Main Idea, Details, Opinions, and Arguments in Literary Fiction Passages - SSAT Upper Level Reading

This is an excerpt from Bartleby, the Scrivener: A Story of Wall-Street by Herman Melville (1853)

I am a rather elderly man. The nature of my avocations for the last thirty years has brought me into more than ordinary contact with what would seem an interesting and somewhat singular set of men, of whom as yet nothing that I know of has ever been written—I mean the law-copyists or scriveners. I have known very many of them, professionally and privately, and if I pleased, could relate divers histories, at which good-natured gentlemen might smile, and sentimental souls might weep. But I waive the biographies of all other scriveners for a few passages in the life of Bartleby, who was a scrivener of the strangest I ever saw or heard of. While of other law-copyists I might write the complete life, of Bartleby nothing of that sort can be done. I believe that no materials exist for a full and satisfactory biography of this man. It is an irreparable loss to literature. Bartleby was one of those beings of whom nothing is ascertainable, except from the original sources, and in his case those are very small. What my own astonished eyes saw of Bartleby, that is all I know of him, except, indeed, one vague report which will appear in the sequel.

Ere introducing the scrivener, as he first appeared to me, it is fit I make some mention of myself, my employees, my business, my chambers, and general surroundings; because some such description is indispensable to an adequate understanding of the chief character about to be presented.

Imprimis: I am a man who, from his youth upwards, has been filled with a profound conviction that the easiest way of life is the best. Hence, though I belong to a profession proverbially energetic and nervous, even to turbulence, at times, yet nothing of that sort have I ever suffered to invade my peace. I am one of those unambitious lawyers who never addresses a jury, or in any way draws down public applause; but in the cool tranquility of a snug retreat, do a snug business among rich men's bonds and mortgages and title-deeds. All who know me, consider me an eminently safe man. The late John Jacob Astor, a personage little given to poetic enthusiasm, had no hesitation in pronouncing my first grand point to be prudence; my next, method. I do not speak it in vanity, but simply record the fact, that I was not unemployed in my profession by the late John Jacob Astor; a name which, I admit, I love to repeat, for it hath a rounded and orbicular sound to it, and rings like unto bullion. I will freely add, that I was not insensible to the late John Jacob Astor's good opinion.

What is the narrator’s relationship to Bartleby?

This is an excerpt from Bartleby, the Scrivener: A Story of Wall-Street by Herman Melville (1853)

I am a rather elderly man. The nature of my avocations for the last thirty years has brought me into more than ordinary contact with what would seem an interesting and somewhat singular set of men, of whom as yet nothing that I know of has ever been written—I mean the law-copyists or scriveners. I have known very many of them, professionally and privately, and if I pleased, could relate divers histories, at which good-natured gentlemen might smile, and sentimental souls might weep. But I waive the biographies of all other scriveners for a few passages in the life of Bartleby, who was a scrivener of the strangest I ever saw or heard of. While of other law-copyists I might write the complete life, of Bartleby nothing of that sort can be done. I believe that no materials exist for a full and satisfactory biography of this man. It is an irreparable loss to literature. Bartleby was one of those beings of whom nothing is ascertainable, except from the original sources, and in his case those are very small. What my own astonished eyes saw of Bartleby, that is all I know of him, except, indeed, one vague report which will appear in the sequel.

Ere introducing the scrivener, as he first appeared to me, it is fit I make some mention of myself, my employees, my business, my chambers, and general surroundings; because some such description is indispensable to an adequate understanding of the chief character about to be presented.

Imprimis: I am a man who, from his youth upwards, has been filled with a profound conviction that the easiest way of life is the best. Hence, though I belong to a profession proverbially energetic and nervous, even to turbulence, at times, yet nothing of that sort have I ever suffered to invade my peace. I am one of those unambitious lawyers who never addresses a jury, or in any way draws down public applause; but in the cool tranquility of a snug retreat, do a snug business among rich men's bonds and mortgages and title-deeds. All who know me, consider me an eminently safe man. The late John Jacob Astor, a personage little given to poetic enthusiasm, had no hesitation in pronouncing my first grand point to be prudence; my next, method. I do not speak it in vanity, but simply record the fact, that I was not unemployed in my profession by the late John Jacob Astor; a name which, I admit, I love to repeat, for it hath a rounded and orbicular sound to it, and rings like unto bullion. I will freely add, that I was not insensible to the late John Jacob Astor's good opinion.

Given the information in the passage, Bartleby’s profession can best be described as __________.

Adapted from Moby-Dick by Herman Melville (1851)

The fact is, that among his hunters at least, the whale would, by all hands, be considered a noble dish were there not so much of him; but when you come to sit down before a meat-pie nearly one hundred feet long, it takes away your appetite. Only the most unprejudiced of men, like Stubb, nowadays partake of cooked whales; but the Esquimaux are not so fastidious. We all know how they live upon whales and have rare old vintages of prime old train oil. Zogranda, one of their most famous doctors, recommends strips of blubber for infants as being exceedingly juicy and nourishing. And this reminds me that certain Englishmen, who long ago were accidentally left in Greenland by a whaling vessel—that these men actually lived for several months on the moldy scraps of whales which had been left ashore after trying out the blubber. Among the Dutch whalemen, these scraps are called “fritters,” which, indeed, they greatly resemble, being brown and crisp, and smelling something like old Amsterdam housewives’ dough-nuts or oly-cooks when fresh. They have such an eatable look that the most self-denying stranger can hardly keep his hands off.

