English Language and Composition Section I Time-I Hour
English Language and Composition Section I Time-I Hour
English Language and Composition Section I Time-I Hour
SECTION I
Time—i hour
Directions: This part consists of selections from prose works and questions on their content, form, and style. After
reading each passage, choose the best answer to each question and completely fill in the corresponding oval on the
answer sheet.
Note: Pay particular attention to the requirement of questions that contain the words NOT, LEAST, or EXCEPT.
Questions 1-12. Read the following passage 40 The full magnanimity of which reiteration can be
carefully before you choose your answers. perceived only when I inform you that I could easily
deceive you, if I chose. There is about my serious style
I am a woman. I desire to state it distinctly, because a vigor of thought, a comprehensiveness of view, a
I like to do as I would be done by, when I can just as closeness of logic, and a terseness of diction,
well as not. It rasps a person of my temperament 45 commonly supposed to pertain only to the stronger
Line exceedingly to be deceived. When any one tells a story, sex. Not wanting in a certain fanciful sprightliness
5 we wish to know at the outset whether the story-teller which is the peculiar grace of woman, it possesses also,
is a man or a woman. The two sexes awaken two in large measure, that concentrativeness which is
entirely distinct sets of feelings, and you would no deemed the peculiar strength of man. Where an ordi
more use the one for the other than you would put on 50 nary woman will leave the beaten track, wandering in
your tiny teacups at breakfast, or lay the carving-knife a thousand little byways of her own—flowery and
10 by the butter-plate. Consequently it is very exasperat beautiful, it is true, and leading her airy feet to “sunny
ing to sit, open-eyed and expectant, watching the spots of greenery” and the gleam of golden apples,
removal of the successive swathings which hide from but keeping her not less surely from the goal,—I
you the dusky glories of an old-time princess, and, 55 march straight on, turning neither to the right hand
when the unrolling is over, to find it is nothing, after nor to the left, beguiled into no side-issues, discussing
is all, but a great lubberly boy. Equally trying is to feel no collateral question, but with keen eye and strong
your interest clustering round a narrator’s manhood, hand aiming right at the heart of my theme. Judge
all your individuality merging in his, till, of a sudden, thus of the stern severity of my virtue. There is no
by the merest chance, you catch the swell of crinoline, 60 heroism in denying ourselves the pleasure which we
and there you axe. Away with such clumsiness! Let us cannot compass. It is not self-sacrifice, but self-
20 have everybody christened before we begin. cherishing, that turns the dyspeptic aldennan away
I do, therefore, with Spartan firmness, depose and from turtle-soup and the pâte defoie gras to mush and
say that I am a woman. I am aware that I place myself milk. The hungry newsboy, regaling his nostrils with
at signal disadvantage by the avowal. I fly in the face 65 the scents that come up from a subterranean kitchen,
of hereditary prejudice. I am thrust at once beyond the does not always know whether or not he is honest, till
25 pale of masculine sympathy. Men will neither credit the cook turns away for a moment, and a steaming
my success nor lament my failure, because they will joint is within reach of his yearning fingers. It is no
consider me poaching on their manor. If I chronicle a credit to a weak-minded woman not to be strong-
big beet, they will bring forward one twice as large. 70 minded and write poetry. She could not if she tried;
If I mourn a deceased squash, they will mutter, but to feed on locusts and wild honey that the soul
30 “Woman’s farming!” Shunning Scylla, I shall perforce may be in better condition to fight the truth’s battles,
fall into Charybdis. (Vide Classical Dictionary. I have —to go with empty stomach for a clear conscience’
lent mine, but I know one was a rock and the other a sake,—to sacrifice intellectual tastes to womanly
whirlpool, though I cannot state, with any definiteness, 75 duties, when the two conflict,—
which was which.) I may be as humble and depre “That’s the true pathos and sublime,
35 cating as I choose, but it will not avail me. A very Of human life.”
agony of self-abasement will be no armor against the
poisoned shafts which assumed superiority will hurl
against me. Yet I press the arrow to my bleeding
heart, and calmly reiterate, I am a woman.
You will, therefore, no longer withhold your appre 5. The “arrow” in line 38 is a metaphorical refer
ciative admiration, when, in full possession of what ence to
80 theologians call the power of contrary choice, I make
(A) unrequited love
the unmistakable assertion that I am a woman.
(B) the envy of other female writers
(C) the self-doubt that writers sometimes
(1862)
experience
(D) a painful memory
1. The passage focuses primarily on the
(E) criticism from men
(A) difficulties that the speaker had in getting
published 6. The speaker’s point in the first sentence of the
(B) advisability of women considering careers in third paragraph (lines 40-42) is that
writing
(A) writers often give generously of themselves
(C) speaker’s analysis of how her own writing
(B) she could easily disguise the fact that she is a
style developed
female writer
(D) speaker’s pride in being a female and a writer
(C) readers can be fooled by repetition into
(E) inspiration that enabled the speaker to become
believing a writer
a writer
(D) repetition in writing is often a desirable
quality
2. In line 19, “clumsiness” refers to the
(E) she found it easy to pursue a career in writing
(A) confusion caused by failing to give readers
fundamental information 7. In the third paragraph, the speaker’s primary
(B) awkwardness of a young boy purpose is to
(C) difficulty of being a female writer in a male-
(A) assert her own qualifications
dominated profession
(B) develop an argument for more honesty in
(D) displeasure created by reading carelessly
writing
crafted writing
(C) create an elaborate analogy
(E) boredom resulting from reading stories
(D) introduce a new topic for consideration
narrated by unsophisticated speakers
(E) establish a hypothetical situation for analysis
3. In line 20, the speaker uses “christened” to mean
8. As used in line 46, “wanting” is best interpreted to
(A) identified properly mean
(B) converted to a new religion
(A) desiring
(C) launched on a journey
(B) capturing
(D) taught how to write
(C) lacking
(B) forced to agree
(D) faulting
(B) hunting
4. In the second paragraph, the speaker characterizes
herself as being
9. In line 47, “it” refers to
(A) aware that her motives include revenge
(A) “The full magnanimity” (line 40)
(B) torn between two confusing alternatives
(B) “which reiteration” (line 40)
(C) eager to appease her critics
(C) “my serious style” (line 42)
(D) undaunted in the face of prejudice
(D) “the stronger sex” (lines 45-46)
(E) uncertain about the quality of her writing
(E) “fanciful sprightliness” (line 46)
19
The passage is reprinted for your use in answering the remaining questions.
