Adapted from The Boy Heroes of Crecy and Poitiers by Treadwell Walden (1879)

There was only one road to success or fame in those days, and that was the profession of fighting. The ambition of every high-born young fellow was to become a knight. Knighthood was something that both king and nobles regarded as higher in some respects than even the royalty or nobility to which they were born. No one could be admitted into an order of the great brotherhood of knights, which extended all over Europe and formed an independent society, unless he had gone through severe discipline, and had performed some distinguished deed of valor. Then he could wear the golden spurs; for knighthood had its earliest origin in the distinction of fighting on horseback, while ordinary soldiers fought on foot. Although knighthood changed afterward, the word "chivalry" always expressed it, from the French word “cheval,” a horse. And in addition to valor, which was the result of physical strength and courage, the knight was expected to be generous, courteous, faithful, devout, truthful, high-souled, high-principled. Hence the epithet, "chivalrous," which, even to-day, is so often heard applied to men of especially fine spirit. "Honor" was the great word which included all these qualities then, as it does in some measure now.

From which language does the English word “chivalry” derive?

Passage adapted from the Preface to The Adventures of Sherlock Holmes (1902) by Sir Arthur Conan Doyle

Some few words on the chronology of these stories may not be out of place. The first of them, "A Study in Scarlet," published in '87, was the very first separate booklet of mine that ever appeared. "The Sign of Four" followed two years later. Then, in ‘91, the “Adventures of Sherlock Holmes” began to appear in the “Strand Magazine.” The public having shown them some favour I was persuaded to continue them into another series, “The Memoirs of Sherlock Holmes,” which came to an end in 1893. That it was an end, and that I had no intention of abusing the patience of the public, was shown by the last story in which, wisely or unwisely, I brought my hero as well as my stories to an end. The subject had begun to weary me, and it seemed to me that, while there was no reason to be ashamed of doing detective stories, it was unjustifiable that I should allow myself to be tempted into doing nothing else. “The Hounds of Baskerville” represents the inevitable relapse after repentance.

What reason does the author give for being "persuaded to continue" writing his stories?

Adapted from The Story of My Life by Helen Keller (1903)

 I am told that while I was still in long dresses I showed many signs of an eager, self-asserting disposition. Everything that I saw other people do I insisted upon imitating. At six months I could pipe out "How d'ye," and one day I attracted every one's attention by saying "Tea, tea, tea" quite plainly. Even after my illness I remembered one of the words I had learned in these early months. It was the word "water," and I continued to make some sound for that word after all other speech was lost. I ceased making the sound "wah-wah" only when I learned to spell the word.

They tell me I walked the day I was a year old. My mother had just taken me out of the bathtub and was holding me in her lap, when I was suddenly attracted by the flickering shadows of leaves that danced in the sunlight on the smooth floor. I slipped from my mother's lap and almost ran toward them. The impulse gone, I fell down and cried for her to take me up in her arms.

These happy days did not last long. One brief spring, musical with the song of robin and mockingbird, one summer rich in fruit and roses, one autumn of gold and crimson sped by and left their gifts at the feet of an eager, delighted child. Then, in the dreary month of February, came the illness that closed my eyes and ears and plunged me into the unconsciousness of a newborn baby. They called it acute congestion of the stomach and brain. The doctor thought I could not live. Early one morning, however, the fever left me as suddenly and mysteriously as it had come. There was great rejoicing in the family that morning, but no one, not even the doctor, knew that I should never see or hear again.

I fancy I still have confused recollections of that illness. I especially remember the tenderness with which my mother tried to soothe me in my wailing hours of fret and pain, and the agony and bewilderment with which I awoke after a tossing half sleep, and turned my eyes, so dry and hot, to the wall away from the once-loved light, which came to me dim and yet more dim each day. But, except for these fleeting memories, if, indeed, they be memories, it all seems very unreal, like a nightmare. Gradually I got used to the silence and darkness that surrounded me and forgot that it had ever been different, until she came—my teacher—who was to set my spirit free. But during the first nineteen months of my life I had caught glimpses of broad, green fields, a luminous sky, trees and flowers which the darkness that followed could not wholly blot out. If we have once seen, “the day is ours, and what the day has shown.

Based on the passage, which of the following statements is NOT true?

Adapted from The Struggles of Charles Goodyear by George C. Towle (1916)

Never did any man work harder, suffer more keenly, or remain more steadfast to one great purpose of life, than did Charles Goodyear. The story of his life—for the most part mournful—teems with touching interest. No inventor ever struggled against greater or more often returning obstacles, or against repeated failures more overwhelming. Goodyear is often compared, as a martyr and hero of invention, to Bernard Palissy the potter. He is sometimes called "the Palissy of the nineteenth century." But his sufferings were more various, more bitter, and more long enduring than ever were even those of Palissy; while the result of his long, unceasing labors was infinitely more precious to the world. For if Palissy restored the art of enameling so as to produce beautiful works of art, Goodyear perfected a substance which gives comfort and secures health to millions of human beings.

