Adapted from a book by Sui Sin Far (Edith Maude Eaton) (1909)

In this excerpt from an autobiographical essay, the author describes her experiences as growing up in Victorian England.

When I look back over the years I see myself, a little child of scarcely four years of age, walking in front of my nurse, in a green English lane, and listening to her tell another of her kind that my mother is Chinese. “Oh Lord!” exclaims the informed. She turns around and scans me curiously from head to foot. Then the two women whisper together. Though the word “Chinese” conveys very little meaning to my mind, I feel that they are talking about my father and mother and my heart swells with indignation. When we reach home I rush to my mother and try to tell her what I have heard. I am a young child. I fail to make myself intelligible. My mother does not understand, and when the nurse declares to her, “Little Miss Sui is a story-teller,” my mother slaps me.

Many a long year has passed over my head since that day—the day on which I first learned I was something different and apart from other children, but though my mother has forgotten it, I have not. I see myself again, a few years older. I am playing with another child in a garden. A girl passes by outside the gate. “Mamie,” she cries to my companion. “I wouldn’t speak to Sui if I were you. Her mamma is Chinese.”

“I don’t care,” answers the little one beside me. And then to me, “Even if your mamma is Chinese, I like you better than I like Annie.”

“But I don’t like you,” I answer, turning my back on her. It is my first conscious lie.

I am at a children’s party, given by the wife of an Indian officer whose children were schoolfellows of mine. I am only six years of age, but have attended a private school for over a year, and have already learned that China is a heathen country, being civilized by England. However, for the time being, I am a merry romping child. There are quite a number of grown people present. One, a white-haired old man, has his attention called to me by the hostess. He adjusts his eyeglasses and surveys me critically. “Ah, indeed!” he exclaims. “Who would have thought it at first glance? Yet now I see the difference between her and other children. What a peculiar coloring! Her mother’s eyes and hair and her father’s features, I presume. Very interesting little creature!”

I had been called from play for the purpose of inspection. I do not return to it. For the rest of the evening I hide myself behind a hall door and refuse to show myself until it is time to go home.

The old man's scrutiny of Sui may best be described as                     .

Adapted from The Man with the Muck-Rake by Theodore Roosevelt (1906)

There are in the body politic, economic and social, many and grave evils, and there is urgent necessity for the sternest war upon them. There should be relentless exposure of and attack upon every evil man, whether politician or business man, every evil practice, whether in politics, business, or social life. I hail as a benefactor every writer or speaker, every man who, on the platform or in a book, magazine, or newspaper, with merciless severity makes such attack, provided always that he in his turn remembers that the attack is of use only if it is absolutely truthful.

The liar is no whit better than the thief, and if his mendacity takes the form of slander he may be worse than most thieves. It puts a premium upon knavery untruthfully to attack an honest man, or even with hysterical exaggeration to assail a bad man with untruth. An epidemic of indiscriminate assault upon character does no good, but very great harm. The soul of every scoundrel is gladdened whenever an honest man is assailed, or even when a scoundrel is untruthfully assailed.

The tone of this passage is                     .

"Interpreting the Copernican Revolution" by Matthew Minerd (2014)

The expressions of one discipline can often alter the way that other subjects understand themselves. Among such cases are numbered the investigations of Nicolaus Copernicus. Copernicus is best known for his views concerning heliocentrism, a view which eventually obliterated many aspects of the ancient/medieval worldview, at least from the standpoint of physical science. It had always been the natural view of mankind that the earth stood at the center of the universe, a fixed point in reference to the rest of the visible bodies. The sun, stars, and planets all rotated around the earth.

With time, this viewpoint became one of the major reference points for modern life. It provided a provocative image that was used—and often abused—by many people for various purposes. For those who wished to weaken the control of religion on mankind, it was said that the heliocentric outlook proved man’s insignificance. In contrast with earlier geocentrism, heliocentrism was said to show that man is not the center of the universe. He is merely one small being in the midst of a large cosmos. However, others wished to use the “Copernican Revolution” in a very different manner. These thinkers wanted to show that there was another “recentering” that had to happen. Once upon a time, we talked about the world. Now, however, it was necessary to talk of man as the central reference point. Just as the solar system was “centered” on the sun, so too should the sciences be centered on the human person.