I am a woman. I desire to state it distinctly, because beautiful, it is true, and leading her airy feet to “sunny
I like to do as I would be done by, when I can just as spots of greenery” and the gleam of golden apples,
well as not. It rasps a person of my temperament but keeping her not less surely from the goal,—I
Line exceedingly to be
deceived. When any one tells a story, 55 march straight on, turning neither to the right hand
5 we wish to know at the outset whether the story-teller nor to the left, beguiled into no side-issues, discussing
is a man or a woman. The two sexes awaken two no collateral question, but with keen eye and strong
entirely distinct sets of feelings, and you would no hand aiming right at the heart of my theme. Judge
more use the one for the other than you would put on thus of the stern severity of my virtue. There is no
your tiny teacups at breakfast, or lay the carving-knife 60 heroism in denying ourselves the pleasure which we
io by the butter-plate. Consequently it is very exasperat cannot compass. It is not self-sacrifice, but self-
ing to sit, open-eyed and expectant, watching the cherishing, that turns the dyspeptic alderman away
removal of the successive swathings which hide from from turtle-soup and the pâté defoie gras to mush and
you the dusky glories of an old-time princess, and, milk. The hungry newsboy, regaling his nostrils with
when the unrolling is over, to find it is nothing, after 65 the scents that come up from a subterranean kitchen,
15 all, but a great lubberly boy. Equally trying is to feel does not always know whether or not he is honest, till
your interest clustering round a narrator’s manhood, the cook turns away for a moment, and a steaming
all your individuality merging in his, till, of a sudden, joint is within reach of his yearning fingers. It is no
by the merest chance, you catch the swell of crinoline, credit to a weak-minded woman not to be strong-
and there you are. Away with such clumsiness! Let us 70 minded and write poetry. She could not if she tried;
20 have everybody christened before we begin. but to feed on locusts and wild honey that the soul
I do, therefore, with Spartan firmness, depose and may be in better condition to fight the truth’s battles,
say that I am a woman. I am aware that I place myself —to go with empty stomach for a clear conscience’
at signal disadvantage by the avowal. I fly in the face sake,—to sacrifice intellectual tastes to womanly
of hereditary prejudice. I am thrust at once beyond the 75 duties, when the two conflict, —
20
Section I
11. Which of the following is the most direct 12. The speaker’s rhetorical strategies in the passage
antithesis to the “weak-minded woman”
include all of the following EXCEPT
(line 69)?
(A) repetition
(A) The speaker (B) analogical comparison
(B) A weak-minded man (C) direct comparison
(C) The “hungry newsboy” (line 64) (D) responses to anticipated criticism
(D) The reader of the speaker’s writings (E) appeals to authority
(E) One who can only engage in traditional
female pursuits
r21
Questions 13-28. Read the following passage appeals to forbearance, the innocence which symbol
carefully before you choose your answers. izes the heavenly, and the simplicity which is most
50 alien from the worldly—are kept up in perpetual
But a far more important correction, applicable to remembrance, and their ideals are continually
the common vague idea of literature, is to be sought, refreshed. A purpose of the same nature is answered
not so much in a better definition of literature, as in by the higher literature, viz., the literature of power.
Line
a sharper distinction of the two functions which it What do you learn from Paradise Lost ? Nothing at
s fulfils. In that great social organ which, collectively, 55 all. What do you learn from a cookery-book? Some
we call literature, there may be distinguished two thing new, something that you did not know before,
separate offices, that may blend and often do so, but in every paragraph. But would you therefore put
capable, severally, of a severe insulation, and naturally the wretched cookery-book on a higher level of
fitted for reciprocal repulsion. There is, first, the liter estimation than the divine poem? What you owe
jo ature of knowledge, and, secondly, the literature of 60 to Milton is not any knowledge, of which a million
power. The function of the first is to teach; the func separate items are still but a million of advancing
tion of the second is to move: the first is a rudder; steps on the same earthly level; what you owe is
the second an oar or a sail. The first speaks to the power, that is, exercise and expansion to your own
mere discursive understanding; the second speaks latent capacity of sympathy with the infinite, where
15 ultimately, it may happen, to the higher understanding, 65 every pulse and each separate influx is a step upwards,
or reason, but always through affections of pleasure a step ascending as upon a Jacob’s ladder
2 from earth
and sympathy. Remotely it may travel towards an to mysterious altitudes above the earth. All the steps
object seated in what Lord Bacon calls dry light; but of knowledge, from first to last, carry you further on
proximately it does and must operate—else it ceases the same plane, but could never raise you one foot
20 to be a literature ofpower—on and through that humid 70 above your ancient level of earth; whereas the very
light which clothes itself in the mists and glittering first step in power is a flight, is an ascending move
1 of human passions, desires, and genial emotions.
iris ment into another element where earth is forgotten.
