In this popular car ad a pony stands against a rural prairie backdrop. He is flashing a set of gold teeth. Dark, clouds overhead indicate the arrival of a rainstorm. In the top right hand corner of the ad, the tagline reads: “Now in the Prairies. The urban-inspired, 2009 Forota Hattrick.” Created for the Canadian Prairie Forota Dealers organization by an advertising firm; this ad is one in a series of three, each of which feature farm animals sporting so-called “urban-inspired” accessories: a pony with a grill, a sheep with an afro pick, and a cow with a Band-Aid under his left eye (reminiscent of the one once regularly worn by rapper Nelly).

The urban pony ad has a dark color scheme that is more muted then saturated. The dark background emphasizes the sparkle bouncing off the pony’s grill. There’s also a strong contrast between the images’ foreground and background. While the environment is hazy and its details soft, the pony is seen up close, a bright light source illuminating texture in the individual strands of its hair and the indentations in its gold teeth. Overall, the image of the pony is highly stylized—particularly in contrast—with its visually subdued surroundings. The pony’s aestheticized or artificial qualities being at odds with its rural environment.

On the other hand, there are also visual cues indicating affinity between the animal and its surroundings. For example, the shape of its teeth are echoed in a faint yellow rectangular shape floating in the sky. The pattern of shadow and light mottling the pony’s cheek bones also mimics the pattern of dark and light in the gathering storm clouds. This might suggest that the animal is being allies with its natural, prairie setting. The storm, however, contains its own ambiguity: though it is a part of nature, it can also be read as foreboding symbol signally the arrival of the urban-inspired car. These visual details serve to simultaneously place the pony within and alienate it from its surroundings.

Select the answer that best corrects the underlined portion of the sentence.

In this popular car ad a pony stands against a rural prairie backdrop. He is flashing a set of gold teeth. Dark, clouds overhead indicate the arrival of a rainstorm. In the top right hand corner of the ad, the tagline reads: “Now in the Prairies. The urban-inspired, 2009 Forota Hattrick.” Created for the Canadian Prairie Forota Dealers organization by an advertising firm; this ad is one in a series of three, each of which feature farm animals sporting so-called “urban-inspired” accessories: a pony with a grill, a sheep with an afro pick, and a cow with a Band-Aid under his left eye (reminiscent of the one once regularly worn by rapper Nelly).

The urban pony ad has a dark color scheme that is more muted then saturated. The dark background emphasizes the sparkle bouncing off the pony’s grill. There’s also a strong contrast between the images’ foreground and background. While the environment is hazy and its details soft, the pony is seen up close, a bright light source illuminating texture in the individual strands of its hair and the indentations in its gold teeth. Overall, the image of the pony is highly stylized—particularly in contrast—with its visually subdued surroundings. The pony’s aestheticized or artificial qualities being at odds with its rural environment.

On the other hand, there are also visual cues indicating affinity between the animal and its surroundings. For example, the shape of its teeth are echoed in a faint yellow rectangular shape floating in the sky. The pattern of shadow and light mottling the pony’s cheek bones also mimics the pattern of dark and light in the gathering storm clouds. This might suggest that the animal is being allies with its natural, prairie setting. The storm, however, contains its own ambiguity: though it is a part of nature, it can also be read as foreboding symbol signally the arrival of the urban-inspired car. These visual details serve to simultaneously place the pony within and alienate it from its surroundings.

Select the answer that best corrects the underlined portion of the sentence.

Nina was wondering if, after the doctor’s appointment, she will have time to stop by the design studio?

By the end of the movie, it was clear that Liliana had not enjoyed the acting, indeed, she complained about it all the way home.

Passage adapted from The Picture of Dorian Gray by Oscar Wilde (1890)

"Come on at a footpace! d'ye mind me? And if you've got holsters to that saddle o' yourn, don't let me see your hand go nigh 'em. For I'm a devil at a quick mistake, and when I make one it takes the form of Lead. So now let's look at you."

The figures of a horse and rider came slowly through the eddying mist, and came to the side of the mail, where the passenger stood. The rider stooped, and, casting up his eyes at the guard, handed the passenger a small folded paper. The rider's horse was blown, and both horse and rider were covered with mud, from the hoofs of the horse to the hat of the man.

"Guard!" said, the passenger in a tone of quiet business confidence.

The watchful guard, with his right hand at the stock of his raised blunderbuss, his left at the barrel, and his eye on the horseman, answered curtly, "Sir."

"There is nothing to apprehend. I belong to Tellson's Bank. You must know Tellson's Bank in London. I am going to Paris on business. A crown to drink. I may read this?"

"If so be as you're quick, sir."

He opened it in the light of the coach-lamp on that side, and read—first to himself and then aloud: "'Wait at Dover for Mam'selle.' It's not long, you see, guard. Jerry, say that my answer was, Recalled to life."

Jerry started in his saddle. "That's a Blazing strange answer, too," said he, at his hoarsest.

"Take that message back, and they will know that I received this, as well as if I wrote. Make the best of your way. Good night."

With those words the passenger opened the coach-door and got in; not at all assisted by his fellow-passengers, who had expeditiously secreted their watches and purses in their boots, and were now making a general pretence of being asleep. With no more definite purpose than to escape the hazard of originating any other kind of action.

Correct the bolded and underlined sentence.