But what further depreciates the whale as a civilized dish is his exceeding richness. He is the great prize ox of the sea, too fat to be delicately good. Look at his hump, which would be as fine eating as the buffalo’s (which is esteemed a rare dish), were it not such a solid pyramid of fat. But the spermaceti itself, how bland and creamy that is, like the transparent, half-jellied, white meat of a coconut in the third month of its growth, yet far too rich to supply a substitute for butter. Nevertheless, many whale men have a method of absorbing it into some other substance and then partaking of it. In the long try watches of the night, it is a common thing for the seamen to dip their ship-biscuit into the huge oil-pots and let them fry there awhile. Many a good supper have I thus made.

What rhetorical expression is being used in the underlined portion of the passage?

Adapted from Moby-Dick by Herman Melville (1851)

The fact is, that among his hunters at least, the whale would, by all hands, be considered a noble dish were there not so much of him; but when you come to sit down before a meat-pie nearly one hundred feet long, it takes away your appetite. Only the most unprejudiced of men, like Stubb, nowadays partake of cooked whales; but the Esquimaux are not so fastidious. We all know how they live upon whales and have rare old vintages of prime old train oil. Zogranda, one of their most famous doctors, recommends strips of blubber for infants as being exceedingly juicy and nourishing. And this reminds me that certain Englishmen, who long ago were accidentally left in Greenland by a whaling vessel—that these men actually lived for several months on the moldy scraps of whales which had been left ashore after trying out the blubber. Among the Dutch whalemen, these scraps are called “fritters,” which, indeed, they greatly resemble, being brown and crisp, and smelling something like old Amsterdam housewives’ dough-nuts or oly-cooks when fresh. They have such an eatable look that the most self-denying stranger can hardly keep his hands off.

But what further depreciates the whale as a civilized dish is his exceeding richness. He is the great prize ox of the sea, too fat to be delicately good. Look at his hump, which would be as fine eating as the buffalo’s (which is esteemed a rare dish), were it not such a solid pyramid of fat. But the spermaceti itself, how bland and creamy that is, like the transparent, half-jellied, white meat of a coconut in the third month of its growth, yet far too rich to supply a substitute for butter. Nevertheless, many whale men have a method of absorbing it into some other substance and then partaking of it. In the long try watches of the night, it is a common thing for the seamen to dip their ship-biscuit into the huge oil-pots and let them fry there awhile. Many a good supper have I thus made.

To whom or what does the narrator compare the whale?

Adapted from "The Three Musketeers" in Volume Sixteen of The Romances of Alexandre Dumas (1844; 1893 ed.)

As they rode along, the duke endeavored to draw from d'Artagnan not all that had happened, but what d'Artagnan himself knew. By adding all that he heard from the mouth of the young man to his own remembrances, he was enabled to form a pretty exact idea of a position of the seriousness of which, for the rest, the queen's letter, short but explicit, gave him the clue. But that which astonished him most was that the cardinal, so deeply interested in preventing this young man from setting his foot in England, had not succeeded in arresting him on the road. It was then, upon the manifestation of this astonishment, that d'Artagnan related to him the precaution taken, and how, thanks to the devotion of his three friends, whom he had left scattered and bleeding on the road, he had succeeded in coming off with a single sword thrust, which had pierced the queen's letter and for which he had repaid Monsieur de Wardes with such terrible coin. While he was listening to this recital, delivered with the greatest simplicity, the duke looked from time to time at the young man with astonishment, as if he could not comprehend how so much prudence, courage, and devotedness could be allied with a countenance which indicated not more than twenty years.

The horses went like the wind, and in a few minutes they were at the gates of London. D'Artagnan imagined that on arriving in town the duke would slacken his pace, but it was not so. He kept on his way at the same rate, heedless about upsetting those whom he met on the road. In fact, in crossing the city two or three accidents of this kind happened; but Buckingham did not even turn his head to see what became of those he had knocked down. D'Artagnan followed him amid cries which strongly resembled curses.

On entering the court of his hotel, Buckingham sprang from his horse, and without thinking what became of the animal, threw the bridle on his neck, and sprang toward the vestibule. D'Artagnan did the same, with a little more concern, however, for the noble creatures, whose merits he fully appreciated; but he had the satisfaction of seeing three or four grooms run from the kitchens and the stables, and busy themselves with the steeds.

Why are some people crying out at the end of the second paragraph?

