Adapted from Looking Backward From 2000 to 1887 by Edward Bellamy (1887)

Living as we do in the closing year of the twentieth century, enjoying the blessings of a social order at once so simple and logical that it seems but the triumph of common sense, it is no doubt difficult for those whose studies have not been largely historical to realize that the present organization of society is, in its completeness, less than a century old. No historical fact is, however, better established than that till nearly the end of the nineteenth century it was the general belief that the ancient industrial system, with all its shocking social consequences, was destined to last, with possibly a little patching, to the end of time. How strange and wellnigh incredible does it seem that so prodigious a moral and material transformation as has taken place since then could have been accomplished in so brief an interval! The readiness with which men accustom themselves, as matters of course, to improvements in their condition, which, when anticipated, seemed to leave nothing more to be desired, could not be more strikingly illustrated. What reflection could be better calculated to moderate the enthusiasm of reformers who count for their reward on the lively gratitude of future ages!

The object of this volume is to assist persons who, while desiring to gain a more definite idea of the social contrasts between the nineteenth and twentieth centuries, are daunted by the formal aspect of the histories which treat the subject. Warned by a teacher's experience that learning is accounted a weariness to the flesh, the author has sought to alleviate the instructive quality of the book by casting it in the form of a romantic narrative, which he would be glad to fancy not wholly devoid of interest on its own account.

The reader, to whom modern social institutions and their underlying principles are matters of course, may at times find Dr. Leete's explanations of them rather trite—but it must be remembered that to Dr. Leete's guest they were not matters of course, and that this book is written for the express purpose of inducing the reader to forget for the nonce that they are so to him. One word more. The almost universal theme of the writers and orators who have celebrated this bimillennial epoch has been the future rather than the past, not the advance that has been made, but the progress that shall be made, ever onward and upward, till the race shall achieve its ineffable destiny. This is well, wholly well, but it seems to me that nowhere can we find more solid ground for daring anticipations of human development during the next one thousand years, than by "Looking Backward" upon the progress of the last one hundred.

Given the first line of this preface, we can infer that the narrator of this preface lives in the year __________.

Adapted from Looking Backward From 2000 to 1887 by Edward Bellamy (1887)

Living as we do in the closing year of the twentieth century, enjoying the blessings of a social order at once so simple and logical that it seems but the triumph of common sense, it is no doubt difficult for those whose studies have not been largely historical to realize that the present organization of society is, in its completeness, less than a century old. No historical fact is, however, better established than that till nearly the end of the nineteenth century it was the general belief that the ancient industrial system, with all its shocking social consequences, was destined to last, with possibly a little patching, to the end of time. How strange and wellnigh incredible does it seem that so prodigious a moral and material transformation as has taken place since then could have been accomplished in so brief an interval! The readiness with which men accustom themselves, as matters of course, to improvements in their condition, which, when anticipated, seemed to leave nothing more to be desired, could not be more strikingly illustrated. What reflection could be better calculated to moderate the enthusiasm of reformers who count for their reward on the lively gratitude of future ages!

The object of this volume is to assist persons who, while desiring to gain a more definite idea of the social contrasts between the nineteenth and twentieth centuries, are daunted by the formal aspect of the histories which treat the subject. Warned by a teacher's experience that learning is accounted a weariness to the flesh, the author has sought to alleviate the instructive quality of the book by casting it in the form of a romantic narrative, which he would be glad to fancy not wholly devoid of interest on its own account.

The reader, to whom modern social institutions and their underlying principles are matters of course, may at times find Dr. Leete's explanations of them rather trite—but it must be remembered that to Dr. Leete's guest they were not matters of course, and that this book is written for the express purpose of inducing the reader to forget for the nonce that they are so to him. One word more. The almost universal theme of the writers and orators who have celebrated this bimillennial epoch has been the future rather than the past, not the advance that has been made, but the progress that shall be made, ever onward and upward, till the race shall achieve its ineffable destiny. This is well, wholly well, but it seems to me that nowhere can we find more solid ground for daring anticipations of human development during the next one thousand years, than by "Looking Backward" upon the progress of the last one hundred.

