Writing and Revising Effectively - ACT English

“Bach and German Hymnody”

\[31\] The great German composer, Johann Sebastian Bach was a member of a prodigiously talented musical family. \[32\] A significant number of Johann Sebastians ancestors and descendants were musicians of various levels of talent. \[33\] Although he was known for music of a variety of forms, one of his most enduring legacies is the repertoire of chorale music by which he improved and solidified the world of German congregational singing.

During the period after the Protestant Reformation, a number of hymns were written for use in the common worship of the Christians of the time. \[34\] The structured form of these compositions werewell suited for congregational singing although theywould sound strange to our contemporary ears. \[35\] The harmonies and meters of these hymns are very close in character to the music with which we are familiar. They lack some of the standard structural elements that we take for granted in this form of organized \[36\] Western music, these small differences would stand out to our sensibilities.

It was the great glory of Johann Sebastian Bach to have harmonized a great number of these hymns, often penning multiple such harmonies. \[37\] One solitary single melody might be made by Bach into three, four, or even five different harmonic compositions. \[38\] This amazing feat of musical prowess is no smalladdition to the original behest of Lutheran hymns that Bach had inherited from his fellow religious brethren. \[39\] Many of these harmonies remain to this day as classic renditions of these songs. \[40\] They are sung not only in the German world but inProtestant and Catholic services. \[41\] Indeed they are even sung in wholly secular concerts thanks to their great beauty!

Interestingly enough, Bach was more recognized as a talented performer, rather than composer, of music in his own lifetime. While he was still composing, knowledge of Bach’s work was limited to music connoisseurs who happened to be physically near places \[42\] he lived and worked. It was not until the early 19th century, when the first biography of Bach was published, that academic and popular interest \[43\] truly picked up steam. In the two centuries that followed, his works have continued to proliferate in both religious and purely musical contexts.

This great diffusion of one mans’ work is a testament to his prodigious talent. \[44\] It also stands as a testament to the fact that Bach’s work came at a pivotal time when the Protestant hymnody was crystallizing, as well as when Western harmonies were coming into a particular expression that is known as the Baroque. \[45\]

Choose the answer that would best help to clarify the sentence's meaning, if added at the end of selection \[40\].

Which of the following, if any, would NOT be an acceptable substitution for the underlined word?

As the two cars collided into each other, the drivers' airbags deployed with a loud bang.

Choose the word that most closely means "false."

Passage adapted from G. K. Chesterton, "The Wrath of the Roses," in Alarms and Discursions(1910)

The position of the rose among flowers is like that of the dog among animals. It is not so much that both are domesticated as that we have some dim feeling that they were always domesticated. There are wild roses and there are wild dogs. I do not know the wild dogs; wild roses are very nice. But nobody ever thinks of either of them if the name is abruptly mentioned in a conversation or a poem. On the other hand, there are tame tigers and tame cobras, but if one says, "I have a cobra in my pocket," or "There is a tiger in the music-room," the adjective "tame" has to be somewhat hastily added. If one speaks of beasts one thinks first of wild beasts; if of flowers one thinks first of wild flowers.

But there are two great exceptions caught so completely into the wheel of man's civilization, entangled so unalterably with his ancient emotions and images, that the artificial product seems more natural than the natural. The dog is not a part of natural history, but of human history; and the real rose grows in a garden. All must regard the elephant as something tremendous, but tamed; and many, especially in our great cultured cities, regard every bull as presumably a mad bull. In the same way we think of most garden trees and plants as fierce creatures of the forest or morass taught at last to endure the curb.

But with the dog and the rose this instinctive principle is reversed.

What two things does the underlined portion "two great exceptions" refer to?

Choose the best definition of "impute."