However, both of these approaches are fraught with problems. Those who wished to undermine the religious mindset rather misunderstood the former outlook on the solar system. The earlier geocentric mindset did not believe that the earth was the most important body in the heavens. Instead, many ancient and medieval thinkers believed that the highest “sphere” above the earth was the most important being in the physical universe. Likewise, the so-called “Copernican Revolution” in physics was different from the one applied to the human person. Copernicus’ revolution showed that the human point of view was not the center, whereas the later forms of “Copernican revolution” wished to show just the opposite.

Of course, there are many complexities in the history of such important changes in scientific outlook. Nevertheless, it is fascinating to see the wide-reaching effects of such discoveries, even when they have numerous, ambiguous effects.

Which of the following would be a direct consequence of belief in geocentrism?

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

The studio was filled with the rich odour of roses, and when the light summer wind stirred amidst the trees of the garden, there came through the open door the heavy scent of the lilac, or the more delicate perfume of the pink-flowering thorn.

From the corner of the divan of Persian saddle-bags on which he was lying, smoking, as usual, innumerable cigarettes, Lord Henry Wotton could just catch the gleam of the honey-sweet and honey-colored blossoms of the laburnum, whose tremulous branches seemed hardly able to bear the burden of a beauty so flame-like as theirs.

In the center of the room, clamped to an upright easel, stood the full-length portrait of a young man of extraordinary personal beauty, and in front of it, some little distance away, was sitting the artist himself, Basil Hallward, whose sudden disappearance some years ago caused, at the time, such public excitement, and gave rise to so many strange conjectures.

As he looked at the gracious and comely form he had so skilfully mirrored in his art, a smile of pleasure passed across his face, and seemed about to linger there. But he suddenly started up, and, closing his eyes, placed his fingers upon the lids, as though he sought to imprison within his brain some curious dream from which he feared he might awake.

"It is your best work, Basil, the best thing you have ever done," said Lord Henry, languidly. "You must certainly send it next year to the Grosvenor. The Academy is too large and too vulgar. The Grosvenor is the only place."

"I don't think I will send it anywhere," he answered, tossing his head back in that odd way that used to make his friends laugh at him at Oxford. "No: I won't send it anywhere."

Lord Henry elevated his eyebrows, and looked at him in amazement through the thin blue wreaths of smoke that curled up in such fanciful whorls from his heavy cigarette. "Not send it anywhere? My dear fellow, why? Have you any reason? What odd chaps you painters are! You do anything in the world to gain a reputation. As soon as you have one, you seem to want to throw it away. It is silly of you, for there is only one thing in the world worse than being talked about, and that is not being talked about. A portrait like this would set you far above all the young men in England, and make the old men quite jealous, if old men are ever capable of any emotion."

"I know you will laugh at me," he replied, "but I really can't exhibit it. I have put too much of myself into it."

Lord Henry stretched his long legs out on the divan and shook with laughter.

"Yes, I knew you would laugh; but it is quite true, all the same."

"Too much of yourself in it! Upon my word, Basil, I didn't know you were so vain; and I really can't see any resemblance between you, with your rugged strong face and your coal-black hair, and this young Adonis, who looks as if he was made of ivory and rose-leaves. Why, my dear Basil, he is a Narcissus, and you—well, of course you have an intellectual expression, and all that. But beauty, real beauty, ends where an intellectual expression begins. Intellect is in itself an exaggeration, and destroys the harmony of any face. The moment one sits down to think, one becomes all nose, or all forehead, or something horrid. Look at the successful men in any of the learned professions. How perfectly hideous they are! Except, of course, in the church. But then in the church they don't think. A bishop keeps on saying at the age of eighty what he was told to say when he was a boy of eighteen, and consequently he always looks absolutely delightful. Your mysterious young friend, whose name you have never told me, but whose picture really fascinates me, never thinks. I feel quite sure of that. He is a brainless, beautiful thing, who should be always here in winter when we have no flowers to look at, and always here in summer when we want something to chill our intelligence. Don't flatter yourself, Basil: you are not in the least like him.”

Which of the following themes is NOT discussed by the characters in the passage?

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.

The third paragraph suggests that the letter Dorothea has received contains                     .