It was by accident at last that he hit upon the secret of how to make India-rubber durable. He was talking one day to several visitors, and in his ardor making rapid gestures, when a piece of rubber that he was holding in his hand accidentally hit against a hot stove. To his amazement, instead of melting, the gum remained stiff and charred, like leather. He again applied great heat to a piece of rubber, and then nailed it outside the door, where it was very cold. The next morning he found that it was perfectly flexible; and this was the discovery which led to that successful invention which he had struggled through so many years to perfect. The main value of the discovery lay in this, that while the gum would dissolve in a moderate heat, it both remained hard and continued to be flexible when submitted to an extreme heat. This came to be known as the "vulcanization" of India-rubber.

Goodyear was terribly afraid that he should die before he could make the world perceive the great uses to which his discovery might be applied. What he was toiling for was neither fame nor fortune, but only to confer a vast benefit on his fellow men.

At last, after infinite struggles, the absorbing purpose of his life was attained. India-rubber was introduced under his patents, and soon proved to have all the value he had, in his wildest moments, claimed for it. Success thus crowned his noble efforts, which had continued unceasingly through ten years of self-imposed privation. India-rubber was now seen to be capable of being adapted to at least five hundred uses. It could be made "as pliable as kid, tougher than oxhide, as elastic as whalebone, or as rigid as flint." But, as too often happens, his great discovery enriched neither Goodyear nor his family. It soon gave employment to sixty thousand artisans, and annually produced articles in this country alone worth eight millions of dollars.

Happily the later years of the noble, self-denying inventor were spent at least free from the grinding penury and privations of his years of uncertainty and toil. He died in his sixtieth year, in 1860, happy in the thought of the magnificent boon he had given to mankind.

The tone of this passage could best be described as __________.

Adapted from The Story of My Life by Helen Keller (1903)

 I am told that while I was still in long dresses I showed many signs of an eager, self-asserting disposition. Everything that I saw other people do I insisted upon imitating. At six months I could pipe out "How d'ye," and one day I attracted every one's attention by saying "Tea, tea, tea" quite plainly. Even after my illness I remembered one of the words I had learned in these early months. It was the word "water," and I continued to make some sound for that word after all other speech was lost. I ceased making the sound "wah-wah" only when I learned to spell the word.

They tell me I walked the day I was a year old. My mother had just taken me out of the bathtub and was holding me in her lap, when I was suddenly attracted by the flickering shadows of leaves that danced in the sunlight on the smooth floor. I slipped from my mother's lap and almost ran toward them. The impulse gone, I fell down and cried for her to take me up in her arms.

These happy days did not last long. One brief spring, musical with the song of robin and mockingbird, one summer rich in fruit and roses, one autumn of gold and crimson sped by and left their gifts at the feet of an eager, delighted child. Then, in the dreary month of February, came the illness that closed my eyes and ears and plunged me into the unconsciousness of a newborn baby. They called it acute congestion of the stomach and brain. The doctor thought I could not live. Early one morning, however, the fever left me as suddenly and mysteriously as it had come. There was great rejoicing in the family that morning, but no one, not even the doctor, knew that I should never see or hear again.

I fancy I still have confused recollections of that illness. I especially remember the tenderness with which my mother tried to soothe me in my wailing hours of fret and pain, and the agony and bewilderment with which I awoke after a tossing half sleep, and turned my eyes, so dry and hot, to the wall away from the once-loved light, which came to me dim and yet more dim each day. But, except for these fleeting memories, if, indeed, they be memories, it all seems very unreal, like a nightmare. Gradually I got used to the silence and darkness that surrounded me and forgot that it had ever been different, until she came—my teacher—who was to set my spirit free. But during the first nineteen months of my life I had caught glimpses of broad, green fields, a luminous sky, trees and flowers which the darkness that followed could not wholly blot out. If we have once seen, “the day is ours, and what the day has shown."

The passage transitions from describing happy childhood memories to a sadder description of the narrator's disease and its aftermath. Where does this transition occur?

Adapted from The Story of My Life by Helen Keller (1903)

 I am told that while I was still in long dresses I showed many signs of an eager, self-asserting disposition. Everything that I saw other people do I insisted upon imitating. At six months I could pipe out "How d'ye," and one day I attracted every one's attention by saying "Tea, tea, tea" quite plainly. Even after my illness I remembered one of the words I had learned in these early months. It was the word "water," and I continued to make some sound for that word after all other speech was lost. I ceased making the sound "wah-wah" only when I learned to spell the word.

They tell me I walked the day I was a year old. My mother had just taken me out of the bathtub and was holding me in her lap, when I was suddenly attracted by the flickering shadows of leaves that danced in the sunlight on the smooth floor. I slipped from my mother's lap and almost ran toward them. The impulse gone, I fell down and cried for her to take me up in her arms.