Adapted from Jude the Obscure by Thomas Hardy (1895)

He sounded the clacker till his arm ached, and at length his heart grew sympathetic with the birds' thwarted desires. They seemed, like himself, to be living in a world which did not want them. Why should he frighten them away? They took upon more and more the aspect of gentle friends and pensioners—the only friends he could claim as being in the least degree interested in him, for his aunt had often told him that she was not. He ceased his rattling, and they alighted anew.

"Poor little dears!" said Jude, aloud. "You shall have some dinner—you shall. There is enough for us all. Farmer Troutham can afford to let you have some. Eat, then my dear little birdies, and make a good meal!"

They stayed and ate, inky spots on the nut-brown soil, and Jude enjoyed their appetite. A magic thread of fellow-feeling united his own life with theirs. Puny and sorry as those lives were, they much resembled his own.

His clacker he had by this time thrown away from him, as being a mean and sordid instrument, offensive both to the birds and to himself as their friend. All at once he became conscious of a smart blow upon his buttocks, followed by a loud clack, which announced to his surprised senses that the clacker had been the instrument of offense used. The birds and Jude started up simultaneously, and the dazed eyes of the latter beheld the farmer in person, the great Troutham himself, his red face glaring down upon Jude's cowering frame, the clacker swinging in his hand.

"So it's 'Eat my dear birdies,' is it, young man? 'Eat, dear birdies,' indeed! I'll tickle your breeches, and see if you say, 'Eat, dear birdies' again in a hurry! And you've been idling at the schoolmaster's too, instead of coming here, ha'n't ye, hey? That's how you earn your sixpence a day for keeping the rooks off my corn!"

Based on the passage, the primary purpose of the clacker was to __________.

Adapted from Jude the Obscure by Thomas Hardy (1895)

He sounded the clacker till his arm ached, and at length his heart grew sympathetic with the birds' thwarted desires. They seemed, like himself, to be living in a world which did not want them. Why should he frighten them away? They took upon more and more the aspect of gentle friends and pensioners—the only friends he could claim as being in the least degree interested in him, for his aunt had often told him that she was not. He ceased his rattling, and they alighted anew.

"Poor little dears!" said Jude, aloud. "You shall have some dinner—you shall. There is enough for us all. Farmer Troutham can afford to let you have some. Eat, then my dear little birdies, and make a good meal!"

They stayed and ate, inky spots on the nut-brown soil, and Jude enjoyed their appetite. A magic thread of fellow-feeling united his own life with theirs. Puny and sorry as those lives were, they much resembled his own.

His clacker he had by this time thrown away from him, as being a mean and sordid instrument, offensive both to the birds and to himself as their friend. All at once he became conscious of a smart blow upon his buttocks, followed by a loud clack, which announced to his surprised senses that the clacker had been the instrument of offense used. The birds and Jude started up simultaneously, and the dazed eyes of the latter beheld the farmer in person, the great Troutham himself, his red face glaring down upon Jude's cowering frame, the clacker swinging in his hand.

"So it's 'Eat my dear birdies,' is it, young man? 'Eat, dear birdies,' indeed! I'll tickle your breeches, and see if you say, 'Eat, dear birdies' again in a hurry! And you've been idling at the schoolmaster's too, instead of coming here, ha'n't ye, hey? That's how you earn your sixpence a day for keeping the rooks off my corn!"

One of the main points made in the last paragraph is that __________.

This is an excerpt from Bartleby, the Scrivener: A Story of Wall-Street by Herman Melville (1853)

I am a rather elderly man. The nature of my avocations for the last thirty years has brought me into more than ordinary contact with what would seem an interesting and somewhat singular set of men, of whom as yet nothing that I know of has ever been written—I mean the law-copyists or scriveners. I have known very many of them, professionally and privately, and if I pleased, could relate divers histories, at which good-natured gentlemen might smile, and sentimental souls might weep. But I waive the biographies of all other scriveners for a few passages in the life of Bartleby, who was a scrivener of the strangest I ever saw or heard of. While of other law-copyists I might write the complete life, of Bartleby nothing of that sort can be done. I believe that no materials exist for a full and satisfactory biography of this man. It is an irreparable loss to literature. Bartleby was one of those beings of whom nothing is ascertainable, except from the original sources, and in his case those are very small. What my own astonished eyes saw of Bartleby, that is all I know of him, except, indeed, one vague report which will appear in the sequel.

Ere introducing the scrivener, as he first appeared to me, it is fit I make some mention of myself, my employees, my business, my chambers, and general surroundings; because some such description is indispensable to an adequate understanding of the chief character about to be presented.

Imprimis: I am a man who, from his youth upwards, has been filled with a profound conviction that the easiest way of life is the best. Hence, though I belong to a profession proverbially energetic and nervous, even to turbulence, at times, yet nothing of that sort have I ever suffered to invade my peace. I am one of those unambitious lawyers who never addresses a jury, or in any way draws down public applause; but in the cool tranquility of a snug retreat, do a snug business among rich men's bonds and mortgages and title-deeds. All who know me, consider me an eminently safe man. The late John Jacob Astor, a personage little given to poetic enthusiasm, had no hesitation in pronouncing my first grand point to be prudence; my next, method. I do not speak it in vanity, but simply record the fact, that I was not unemployed in my profession by the late John Jacob Astor; a name which, I admit, I love to repeat, for it hath a rounded and orbicular sound to it, and rings like unto bullion. I will freely add, that I was not insensible to the late John Jacob Astor's good opinion.