Adapted from "The Philosophy of Composition" by Edgar Allan Poe (1846)

Charles Dickens in a note now lying before me (1) alluding to an examination I once made of the mechanism of \[the novel\] Barnaby Rudge (2), says (3) "By the way, are you aware that Godwin wrote his 'Caleb Williams' backwards? He first involved his hero in a web of difficulties, forming the second volume, and then, for the first, cast about him for some mode of accounting for what had been done" (4)

I cannot think this the exacting (5) mode of procedure on the part of Godwin — and indeed what he himself acknowledges, is not altogether in accordance with Mr. Dickens idea (6) — but the author of “Caleb Williams” was too good an artist not to perceive the advantage derivative (7) from at least a somewhat similar process. Nothing is more clear than that every plot, worth the name, must be elaborated to its dénouement before any thing be attempted with the pen. It is only with the dénouement constantly in view that we can give a plot its indispensable (8) air of consequence, or causation, by making the incidents (9) and especially the tone at all points, tend to the development of the intention.

There is a radical error I think (10) in the usual mode of constructing a story. Either history affords a thesis — or one is suggested by an incident of the day — or, at best, the author sets himself to work in the combination of striking events to form merely the basis of his narrative — designing, generally, to fill in with description, dialogue, or autorial (11) comment, whatever crevices of fact, or action, may from page to page (12) render themselves apparent.

Choose from the following four options the answer that best corrects the underlined mistake, using contemporary usage, preceding the question number. If there is no mistake or the original text is the best option, choose "NO CHANGE."

Adapted from "The Philosophy of Composition" by Edgar Allan Poe (1846)

Charles Dickens in a note now lying before me (1) alluding to an examination I once made of the mechanism of \[the novel\] Barnaby Rudge (2), says (3) "By the way, are you aware that Godwin wrote his 'Caleb Williams' backwards? He first involved his hero in a web of difficulties, forming the second volume, and then, for the first, cast about him for some mode of accounting for what had been done" (4)

I cannot think this the exacting (5) mode of procedure on the part of Godwin — and indeed what he himself acknowledges, is not altogether in accordance with Mr. Dickens idea (6) — but the author of “Caleb Williams” was too good an artist not to perceive the advantage derivative (7) from at least a somewhat similar process. Nothing is more clear than that every plot, worth the name, must be elaborated to its dénouement before any thing be attempted with the pen. It is only with the dénouement constantly in view that we can give a plot its indispensable (8) air of consequence, or causation, by making the incidents (9) and especially the tone at all points, tend to the development of the intention.

There is a radical error I think (10) in the usual mode of constructing a story. Either history affords a thesis — or one is suggested by an incident of the day — or, at best, the author sets himself to work in the combination of striking events to form merely the basis of his narrative — designing, generally, to fill in with description, dialogue, or autorial (11) comment, whatever crevices of fact, or action, may from page to page (12) render themselves apparent.

Choose from the following four options the word choice that best fits the context of the underlined word preceding the question number. If there is no mistake or the original text is the best option, choose "NO CHANGE."

Adapted from "The Philosophy of Composition" by Edgar Allan Poe (1846)

Charles Dickens in a note now lying before me (1) alluding to an examination I once made of the mechanism of \[the novel\] Barnaby Rudge (2), says (3) "By the way, are you aware that Godwin wrote his 'Caleb Williams' backwards? He first involved his hero in a web of difficulties, forming the second volume, and then, for the first, cast about him for some mode of accounting for what had been done" (4)

I cannot think this the exacting (5) mode of procedure on the part of Godwin — and indeed what he himself acknowledges, is not altogether in accordance with Mr. Dickens idea (6) — but the author of “Caleb Williams” was too good an artist not to perceive the advantage derivative (7) from at least a somewhat similar process. Nothing is more clear than that every plot, worth the name, must be elaborated to its dénouement before any thing be attempted with the pen. It is only with the dénouement constantly in view that we can give a plot its indispensable (8) air of consequence, or causation, by making the incidents (9) and especially the tone at all points, tend to the development of the intention.