Judging from the context, we can infer that Dr. Leete is likely to be __________.

Adapted from "Exordium" by Edgar Allan Poe (1842)

In commencing, with the New Year, a New Volume, we shall be permitted to say a very few words by way of exordium to our usual chapter of Reviews, or, as we should prefer calling them, of Critical Notices. Yet we speak not for the sake of the exordium, but because we have really something to say, and know not when or where better to say it.

That the public attention, in America, has, of late days, been more than usually directed to the matter of literary criticism, is plainly apparent. Our periodicals are beginning to acknowledge the importance of the science (shall we so term it?) and to disdain the flippant opinion which so long has been made its substitute.

Time was when we imported our critical decisions from the mother country. For many years we enacted a perfect farce of subserviency to the dicta of Great Britain. At last a revulsion of feeling, with self-disgust, necessarily ensued. Urged by these, we plunged into the opposite extreme. In throwing totally off that “authority,” whose voice had so long been so sacred, we even surpassed, and by much, our original folly. But the watchword now was, “a national literature!”—as if any true literature could be “national”—as if the world at large were not the only proper stage for the literary histrio. We became, suddenly, the merest and maddest partizans in letters. Our papers spoke of “tariffs” and “protection.” Our Magazines had habitual passages about that “truly native novelist, Mr. Cooper,” or that “staunch American genius, Mr. Paulding.” Unmindful of the spirit of the axioms that “a prophet has no honor in his own land” and that “a hero is never a hero to his valet-de-chambre"—axioms founded in reason and in truth—our reviews urged the propriety—our booksellers the necessity, of strictly “American” themes. A foreign subject, at this epoch, was a weight more than enough to drag down into the very depths of critical damnation the finest writer owning nativity in the States; while, on the reverse, we found ourselves daily in the paradoxical dilemma of liking, or pretending to like, a stupid book the better because (sure enough) its stupidity was of our own growth, and discussed our own affairs.

It is, in fact, but very lately that this anomalous state of feeling has shown any signs of subsidence. Still it is subsiding. Our views of literature in general having expanded, we begin to demand the use–to inquire into the offices and provinces of criticism—to regard it more as an art based immoveably in nature, less as a mere system of fluctuating and conventional dogmas. And, with the prevalence of these ideas, has arrived a distaste even to the home-dictation of the bookseller-coteries. If our editors are not as yet all independent of the will of a publisher, a majority of them scruple, at least, to confess a subservience, and enter into no positive combinations against the minority who despise and discard it. And this is a very great improvement of exceedingly late date.

Given the wording of the first paragraph, Poe is most likely writing this essay for __________.

Adapted from "Exordium" by Edgar Allan Poe (1842)

In commencing, with the New Year, a New Volume, we shall be permitted to say a very few words by way of exordium to our usual chapter of Reviews, or, as we should prefer calling them, of Critical Notices. Yet we speak not for the sake of the exordium, but because we have really something to say, and know not when or where better to say it.

That the public attention, in America, has, of late days, been more than usually directed to the matter of literary criticism, is plainly apparent. Our periodicals are beginning to acknowledge the importance of the science (shall we so term it?) and to disdain the flippant opinion which so long has been made its substitute.

Time was when we imported our critical decisions from the mother country. For many years we enacted a perfect farce of subserviency to the dicta of Great Britain. At last a revulsion of feeling, with self-disgust, necessarily ensued. Urged by these, we plunged into the opposite extreme. In throwing totally off that “authority,” whose voice had so long been so sacred, we even surpassed, and by much, our original folly. But the watchword now was, “a national literature!”—as if any true literature could be “national”—as if the world at large were not the only proper stage for the literary histrio. We became, suddenly, the merest and maddest partizans in letters. Our papers spoke of “tariffs” and “protection.” Our Magazines had habitual passages about that “truly native novelist, Mr. Cooper,” or that “staunch American genius, Mr. Paulding.” Unmindful of the spirit of the axioms that “a prophet has no honor in his own land” and that “a hero is never a hero to his valet-de-chambre"—axioms founded in reason and in truth—our reviews urged the propriety—our booksellers the necessity, of strictly “American” themes. A foreign subject, at this epoch, was a weight more than enough to drag down into the very depths of critical damnation the finest writer owning nativity in the States; while, on the reverse, we found ourselves daily in the paradoxical dilemma of liking, or pretending to like, a stupid book the better because (sure enough) its stupidity was of our own growth, and discussed our own affairs.