Men have so little reflected on the higher functions of
literature as to find it a paradox if one should describe
(1848)
25 it as a mean or subordinate purpose of books to
Rainbow
give information. But this is a paradox only in the 2 In the Bible, Jacob has a vision of angels
ascending and descending a
sense which makes it honorable to be paradoxical. ladder to Heaven.
Whenever we talk in ordinary language of seeking
information or gaining knowledge, we understand 13. The speaker’s primary purpose in the passage is to
30 the words as connected with something of absolute
(A) propose a change
novelty. But it is the grandeur of all truth which can
(B) describe a process
occupy a very high place in human interests that it is
(C) explain an idea
never absolutely novel to the meanest of minds: it
(D) criticize the taste of readers
exists eternally, by way of germ or latent principle, in
(E) praise a work of literature
35 the lowest as in the highest, needing to be developed
but never to be planted. To be capable of transplanta
14. Throughout the passage, “literature” is used to
tion is the immediate criterion of a truth that ranges
mean
on a lower scale. Besides which, there is a rarer thing
than truth, namely, power, or deep sympathy with (A) works of poetry and prose fiction
40 truth. What is the effect, for instance, upon society, (B) books that are likely to become classics
of children? By the pity, by the tenderness, and by (C) publications that are intended to provide
the peculiar modes of admiration, which connect entertainment
themselves with the helplessness, with the innocence, (D) all the writing in one particular field
and with the simplicity of children, not only are (E) written works in general
45 the primal affections strengthened and continually
renewed, but the qualities which are dearest in the
sight of heaven—the frailty, for instance, which
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22
Section I
15. Which of the following best describes the 19. In lines 23-26 (“Men have so.. give
.
function of the first sentence of the passage? information”), the speaker asserts that the
(A) It introduces an argument and asks the reader (A) public is suspicious of those who theorize
to take a side. about the nature of literature
(B) It provides specific details to support (B) public has failed to consider literature except
the central idea of the passage. as a source of information
(C) It discusses the flaws of a common miscon (C) higher function of literature is primarily to
ception. convey information
(D) It establishes the speaker’s credentials as an (D) higher functions of literature are dismissed as
expert on the subject of the passage. paradoxical
(E) It prepares for the central topic by dismissing (E) higher functions of literature are understood
another topic as less promising. but not discussed by the public
16. In context, the word “offices” (line 7) is best 20. The antecedent of”it” (line 33) is
understood to mean
(A) “ordinary language” (line 28)
(A) actions performed on behalf of another (B) “absolute novelty” (lines 30-31)
(B) functions or duties assigned to someone or (C) “all truth” (line 31)
something (D) “a very high place” (line 32)
(C) positions of trust or authority (B) “meanest of minds” (line 33)
(D) buildings in which business affairs are
carried out 21. In lines 3 1-38, all of the following words
(E) religious or social ceremonies contribute to the same metaphor EXCEPT
(A) “germ” (line 34)
17. Which words, when inserted between “but” and
(B) “developed” (line 35)
“capable” (lines 7-8), best clarify the meaning of
(C) “planted” (line 36)
the second sentence?
(D) “transplantation” (lines 36-37)
(A) as if (B) “scale” (line 38)
(B) becoming more
(C) by being 22. The speaker associates children with the literature
(D) which were ofpower because they both
(E) that are
(A) link us emotionally rather than rationally
with truth
18. In lines 1-22, all of the following are presented as
(B) symbolize the redemptive power of
oppositions between the literatures ofpower and
innocence
knowledge EXCEPT
(C) illustrate the paradoxical relationship
(A) severe insulation. reciprocal repulsion
. of power and weakness
(lines 8-9) (D) require us to rely on instinct rather than
(B) to teach. to move (lines 11-12)
. experience to understand them
(C) rudder. oar (lines 12-13)
. (E) are judged somewhat leniently by
(D) discursive understanding. higher . most people
understanding (lines 14-15)
(E) dry light. humid light (lines 18-2 1)
.
23
The passage is reprinted for your use in answering the remaining questions.
But a far more important correction, applicable to appeals to forbearance, the innocence which symbol
the common vague idea of literature, is to be sought, izes the heavenly, and the simplicity which is most
not so much in a better definition of literature, as in so alien from the worldly—are kept up in perpetual
Line
a sharper distinction of the two functions which it remembrance, and their ideals are continually
5 fulfils. In that great social organ which, collectively, refreshed. A purpose of the same nature is answered
we call literature, there may be distinguished two by the higher literature, viz., the literature of power.