There is a radical error I think (10) in the usual mode of constructing a story. Either history affords a thesis — or one is suggested by an incident of the day — or, at best, the author sets himself to work in the combination of striking events to form merely the basis of his narrative — designing, generally, to fill in with description, dialogue, or autorial (11) comment, whatever crevices of fact, or action, may from page to page (12) render themselves apparent.

Choose from the following four options the word choice that best fits the context of the underlined word preceding the question number. If there is no mistake or the original text is the best option, choose "NO CHANGE."

Adapted from "The Philosophy of Composition" by Edgar Allan Poe (1846)

Charles Dickens in a note now lying before me (1) alluding to an examination I once made of the mechanism of \[the novel\] Barnaby Rudge (2), says (3) "By the way, are you aware that Godwin wrote his 'Caleb Williams' backwards? He first involved his hero in a web of difficulties, forming the second volume, and then, for the first, cast about him for some mode of accounting for what had been done" (4)

I cannot think this the exacting (5) mode of procedure on the part of Godwin — and indeed what he himself acknowledges, is not altogether in accordance with Mr. Dickens idea (6) — but the author of “Caleb Williams” was too good an artist not to perceive the advantage derivative (7) from at least a somewhat similar process. Nothing is more clear than that every plot, worth the name, must be elaborated to its dénouement before any thing be attempted with the pen. It is only with the dénouement constantly in view that we can give a plot its indispensable (8) air of consequence, or causation, by making the incidents (9) and especially the tone at all points, tend to the development of the intention.

There is a radical error I think (10) in the usual mode of constructing a story. Either history affords a thesis — or one is suggested by an incident of the day — or, at best, the author sets himself to work in the combination of striking events to form merely the basis of his narrative — designing, generally, to fill in with description, dialogue, or autorial (11) comment, whatever crevices of fact, or action, may from page to page (12) render themselves apparent.

Choose from the following four options the word choice that best fits the context of the underlined word preceding the question number. If there is no mistake or the original text is the best option, choose "NO CHANGE."

Adapted from "The Philosophy of Composition" by Edgar Allan Poe (1846)

Charles Dickens in a note now lying before me (1) alluding to an examination I once made of the mechanism of \[the novel\] Barnaby Rudge (2), says (3) "By the way, are you aware that Godwin wrote his 'Caleb Williams' backwards? He first involved his hero in a web of difficulties, forming the second volume, and then, for the first, cast about him for some mode of accounting for what had been done" (4)

I cannot think this the exacting (5) mode of procedure on the part of Godwin — and indeed what he himself acknowledges, is not altogether in accordance with Mr. Dickens idea (6) — but the author of “Caleb Williams” was too good an artist not to perceive the advantage derivative (7) from at least a somewhat similar process. Nothing is more clear than that every plot, worth the name, must be elaborated to its dénouement before any thing be attempted with the pen. It is only with the dénouement constantly in view that we can give a plot its indispensable (8) air of consequence, or causation, by making the incidents (9) and especially the tone at all points, tend to the development of the intention.

There is a radical error I think (10) in the usual mode of constructing a story. Either history affords a thesis — or one is suggested by an incident of the day — or, at best, the author sets himself to work in the combination of striking events to form merely the basis of his narrative — designing, generally, to fill in with description, dialogue, or autorial (11) comment, whatever crevices of fact, or action, may from page to page (12) render themselves apparent.

Choose from the following four options the answer that best corresponds to our contemporary usage of the underlined word preceding the question number. If there is no mistake or the original text is the best option, choose "NO CHANGE."