Passage adapted from The Picture of Dorian Gray by Oscar Wilde (1890)

"Come on at a footpace! d'ye mind me? And if you've got holsters to that saddle o' yourn, don't let me see your hand go nigh 'em. For I'm a devil at a quick mistake, and when I make one it takes the form of Lead. So now let's look at you."

The figures of a horse and rider came slowly through the eddying mist, and came to the side of the mail, where the passenger stood. The rider stooped, and, casting up his eyes at the guard, handed the passenger a small folded paper. The rider's horse was blown, and both horse and rider were covered with mud, from the hoofs of the horse to the hat of the man.

"Guard!" said, the passenger in a tone of quiet business confidence.

The watchful guard, with his right hand at the stock of his raised blunderbuss, his left at the barrel, and his eye on the horseman, answered curtly, "Sir."

"There is nothing to apprehend. I belong to Tellson's Bank. You must know Tellson's Bank in London. I am going to Paris on business. A crown to drink. I may read this?"

"If so be as you're quick, sir."

He opened it in the light of the coach-lamp on that side, and read—first to himself and then aloud: "'Wait at Dover for Mam'selle.' It's not long, you see, guard. Jerry, say that my answer was, Recalled to life."

Jerry started in his saddle. "That's a Blazing strange answer, too," said he, at his hoarsest.

"Take that message back, and they will know that I received this, as well as if I wrote. Make the best of your way. Good night."

With those words the passenger opened the coach-door and got in; not at all assisted by his fellow-passengers, who had expeditiously secreted their watches and purses in their boots, and were now making a general pretence of being asleep. With no more definite purpose than to escape the hazard of originating any other kind of action.

Correct the bolded and underlined sentence.

Nina was wondering if, after the doctor’s appointment, she will have time to stop by the design studio?

By the end of the movie, it was clear that Liliana had not enjoyed the acting, indeed, she complained about it all the way home.

In this popular car ad a pony stands against a rural prairie backdrop. He is flashing a set of gold teeth. Dark, clouds overhead indicate the arrival of a rainstorm. In the top right hand corner of the ad, the tagline reads: “Now in the Prairies. The urban-inspired, 2009 Forota Hattrick.” Created for the Canadian Prairie Forota Dealers organization by an advertising firm; this ad is one in a series of three, each of which feature farm animals sporting so-called “urban-inspired” accessories: a pony with a grill, a sheep with an afro pick, and a cow with a Band-Aid under his left eye (reminiscent of the one once regularly worn by rapper Nelly).

The urban pony ad has a dark color scheme that is more muted then saturated. The dark background emphasizes the sparkle bouncing off the pony’s grill. There’s also a strong contrast between the images’ foreground and background. While the environment is hazy and its details soft, the pony is seen up close, a bright light source illuminating texture in the individual strands of its hair and the indentations in its gold teeth. Overall, the image of the pony is highly stylized—particularly in contrast—with its visually subdued surroundings. The pony’s aestheticized or artificial qualities being at odds with its rural environment.

On the other hand, there are also visual cues indicating affinity between the animal and its surroundings. For example, the shape of its teeth are echoed in a faint yellow rectangular shape floating in the sky. The pattern of shadow and light mottling the pony’s cheek bones also mimics the pattern of dark and light in the gathering storm clouds. This might suggest that the animal is being allies with its natural, prairie setting. The storm, however, contains its own ambiguity: though it is a part of nature, it can also be read as foreboding symbol signally the arrival of the urban-inspired car. These visual details serve to simultaneously place the pony within and alienate it from its surroundings.

Select the answer that best corrects the underlined sentence.

In this popular car ad a pony stands against a rural prairie backdrop. He is flashing a set of gold teeth. Dark, clouds overhead indicate the arrival of a rainstorm. In the top right hand corner of the ad, the tagline reads: “Now in the Prairies. The urban-inspired, 2009 Forota Hattrick.” Created for the Canadian Prairie Forota Dealers organization by an advertising firm; this ad is one in a series of three, each of which feature farm animals sporting so-called “urban-inspired” accessories: a pony with a grill, a sheep with an afro pick, and a cow with a Band-Aid under his left eye (reminiscent of the one once regularly worn by rapper Nelly).

The urban pony ad has a dark color scheme that is more muted then saturated. The dark background emphasizes the sparkle bouncing off the pony’s grill. There’s also a strong contrast between the images’ foreground and background. While the environment is hazy and its details soft, the pony is seen up close, a bright light source illuminating texture in the individual strands of its hair and the indentations in its gold teeth. Overall, the image of the pony is highly stylized—particularly in contrast—with its visually subdued surroundings. The pony’s aestheticized or artificial qualities being at odds with its rural environment.

On the other hand, there are also visual cues indicating affinity between the animal and its surroundings. For example, the shape of its teeth are echoed in a faint yellow rectangular shape floating in the sky. The pattern of shadow and light mottling the pony’s cheek bones also mimics the pattern of dark and light in the gathering storm clouds. This might suggest that the animal is being allies with its natural, prairie setting. The storm, however, contains its own ambiguity: though it is a part of nature, it can also be read as foreboding symbol signally the arrival of the urban-inspired car. These visual details serve to simultaneously place the pony within and alienate it from its surroundings.

Select the answer that best corrects the underlined sentence.