separate offices, that may blend and often do so, but What do you learn from Paradise Lost ? Nothing at
capable, severally, of a severe insulation, and naturally 55 all. What do you learn from a cookery-book? Some
fitted for reciprocal repulsion. There is, first, the liter thing new, something that you did not know before,
10 ature of knowledge, and, secondly, the literature of in every paragraph. But would you therefore put
power. The function of the first is to teach; the func the wretched cookery-book on a higher level of
tion of the second is to move: the first is a rudder; estimation than the divine poem? What you owe
the second an oar or a sail. The first speaks to the 60 to Milton is not any knowledge, of which a million
mere discursive understanding; the second speaks separate items are still but a million of advancing
is ultimately, it may happen, to the higher understanding, steps on the same earthly level; what you owe is
or reason, but always through affections of pleasure power, that is, exercise and expansion to your own
and sympathy. Remotely it may travel towards an latent capacity of sympathy with the infinite, where
object seated in what Lord Bacon calls dry light; but 65 every pulse and each separate influx is a step upwards,
proximately it does and must operate—else it ceases a step ascending as upon a Jacob’s ladder
2 from earth
20 to be a literature ofpower—on and through that humid to mysterious altitudes above the earth. All the steps
light which clothes itself in the mists and glittering of knowledge, from first to last, carry you further on
1 of human passions, desires, and genial emotions.
iris the same plane, but could never raise you one foot
Men have so little reflected on the higher functions of 70 above your ancient level of earth; whereas the very
literature as to find it a paradox if one should describe first step in power is a flight, is an ascending move
25 it as a mean or subordinate purpose of books to ment into another element where earth is forgotten.
give information. But this is a paradox only in the
sense which makes it honorable to be paradoxical.
(1848)
Whenever we talk in ordinary language of seeking 1 Rainbow
information or gaining knowledge, we understand 2 In the Bible, Jacob has
a vision of angels ascending and descending a
30 the words as connected with something of absolute ladder to Heaven.
novelty. But it is the grandeur of all truth which can
occupy a very high place in human interests that it is 23. The response “Nothing at all” to the question
never absolutely novel to the meanest of minds: it “What do you learn from Paradise Lost ?“
exists eternally, by way of germ or latent principle, in (line 54) is meant to
35 the lowest as in the highest, needing to be developed
(A) suggest that the value of Paradise Lost is not
but never to be planted. To be capable of transplanta
in the knowledge it conveys
tion is the immediate criterion of a truth that ranges
(B) undercut the value that literary critics have
on a lower scale. Besides which, there is a rarer thing
placed on Paradise Lost
than truth, namely, power, or deep sympathy with
(C) imply that the style of Paradise Lost makes
40 truth. What is the effect, for instance, upon society,
the poem too difficult for most readers
of children? By the pity, by the tenderness, and by
(D) criticize the notion that works of literature
the peculiar modes of admiration, which connect
should serve a moral purpose
themselves with the helplessness, with the innocence,
(E) summarize the differing effects on human
and with the simplicity of children, not only are
sensibility of children and higher literature
45 the primal affections strengthened and continually
renewed, but the qualities which are dearest in the
sight of heaven—the frailty, for instance, which
24
Section I
24. The speaker views Milton as a writer whose 27. The tone of lines 59-72 can best be described as
works can
(A) tentative and prudent
(A) enlarge one’s deep sympathy with truth (B) detached and ironic
(B) teach one how to recognize good literature (C) fervent and emphatic
(C) give instruction about the nature of life on (D) defensive and self-aware
Earth (E) supportive and reassuring
(D) speak to one’s discursive understanding
(E) both inform and inspire 28. The intended audience for this passage is most
probably
25. In the passage, the “cookery-book” (line 55) is
(A) pious readers
used primarily as an example of writing that is
(B) educated adults
(A) boring (C) amateur writers
(B) repetitive (D) professional poets
(C) awkward (E) book publishers
(D) informative
(E) innovative
25
Questions 29-43. Read the following passage variety, with each phrase repeated a half-dozen times
carefully before you choose your answers. before going on to the next,” that the mockingbirds
50 are “excellent mimics” who “adeptly imitate a score
Oddly enough, while several explanations are or more species found in the neighborhood,” and that
advanced as to how Charles Parker, Jr.,* became they frequently sing at night—a description which not
known as “Bird” (“Yardbird,” in an earlier meta only comes close to Parker’s way with a saxophone
Line morphosis), none is conclusive. There is, however, but even hints at a trait of his character. For although
s overpowering internal evidence that whatever the 55 he usually sang at night, his playing was character
true circumstance of his ornithological designation, ized by velocity, by long-continued successions of
it had little to do with the chicken yard. Randy roosters notes and phrases, by swoops, bleats, echoes, rapidly
and operatic hens are familiars to fans of the animated repeated bebops—I mean rebopped bebops—by
cartoons, but for all the pathetic comedy of his living— mocking mimicry of other jazzmen’ s styles, and by
io and despite the crabbed and constricted character of 60 interpolations of motifs from extraneous melodies, all
his style—Parker was a most inventive melodist; in of which added up to a dazzling display of wit, satire,
bird-watcher’s terminology, a true songster. burlesque, and pathos. Further, he was as expert at
This failure in the exposition of Bird’s legend is issuing his improvisations from the dense brush as
intriguing, for nicknames are indicative of a change from the extreme treetops of the harmonic landscape,
is from a given to an achieved identity, whether by rise 65 and there was, without doubt, as irrepressible a mock
or fall, and they tell us something of the nicknamed ery in his personal conduct as in his music.
individual’s interaction with his fellows. Thus, since
“On Bird, Bird-Watching, and Jazz,” from SHADOW AND ACT by Ralph Ellison,
we suspect that more of legend is involved in his copyright 1953, 1964 by Ralph Effisoa. Used by permission of Random House,
renaming.. let us at least consult Roger Tory
.
Inc. and Professor John F. Callahan, literasy executor of the estate of Ralph Ellison.