It is, in fact, but very lately that this anomalous state of feeling has shown any signs of subsidence. Still it is subsiding. Our views of literature in general having expanded, we begin to demand the use–to inquire into the offices and provinces of criticism—to regard it more as an art based immoveably in nature, less as a mere system of fluctuating and conventional dogmas. And, with the prevalence of these ideas, has arrived a distaste even to the home-dictation of the bookseller-coteries. If our editors are not as yet all independent of the will of a publisher, a majority of them scruple, at least, to confess a subservience, and enter into no positive combinations against the minority who despise and discard it. And this is a very great improvement of exceedingly late date.

Poe quotes the two axioms in the passage's second paragraph in order to illustrate the idea that __________.

Adapted from Dracula by Bram Stoker (1897)

All day long we seemed to dawdle through a country which was full of beauty of every kind. Sometimes we saw little towns or castles on the top of steep hills such as we see in old missals; sometimes we ran by rivers and streams which seemed from the wide stony margin on each side of them to be subject to great floods. It takes a lot of water, and running strong, to sweep the outside edge of a river clear. At every station there were groups of people, sometimes crowds, and in all sorts of attire. Some of them were just like the peasants at home or those I saw coming through France and Germany, with short jackets and round hats and home-made trousers; but others were very picturesque. The women looked pretty, except when you got near them, but they were very clumsy about the waist. They had all full white sleeves of some kind or other, and most of them had big belts with a lot of strips of something fluttering from them like the dresses in a ballet, but of course there were petticoats under them. The strangest figures we saw were the Slovaks, who wore big cow-boy hats, great baggy dirty-white trousers, white linen shirts, and enormous heavy leather belts, nearly a foot wide, all studded over with brass nails. They wore high boots, with their trousers tucked into them, and had long black hair and heavy black moustaches.

It was on the dark side of twilight when we got to Bistritz, which is a very interesting old place. Being practically on the frontier—for the Borgo Pass leads from it into Bukovina—it has had a very stormy existence, and it certainly shows marks of it. Fifty years ago a series of great fires took place, which made terrible havoc on five separate occasions. At the very beginning of the seventeenth century it underwent a siege of three weeks and lost 13,000 people, the casualties of war proper being assisted by famine and disease.

Count Dracula had directed me to go to the Golden Krone Hotel, which I found, to my great delight, to be thoroughly old-fashioned, for of course I wanted to see all I could of the ways of the country. I was evidently expected, for when I got near the door I faced a cheery-looking elderly woman in the usual peasant dress—white undergarment with long double apron, front, and back, of coloured stuff fitting almost too tight for modesty. When I came close she bowed and said, “The Herr Englishman?” “Yes,” I said, “Jonathan Harker.” She smiled, and gave some message to an elderly man in white shirt-sleeves, who had followed her to the door. He went, but immediately returned with a letter:—

“Your friend,
“Dracula.”

Which of the following can we infer about the region where this passage takes place?

Adapted from “Our Amateur Poets, No. III. — William Ellery Channing” in The Complete Works of Edgar Allan Poe — Vol. XI: Literary Criticism by Edgar Allan Poe (1843, ed. 1902)

In speaking of Mr. William Ellery Channing, who has just published a very neat little volume of poems, we feel the necessity of employing the indefinite rather than the definite article. He is a, and by no means the, William Ellery Channing. He is only the son of the great essayist deceased. He is just such a person, in despite of his clarum et venerabile nomen, as Pindar would have designated by the significant term τις. It may be said in his favor that nobody ever heard of him. His book contains about sixty-three things, which he calls poems, and which he no doubt seriously supposes so to be. They are full of all kinds of mistakes, of which the most important is that of their having been printed at all. They are not precisely English; perhaps they are Channingese. We may convey some general idea of them by two foreign terms not in common use—the Italian pavoneggiarsi, “to strut like a peacock,” and the German word for “sky-rocketing,” schwarmerei. They are more preposterous, in a word, than any poems except those of the author of “Sam Patch;” for we presume we are right (are we not?) in taking it for granted that the author of “Sam Patch” is the very worst of all the wretched poets that ever existed upon earth.

