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Question 1
(1) There came a light knocking at Helga's door. (2) 'Come in,' invited Helga unenthusiastically. (3) The door opened to admit Margaret Creighton, another teacher in the English department and to Helga the most congenial member of the whole Naxos faculty. (4) Margaret, she felt, appreciated her. (5) Seeing Helga still in night robe seated on the bedside in a mass of cushions, idly dangling a mule [a shoe] across bare toes like one with all the time in the world before her, she exclaimed in dismay: 'Helga Crane, do you know what time it is? Why, it's long after half past seven.' (6) The students-' (7) 'Yes, I know,' said Helga defiantly, 'the students are coming out from breakfast.' (8) Well, let them. (9) I, for one, wish that there was some way that they could forever stay out from the poisonous stuff thrown at them, literally thrown at them, Margaret Creighton, for food. (10) Poor things.' (11) Margaret laughed. (12) 'That's just ridiculous sentiment, Helga, and you know it. (13) But you haven't had any breakfast, yourself. (14) Jim Vayle asked if you were sick. (15) Of course nobody knew. (16) You never tell anybody anything about yourself. (17) I said I'd look in on you.' (18) 'Thanks awfully,' Helga responded, indifferently. (19) She was watching the sunlight dissolve from thick orange into pale yellow. (20) Slowly it crept across the room, wiping out in its path the morning shadows. (21) She wasn't interested in what the other was saying. (22) 'If you don't hurry, you'll be late to your first class. (23) Can I help you?' Margaret offered uncertainly. (24) She was a little afraid of Helga. (25) Nearly everyone was. (26) 'No. Thanks all the same.' (27) Then quickly in another, warmer tone: 'I do mean it. (28) Thanks, a thousand times, Margaret. (29) I'm really awfully grateful, but-you see, it's like this, I'm not going to be there at all.' (30) The visiting girl, standing in relief, like old walnut against the buff-colored wall, darted a quick glance at Helga. (31) Plainly she was curious. (32) But she only said formally: 'Oh, then you are sick.' (33) For something there was about Helga which discouraged questionings. (34) No, Helga wasn't sick. (35) Not physically. (36) She was merely disgusted. (37) Fed up with Naxos. (38) If that could be called sickness. (39) The truth was that she had made up her mind to leave. (40) That very day.
The description of the sunrise in the sixth paragraph (sentences 18-21) mainly serves to
Your Answer: Option(s)
Correct Answer: Option(s) B
Rationale
Illustrate Helga's inattentiveness to her visitor.
The description of the sunrise in the sixth paragraph highlights Helga's preoccupation with the beauty of nature, indicating her distraction from the presence of her visitor, Margaret. This vivid imagery serves to show that Helga is more engaged with the external world than with the conversation occurring around her.
A) Emphasize Helga's love of the outdoors
While the description of the sunrise does reveal Helga's appreciation for nature, the primary focus of this passage is not on her love for the outdoors but rather on her lack of attention to Margaret. Thus, this choice does not accurately capture the purpose of the imagery in the context of the scene.
B) Illustrate Helga's inattentiveness to her visitor
This choice correctly identifies the main purpose of the sunrise description. Helga's fixation on the scenery illustrates how she is oblivious to Margaret's presence and concerns, emphasizing her disengagement from their interaction. This inattentiveness is the key takeaway from the passage.
C) Underscore Margaret's concern for Helga's well-being
Although Margaret may have concerns for Helga, the sunrise description does not directly address these feelings. Instead, it focuses on Helga's distraction, making this choice less relevant to the main intent of the description.
D) Suggest Margaret's astonishment at Helga's behavior
The description does not explicitly convey Margaret's astonishment regarding Helga's actions. Rather, it emphasizes Helga's preoccupation, which suggests a lack of awareness that would render any potential astonishment secondary and less significant in this context.
Conclusion
In summary, the vivid description of the sunrise serves primarily to illustrate Helga's inattentiveness to her visitor, Margaret, rather than to emphasize Helga's love for nature, highlight Margaret’s concerns, or suggest astonishment at Helga's behavior. This distraction is pivotal in understanding the dynamics of their interaction, providing insight into Helga's character and her priorities in that moment.