Adapted from Looking Backward from 2000 to 1887 by Edward Bellamy (1889)

"Here we are at the store of our ward," said Edith, as we turned in at the great portal of one of the magnificent public buildings I had observed in my morning walk. There was nothing in the exterior aspect (1) of the edifice to suggest a store to a representative of the nineteenth century. There was no display of goods in the great windows, or any device to advertise wares, or attract custom (2). Nor was there any sort of sign or legend on the front of the building to indicate the character of the business carried on there; but instead, above the portal, standing out from the front of the building, a majestic life-size group of statuary (3), the central figure of which was a female ideal of Plenty, with her cornucopia. Judging from the composition of the throng (4) passing in and out, about the same proportion of the sexes among shoppers obtained (5) as in the nineteenth century. As we entered, Edith said that there was one of these great distributing establishments in each ward of the city, so that no residence was more than five or ten minutes (6) walk from one of them. It was the first interior of a twentieth-century public building that I had ever beheld, and the spectacle naturally impressed me deeply. I was in a vast hall full of light, received not alone from the windows on all sides, but from the dome, the point of which was a hundred feet above. Beneath it, in the centre of the hall, a magnificent fountain played, cooling the atmosphere to a delicious freshness with its spray. The walls and ceiling were frescoed in mellow tints, calculated to soften without absorbing the light which flooded the interior. Around the fountain was a space occupied with chairs and sofas, on which many persons were seated conversing. Legends (7) on the walls all about the hall indicated to what classes of commodities the counters below were devoted. Edith directed her steps towards one of these, where samples of muslin of a bewildering variety were displayed, and proceeded to inspect them.

"Where is the clerk?" I asked, for there was no one behind the counter, and no one seemed coming to attend (8) to the customer.

"I have no need of the clerk yet," said Edith (9) "I have not made my selection."

"It was the principal business of clerks to help people to make their selections in my day," I replied.

"What! To tell people what they wanted?"

"Yes (10) and oftener to induce them to buy what they didn't want."

"But did not (11) ladies find that very impertinent?" Edith asked, wonderingly (12). "What concern could it possibly be to the clerks whether people bought or not?"

Choose from the following four options the synonym that would best replace the underlined word preceding the number (1).

Adapted from Looking Backward from 2000 to 1887 by Edward Bellamy (1889)

"Here we are at the store of our ward," said Edith, as we turned in at the great portal of one of the magnificent public buildings I had observed in my morning walk. There was nothing in the exterior aspect (1) of the edifice to suggest a store to a representative of the nineteenth century. There was no display of goods in the great windows, or any device to advertise wares, or attract custom (2). Nor was there any sort of sign or legend on the front of the building to indicate the character of the business carried on there; but instead, above the portal, standing out from the front of the building, a majestic life-size group of statuary (3), the central figure of which was a female ideal of Plenty, with her cornucopia. Judging from the composition of the throng (4) passing in and out, about the same proportion of the sexes among shoppers obtained (5) as in the nineteenth century. As we entered, Edith said that there was one of these great distributing establishments in each ward of the city, so that no residence was more than five or ten minutes (6) walk from one of them. It was the first interior of a twentieth-century public building that I had ever beheld, and the spectacle naturally impressed me deeply. I was in a vast hall full of light, received not alone from the windows on all sides, but from the dome, the point of which was a hundred feet above. Beneath it, in the centre of the hall, a magnificent fountain played, cooling the atmosphere to a delicious freshness with its spray. The walls and ceiling were frescoed in mellow tints, calculated to soften without absorbing the light which flooded the interior. Around the fountain was a space occupied with chairs and sofas, on which many persons were seated conversing. Legends (7) on the walls all about the hall indicated to what classes of commodities the counters below were devoted. Edith directed her steps towards one of these, where samples of muslin of a bewildering variety were displayed, and proceeded to inspect them.

"Where is the clerk?" I asked, for there was no one behind the counter, and no one seemed coming to attend (8) to the customer.

"I have no need of the clerk yet," said Edith (9) "I have not made my selection."

"It was the principal business of clerks to help people to make their selections in my day," I replied.

"What! To tell people what they wanted?"

"Yes (10) and oftener to induce them to buy what they didn't want."

"But did not (11) ladies find that very impertinent?" Edith asked, wonderingly (12). "What concern could it possibly be to the clerks whether people bought or not?"