20 Peterson’s Field Guide to the Birds for a hint as to *American jazz musician and composer (1920-1955),
a developer of
why, during a period when most jazzmen were labeled bebop
“cats,” someone hung the bird on Charlie. Let us note
too that “legend” originally meant “the story of a saint” 29. The speaker suggests that the primary purpose
and that saints were often identified with symbolic of the passage is to
25 animals. (A) analyze the harmonics of jazz
Two species won our immediate attention, the gold (B) describe the advantages of a methodology
finch and the mockingbird—the goldfinch because the (C) probe for an appropriate association
beatnik phrase “Bird lives,” which, following Parker’s (D) compare jazz music and birdsong
death, has been chalked endlessly on Village buildings (E) explore the influences on Parker’s musical
30 and subway walls, reminds us that during the thirteenth style
and fourteenth centuries a symbolic goldfinch fre
quently appeared in European devotional paintings. An 30. Which of the following best describes the tone of
apocryphal story has it that upon being given a clay the passage?
bird for a toy, the infant Jesus brought it miraculously
35 to life as a goldfinch. Thus the small, tawny-brown (A) Understated modesty
bird with a bright red patch about the base of its bill (B) Mock solemnity
and a broad yellow band across its wings became (C) Defensiveness
a representative of the soul, the Passion, and the (D) Indecisiveness
Sacrifice. In more worldly late-Renaissance art, the (E) Cynicism
40 little bird became the ambiguous symbol of death
and the soul’s immortality. For our own purposes, 31. The function of the opening sentence might best
however, its song poses a major problem: it is like be described as
that of a canary—which, soul or no soul, rules the (A) rebutting an objection
goldfinch out. (B) establishing the status of a situation
45 The mockingbird, Mimus polyglottos, is more (C) dismissing a fallacious claim
promising. Peterson informs us that its song consists (D) promoting one theory over another
of “long successions of notes and phrases of great (E) qualifying a statement
26
Section I
32. The function of the second sentence (lines 4-7) 36. The sentence that begins in line 41 (“For our
is to own.. “) marks a shift from
.
(A) dispense with a possible explanation (A) unqualified assertion to narrative exposition
(B) trace the ornithological derivation of Parker’s (B) affectionate nostalgia to exaggerated pathos
nickname (C) discursive musing to direct argument
(C) discount the significance of certain evidence (D) a contemporary perspective to a historical one
(D) point out the importance of documenting (E) a skeptical stance to a naïve one
claims
(E) emphasize the volume of research done on 37. In the context of the passage, the reference to the
Parker “canary” (line 43) most likely suggests which of
the following?
33. In the first paragraph of the passage, “Randy
roosters and operatic hens” (lines 7-8) contrast (A) Parker’s music was much like that of a canary.
most directly with (B) The canary’s song is too high-pitched to
represent the sound of a saxophone.
(A) “Yardbird” (line 3) (C) The canary, like the goldfinch, does not sing
(B) “animated cartoons” (lines 8-9) with much variety.
(C) “pathetic comedy” (line 9) (D) The canary has no religious associations.
(D) “bird-watcher’s terminology” (line 12) (E) Both the canary and the goldfinch have pro
(E) “true songster” (line 12) found symbolic significance.
34. In line 13, “failure” most directly refers to 38. The sentence in lines 54-62 includes all of the
(A) a conspicuous defeat following EXCEPT
(B) a personal mistake (A) parallel structure
(C) an instance of faulty audience response (B) alliteration
(D) an experience with obstacles (C) onomatopoeia
(E) an inability to ascertain definitively (D) an accumulation of detail
(E) an oxymoron
35. The primary effect of the discussion in the second
and third paragraphs (lines 13-44) is one of 39. Which of the following statements most accu
(A) immediacy because of the specific imagery rately summarizes the effect of the sentence in
(B) familiarity because of the speaker’s strong lines 54-62?
personal voice (A) The length of the sentence suggests the diffi
(C) exaggerated sentimentality because of the culty of artistic creation.
loaded diction (B) The numerous abstractions provide a startling
(D) subtle humor because of the contrived nature contrast to the preceding sentence.
of the argument (C) The irony of the sentence highlights the com
(E) momentary confusion because of the speaker’s plexity of Parker’s music.
contradictory loyalties (D) The complexity of the sentence’s structure
mirrors the complexity of Parker’s music.
(F) The extensive use of prepositions underscores
the repetitiveness of Parker’s style.
[27
The passage is reprinted for your use in answering the remaining questions.
Oddly enough, while several explanations are variety, with each phrase repeated a half-dozen times
advanced as to how Charles Parker, Jr., 5 became before going on to the next,” that the mockingbirds
known as “Bird” (“Yardbird,” in an earlier meta 50 are “excellent mimics” who “adeptly imitate a score
Line morphosis), none is conclusive. There is, however, or more species found in the neighborhood,” and that
5 overpowering internal evidence that whatever the they frequently sing at night—a description which not
true circumstance of his ornithological designation, only comes close to Parker’s way with a saxophone
it had little to do with the chicken yard. Randy roosters but even hints at a trait of his character. For although
and operatic hens are familiars to fans of the animated 55 he usually sang at night, his playing was character
cartoons, but for all the pathetic comedy of his living— ized by velocity, by long-continued successions of
10 and despite the crabbed and constricted character of notes and phrases, by swoops, bleats, echoes, rapidly
his style—Parker was a most inventive melodist; in repeated bebops—I mean rebopped bebops—by
bird-watcher’ s terminology, a true songster. mocking mimicry of other jazzmen’ s styles, and by
This failure in the exposition of Bird’s legend is 60 interpolations of motifs from extraneous melodies, all
intriguing, for nicknames are indicative of a change of which added up to a dazzling display of wit, satire,
15 from a given to an achieved identity, whether by rise burlesque, and pathos. Further, he was as expert at
or fall, and they tell us something of the nicknamed issuing his improvisations from the dense brush as
individual’s interaction with his fellows. Thus, since from the extreme treetops of the harmonic landscape,
we suspect that more of legend is involved in his 65 and there was, without doubt, as irrepressible a mock
renaming.. let us at least consult Roger Tory
.
ery in his personal conduct as in his music.