Adapted from The Man with the Muck-Rake by Theodore Roosevelt (1906)

There are in the body politic, economic and social, many and grave evils, and there is urgent necessity for the sternest war upon them. There should be relentless exposure of and attack upon every evil man, whether politician or business man, every evil practice, whether in politics, business, or social life. I hail as a benefactor every writer or speaker, every man who, on the platform or in a book, magazine, or newspaper, with merciless severity makes such attack, provided always that he in his turn remembers that the attack is of use only if it is absolutely truthful.

The liar is no whit better than the thief, and if his mendacity takes the form of slander he may be worse than most thieves. It puts a premium upon knavery untruthfully to attack an honest man, or even with hysterical exaggeration to assail a bad man with untruth. An epidemic of indiscriminate assault upon character does no good, but very great harm. The soul of every scoundrel is gladdened whenever an honest man is assailed, or even when a scoundrel is untruthfully assailed.

The tone of this passage is                     .

Adapted from Harvard University Address by Booker T. Washington (1896)

Why you have called me from the Black Belt of the South, from among my humble people, to share in the honors of this occasion, is not for me to explain; and yet it may not be inappropriate for me to suggest that it seems to me that one of the most vital questions that touch our American life, is how to bring the strong, wealthy and learned into helpful touch with the poorest, most ignorant, and humble and at the same time, make the one appreciate the vitalizing, strengthening influence of the other.

How shall we make the mansions on Beacon street feel and see the need of the spirits in the lowliest cabin in the Alabama cotton fields or the Louisiana sugar bottoms? This problem Harvard University is solving, not by bringing itself down, but by bringing the masses up.

If through me, an humble representative, seven millions of my people in the South might be permitted to send a message to Harvard — Harvard that offered up on death's altar, young Shaw, and Russell, and Lowell and scores of others, that we might have a free and united country, that message would be: Tell them that the sacrifice was not in vain. Tell them that by the way of the shop, the field, the skilled hand, habits of thrift and economy, by way of industrial school and college, we are coming.

We are crawling up, working up, yea, bursting up. Often through oppression, unjust discrimination and prejudice, but through them all we are coming up, and with proper habits, intelligence and property, there is no power on earth that can permanently stay our progress.

As it is used in the passage's last sentence, the underlined word “stay” most nearly means                     .

"Interpreting the Copernican Revolution" by Matthew Minerd (2014)

The expressions of one discipline can often alter the way that other subjects understand themselves. Among such cases are numbered the investigations of Nicolaus Copernicus. Copernicus is best known for his views concerning heliocentrism, a view which eventually obliterated many aspects of the ancient/medieval worldview, at least from the standpoint of physical science. It had always been the natural view of mankind that the earth stood at the center of the universe, a fixed point in reference to the rest of the visible bodies. The sun, stars, and planets all rotated around the earth.

With time, this viewpoint became one of the major reference points for modern life. It provided a provocative image that was used—and often abused—by many people for various purposes. For those who wished to weaken the control of religion on mankind, it was said that the heliocentric outlook proved man’s insignificance. In contrast with earlier geocentrism, heliocentrism was said to show that man is not the center of the universe. He is merely one small being in the midst of a large cosmos. However, others wished to use the “Copernican Revolution” in a very different manner. These thinkers wanted to show that there was another “recentering” that had to happen. Once upon a time, we talked about the world. Now, however, it was necessary to talk of man as the central reference point. Just as the solar system was “centered” on the sun, so too should the sciences be centered on the human person.

However, both of these approaches are fraught with problems. Those who wished to undermine the religious mindset rather misunderstood the former outlook on the solar system. The earlier geocentric mindset did not believe that the earth was the most important body in the heavens. Instead, many ancient and medieval thinkers believed that the highest “sphere” above the earth was the most important being in the physical universe. Likewise, the so-called “Copernican Revolution” in physics was different from the one applied to the human person. Copernicus’ revolution showed that the human point of view was not the center, whereas the later forms of “Copernican revolution” wished to show just the opposite.

Of course, there are many complexities in the history of such important changes in scientific outlook. Nevertheless, it is fascinating to see the wide-reaching effects of such discoveries, even when they have numerous, ambiguous effects.

Which of the following would be a direct consequence of belief in geocentrism?

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

The studio was filled with the rich odour of roses, and when the light summer wind stirred amidst the trees of the garden, there came through the open door the heavy scent of the lilac, or the more delicate perfume of the pink-flowering thorn.