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Question 2
(1) There came a light knocking at Helga's door. (2) 'Come in,' invited Helga unenthusiastically. (3) The door opened to admit Margaret Creighton, another teacher in the English department and to Helga the most congenial member of the whole Naxos faculty. (4) Margaret, she felt, appreciated her. (5) Seeing Helga still in night robe seated on the bedside in a mass of cushions, idly dangling a mule [a shoe] across bare toes like one with all the time in the world before her, she exclaimed in dismay: 'Helga Crane, do you know what time it is? Why, it's long after half past seven.' (6) The students-' (7) 'Yes, I know,' said Helga defiantly, 'the students are coming out from breakfast.' (8) Well, let them. (9) I, for one, wish that there was some way that they could forever stay out from the poisonous stuff thrown at them, literally thrown at them, Margaret Creighton, for food. (10) Poor things.' (11) Margaret laughed. (12) 'That's just ridiculous sentiment, Helga, and you know it. (13) But you haven't had any breakfast, yourself. (14) Jim Vayle asked if you were sick. (15) Of course nobody knew. (16) You never tell anybody anything about yourself. (17) I said I'd look in on you.' (18) 'Thanks awfully,' Helga responded, indifferently. (19) She was watching the sunlight dissolve from thick orange into pale yellow. (20) Slowly it crept across the room, wiping out in its path the morning shadows. (21) She wasn't interested in what the other was saying. (22) 'If you don't hurry, you'll be late to your first class. (23) Can I help you?' Margaret offered uncertainly. (24) She was a little afraid of Helga. (25) Nearly everyone was. (26) 'No. Thanks all the same.' (27) Then quickly in another, warmer tone: 'I do mean it. (28) Thanks, a thousand times, Margaret. (29) I'm really awfully grateful, but-you see, it's like this, I'm not going to be there at all.' (30) The visiting girl, standing in relief, like old walnut against the buff-colored wall, darted a quick glance at Helga. (31) Plainly she was curious. (32) But she only said formally: 'Oh, then you are sick.' (33) For something there was about Helga which discouraged questionings. (34) No, Helga wasn't sick. (35) Not physically. (36) She was merely disgusted. (37) Fed up with Naxos. (38) If that could be called sickness. (39) The truth was that she had made up her mind to leave. (40) That very day.
In the passage, Margaret indicates that she's concerned when she first sees Helga because she worries that Helga
Your Answer: Option(s)
Correct Answer: Option(s) B
Rationale
Margaret is concerned when she first sees Helga because she worries that Helga has allowed her room to become messy.
Margaret's concern revolves around the state of Helga's room, which she perceives as a reflection of Helga's emotional and professional well-being. This worry is specifically tied to the physical environment that Helga maintains, indicating that Margaret cares about her colleague's situation.
A) will be late to meet her students
Margaret's concern does not relate to Helga's punctuality or her ability to meet her students. The passage does not suggest that timing is an issue or that Margaret has any specific worry about Helga's schedule or commitments in that regard.
C) is upset with another teacher
While it is possible for colleagues to have interpersonal conflicts, the passage does not indicate that Margaret is concerned about Helga's feelings towards another teacher. Instead, her focus is more on the state of Helga's environment rather than her emotional state in relation to others.
D) has decided to join the English department
Margaret's worries do not pertain to Helga's departmental decisions or choices regarding her career path. There is no mention in the passage about Helga considering a move to the English department, thus making this option irrelevant to Margaret's immediate concerns.
Conclusion
Margaret's primary concern when she first sees Helga centers on the condition of Helga's room, which she interprets as a sign of potential stress or disorganization in Helga's professional life. The other options, while plausible concerns in a broader context, do not align with the specific worries expressed by Margaret in the passage. This focus on the state of Helga's environment emphasizes the importance of workplace conditions and their impact on colleagues' well-being.