20 Peterson’s Field Guide to the Birds for a hint as to
“On Bird, Bird-Watching, and Jazz,” from SHADOW AND ACT by Ralph Ellison,
why, during a period when most jazzmen were labeled copyright 1953, 1964 by Ralph Effison. Used by permission of Random House,
“cats,” someone hung the bird on Charlie. Let us note Inc. and Professor John E Callahan, literary executor of the estate of Ralph Ellison.
too that “legend” originally meant “the story of a saint” *Arij musician and composer (1920-1955), a developer
of
and that saints were often identified with symbolic bebop
25 animals.
Two species won our immediate attention, the gold 40. As used in line 63, “issuing” best means
finch and the mockingbird—the goldfinch because the (A) emerging
beatnik phrase “Bird lives,” which, following Parker’s (B) terminating
death, has been chalked endlessly on Village buildings (C) emitting
30 and subway walls, reminds us that during the thirteenth (D) circulating
and fourteenth centuries a symbolic goldfmch fre (E) escaping
quently appeared in European devotional paintings. An
apocryphal story has it that upon being given a clay
bird for a toy, the infant Jesus brought it miraculously
35 to life as a goldfinch. Thus the small, tawny-brown
bird with a bright red patch about the base of its bill
and a broad yellow band across its wings became
a representative of the soul, the Passion, and the
Sacrifice. In more worldly late-Renaissance art, the
40 little bird became the ambiguous symbol of death
and the soul’s immortality. For our own purposes,
however, its song poses a major problem: it is like
that of a canary—which, soul or no soul, rules the
goldfinch out.
45 The mockingbird, Mimus polyglottos, is more
promising. Peterson informs us that its song consists
of “long successions of notes and phrases of great
28
Section I
41. The speaker uses the matter of a nickname as a 43. The passage most. directly resembles the speaker’s
(A) symbol for the comfort Parker’s devotees sense of Parker’s style in its
derive from his memory (A) juxtaposition of disparate elements
(B) method of dispensing with uncomplimen (B) lyrical description of religion and art
tary estimations of Parker (C) blatant mimicry of other writers’ techniques
(C) vehicle for discussing problems in the (D) relentless insistence on a single theme
nomenclature of birds (E) reliance on abbreviated, staccato phrases
(D) pretext for characterizing Parker and his
musical technique
(E) means of interjecting humor to temper the
pathos surrounding Parker
29
Questions 44-54. Read the following passage will use gfl and impact as verbs without the slightest
carefully before you choose your answers. compunction (just as I use contact, wondering that
so anyone ever bothered to object to it). But I can’t
Is the English language—or, to put it less apoca overcome the feeling that it is wrong for me to use
lyptically, English prose writing—really in a bad them in that way and that people of my generation
way? How would one tell? The standard jeremiads who say “We decided to gift them with a desk set”
Line of the Sunday supplements give only anecdotal
are in some sense guilty of a moral lapse, whether
5 evidence, and that of a curious sort; the examples of 55 because they are ignorant or because they are weak.
degradation that they present are drawn not from In the face of that conviction, it really doesn’t matter
current plays or novels, which are grammatically and to me whether to gfl will eventually prevail, carried
syntactically extra judicium, but from advertisements, on the historical tide. Our glory, Silone
3 said, lies in
scholarly papers, and—most popular of all—memos not having to submit to history.
io from college deans. It is hard to believe that any of 60 Linguistic maimers are like any others. People
these texts will survive even until the next century, have always found it worthwhile to reflect on how
much less that late-twentieth-century English will be best to behave, for the sake of at least individual
judged by their example. Our picture of the English of enlightenment and improvement. Since the eighteenth
previous centuries, after all, has been formed on the century, most of our great moralists have at one time
15 basis of a careful selection of the best that was said 65 or another turned their attention to the language, from
and thought back then; their hacks and bureaucrats Addison, Swift, and Johnson to Arnold, James, Shaw,
are mercifully silent now. But while it is understand Mencken, and Orwell. In their essays and in the great
able that speakers of a language with a literary tradi grammars and dictionaries, we find the most direct
tion would tend to be pessimistic about its course, secular continuation of the homiletic tradition,
20 there is no more hard evidence for a general linguistic 70 reflecting the conviction that the mastery of polite
degeneration than there is reason to believe that prose is a moral accomplishment, to which we will be
Aaron and Rose are inferior to Ruth and Gebrig) moved by appeals to our highest instincts.
Most of my fellow linguists, in fact, would say that
it is absurd even to talk about a language changing for (1983)
25 the better or the worse. When you have the historical
picture before you, and can see how Indo-European 1 Aaron, Rose, Ruth, and Gehrig were professional
baseball players. Ruth
gradually slipped into Germanic, Germanic into and Gehrig played before Aaron and Rose.