The story is told in which narrative style?

Adapted from Once on a Time by A. A. Milne (1922)

The Princess was still puzzled. "But I'm grown up," she said. "I don't want a mother so much now."

The King turned his flagon round and studied the other side of it.

"A mother's—er—tender hand," he said, "is—er—never——" and then the outrageous thing happened.

It was all because of a birthday present to the King of Barodia, and the present was nothing less than a pair of seven-league boots. The King being a busy man, it was a week or more before he had an opportunity of trying those boots. Meanwhile he used to talk about them at meals, and he would polish them up every night before he went to bed. When the great day came for the first trial of them to be made, he took a patronizing farewell of his wife and family, ignored the many eager noses pressed against the upper windows of the palace, and sailed off. The motion, as perhaps you know, is a little disquieting at first, but one soon gets used to it. After that it is fascinating. He had gone some two thousand miles before he realized that there might be a difficulty about finding his way back. The difficulty proved at least as great as he had anticipated. For the rest of that day he toured backwards and forwards across the country, and it was by the merest accident that a very angry King shot in through an open pantry window in the early hours of the morning. He removed his boots and went softly to bed.

It was, of course, a lesson to him. He decided that in the future he must proceed by a recognized route, sailing lightly from landmark to landmark. Such a route his geographers prepared for him—an early morning constitutional, of three hundred miles or so, to be taken ten times before breakfast. He gave himself a week in which to recover his nerve and then started out on the first of them.

Which of the following statements about the King of Barodia is supported by the passage?

Adapted from "May Day" in Tales of the Jazz Age by F. Scott Fitzgerald (1922)

At nine o'clock on the morning of the first of May, 1919, a young man spoke to the room clerk at the Biltmore Hotel, asking if Mr. Philip Dean were registered there, and if so, could he be connected with Mr. Dean's rooms. The inquirer was dressed in a well-cut, shabby suit. He was small, slender, and darkly handsome; his eyes were framed above with unusually long eyelashes and below with the blue semicircle of ill health, this latter effect heightened by an unnatural glow which colored his face like a low, incessant fever.

Mr. Dean was staying there. The young man was directed to a telephone at the side.

After a second his connection was made; a sleepy voice hello'd from somewhere above.

"Mr. Dean?"—this very eagerly—"it's Gordon, Phil. It's Gordon Sterrett. I'm down-stairs. I heard you were in New York and I had a hunch you'd be here."

The sleepy voice became gradually enthusiastic. Well, how was Gordy, old boy! Well, he certainly was surprised and tickled! Would Gordy come right up, for Pete's sake!

A few minutes later Philip Dean, dressed in blue silk pajamas, opened his door and the two young men greeted each other with a half-embarrassed exuberance. They were both about twenty-four, Yale graduates of the year before the war; but there the resemblance stopped abruptly. Dean was blond, ruddy, and rugged under his thin pajamas. Everything about him radiated fitness and bodily comfort. He smiled frequently, showing large and prominent teeth.

"I was going to look you up," he cried enthusiastically. "I'm taking a couple of weeks off. If you'll sit down a sec I'll be right with you. Going to take a shower."

As he vanished into the bathroom his visitor's dark eyes roved nervously around the room, resting for a moment on a great English travelling bag in the corner and on a family of thick silk shirts littered on the chairs amid impressive neckties and soft woollen socks.

Gordon rose and, picking up one of the shirts, gave it a minute examination. It was of very heavy silk, yellow, with a pale blue stripe—and there were nearly a dozen of them. He stared involuntarily at his own shirt-cuffs—they were ragged and linty at the edges and soiled to a faint gray. Dropping the silk shirt, he held his coat-sleeves down and worked the frayed shirt-cuffs up till they were out of sight. Then he went to the mirror and looked at himself with listless, unhappy interest. His tie, of former glory, was faded and thumb-creased—it served no longer to hide the jagged buttonholes of his collar. He thought, quite without amusement, that only three years before he had received a scattering vote in the senior elections at college for being the best-dressed man in his class.

The passage states that which of the following is true?

Adapted from Middlemarch: A Study of Provincial Life by George Eliot (1874)

Dorothea trembled while she read this letter; then she fell on her knees, buried her face, and sobbed. She could not pray; under the rush of solemn emotion in which thoughts became vague and images floated uncertainly, she could but cast herself, with a childlike sense of reclining, in the lap of a divine consciousness which sustained her own. She remained in that attitude till it was time to dress for dinner.

How could it occur to her to examine the letter, to look at it critically as a profession of love? Her whole soul was possessed by the fact that a fuller life was opening before her: she was a neophyte about to enter on a higher grade of initiation. She was going to have room for the energies which stirred uneasily under the dimness and pressure of her own ignorance and the petty peremptoriness of the world’s habits.

