while chasing the Saxons (as he said), or being chased by them (as they said), arrived at the bank of the river at dawn, in a fog. The enemy were either before him or behind him; but in any case he wanted to get across, very badly. He would have given anything for a guide, but none was to be had. Presently he saw a deer, followed by her young, approach the water. He watched her, judging that she would seek a ford, and he was right. She waded over, and the army followed. So a great Frankish victory or defeat was gained or avoided; and in order to commemorate the episode, Charlemagne commanded a city to be built there, which he named Frankfort—the ford of the Franks. None of the other cities where this event happened were named for it. This is good evidence that Frankfort was the first place it occurred at.
The tone of this passage could best be described as __________.
resolute
fickle
droll
vapid
exploratory
droll
“Droll” means humorous and whimsical. The passage obviously has a funny tone, as is evidenced by the lines “None of the other cities where this event happened were named for it. This is good evidence that Frankfort was the first place it occurred at” and “Frankfort is one of the sixteen cities which have the distinction of being the place where the following incident occurred.” Both of these lines are very “tongue-in-cheek,” or humorously ironic. To help you, “fickle” means changeable or capricious; “vapid” means not prone to deep thinking or empty headed, and “resolute” means determined.
Example Question #5 : Analyzing Tone, Style, And Figurative Language In Literature Passages
Adapted from Jude the Obscure by Thomas Hardy (1895)
He sounded the clacker till his arm ached, and at length his heart grew sympathetic with the birds' thwarted desires. They seemed, like himself, to be living in a world which did not want them. Why should he frighten them away? They took upon more and more the aspect of gentle friends and pensioners—the only friends he could claim as being in the least degree interested in him, for his aunt had often told him that she was not. He ceased his rattling, and they alighted anew.
"Poor little dears!" said Jude, aloud. "You shall have some dinner—you shall. There is enough for us all. Farmer Troutham can afford to let you have some. Eat, then my dear little birdies, and make a good meal!"
They stayed and ate, inky spots on the nut-brown soil, and Jude enjoyed their appetite. A magic thread of fellow-feeling united his own life with theirs. Puny and sorry as those lives were, they much resembled his own.
His clacker he had by this time thrown away from him, as being a mean and sordid instrument, offensive both to the birds and to himself as their friend. All at once he became conscious of a smart blow upon his buttocks, followed by a loud clack, which announced to his surprised senses that the clacker had been the instrument of offense used. The birds and Jude started up simultaneously, and the dazed eyes of the latter beheld the farmer in person, the great Troutham himself, his red face glaring down upon Jude's cowering frame, the clacker swinging in his hand.
"So it's 'Eat my dear birdies,' is it, young man? 'Eat, dear birdies,' indeed! I'll tickle your breeches, and see if you say, 'Eat, dear birdies' again in a hurry! And you've been idling at the schoolmaster's too, instead of coming here, ha'n't ye, hey? That's how you earn your sixpence a day for keeping the rooks off my corn!"
The point of view from which the passage is told can best be described as that of __________.
Farmer Troutham
the third-person perspective
a friend of Jude who witnessed the event
Jude as an old man
Jude at the time
the third-person perspective
We cannot say from the passage that the narrator is a friend of Jude's, so the only safe answer is “the third-person perspective,” as the passage is written in the third person. The easiest way to ascertain this is that there is no use of the personal pronoun “I.”
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 #462 : 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 describe a kind of masquerade ball that could be had on an island with few clothes
To discuss the problems of clothing for displaced people, using shipwrecked sailors as an example
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 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 #1 : Determining Authorial Tone In Literary Fiction 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 the subject of the narrator's nightmares
the fourpenny piece is not worth all of the trouble it brings the narrator
the fourpenny piece is worth far more than the narrator thinks his work is worth
the seafaring man with one leg does not exist
the fourpenny piece is stolen property
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 #171 : 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 poetically overwhelm the reader into disliking his or her friends
To take part in a poetic revelry about the joys of academia
To provide a poetic image of the peace of the tranquil nature of the intellectual life
To show how intellectual pursuits make us immortal
To provide a rhetorical argument for the study of modern physics in depth
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.