Anglo-Saxon, and Anglo-Saxon into the English of 2 John Maynard Keynes: English economist,
1883-1946, who commented
that in the long run, we will all be dead
Chaucer, then Shakespeare, and then Henry James,
ignazio Silone: Italian novelist and journalist, 1900-1978
30 the process of linguistic change seems as ineluctable
and impersonal as continental drift. From this Olym
44. Taken as a whole, the passage is best
pian point of view, not even the Norman invasion had
described as a
much of an effect on the structure of the language,
and all the tirades of all the grammarians since the (A) critique of the characteristics of bureaucratic
35 Renaissance sound like the prattlings of landscape prose
gardeners who hope by frantic efforts to keep Alaska (B) technical analysis of a point of linguistic
from bumping into Asia. theory
The long run will surely prove the linguists right: (C) discussion of differing attitudes toward
English will survive whatever “abuses” its current linguistic change
40 critics complain of. And by that I mean not just that (D) description that relies primarily on concrete
people will go on using English and its descendants examples
in their daily commerce but that they will continue to (E) series of admonitions and predictions
make art with it as well. Yet it is hard to take comfort
in the scholars’ sanguine detachment. We all know
45 what Keynes
2 said about the long run, and in the
meantime does it really matter not at all how we
choose to speak and write? It may be that my children
Unauthorized copying or reuse
Lof any part of this page is iIIJ GO ON TO THE NEXT PAGE
30
Section I
45. The italicization of “their” in line 16 suggests 49. All of the following statements are true of the first
that sentence of paragraph 2 (lines 23-25) EXCEPT:
(A) writers of past eras labored under much (A) It alludes to the expertise of the speaker.
different conditions than writers of” Sunday (B) It states the main thesis of paragraph 2.
supplements” (line 4) (C) It contradicts the ecnwlusion reached at the
(B) the terms “hacks” and “bureaucrats” apply end of paragraph 1.
also to the writers of the materials (D) It provides one answer to the question raised
mentioned in lines 8-10 at the beginning of the passage.
(C) the terms “hacks” and “bureaucrats” are (E) It enunciates one approach to the issue with
being used facetiously which the passage is concerned.
(D) the speaker has contempt for sweeping
condemnations of writers of earlier eras 50. In lines 3 1-32, “this Olympian point of view”
(E) the speaker is repeating valid accusations that refers specifically to the perspective of one who is
have been made by others
(A) tolerant of the opinions of grammarians
46. In lines 2 1-22, the speaker refers to a possible (B) considered a master of the English language
comparison between baseball players of different (C) able to influence the development of the
eras to illustrate that language
(D) aware of the “historical picture” (lines 25-26)
(A) arguments about the English language have (E) familiar with theories of “continental drift”
become a popular pastime (line 31)
(B) people readily forget the glories of past eras
(C) pessimistic attitudes about change are usually 51. The analogy in lines 34-37 accomplishes all of the
warranted following EXCEPT:
(D) judgments about declining standards are
difficult to support (A) It continues the analogy of” continental
(E) respect for traditions has declined in many drift” (line 31).
areas (B) It introduces an image that reappears in the
last paragraph.
47. Which of the following is used to mock an (C) It implies that grammarians’ work is
attitude toward linguistic change? nonessential and ineffective.
(D) It recalls the jeremiads referred to in the
(A) “apocalyptically” (lines 1-2) opening of the passage.
(B) “anecdotal evidence” (lines 4-5) (E) It emphasizes the futility of opposing changes
(C) “careful selection” (line 15) in the language.
(D) “hacks and bureaucrats” (line 16)
(E) “understandable” (lines 17-18) 52. In lines 39-40, the phrase “current critics” refers
most directly to
48. Part of the speaker’s rhetorical strategy in
paragraph 1 is to (A) the writers of the “standard jeremiads of
the Sunday supplements” (lines 3-4)
(A) discredit invalid views on the topic (B) the authors of” current plays or novels”
(B) berate the reader for believing (line 7)
misinformation (C) “college deans” (line 10)
(C) alarm the reader about the nature of the (D) “their hacks and bureaucrats” (line 16)
controversy (E) “my fellow linguists” (line 23)
(D) enumerate the standards according to
which appraisals will be made
(E) convince the reader of the importance
of the issue
31
Section I
53. The speaker cites Silone’s comment (lines 5 8-59) 54. A central contrast presented in the passage is that
in order to between
(A) undercut the issue presented in the following (A) anticipated and actual instances of language
paragraph change
(B) justify the statement in the preceding (B) random and novel ways of directing future
sentence language changes
(C) summarize the attitudes against which the (C) philosophical and psychological analyses of
speaker is arguing language use
(D) convince the reader that the approach to the (D) parochial and international approaches to
issue is a neutral one changes in various languages
(E) introduce a digression from the major thesis (E) immediate and long-term views of language
of the passage changes
END OF SECTION I
33
The passage is reprinted for your use in answering the remaining questions.