In spite, however, of the customary phrase about a man’s “making a fool of himself,” we doubt if any one was ever a fool of his own free will and accord. A poet, therefore, should not always be taken too strictly to task. He should be treated with leniency, and, even when damned, should be damned with respect. Nobility of descent, too, should be allowed its privileges not more in social life than in letters. The son of a great author cannot be handled too tenderly by the critical Jack Ketch. Mr. Channing must be hung, that’s true. He must be hung in terrorem—and for this there is no help under the sun; but then we shall do him all manner of justice, and observe every species of decorum, and be especially careful of his feelings, and hang him gingerly and gracefully, with a silken cord, as the Spaniards hang their grandees of the blue blood, their nobles of the sangre azula.

Judging from these first two paragraphs, we can infer that Poe is writing __________.

Adapted from “Our Amateur Poets, No. III. — William Ellery Channing” in The Complete Works of Edgar Allan Poe — Vol. XI: Literary Criticism by Edgar Allan Poe (1843, ed. 1902)

In speaking of Mr. William Ellery Channing, who has just published a very neat little volume of poems, we feel the necessity of employing the indefinite rather than the definite article. He is a, and by no means the, William Ellery Channing. He is only the son of the great essayist deceased. He is just such a person, in despite of his clarum et venerabile nomen, as Pindar would have designated by the significant term τις. It may be said in his favor that nobody ever heard of him. His book contains about sixty-three things, which he calls poems, and which he no doubt seriously supposes so to be. They are full of all kinds of mistakes, of which the most important is that of their having been printed at all. They are not precisely English; perhaps they are Channingese. We may convey some general idea of them by two foreign terms not in common use—the Italian pavoneggiarsi, “to strut like a peacock,” and the German word for “sky-rocketing,” schwarmerei. They are more preposterous, in a word, than any poems except those of the author of “Sam Patch;” for we presume we are right (are we not?) in taking it for granted that the author of “Sam Patch” is the very worst of all the wretched poets that ever existed upon earth.

In spite, however, of the customary phrase about a man’s “making a fool of himself,” we doubt if any one was ever a fool of his own free will and accord. A poet, therefore, should not always be taken too strictly to task. He should be treated with leniency, and, even when damned, should be damned with respect. Nobility of descent, too, should be allowed its privileges not more in social life than in letters. The son of a great author cannot be handled too tenderly by the critical Jack Ketch. Mr. Channing must be hung, that’s true. He must be hung in terrorem—and for this there is no help under the sun; but then we shall do him all manner of justice, and observe every species of decorum, and be especially careful of his feelings, and hang him gingerly and gracefully, with a silken cord, as the Spaniards hang their grandees of the blue blood, their nobles of the sangre azula.

Poe emphasizes that Channing is the son of a famed deceased essayist because __________.

Adapted from “Our Amateur Poets, No. III. — William Ellery Channing” in The Complete Works of Edgar Allan Poe — Vol. XI: Literary Criticism by Edgar Allan Poe (1843, ed. 1902)

In speaking of Mr. William Ellery Channing, who has just published a very neat little volume of poems, we feel the necessity of employing the indefinite rather than the definite article. He is a, and by no means the, William Ellery Channing. He is only the son of the great essayist deceased. He is just such a person, in despite of his clarum et venerabile nomen, as Pindar would have designated by the significant term τις. It may be said in his favor that nobody ever heard of him. His book contains about sixty-three things, which he calls poems, and which he no doubt seriously supposes so to be. They are full of all kinds of mistakes, of which the most important is that of their having been printed at all. They are not precisely English; perhaps they are Channingese. We may convey some general idea of them by two foreign terms not in common use—the Italian pavoneggiarsi, “to strut like a peacock,” and the German word for “sky-rocketing,” schwarmerei. They are more preposterous, in a word, than any poems except those of the author of “Sam Patch;” for we presume we are right (are we not?) in taking it for granted that the author of “Sam Patch” is the very worst of all the wretched poets that ever existed upon earth.

