All SAT Critical Reading Resources
Example Question #1 : Humanities Passages
Adapted from “Where I Lived, and What I Lived For” in Walden by Henry David Thoreau (1845)
I went to the woods because I wished to live deliberately, to front only the essential facts of life, and see if I could not learn what it had to teach, and not, when I came to die, discover that I had not lived. I did not wish to live what was not life, living is so dear; nor did I wish to practice resignation, unless it was quite necessary. I wanted to live deep and suck out all the marrow of life, to live so sturdily and Spartan-like as to put to rout all that was not life, to cut a broad swath and shave close, to drive life into a corner, and reduce it to its lowest terms, and, if it proved to be mean, why then to get the whole and genuine meanness of it, and publish its meanness to the world; or if it were sublime, to know it by experience, and be able to give a true account of it in my next excursion. For most men, it appears to me, are in a strange uncertainty about it, and have somewhat hastily concluded that it is the chief end of man here to "glorify God and enjoy him forever."
In context, the reference to “Spartan-like” conveys a sense of __________.
The author declares that he wished to live in a “Spartan-like” manner and in doing so is trying to convey a sense of frugality and self-discipline. To have a Spartan lifestyle means to have a lifestyle that shows self-restraint and discipline. If you did not know this, you could read the sentence that contains the reference to living in a Spartan-like manner. This would tell you that the author wanted to live "sturdily," which refers to being firm of purpose and disciplined and could help you figure out the correct answer, that "Spartan-like" conveys a sense of "self-discipline."
Example Question #2 : Humanities Passages
Adapted from "Fenimore Cooper's Literary Offenses" by Mark Twain (1895)
Cooper's gift in the way of invention was not a rich endowment; but such as it was he liked to work it, he was pleased with the effects, and indeed he did some quite sweet things with it. In his little box of stage-properties he kept six or eight cunning devices, tricks, artifices for his savages and woodsmen to deceive and circumvent each other with, and he was never so happy as when he was working these innocent things and seeing them go. A favorite one was to make a moccasined person tread in the tracks of a moccasined enemy, and thus hide his own trail. Cooper wore out barrels and barrels of moccasins in working that trick. Another stage-property that he pulled out of his box pretty frequently was the broken twig. He prized his broken twig above all the rest of his effects, and worked it the hardest. It is a restful chapter in any book of his when somebody doesn't step on a dry twig and alarm all the Indians and whites for two hundred yards around. Every time a Cooper person is in peril, and absolute silence is worth four dollars a minute, he is sure to step on a dry twig. There may be a hundred other handier things to step on, but that wouldn't satisfy Cooper. Cooper requires him to turn out and find a dry twig; and if he can't do it, go and borrow one. In fact, the Leatherstocking Series ought to have been called the Broken Twig Series.
I am sorry that there is not room to put in a few dozen instances of the delicate art of the forest, as practiced by Natty Bumppo and some of the other Cooperian experts. Perhaps we may venture two or three samples. Cooper was a sailor—a naval officer; yet he gravely tells us how a vessel, driving toward a lee shore in a gale, is steered for a particular spot by her skipper because he knows of an undertow there which will hold her back against the gale and save her. For just pure woodcraft, or sailorcraft, or whatever it is, isn't that neat? For several years, Cooper was daily in the society of artillery, and he ought to have noticed that when a cannon-ball strikes the ground it either buries itself or skips a hundred feet or so; skips again a hundred feet or so—and so on, till finally it gets tired and rolls. Now in one place he loses some "females"—as he always calls women—in the edge of a wood near a plain at night in a fog, on purpose to give Bumppo a chance to show off the delicate art of the forest before the reader. These mislaid people are hunting for a fort. They hear a cannon-blast, and a cannon-ball presently comes rolling into the wood and stops at their feet. To the females this suggests nothing. The case is very different with the admirable Bumppo. I wish I may never know peace again if he doesn't strike out promptly and follow the track of that cannon-ball across the plain in the dense fog and find the fort. Isn't it a daisy? If Cooper had any real knowledge of Nature's ways of doing things, he had a most delicate art in concealing the fact. For instance: one of his acute Indian experts, Chingachgook (pronounced Chicago, I think), has lost the trail of a person he is tracking through the forest. Apparently that trail is hopelessly lost. Neither you nor I could ever have guessed the way to find it. It was very different with Chicago. Chicago was not stumped for long. He turned a running stream out of its course, and there, in the slush in its old bed, were that person's moccasin tracks. The current did not wash them away, as it would have done in all other like cases—no, even the eternal laws of Nature have to vacate when Cooper wants to put up a delicate job of woodcraft on the reader.
When describing Cooper's "six or eight cunning devices," Twain is employing language usually associated with __________.
Twain refers to these devices as coming from a "little box of stage-properties," a theatrical term that has since been shortened to "props."