Is the English language—or, to put it less apoca will use gfl and impact as verbs without the slightest
lyptically, English prose writing—really in a bad compunction (just as I use contact, wondering that
way? How would one tell? The standard jeremiads 50 anyone ever bothered to object to it). But I can’t
Line of the Sunday
supplements give only anecdotal overcome the feeling that it is wrong for me to use
5 evidence, and that of a curious sort; the examples of them in that way and that people of my generation
degradation that they present are drawn not from who say “We decided to gift them with a desk set”
current plays or novels, which are grammatically and are in some sense guilty of a moral lapse, whether
syntactically extra judicium, but from advertisements, 55 because they are ignorant or because they are weak.
scholarly papers, and—most popular of all—memos In the face of that conviction, it really doesn’t matter
jo from college deans. It is hard to believe that any of to me whether to g/I will eventually prevail, carried
these texts will survive even until the next century, on the historical tide. Our glory, Silone
3 said, lies in
much less that late-twentieth-century English will be not having to submit to history.
judged by their example. Our picture of the English of 60 Linguistic manners are like any others. People
previous centuries, after all, has been formed on the have always found it worthwhile to reflect on how
15 basis of a careful selection of the best that was said best to behave, for the sake of at least individual
and thought back then; their hacks and bureaucrats enlightenment and improvement. Since the eighteenth
are mercifully silent now. But while it is understand century, most of our great moralists have at one time
able that speakers of a language with a literary tradi 65 or another turned their attention to the language, from
tion would tend to be pessimistic about its course, Addison, Swift, and Johnson to Arnold, James, Shaw,
20 there is no more hard evidence for a general linguistic Mencken, and Orwell. In their essays and in the great
degeneration than there is reason to believe that grammars and dictionaries, we find the most direct
Aaron and Rose are inferior to Ruth and Gehrig.’ secular continuation of the homiletic tradition,
Most of my fellow linguists, in fact, would say that 70 reflecting the conviction that the mastery of polite
it is absurd even to talk about a language changing for prose is a moral accomplishment, to which we will be
25 the better or the worse. When you have the historical moved by appeals to our highest instincts.
picture before you, and can see how Indo-European
gradually slipped into Germanic, Germanic into (1983)
Anglo-Saxon, and Anglo-Saxon into the English of
Chaucer, then Shakespeare, and then Henry James, Aaron, Rose, Ruth, and Gehrig were professional baseball players. Ruth
30 the process of linguistic change seems as ineluctable and Gehrig played before Aaron and Rose.
2 John Maynard Keynes: English economist,
and impersonal as continental drift. From this Olym 1883-1946, who commented
that in the long run, we will all be dead
pian point of view, not even the Norman invasion had
Ignazio Silone: Italian novelist and journalist, 1900-1978
much of an effect on the structure of the language,
and all the tirades of all the grammarians since the
35 Renaissance sound like the prattlings of landscape
gardeners who hope by frantic efforts to keep Alaska
from bumping into Asia.
The long run will surely prove the linguists right:
English will survive whatever “abuses” its current
40 critics complain of. And by that I mean not just that
people will go on using English and its descendants
in their daily commerce but that they will continue to
make art with it as well. Yet it is hard to take comfort
in the scholars’ sanguine detachment. We all know
45 what Keynes
2 said about the long run, and in the
meantime does it really matter not at all how we
choose to speak and write? It may be that my children
32
Chapter III Answers to the 2001 AP English Language and
Composition Exam
• Section I: Multiple Choice Section I: Multiple Choice
• Section I Answer Key and Percent
Listed below are the correct answers to the multiple-
Answering Correctly
choice questions, the percentage of AP students who
• Section II: Free Response answered each question correctly by AP grade, and the
• Comments from the Chief Faculty Consultant total percentage answering correctly.
Scoring Guidelines, Sample Student
Responses, and Commentary
• Question 1
• Question 2
• Question 3
Total Total
Item Correct Percent Correct by Grade Percent Item Correct Percent Correct by Grade Percent
No. Answer 5 4 3 2 1 Correct 5 4 3 2 1 Correct
1 D 98 96 93 87 77 91 ii 96 95 ) 6 46 7
2 A 89 76 55 31 18 50 A 84 68 52 33 19 48
3 A 98 93 85 69 53 80 33 E 87 78 62 40 17 56
4 D 99 98 96 87 67 91 34 E 96 92 83 62 31 74
5 E 99 98 96 90 72 93 35 D 70 59 48 33 20 44
6 B 97 94 89 82 71 87 C 89 78 61 39 24 55
7 A 67 60 53 42 30 49 C 84 74 58 34 19 51
8 C 90 79 62 40 24 57 E 87 78 68 50 30 61
9 C 98 93 78 51 23 69 D 90 86 76 57 33 68
10 B 75 58 41 28 21 41 C 96 90 78 58 36 70
11 A 93 85 69 44 24 62 41 D 97 95 89 77 53 81
12 E 88 83 74 59 42 69 2 D 90 87 80 65 38 71
13 C 93 87 79 60 32 71 4 A 59 51 40 29 19 36
14 E 97 94 88 74 54 83 4 C 79 70 60 48 36 52
15 E 79 65 50 31 16 46 4 B 65 42 24 18 20 26
16 B 96 92 84 67 44 77 4 D 95 85 65 35 15 51
17 E 89 77 61 41 23 56 47 A 64 49 39 28 19 33
18 A 85 82 77 63 39 71 4S A 68 53 37 20 12 30
19 B 76 67 60 48 35 57 49 C 73 60 44 31” 24 36
20 C 82 68 53 38 28 51 5O D 87 71 48 27 18 38
21 E 92 86 76 59 40 71 B 77 60 41 24 19 31
22 A 72 54 39 26 17 38 A 76 60 41 27 18 31
23 A 98 95 87 65 38 78 B 88 79 65 45 29 40
24 A 87 71 53 31 17 49 E 77 64 55 46 27 32
25 D 99 98 94 86 69 90
26 A 88 82 71 55 34 65
27 C 93 Si 58 31 14 52
28 B 75 60 45 29 21 43
29 C 94 86 70 41 16 61
30 B 68 50 34 24 20 35
39