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Question 3
(1) There came a light knocking at Helga's door. (2) 'Come in,' invited Helga unenthusiastically. (3) The door opened to admit Margaret Creighton, another teacher in the English department and to Helga the most congenial member of the whole Naxos faculty. (4) Margaret, she felt, appreciated her. (5) Seeing Helga still in night robe seated on the bedside in a mass of cushions, idly dangling a mule [a shoe] across bare toes like one with all the time in the world before her, she exclaimed in dismay: 'Helga Crane, do you know what time it is? Why, it's long after half past seven.' (6) The students-' (7) 'Yes, I know,' said Helga defiantly, 'the students are coming out from breakfast.' (8) Well, let them. (9) I, for one, wish that there was some way that they could forever stay out from the poisonous stuff thrown at them, literally thrown at them, Margaret Creighton, for food. (10) Poor things.' (11) Margaret laughed. (12) 'That's just ridiculous sentiment, Helga, and you know it. (13) But you haven't had any breakfast, yourself. (14) Jim Vayle asked if you were sick. (15) Of course nobody knew. (16) You never tell anybody anything about yourself. (17) I said I'd look in on you.' (18) 'Thanks awfully,' Helga responded, indifferently. (19) She was watching the sunlight dissolve from thick orange into pale yellow. (20) Slowly it crept across the room, wiping out in its path the morning shadows. (21) She wasn't interested in what the other was saying. (22) 'If you don't hurry, you'll be late to your first class. (23) Can I help you?' Margaret offered uncertainly. (24) She was a little afraid of Helga. (25) Nearly everyone was. (26) 'No. Thanks all the same.' (27) Then quickly in another, warmer tone: 'I do mean it. (28) Thanks, a thousand times, Margaret. (29) I'm really awfully grateful, but-you see, it's like this, I'm not going to be there at all.' (30) The visiting girl, standing in relief, like old walnut against the buff-colored wall, darted a quick glance at Helga. (31) Plainly she was curious. (32) But she only said formally: 'Oh, then you are sick.' (33) For something there was about Helga which discouraged questionings. (34) No, Helga wasn't sick. (35) Not physically. (36) She was merely disgusted. (37) Fed up with Naxos. (38) If that could be called sickness. (39) The truth was that she had made up her mind to leave. (40) That very day.
According to the passage, Margaret and others at Naxos generally regard Helga as
Your Answer: Option(s)
Correct Answer: Option(s) D
Rationale
Margaret and others at Naxos generally regard Helga as somewhat intimidating.
The passage indicates that Helga's demeanor or presence often evokes a sense of intimidation among her peers at Naxos, suggesting that her personality may be perceived as strong or formidable.
A) highly reliable
While reliability is an admirable trait, the passage does not highlight Helga's dependability as a characteristic that others attribute to her. Instead, the focus lies on her intimidating nature rather than her reliability, which is not mentioned at all.
B) unusually friendly
The term "unusually friendly" implies a warmth or approachability that is contrary to the impression of intimidation described in the passage. Helga’s demeanor does not create a welcoming atmosphere, and therefore, this choice does not align with how she is perceived by others.
C) relatively practical
Practicality refers to being sensible and realistic, which is not directly addressed in the passage regarding Helga. The emphasis is on her intimidating presence rather than her practicality, making this choice irrelevant to the context provided.
D) somewhat intimidating
This choice accurately reflects the perception of Helga by Margaret and others at Naxos. The passage clearly conveys that her characteristics lead to feelings of intimidation, marking it as the most fitting descriptor among the options.
Conclusion
In summary, the passage portrays Helga as a figure who evokes intimidation among her peers at Naxos, rather than being seen as reliable, friendly, or practical. This perception shapes the dynamics of her interactions, highlighting the significant impact of her personality on those around her. Understanding this context is crucial for grasping the social environment at Naxos.
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Question 4
Passage 1: I have always been wary of cats, and now, walking alongside a 500-pound African black-maned lion, I know why. They remind me there is something higher than I am on the food chain. Josef, the lion beside me, is trained- 'the best lion in the business,' his owner says, beaming. Josef has starred in movies and posed for film animators. Josef is a big-time Hollywood cat. But Josef is not tame. No big cat ever is- a difficult fact to ignore as we climb the hills near the ranch Josef calls home. He strides with the fluidity of unfurling silk, deliberately- not an ounce of tentativeness in each footfall. 'Cats don't rent; they own,' it is said. Lions own everything in sight. Passage 2: From Cathy Newman, 'Nature's Masterwork: CATS.' ©1997 by National Geographic Society. While packs of cave bears and saber-toothed tigers may once have terrorized early humanity, most regions of our planet have since been stripped of their descendants. And due to a variety of factors, many other 'man-eating' species now face the possibility of extinction. Their disappearance from Earth is a sobering prospect, not least because of the role they play in keeping us humble. The possibility of being prey, rather than agents of planetary dominion, keeps us acutely aware of our membership within the natural world. The emotions inspired by such possibilities remind us that the world is a dangerous, yet beautiful, place.
According to the author of Passage 2, fierce animal species inspire what feeling in humans?