Choose from the following four options the synonym that best corresponds to the underlined word preceding the number (2). If there is no mistake or the original text is the best option, choose "NO CHANGE."

Adapted from Looking Backward from 2000 to 1887 by Edward Bellamy (1889)

"Here we are at the store of our ward," said Edith, as we turned in at the great portal of one of the magnificent public buildings I had observed in my morning walk. There was nothing in the exterior aspect (1) of the edifice to suggest a store to a representative of the nineteenth century. There was no display of goods in the great windows, or any device to advertise wares, or attract custom (2). Nor was there any sort of sign or legend on the front of the building to indicate the character of the business carried on there; but instead, above the portal, standing out from the front of the building, a majestic life-size group of statuary (3), the central figure of which was a female ideal of Plenty, with her cornucopia. Judging from the composition of the throng (4) passing in and out, about the same proportion of the sexes among shoppers obtained (5) as in the nineteenth century. As we entered, Edith said that there was one of these great distributing establishments in each ward of the city, so that no residence was more than five or ten minutes (6) walk from one of them. It was the first interior of a twentieth-century public building that I had ever beheld, and the spectacle naturally impressed me deeply. I was in a vast hall full of light, received not alone from the windows on all sides, but from the dome, the point of which was a hundred feet above. Beneath it, in the centre of the hall, a magnificent fountain played, cooling the atmosphere to a delicious freshness with its spray. The walls and ceiling were frescoed in mellow tints, calculated to soften without absorbing the light which flooded the interior. Around the fountain was a space occupied with chairs and sofas, on which many persons were seated conversing. Legends (7) on the walls all about the hall indicated to what classes of commodities the counters below were devoted. Edith directed her steps towards one of these, where samples of muslin of a bewildering variety were displayed, and proceeded to inspect them.

"Where is the clerk?" I asked, for there was no one behind the counter, and no one seemed coming to attend (8) to the customer.

"I have no need of the clerk yet," said Edith (9) "I have not made my selection."

"It was the principal business of clerks to help people to make their selections in my day," I replied.

"What! To tell people what they wanted?"

"Yes (10) and oftener to induce them to buy what they didn't want."

"But did not (11) ladies find that very impertinent?" Edith asked, wonderingly (12). "What concern could it possibly be to the clerks whether people bought or not?"

Choose from the following four options the synonym that best corresponds to the underlined word preceding the number (3).

Adapted from Looking Backward from 2000 to 1887 by Edward Bellamy (1889)

"Here we are at the store of our ward," said Edith, as we turned in at the great portal of one of the magnificent public buildings I had observed in my morning walk. There was nothing in the exterior aspect (1) of the edifice to suggest a store to a representative of the nineteenth century. There was no display of goods in the great windows, or any device to advertise wares, or attract custom (2). Nor was there any sort of sign or legend on the front of the building to indicate the character of the business carried on there; but instead, above the portal, standing out from the front of the building, a majestic life-size group of statuary (3), the central figure of which was a female ideal of Plenty, with her cornucopia. Judging from the composition of the throng (4) passing in and out, about the same proportion of the sexes among shoppers obtained (5) as in the nineteenth century. As we entered, Edith said that there was one of these great distributing establishments in each ward of the city, so that no residence was more than five or ten minutes (6) walk from one of them. It was the first interior of a twentieth-century public building that I had ever beheld, and the spectacle naturally impressed me deeply. I was in a vast hall full of light, received not alone from the windows on all sides, but from the dome, the point of which was a hundred feet above. Beneath it, in the centre of the hall, a magnificent fountain played, cooling the atmosphere to a delicious freshness with its spray. The walls and ceiling were frescoed in mellow tints, calculated to soften without absorbing the light which flooded the interior. Around the fountain was a space occupied with chairs and sofas, on which many persons were seated conversing. Legends (7) on the walls all about the hall indicated to what classes of commodities the counters below were devoted. Edith directed her steps towards one of these, where samples of muslin of a bewildering variety were displayed, and proceeded to inspect them.