Now she would be able to devote herself to large yet definite duties; now she would be allowed to live continually in the light of a mind that she could reverence. This hope was not unmixed with the glow of proud delight—the joyous maiden surprise that she was chosen by the man whom her admiration had chosen. All Dorothea’s passion was transfused through a mind struggling towards an ideal life; the radiance of her transfigured girlhood fell on the first object that came within its level. The impetus with which inclination became resolution was heightened by those little events of the day which had roused her discontent with the actual conditions of her life.

Dorothea’s decision in response to the letter is finally brought about by __________.

This is an excerpt from Bartleby, the Scrivener: A Story of Wall-Street by Herman Melville (1853)

I am a rather elderly man. The nature of my avocations for the last thirty years has brought me into more than ordinary contact with what would seem an interesting and somewhat singular set of men, of whom as yet nothing that I know of has ever been written—I mean the law-copyists or scriveners. I have known very many of them, professionally and privately, and if I pleased, could relate divers histories, at which good-natured gentlemen might smile, and sentimental souls might weep. But I waive the biographies of all other scriveners for a few passages in the life of Bartleby, who was a scrivener of the strangest I ever saw or heard of. While of other law-copyists I might write the complete life, of Bartleby nothing of that sort can be done. I believe that no materials exist for a full and satisfactory biography of this man. It is an irreparable loss to literature. Bartleby was one of those beings of whom nothing is ascertainable, except from the original sources, and in his case those are very small. What my own astonished eyes saw of Bartleby, that is all I know of him, except, indeed, one vague report which will appear in the sequel.

Ere introducing the scrivener, as he first appeared to me, it is fit I make some mention of myself, my employees, my business, my chambers, and general surroundings; because some such description is indispensable to an adequate understanding of the chief character about to be presented.

Imprimis: I am a man who, from his youth upwards, has been filled with a profound conviction that the easiest way of life is the best. Hence, though I belong to a profession proverbially energetic and nervous, even to turbulence, at times, yet nothing of that sort have I ever suffered to invade my peace. I am one of those unambitious lawyers who never addresses a jury, or in any way draws down public applause; but in the cool tranquility of a snug retreat, do a snug business among rich men's bonds and mortgages and title-deeds. All who know me, consider me an eminently safe man. The late John Jacob Astor, a personage little given to poetic enthusiasm, had no hesitation in pronouncing my first grand point to be prudence; my next, method. I do not speak it in vanity, but simply record the fact, that I was not unemployed in my profession by the late John Jacob Astor; a name which, I admit, I love to repeat, for it hath a rounded and orbicular sound to it, and rings like unto bullion. I will freely add, that I was not insensible to the late John Jacob Astor's good opinion.

From the passage, it can be inferred that Bartleby is __________.

This is an excerpt from Bartleby, the Scrivener: A Story of Wall-Street by Herman Melville (1853)

I am a rather elderly man. The nature of my avocations for the last thirty years has brought me into more than ordinary contact with what would seem an interesting and somewhat singular set of men, of whom as yet nothing that I know of has ever been written—I mean the law-copyists or scriveners. I have known very many of them, professionally and privately, and if I pleased, could relate divers histories, at which good-natured gentlemen might smile, and sentimental souls might weep. But I waive the biographies of all other scriveners for a few passages in the life of Bartleby, who was a scrivener of the strangest I ever saw or heard of. While of other law-copyists I might write the complete life, of Bartleby nothing of that sort can be done. I believe that no materials exist for a full and satisfactory biography of this man. It is an irreparable loss to literature. Bartleby was one of those beings of whom nothing is ascertainable, except from the original sources, and in his case those are very small. What my own astonished eyes saw of Bartleby, that is all I know of him, except, indeed, one vague report which will appear in the sequel.

Ere introducing the scrivener, as he first appeared to me, it is fit I make some mention of myself, my employees, my business, my chambers, and general surroundings; because some such description is indispensable to an adequate understanding of the chief character about to be presented.

Imprimis: I am a man who, from his youth upwards, has been filled with a profound conviction that the easiest way of life is the best. Hence, though I belong to a profession proverbially energetic and nervous, even to turbulence, at times, yet nothing of that sort have I ever suffered to invade my peace. I am one of those unambitious lawyers who never addresses a jury, or in any way draws down public applause; but in the cool tranquility of a snug retreat, do a snug business among rich men's bonds and mortgages and title-deeds. All who know me, consider me an eminently safe man. The late John Jacob Astor, a personage little given to poetic enthusiasm, had no hesitation in pronouncing my first grand point to be prudence; my next, method. I do not speak it in vanity, but simply record the fact, that I was not unemployed in my profession by the late John Jacob Astor; a name which, I admit, I love to repeat, for it hath a rounded and orbicular sound to it, and rings like unto bullion. I will freely add, that I was not insensible to the late John Jacob Astor's good opinion.