Example Question #1 : Interpreting Literary Devices
Adapted from Walden by Henry Thoreau (1854)
Still we live meanly, like ants; it is error upon error, and clout upon clout, and our best virtue has for its occasion a superfluous and evitable wretchedness. Our life is frittered away by detail. An honest man has hardly need to count more than his ten fingers, or in extreme cases he may add his ten toes, and lump the rest. Simplicity, simplicity, simplicity! I say, let your affairs be as two or three, and not a hundred or a thousand; instead of a million count half a dozen, and keep your accounts on your thumbnail. In the midst of this chopping sea of civilized life, such are the clouds and storms and quicksands and thousand-and-one items to be allowed for, that a man has to live, if he would not founder and go to the bottom and not make his port at all, by dead reckoning, and he must be a great calculator indeed who succeeds. Simplify, simplify. Instead of three meals a day, if it be necessary eat but one; instead of a hundred dishes, five; and reduce other things in proportion.
Our life is like a German Confederacy, made up of petty states, with its boundary forever fluctuating, so that even a German cannot tell you how it is bounded at any moment. The nation itself, with all its so-called internal improvements, which, by the way are all external and superficial, is just such an unwieldy and overgrown establishment, cluttered with furniture and tripped up by its own traps, ruined by luxury and heedless expense, by want of calculation and a worthy aim, as the million households in the land; and the only cure for it, as for them, is in a rigid economy, a stern and more than Spartan simplicity of life and elevation of purpose. It lives too fast. Men think that it is essential that the Nation have commerce, and export ice, and talk through a telegraph, and ride thirty miles an hour, without a doubt, whether they do or not, but whether we should live like baboons or like men is a little uncertain. If we do not get out sleepers, and forge rails, and devote days and nights to the work, but go to tinkering upon our lives to improve them, who will build railroads? And if railroads are not built, how shall we get to heaven in season? But if we stay at home and mind our business, who will want railroads? We do not ride on the railroad; it rides upon us. Did you ever think what those sleepers are that underlie the railroad? Each one is a man, an Irishman, or a Yankee man. The rails are laid on them, and they are covered with sand, and the cars run smoothly over them. They are sound sleepers, I assure you.
The author repeats the words “simplicity” and “simplify” in the first paragraph in order to __________.
suggest that this is the only solution that has been put forward, and it is ineffective
mimic his critics in a derogatory way
convey that working toward simplicity takes a lot of hard work
emphasize what he sees as the solution to a problem
imply that modern society is too simple
emphasize what he sees as the solution to a problem
The author’s repetition of “Simplicity, simplicity, simplicity!” and “Simplify, simplify” in the first paragraph add emphasis exhorting the audience to make their lives simpler, a change Thoreau sees as the solution to many of the excesses of modern life and the problems they cause. There is no mention of any critics in the passage, and his repetition does not suggest simplicity is an ineffective solution. He certainly does not imply that there is too much simplicity in modern society—one might read this into the line out of context, but throughout the passage, once can tell that the author is writing in favor of simplifying. Finally, while repetition can often make something seem as if it is difficult or takes time (e.g. “Digging, digging, digging—all that digging and they were only a few feet closer to the center of the earth.”), that is not what is going on here.
Example Question #2 : Humanities Passages
Adapted from "On the Death of Marie Antoinette" by Edmund Burke (1793)
It is now sixteen or seventeen years since I saw the Queen of France, then the Dauphiness, at Versailles; and surely never lighted on this orb, which she hardly seemed to touch, a more delightful vision. I saw her just above the horizon, decorating and cheering the elevated sphere she had just begun to move in, glittering like the morning star full of life and splendor and joy.
Oh, what a revolution! and what a heart must I have, to contemplate without emotion that elevation and that fall! Little did I dream, when she added titles of veneration to those of enthusiastic, distant, respectful love, that she should ever be obliged to carry the sharp antidote against disgrace concealed in that bosom; little did I dream that I should have lived to see such disasters fallen upon her, in a nation of gallant men and of cavaliers! I thought ten thousand swords must have leaped from their scabbards, to avenge even a look that threatened her with insult.
But the age of chivalry is gone; that of sophistry, economists, and calculators has succeeded, and the glory of Europe is extinguished forever. Never, never more, shall we behold that generous loyalty to rank and sex, that proud submission, that dignified obedience, that subordination of the heart, which kept alive, even in servitude itself, the spirit of an exalted freedom! The unsought grace of life, the cheap defense of nations, the nurse of manly sentiment and heroic enterprise is gone. It is gone, that sensibility of principle, that chastity of honor, which felt a stain like a wound, which inspired courage whilst it mitigated ferocity, which ennobled whatever it touched, and under which vice itself lost half its evil, by losing all its grossness.
In context, the reference to “cavaliers” conveys a sense of __________.
The word “cavalier” is traditionally used in English language to convey either as an adjective meaning conveying a sense of arrogance or jaunty disregard or as a noun meaning a gallant and chivalrous gentleman. The reference to “gallant men” in the phrase immediately preceding “cavalier” should also clue you in that when the author uses “cavalier,” it is to convey a sense of chivalry or heroism.