These happy days did not last long. One brief spring, musical with the song of robin and mockingbird, one summer rich in fruit and roses, one autumn of gold and crimson sped by and left their gifts at the feet of an eager, delighted child. Then, in the dreary month of February, came the illness that closed my eyes and ears and plunged me into the unconsciousness of a newborn baby. They called it acute congestion of the stomach and brain. The doctor thought I could not live. Early one morning, however, the fever left me as suddenly and mysteriously as it had come. There was great rejoicing in the family that morning, but no one, not even the doctor, knew that I should never see or hear again.

I fancy I still have confused recollections of that illness. I especially remember the tenderness with which my mother tried to soothe me in my wailing hours of fret and pain, and the agony and bewilderment with which I awoke after a tossing half sleep, and turned my eyes, so dry and hot, to the wall away from the once-loved light, which came to me dim and yet more dim each day. But, except for these fleeting memories, if, indeed, they be memories, it all seems very unreal, like a nightmare. Gradually I got used to the silence and darkness that surrounded me and forgot that it had ever been different, until she came—my teacher—who was to set my spirit free. But during the first nineteen months of my life I had caught glimpses of broad, green fields, a luminous sky, trees and flowers which the darkness that followed could not wholly blot out. If we have once seen, “the day is ours, and what the day has shown."

Which of the following does the narrator employ in the underlined portion of the passage?

Adapted from Cowboy Songs and Other Frontier Ballads by John A. Lomax (1910)

The big ranches of the West are now being cut up into small farms. The nester has come, and come to stay. Gone is the buffalo and the free grass of the open plain—even the stinging lizard, the horned frog, the centipede, the prairie dog, the rattlesnake, are fast disappearing. Save in some of the secluded valleys of southern New Mexico, the old-time round-up is no more; the trails to Kansas and to Montana have become grass-grown or lost in fields of waving grain; the maverick steer, the regal longhorn, has been supplanted by his unpoetic but more beefy and profitable Polled Angus, Durham, and Hereford cousins from across the seas. The changing and romantic West of the early days lives mainly in story and in song. The last figure to vanish is the cowboy, the animating spirit of the vanishing era. He sits his horse easily as he rides through a wide valley, enclosed by mountains, clad in the hazy purple of coming night,—with his face turned steadily down the long, long road, "the road that the sun goes down." Dauntless, reckless, without the unearthly purity of Sir Galahad though as gentle to a woman as King Arthur, he is truly a knight of the twentieth century. A vagrant puff of wind shakes a corner of the crimson handkerchief knotted loosely at his throat; the thud of his pony's feet mingling with the jingle of his spurs is borne back; and as the careless, gracious, lovable figure disappears over the divide, the breeze brings to the ears, faint and far yet cheery still, the refrain of a cowboy song.

The mood of the passage is best described as __________.

Adapted from Walden by Henry David Thoreau (1854)

It is remarkable how many creatures live wild and free, though secret, in the woods, and still sustain themselves in the neighborhood of towns, suspected by hunters only. How retired the otter manages to live here! He grows to be four feet long, as big as a small boy, perhaps without any human being getting a glimpse of him.

The author’s tone in this passage could best be described as __________.

Adapted from Scientific American Supplement No. 1082 Vol. XLII (September 26th, 1896)

The rowboat Fox, of the port of New York, manned by George Harbo, thirty-one years of age, captain of a merchantman, and Frank Samuelson, twenty-six years of age, left New York for Havre on the sixth of June. Ten days later the boat was met by the German transatlantic steamer Fürst Bismarck proceeding from Cherbourg to New York. On the eighth, ninth and tenth of July, the Fox was cast by a tempest upon the reefs of Newfoundland. The two men jumped into the sea, and thanks to the watertight compartments provided with air chambers fore and aft, it was possible for them to right the boat; but the unfortunates lost their provisions and their supply of drinking water. On the fifteenth they met the Norwegian three-masted vessel Cito, which supplied them with food and water. The captains of the vessels met with signed the log book and testified that the boat had neither sail nor rudder. The Fox reached the Scilly Islands on the first of August, having at this date been on the ocean fifty-five days. It arrived at Havre on the seventh of August.

Cost what it might, the men were bent upon reaching this port in order to gain the reward promised by Mr. Fox, of the Police Gazette. Thanks to the wind and a favorable current, they made one hundred and twenty-five miles in twenty-four hours. One slept three hours while the other rowed. Their skins and faces were tumefied by the wind, salt water, and sun; the skin of their hands was renewed three times; their legs were weakened; and they were worn out.

The underlined portion of the text is meant to highlight __________.

My dear old friend Sebastian used to tell me that he had something of a sliding scale regarding the musicians to which he could listen. For him, Bach was the most celestial of musicians, and he could listen to him for an eternity without ever being wearied. Mozart was likewise favorably judged, though Sebastian said that he could only endure his music for approximately three to five hours at a time. When it came to Richard Wagner, however, my dear friend was quite unable to bear the intensity of the composer’s works. In stark contrast to his great patience and love for the music of Bach, he could spend little more than five minutes listening to compositions by Wagner.

In its context, what does "celestial" (underlined) mean?