Which of the following is established in the third paragraph?

Adapted from “The Tell-Tale Heart” in The Pioneer by Edgar Allan Poe (1843)

True!—nervous—very, very dreadfully nervous I had been and am, but why will you say that I am mad? The disease had sharpened my senses—not destroyed—not dulled them. Above all was the sense of hearing acute. I heard all things in the heaven and in the earth. I heard many things in hell. How, then, am I mad? Hearken! and observe how healthily—how calmly I can tell you the whole story.

It is impossible to say how first the idea entered my brain, but once conceived, it haunted me day and night. Object there was none. Passion there was none. I loved the old man. He had never wronged me. He had never given me insult. For his gold I had no desire. I think it was his eye! Yes, it was this! He had the eye of a vulture—a pale blue eye, with a film over it. Whenever it fell upon me, my blood ran cold; and so by degrees—very gradually—I made up my mind to take the life of the old man, and thus rid myself of the eye forever.

Now this is the point. You fancy me mad. Madmen know nothing. But you should have seen me. You should have seen how wisely I proceeded—with what caution—with what foresight—with what dissimulation I went to work! I was never kinder to the old man than during the whole week before I killed him. And every night, about midnight, I turned the latch of his door and opened it—oh so gently! And then, when I had made an opening sufficient for my head, I put in a dark lantern, all closed, closed, that no light shone out, and then I thrust in my head. Oh, you would have laughed to see how cunningly I thrust it in! I moved it slowly—very, very slowly, so that I might not disturb the old man's sleep. It took me an hour to place my whole head within the opening so far that I could see him as he lay upon his bed. Ha! Would a madman have been so wise as this? And then, when my head was well in the room, I undid the lantern cautiously—oh, so cautiously—cautiously (for the hinges creaked)—I undid it just so much that a single thin ray fell upon the vulture eye. And this I did for seven long nights—every night just at midnight—but I found the eye always closed; and so it was impossible to do the work, for it was not the old man who vexed me, but his Evil Eye. And every morning, when the day broke, I went boldly into the chamber, and spoke courageously to him, calling him by name in a hearty tone, and inquiring how he has passed the night. So you see he would have been a very profound old man, indeed, to suspect that every night, just at twelve, I looked in upon him while he slept.

Upon the eighth night I was more than usually cautious in opening the door. A watch's minute hand moves more quickly than did mine. Never before that night had I felt the extent of my own powers—of my sagacity. I could scarcely contain my feelings of triumph. To think that there I was, opening the door, little by little, and he not even to dream of my secret deeds or thoughts. I fairly chuckled at the idea; and perhaps he heard me, for he moved on the bed suddenly, as if startled. Now you may think that I drew back—but no. His room was as black as pitch with the thick darkness, (for the shutters were close fastened, through fear of robbers) and so I knew that he could not see the opening of the door, and I kept pushing it on steadily, steadily.

I had my head in, and was about to open the lantern, when my thumb slipped upon the tin fastening, and the old man sprang up in bed, crying out—“Who's there?"

Which of the following events does the narrator tell us has occurred?

Adapted from “The Tell-Tale Heart” in The Pioneer by Edgar Allan Poe (1843)

True!—nervous—very, very dreadfully nervous I had been and am, but why will you say that I am mad? The disease had sharpened my senses—not destroyed—not dulled them. Above all was the sense of hearing acute. I heard all things in the heaven and in the earth. I heard many things in hell. How, then, am I mad? Hearken! and observe how healthily—how calmly I can tell you the whole story.

It is impossible to say how first the idea entered my brain, but once conceived, it haunted me day and night. Object there was none. Passion there was none. I loved the old man. He had never wronged me. He had never given me insult. For his gold I had no desire. I think it was his eye! Yes, it was this! He had the eye of a vulture—a pale blue eye, with a film over it. Whenever it fell upon me, my blood ran cold; and so by degrees—very gradually—I made up my mind to take the life of the old man, and thus rid myself of the eye forever.

Now this is the point. You fancy me mad. Madmen know nothing. But you should have seen me. You should have seen how wisely I proceeded—with what caution—with what foresight—with what dissimulation I went to work! I was never kinder to the old man than during the whole week before I killed him. And every night, about midnight, I turned the latch of his door and opened it—oh so gently! And then, when I had made an opening sufficient for my head, I put in a dark lantern, all closed, closed, that no light shone out, and then I thrust in my head. Oh, you would have laughed to see how cunningly I thrust it in! I moved it slowly—very, very slowly, so that I might not disturb the old man's sleep. It took me an hour to place my whole head within the opening so far that I could see him as he lay upon his bed. Ha! Would a madman have been so wise as this? And then, when my head was well in the room, I undid the lantern cautiously—oh, so cautiously—cautiously (for the hinges creaked)—I undid it just so much that a single thin ray fell upon the vulture eye. And this I did for seven long nights—every night just at midnight—but I found the eye always closed; and so it was impossible to do the work, for it was not the old man who vexed me, but his Evil Eye. And every morning, when the day broke, I went boldly into the chamber, and spoke courageously to him, calling him by name in a hearty tone, and inquiring how he has passed the night. So you see he would have been a very profound old man, indeed, to suspect that every night, just at twelve, I looked in upon him while he slept.