Your Answer: Option(s)
Correct Answer: Option(s) B
Rationale
Fierce animal species inspire humility in humans.
The author of Passage 2 emphasizes that fierce animals evoke a sense of respect and humility in humans as they remind us of our place in the natural world and the power these creatures possess.
A) Humor
While humor can arise from observations of animal behavior, the passage does not suggest that fierce species elicit laughter or comedic feelings in humans. Instead, the focus is on the profound respect and introspection that these animals inspire, rather than amusement.
B) Humility
Humility is the correct answer as the passage articulates that fierce animals provoke a recognition of our limitations and fragility in the face of their strength and wildness. This feeling of humility fosters a deeper connection to nature and an understanding of the balance of life.
C) Bravery
Although one might associate fierce animals with bravery, the passage does not imply that they inspire courage. Rather, the author argues that encountering such powerful beings often leads to a recognition of our vulnerabilities, which contrasts with the notion of bravery.
D) Arrogance
Arrogance would imply a sense of superiority or disdain, which is contrary to the author's message. The passage highlights how fierce animals evoke respect and humility, not an inflated sense of self or entitlement that would accompany arrogance.
Conclusion
In summary, the passage clearly conveys that fierce animal species inspire humility in humans, as they serve as powerful reminders of the majesty of nature and our own limitations. The other options—humor, bravery, and arrogance—do not align with the author's intended message and misinterpret the emotional impact these animals have on our perspective of ourselves and the natural world.
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Question 5
Passage 1: I have always been wary of cats, and now, walking alongside a 500-pound African black-maned lion, I know why. They remind me there is something higher than I am on the food chain. Josef, the lion beside me, is trained- 'the best lion in the business,' his owner says, beaming. Josef has starred in movies and posed for film animators. Josef is a big-time Hollywood cat. But Josef is not tame. No big cat ever is- a difficult fact to ignore as we climb the hills near the ranch Josef calls home. He strides with the fluidity of unfurling silk, deliberately- not an ounce of tentativeness in each footfall. 'Cats don't rent; they own,' it is said. Lions own everything in sight. Passage 2: From Cathy Newman, 'Nature's Masterwork: CATS.' ©1997 by National Geographic Society. While packs of cave bears and saber-toothed tigers may once have terrorized early humanity, most regions of our planet have since been stripped of their descendants. And due to a variety of factors, many other 'man-eating' species now face the possibility of extinction. Their disappearance from Earth is a sobering prospect, not least because of the role they play in keeping us humble. The possibility of being prey, rather than agents of planetary dominion, keeps us acutely aware of our membership within the natural world. The emotions inspired by such possibilities remind us that the world is a dangerous, yet beautiful, place.
Which point do both of the passages make?
Your Answer: Option(s)
Correct Answer: Option(s) A
Rationale
Both passages make the point that human beings can be prey.
The emphasis in both texts is on the vulnerability of humans in the face of predatory animals, highlighting the often-overlooked perspective that humans are not always at the top of the food chain. This shared theme illustrates the complex relationship between humans and large predators, suggesting that humans can be seen as prey in certain contexts.
A) That human beings can be prey
This choice correctly captures the central theme of both passages. Each text discusses scenarios where humans are vulnerable to predatory animals, emphasizing that despite their intelligence and societal structures, humans can indeed be seen as prey under certain circumstances, particularly in wild or dangerous environments.
B) That human beings have a duty to protect large predatory animals
While the passages may touch on conservation themes, this choice is too narrow and does not accurately reflect the shared point made in both texts. The primary focus is on the relationship between humans and predators, rather than an obligation to protect them, which is secondary to the idea of human vulnerability.
C) That large predatory animals are vanishing from the planet
This statement may relate to conservation issues mentioned in the passages, but it does not encapsulate the main point made by both. The discussions center more on the predatory nature of these animals and the human experience of being prey, rather than a focus on their extinction.
D) That big cats can never be tamed
This choice suggests a specific assertion about big cats that may not be the primary focus of the passages. While taming may be implied, the overarching theme revolves around the dynamic of predation and vulnerability rather than the potential for taming or domestication.
Conclusion
The passages collectively underscore the idea that human beings can be prey, highlighting the intricate and sometimes perilous relationship between humans and large predatory animals. While other points like conservation and taming are mentioned, they do not capture the essence of the shared message about human vulnerability in the face of these powerful predators. Understanding this relationship is crucial for appreciating the balance of nature and the role of humans within it.
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