From the corner of the divan of Persian saddle-bags on which he was lying, smoking, as usual, innumerable cigarettes, Lord Henry Wotton could just catch the gleam of the honey-sweet and honey-colored blossoms of the laburnum, whose tremulous branches seemed hardly able to bear the burden of a beauty so flame-like as theirs.

In the center of the room, clamped to an upright easel, stood the full-length portrait of a young man of extraordinary personal beauty, and in front of it, some little distance away, was sitting the artist himself, Basil Hallward, whose sudden disappearance some years ago caused, at the time, such public excitement, and gave rise to so many strange conjectures.

As he looked at the gracious and comely form he had so skilfully mirrored in his art, a smile of pleasure passed across his face, and seemed about to linger there. But he suddenly started up, and, closing his eyes, placed his fingers upon the lids, as though he sought to imprison within his brain some curious dream from which he feared he might awake.

"It is your best work, Basil, the best thing you have ever done," said Lord Henry, languidly. "You must certainly send it next year to the Grosvenor. The Academy is too large and too vulgar. The Grosvenor is the only place."

"I don't think I will send it anywhere," he answered, tossing his head back in that odd way that used to make his friends laugh at him at Oxford. "No: I won't send it anywhere."

Lord Henry elevated his eyebrows, and looked at him in amazement through the thin blue wreaths of smoke that curled up in such fanciful whorls from his heavy cigarette. "Not send it anywhere? My dear fellow, why? Have you any reason? What odd chaps you painters are! You do anything in the world to gain a reputation. As soon as you have one, you seem to want to throw it away. It is silly of you, for there is only one thing in the world worse than being talked about, and that is not being talked about. A portrait like this would set you far above all the young men in England, and make the old men quite jealous, if old men are ever capable of any emotion."

"I know you will laugh at me," he replied, "but I really can't exhibit it. I have put too much of myself into it."

Lord Henry stretched his long legs out on the divan and shook with laughter.

"Yes, I knew you would laugh; but it is quite true, all the same."

"Too much of yourself in it! Upon my word, Basil, I didn't know you were so vain; and I really can't see any resemblance between you, with your rugged strong face and your coal-black hair, and this young Adonis, who looks as if he was made of ivory and rose-leaves. Why, my dear Basil, he is a Narcissus, and you—well, of course you have an intellectual expression, and all that. But beauty, real beauty, ends where an intellectual expression begins. Intellect is in itself an exaggeration, and destroys the harmony of any face. The moment one sits down to think, one becomes all nose, or all forehead, or something horrid. Look at the successful men in any of the learned professions. How perfectly hideous they are! Except, of course, in the church. But then in the church they don't think. A bishop keeps on saying at the age of eighty what he was told to say when he was a boy of eighteen, and consequently he always looks absolutely delightful. Your mysterious young friend, whose name you have never told me, but whose picture really fascinates me, never thinks. I feel quite sure of that. He is a brainless, beautiful thing, who should be always here in winter when we have no flowers to look at, and always here in summer when we want something to chill our intelligence. Don't flatter yourself, Basil: you are not in the least like him.”

Which of the following themes is NOT discussed by the characters in the passage?

Adapted from "The Philosophy of Composition" by Edgar Allan Poe (1846)

I have often thought how interesting a magazine paper might be written by any author who would—that is to say, who could—detail, step by step, the processes by which any one of his compositions attained its ultimate point of completion. Why such a paper has never been given to the world, I am much at a loss to say—but, perhaps, the authorial vanity has had more to do with the omission than any one other cause. Most writers—poets in especial—prefer having it understood that they compose by a species of fine frenzy—an ecstatic intuition—and would positively shudder at letting the public take a peep behind the scenes, at the elaborate and vacillating crudities of thought—at the true purposes seized only at the last moment—at the innumerable glimpses of idea that arrived not at the maturity of full view—at the fully-matured fancies discarded in despair as unmanageable—at the cautious selections and rejections—at the painful erasures and interpolations—in a word, at the wheels and pinions—the tackle for scene-shifting—the step-ladders, and demon-traps—the cock's feathers, the red paint and the black patches, which, in ninety-nine cases out of a hundred, constitute the properties of the literary histrio.

I am aware, on the other hand, that the case is by no means common, in which an author is at all in condition to retrace the steps by which his conclusions have been attained. In general, suggestions, having arisen pell-mell are pursued and forgotten in a similar manner.

In this passage, the word "histrio" most likely means                     .