Upon the eighth night I was more than usually cautious in opening the door. A watch's minute hand moves more quickly than did mine. Never before that night had I felt the extent of my own powers—of my sagacity. I could scarcely contain my feelings of triumph. To think that there I was, opening the door, little by little, and he not even to dream of my secret deeds or thoughts. I fairly chuckled at the idea; and perhaps he heard me, for he moved on the bed suddenly, as if startled. Now you may think that I drew back—but no. His room was as black as pitch with the thick darkness, (for the shutters were close fastened, through fear of robbers) and so I knew that he could not see the opening of the door, and I kept pushing it on steadily, steadily.

I had my head in, and was about to open the lantern, when my thumb slipped upon the tin fastening, and the old man sprang up in bed, crying out—“Who's there?"

A detail in the fourth paragraph tells us that the old man has been afraid of __________ before the story's events take place and taken measures due to this fear.

Adapted from Emma by Jane Austen (1815)

Emma Woodhouse, handsome, clever, and rich, with a comfortable home and happy disposition, seemed to unite some of the best blessings of existence; and had lived nearly twenty-one years in the world with very little to distress or vex her.

She was the youngest of the two daughters of a most affectionate, indulgent father; and had, in consequence of her sister's marriage, been mistress of his house from a very early period. Her mother had died too long ago for her to have more than an indistinct remembrance of her caresses; and her place had been supplied by an excellent woman as governess, who had fallen little short of a mother in affection.

Sixteen years had Miss Taylor been in Mr. Woodhouse's family, less as a governess than a friend, very fond of both daughters, but particularly of Emma. Between them it was more the intimacy of sisters. Even before Miss Taylor had ceased to hold the nominal office of governess, the mildness of her temper had hardly allowed her to impose any restraint; and the shadow of authority being now long passed away, they had been living together as friend and friend very mutually attached, and Emma doing just what she liked; highly esteeming Miss Taylor's judgment, but directed chiefly by her own.

The real evils, indeed, of Emma's situation were the power of having rather too much her own way, and a disposition to think a little too well of herself; these were the disadvantages which threatened alloy to her many enjoyments. The danger, however, was at present so unperceived, that they did not by any means rank as misfortunes with her.

Sorrow came—a gentle sorrow—but not at all in the shape of any disagreeable consciousness. Miss Taylor married. It was Miss Taylor's loss which first brought grief. It was on the wedding-day of this beloved friend that Emma first sat in mournful thought of any continuance. The wedding over, and the bride-people gone, her father and herself were left to dine together, with no prospect of a third to cheer a long evening. Her father composed himself to sleep after dinner, as usual, and she had then only to sit and think of what she had lost.

The event had every promise of happiness for her friend. Mr. Weston was a man of unexceptionable character, easy fortune, suitable age, and pleasant manners; and there was some satisfaction in considering with what self-denying, generous friendship she had always wished and promoted the match; but it was a black morning's work for her.

How was she to bear the change?—It was true that her friend was going only half a mile from them; but Emma was aware that great must be the difference between a Mrs. Weston, only half a mile from them, and a Miss Taylor in the house; and with all her advantages, natural and domestic, she was now in great danger of suffering from intellectual solitude. She dearly loved her father, but he was no companion for her. He could not meet her in conversation, rational or playful.

In the fourth paragraph in the passage, the underlined sentence could be read as foreshadowing if, later in the story, __________.

Adapted from Emma by Jane Austen (1815)

Emma Woodhouse, handsome, clever, and rich, with a comfortable home and happy disposition, seemed to unite some of the best blessings of existence; and had lived nearly twenty-one years in the world with very little to distress or vex her.

She was the youngest of the two daughters of a most affectionate, indulgent father; and had, in consequence of her sister's marriage, been mistress of his house from a very early period. Her mother had died too long ago for her to have more than an indistinct remembrance of her caresses; and her place had been supplied by an excellent woman as governess, who had fallen little short of a mother in affection.

Sixteen years had Miss Taylor been in Mr. Woodhouse's family, less as a governess than a friend, very fond of both daughters, but particularly of Emma. Between them it was more the intimacy of sisters. Even before Miss Taylor had ceased to hold the nominal office of governess, the mildness of her temper had hardly allowed her to impose any restraint; and the shadow of authority being now long passed away, they had been living together as friend and friend very mutually attached, and Emma doing just what she liked; highly esteeming Miss Taylor's judgment, but directed chiefly by her own.

The real evils, indeed, of Emma's situation were the power of having rather too much her own way, and a disposition to think a little too well of herself; these were the disadvantages which threatened alloy to her many enjoyments. The danger, however, was at present so unperceived, that they did not by any means rank as misfortunes with her.