"Where is the clerk?" I asked, for there was no one behind the counter, and no one seemed coming to attend (8) to the customer.

"I have no need of the clerk yet," said Edith (9) "I have not made my selection."

"It was the principal business of clerks to help people to make their selections in my day," I replied.

"What! To tell people what they wanted?"

"Yes (10) and oftener to induce them to buy what they didn't want."

"But did not (11) ladies find that very impertinent?" Edith asked, wonderingly (12). "What concern could it possibly be to the clerks whether people bought or not?"

Choose from the following four options the synonym that would best replace the underlined word preceding the number (4).

Adapted from Looking Backward from 2000 to 1887 by Edward Bellamy (1889)

"Here we are at the store of our ward," said Edith, as we turned in at the great portal of one of the magnificent public buildings I had observed in my morning walk. There was nothing in the exterior aspect (1) of the edifice to suggest a store to a representative of the nineteenth century. There was no display of goods in the great windows, or any device to advertise wares, or attract custom (2). Nor was there any sort of sign or legend on the front of the building to indicate the character of the business carried on there; but instead, above the portal, standing out from the front of the building, a majestic life-size group of statuary (3), the central figure of which was a female ideal of Plenty, with her cornucopia. Judging from the composition of the throng (4) passing in and out, about the same proportion of the sexes among shoppers obtained (5) as in the nineteenth century. As we entered, Edith said that there was one of these great distributing establishments in each ward of the city, so that no residence was more than five or ten minutes (6) walk from one of them. It was the first interior of a twentieth-century public building that I had ever beheld, and the spectacle naturally impressed me deeply. I was in a vast hall full of light, received not alone from the windows on all sides, but from the dome, the point of which was a hundred feet above. Beneath it, in the centre of the hall, a magnificent fountain played, cooling the atmosphere to a delicious freshness with its spray. The walls and ceiling were frescoed in mellow tints, calculated to soften without absorbing the light which flooded the interior. Around the fountain was a space occupied with chairs and sofas, on which many persons were seated conversing. Legends (7) on the walls all about the hall indicated to what classes of commodities the counters below were devoted. Edith directed her steps towards one of these, where samples of muslin of a bewildering variety were displayed, and proceeded to inspect them.

"Where is the clerk?" I asked, for there was no one behind the counter, and no one seemed coming to attend (8) to the customer.

"I have no need of the clerk yet," said Edith (9) "I have not made my selection."

"It was the principal business of clerks to help people to make their selections in my day," I replied.

"What! To tell people what they wanted?"

"Yes (10) and oftener to induce them to buy what they didn't want."

"But did not (11) ladies find that very impertinent?" Edith asked, wonderingly (12). "What concern could it possibly be to the clerks whether people bought or not?"

Choose from the following four options the synonym that would best replace the underlined word preceding the number (5).

Adapted from Looking Backward from 2000 to 1887 by Edward Bellamy (1889)

"Here we are at the store of our ward," said Edith, as we turned in at the great portal of one of the magnificent public buildings I had observed in my morning walk. There was nothing in the exterior aspect (1) of the edifice to suggest a store to a representative of the nineteenth century. There was no display of goods in the great windows, or any device to advertise wares, or attract custom (2). Nor was there any sort of sign or legend on the front of the building to indicate the character of the business carried on there; but instead, above the portal, standing out from the front of the building, a majestic life-size group of statuary (3), the central figure of which was a female ideal of Plenty, with her cornucopia. Judging from the composition of the throng (4) passing in and out, about the same proportion of the sexes among shoppers obtained (5) as in the nineteenth century. As we entered, Edith said that there was one of these great distributing establishments in each ward of the city, so that no residence was more than five or ten minutes (6) walk from one of them. It was the first interior of a twentieth-century public building that I had ever beheld, and the spectacle naturally impressed me deeply. I was in a vast hall full of light, received not alone from the windows on all sides, but from the dome, the point of which was a hundred feet above. Beneath it, in the centre of the hall, a magnificent fountain played, cooling the atmosphere to a delicious freshness with its spray. The walls and ceiling were frescoed in mellow tints, calculated to soften without absorbing the light which flooded the interior. Around the fountain was a space occupied with chairs and sofas, on which many persons were seated conversing. Legends (7) on the walls all about the hall indicated to what classes of commodities the counters below were devoted. Edith directed her steps towards one of these, where samples of muslin of a bewildering variety were displayed, and proceeded to inspect them.