In spite, however, of the customary phrase about a man’s “making a fool of himself,” we doubt if any one was ever a fool of his own free will and accord. A poet, therefore, should not always be taken too strictly to task. He should be treated with leniency, and, even when damned, should be damned with respect. Nobility of descent, too, should be allowed its privileges not more in social life than in letters. The son of a great author cannot be handled too tenderly by the critical Jack Ketch. Mr. Channing must be hung, that’s true. He must be hung in terrorem—and for this there is no help under the sun; but then we shall do him all manner of justice, and observe every species of decorum, and be especially careful of his feelings, and hang him gingerly and gracefully, with a silken cord, as the Spaniards hang their grandees of the blue blood, their nobles of the sangre azula.

Poe suggests all of the following of the "sixty-three things" that Channing has published EXCEPT __________.

Adapted from "The Modern Essay" in The Times Literary Supplement by Virginia Woolf (November 30, 1922)

As Mr. Rhys truly says, it is unnecessary to go profoundly into the history and origin of the essay—whether it derives from Socrates or Siranney the Persian—since, like all living things, its present is more important than its past. Moreover, the family is widely spread; and while some of its representatives have risen in the world and wear their coronets with the best, others pick up a precarious living in the gutter near Fleet Street. The form, too, admits variety. The essay can be short or long, serious or trifling, about God and Spinoza, or about turtles and Cheapside. But as we turn over the pages of these five little volumes, containing essays written between 1870 and 1920, certain principles appear to control the chaos, and we detect in the short period under review something like the progress of history.

Of all forms of literature, however, the essay is the one which least calls for the use of long words. The principle which controls it is simply that it should give pleasure; the desire which impels us when we take it from the shelf is simply to receive pleasure. Everything in an essay must be subdued to that end. It should lay us under a spell with its first word, and we should only wake, refreshed, with its last. In the interval we may pass through the most various experiences of amusement, surprise, interest, indignation; we may soar to the heights of fantasy with Lamb or plunge to the depths of wisdom with Bacon, but we must never be roused. The essay must lap us about and draw its curtain across the world.

We are not told who "Mr. Rhys" is, but we can infer that he is likely to be __________.

Adapted from "The Modern Essay" in The Times Literary Supplement by Virginia Woolf (November 30, 1922)

As Mr. Rhys truly says, it is unnecessary to go profoundly into the history and origin of the essay—whether it derives from Socrates or Siranney the Persian—since, like all living things, its present is more important than its past. Moreover, the family is widely spread; and while some of its representatives have risen in the world and wear their coronets with the best, others pick up a precarious living in the gutter near Fleet Street. The form, too, admits variety. The essay can be short or long, serious or trifling, about God and Spinoza, or about turtles and Cheapside. But as we turn over the pages of these five little volumes, containing essays written between 1870 and 1920, certain principles appear to control the chaos, and we detect in the short period under review something like the progress of history.

Of all forms of literature, however, the essay is the one which least calls for the use of long words. The principle which controls it is simply that it should give pleasure; the desire which impels us when we take it from the shelf is simply to receive pleasure. Everything in an essay must be subdued to that end. It should lay us under a spell with its first word, and we should only wake, refreshed, with its last. In the interval we may pass through the most various experiences of amusement, surprise, interest, indignation; we may soar to the heights of fantasy with Lamb or plunge to the depths of wisdom with Bacon, but we must never be roused. The essay must lap us about and draw its curtain across the world.

Since Woolf does not identify who "Siranney the Persian" is, we can infer that this is the name of __________.