Sorrow came—a gentle sorrow—but not at all in the shape of any disagreeable consciousness. Miss Taylor married. It was Miss Taylor's loss which first brought grief. It was on the wedding-day of this beloved friend that Emma first sat in mournful thought of any continuance. The wedding over, and the bride-people gone, her father and herself were left to dine together, with no prospect of a third to cheer a long evening. Her father composed himself to sleep after dinner, as usual, and she had then only to sit and think of what she had lost.

The event had every promise of happiness for her friend. Mr. Weston was a man of unexceptionable character, easy fortune, suitable age, and pleasant manners; and there was some satisfaction in considering with what self-denying, generous friendship she had always wished and promoted the match; but it was a black morning's work for her.

How was she to bear the change?—It was true that her friend was going only half a mile from them; but Emma was aware that great must be the difference between a Mrs. Weston, only half a mile from them, and a Miss Taylor in the house; and with all her advantages, natural and domestic, she was now in great danger of suffering from intellectual solitude. She dearly loved her father, but he was no companion for her. He could not meet her in conversation, rational or playful.

When Emma compares Mrs. Weston to Miss Taylor in the last paragraph, she is comparing __________.

Adapted from Emma by Jane Austen (1815)

Emma Woodhouse, handsome, clever, and rich, with a comfortable home and happy disposition, seemed to unite some of the best blessings of existence; and had lived nearly twenty-one years in the world with very little to distress or vex her.

She was the youngest of the two daughters of a most affectionate, indulgent father; and had, in consequence of her sister's marriage, been mistress of his house from a very early period. Her mother had died too long ago for her to have more than an indistinct remembrance of her caresses; and her place had been supplied by an excellent woman as governess, who had fallen little short of a mother in affection.

Sixteen years had Miss Taylor been in Mr. Woodhouse's family, less as a governess than a friend, very fond of both daughters, but particularly of Emma. Between them it was more the intimacy of sisters. Even before Miss Taylor had ceased to hold the nominal office of governess, the mildness of her temper had hardly allowed her to impose any restraint; and the shadow of authority being now long passed away, they had been living together as friend and friend very mutually attached, and Emma doing just what she liked; highly esteeming Miss Taylor's judgment, but directed chiefly by her own.

The real evils, indeed, of Emma's situation were the power of having rather too much her own way, and a disposition to think a little too well of herself; these were the disadvantages which threatened alloy to her many enjoyments. The danger, however, was at present so unperceived, that they did not by any means rank as misfortunes with her.

Sorrow came—a gentle sorrow—but not at all in the shape of any disagreeable consciousness. Miss Taylor married. It was Miss Taylor's loss which first brought grief. It was on the wedding-day of this beloved friend that Emma first sat in mournful thought of any continuance. The wedding over, and the bride-people gone, her father and herself were left to dine together, with no prospect of a third to cheer a long evening. Her father composed himself to sleep after dinner, as usual, and she had then only to sit and think of what she had lost.

The event had every promise of happiness for her friend. Mr. Weston was a man of unexceptionable character, easy fortune, suitable age, and pleasant manners; and there was some satisfaction in considering with what self-denying, generous friendship she had always wished and promoted the match; but it was a black morning's work for her.

How was she to bear the change?—It was true that her friend was going only half a mile from them; but Emma was aware that great must be the difference between a Mrs. Weston, only half a mile from them, and a Miss Taylor in the house; and with all her advantages, natural and domestic, she was now in great danger of suffering from intellectual solitude. She dearly loved her father, but he was no companion for her. He could not meet her in conversation, rational or playful.

The underlined sentence tells us that __________.

Adapted from Sense and Sensibility by Jane Austen (1811)

For a moment or two she could say no more; but when this emotion had passed away, she added, in a firmer tone, "Elinor, I have been cruelly used; but not by Willoughby."

"Dearest Marianne, who but himself? By whom can he have been instigated?"

"By all the world, rather than by his own heart. I could rather believe every creature of my acquaintance leagued together to ruin me in his opinion, than believe his nature capable of such cruelty. This woman of whom he writes—whoever she be—or any one, in short, but your own dear self, mama, and Edward, may have been so barbarous to bely me. Beyond you three, is there a creature in the world whom I would not rather suspect of evil than Willoughby, whose heart I know so well?"

Elinor would not contend, and only replied, "Whoever may have been so detestably your enemy, let them be cheated of their malignant triumph, my dear sister, by seeing how nobly the consciousness of your own innocence and good intentions supports your spirits. It is a reasonable and laudable pride which resists such malevolence."

"No, no," cried Marianne, "misery such as mine has no pride. I care not who knows that I am wretched. The triumph of seeing me so may be open to all the world. Elinor, Elinor, they who suffer little may be proud and independent as they like—may resist insult, or return mortification—but I cannot. I must feel—I must be wretched—and they are welcome to enjoy the consciousness of it that can."

"But for my mother's sake and mine—"

"I would do more than for my own. But to appear happy when I am so miserable—Oh! who can require it?"

Again they were both silent.

What is the relationship between the two characters who are speaking?