"Where is the clerk?" I asked, for there was no one behind the counter, and no one seemed coming to attend (8) to the customer.

"I have no need of the clerk yet," said Edith (9) "I have not made my selection."

"It was the principal business of clerks to help people to make their selections in my day," I replied.

"What! To tell people what they wanted?"

"Yes (10) and oftener to induce them to buy what they didn't want."

"But did not (11) ladies find that very impertinent?" Edith asked, wonderingly (12). "What concern could it possibly be to the clerks whether people bought or not?"

Choose from the following four options the synonym that would best replace the underlined word preceding the number (7).

Adapted from Looking Backward from 2000 to 1887 by Edward Bellamy (1889)

"Here we are at the store of our ward," said Edith, as we turned in at the great portal of one of the magnificent public buildings I had observed in my morning walk. There was nothing in the exterior aspect (1) of the edifice to suggest a store to a representative of the nineteenth century. There was no display of goods in the great windows, or any device to advertise wares, or attract custom (2). Nor was there any sort of sign or legend on the front of the building to indicate the character of the business carried on there; but instead, above the portal, standing out from the front of the building, a majestic life-size group of statuary (3), the central figure of which was a female ideal of Plenty, with her cornucopia. Judging from the composition of the throng (4) passing in and out, about the same proportion of the sexes among shoppers obtained (5) as in the nineteenth century. As we entered, Edith said that there was one of these great distributing establishments in each ward of the city, so that no residence was more than five or ten minutes (6) walk from one of them. It was the first interior of a twentieth-century public building that I had ever beheld, and the spectacle naturally impressed me deeply. I was in a vast hall full of light, received not alone from the windows on all sides, but from the dome, the point of which was a hundred feet above. Beneath it, in the centre of the hall, a magnificent fountain played, cooling the atmosphere to a delicious freshness with its spray. The walls and ceiling were frescoed in mellow tints, calculated to soften without absorbing the light which flooded the interior. Around the fountain was a space occupied with chairs and sofas, on which many persons were seated conversing. Legends (7) on the walls all about the hall indicated to what classes of commodities the counters below were devoted. Edith directed her steps towards one of these, where samples of muslin of a bewildering variety were displayed, and proceeded to inspect them.

"Where is the clerk?" I asked, for there was no one behind the counter, and no one seemed coming to attend (8) to the customer.

"I have no need of the clerk yet," said Edith (9) "I have not made my selection."

"It was the principal business of clerks to help people to make their selections in my day," I replied.

"What! To tell people what they wanted?"

"Yes (10) and oftener to induce them to buy what they didn't want."

"But did not (11) ladies find that very impertinent?" Edith asked, wonderingly (12). "What concern could it possibly be to the clerks whether people bought or not?"

Choose from the following four options the answer that best corrects the underlined mistake using contemporary English preceding the number (8). If there is no mistake or the original text is the best option, choose "NO CHANGE."

Adapted from The Origin of Species by Charles Darwin (ed. 1896)

Look at a plant in the midst of it’s range. Why does it not double or quadruple its numbers? We know that it can perfectly well withstand a little more heat or cold, dampness or dryness, for elsewhere it ranges into slightly hotter or colder, damper or drier districts. In this case, we can clearly see that if we wish in imagination to give the plant the power of increasing in number, we should have to give it some advantage over its competitors, or over the animals of the wild that prey on it. On the confines of its geographical range, a change of constitution with respect to climate would clearly be an advantage to our plant; but we have reason to believe that only a few plants or animals range so far, that they are destroyed exclusively by the rigor of the climate. Not until we reach the extreme confines of life, in the Arctic regions or on the borders of an utter desert, will competition cease. The land may be extremely cold or dry, yet their will be competition between some few species, or between the individuals of the same species, for the warmest or dampest spots.

Hence we can see that when a plant or animal is placed in a new country amongst new competitors, the conditions of its life will generally be changed in an essential manner, although the climate may be exactly the same as in its former home. If it’s average numbers are to increase in its new home, we should have to modify it in a different way to what we should have had to do in its native country; for we should have to give it some advantage over a different set of competitors or enemies.

It is good thus to try in imagination to give to any one species an advantage over another. Probably in no single instance should we know what to do. This ought to convince us of our ignorance on the mutual relations of all organic beings; a conviction as necessary, as it is difficult to acquire. All that we can do is to keep steadily in mind that each organic being is striving to increase in a geometrical ratio; that each at some period of its life, during some season of the year, during each generation or at intervals, has to struggle for life and to suffer great destruction. When we reflect on this struggle, we may console ourselves with the full belief that the war of nature is not incessant, that no fear is felt, that death is generally prompt, and that the vigorous, the healthy, and the happy survive and multiply.

What would be the best choice for replacing the word "but," boldfaced and underlined in the first paragraph?

Adapted from "The Ephemera: An Emblem of Human Life" by Benjamin Franklin (1778)

You may remember, my dear friend, that when we lately spent that happy day in the delightful garden and sweet society of the Moulin Joly, I stopped a little in one of our walks, and stay some time behind the company. We had been shown numberless skeletons of a kind of little fly, called an ephemera, whose successive generations, we were told, were bred and expired within the day. I happened to see a living company of them on a leaf, who appeared to be engaged in conversation. You know I understand all the inferior animal tongues. My too great application to the study of them is the best excuse I can give for the little progress I have made in your charming language. I listened through curiosity to the discourse of these little creatures; but as they, in their national vivacity, spoke three or four together, I could make but little of their conversation. I found however by some broken expressions that I heard now and then, they were disputing warmly on the merit of two foreign musicians, one a "cousin," the other a "moscheto": in which dispute they spent their time, seemingly as regardless of the shortness of life as if they had been sure of living a month. Happy people! thought I; you are certainly under a wise just and mild government, since you have no public grievances to complain of, nor any subject of contention but the perfections and imperfections of foreign music. I turned my head from them to an old gray-headed one, who was single on another leaf, and talking to himself. Being amused with his soliloquy, I put it down in writing, in hopes it will likewise amuse her to who I am so much indebted for the most pleasing of all amusements, her delicious company and heavenly harmony.

Which of the following would be an acceptable replacement for the underlined word "single"?

From an adaptation of a Letter from Thomas Jefferson to John Adams, On the Occasion of the Death of the Latter's Wife Abigail (1818)

The public papers my dear friend, have announced the fatal event of which your letter of October the 20th had given me ominous foreboding. Tried myself in the school of affliction, by the loss of every form of connection which can rive the human heart, I know well and feel what you have lost, what you have suffered, are suffering, and have yet to endure. The same trials have taught me that for ills so immeasurable, time and silence are the only medicine. I will not, therefore, by useless condolences, open afresh the sluices of your grief, nor, although mingling sincerely my tears with yours, will I say a word more where words are vain, but that it is of some comfort to us both, that the term is not very distant at which we are to deposit our sorrows and suffering bodies in the same soil and to ascend in essence to an ecstatic meeting with the friends we have loved and lost, and whom we shall still love and never lose again. God bless you and support you under your heavy affliction.

Which of the following translates the author’s intended meaning of the underlined conjunction “but”?