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    AP Lang 2001 PDF

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    Anh H Nguyen

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    ENGLISH LANGUAGE a} \ND COMPOSITION SECTION Time—1 hour Directions: This pare. ‘cling ach age, consist of selections from prose works. choose the best answer o each question. Note: Pay panicutar attention tothe requirement of questions ‘Questions 1-12. Read the following passage carefully before you choose your answers: ama woman. I desire to sate distinctly, because 1 ke todo as T would te done by, when Lean just as well a nt. rasp a person of my temperament ‘exceedingly tobe deceived. When any ons tesa story, We wish to know atthe cuset whether the sory eller ‘is aman ora woman. The two sxts awaken (wo. ‘emtely distinct seis of felings and you would 90 ‘more use the one forthe ether than you would put on your tiny teacups at breast o ay the carving knife bythe buter-plate. Consequently itis very exasperat~ ing w si, open-eyed and expectant, watching the Temoval of the successive swathings which hide from ‘You the dusky glories ofan oie princess, and ‘when the uulling Is ovee to find nothing, afer al. bot great ubberly boy. Equally tying ito feel ‘your interest clustering rounds amar manhood, ail you individuality merging instil of sen, bythe merest chance, you catch the swell of ernoline, {nd thee you ar. Away with such clmsines! Let us have everybody christened before we begin. Go, therefore, with Spartan ress, depose and say that [ama woman. Tam awae that [place myselt st signal disadvantage by the avowal. I lyin the face of heecitary prejudice. Iam thru a once beyond the pale of masculine sympathy, Men will neither ced ‘ny success noe lament my fll, because they wil ‘consider me posching on their mor If Letroicle« bigbet they will bring forward one twice as lage ICL mourn a deceased squah, they wll miter, “Woman's faring!” Shurning Seyi, shall perforce fallinto Charis, (Vide Classica Dictionary. 1 have Tent mine, but know one was a rock andthe other» hilo, though I cannot tte, with ny defnteness, hich was which.) I may be as buble and dep «ating as Tchoose, butt will aoe aval me A tery agony ofself-abasement wil be no amor agaist the Poisoned shafts which assumed superiority will hurl, ‘gaint me. Yet press the arrow to my Bleeding bean ad calmly reiterate, ama woman ‘300. AP Bagi Langnge ani Compost Rleard Baas asap 7 and questions on ther coment, form, and syle. After nd completely ill i the cortsponding oral cathe that contain the words NOT, LEAST, or EXCEPT. ‘The fll magnanimiy of which reiteration canbe persived only wen I inform you that Teal easy ‘Seocive you, i Tchose. There i sbott my srots aye vigor of though, a comprchensivencss ef view, closeness of logic, and a teseness of diction, commonly supposed to penn only to the songs Sex Not wanting na certain fanciful sprints his he peculiar grace of woman, i possess lz, in lage measure, that concentrativenese which seemed the peculiar steagth of man, Where a odi- ‘nary woman wil eave the beaten tsck, wandesng ia ‘thousand litle byways of her owa-—flowery end beaut itis tue, and leading he aly feet 10 “soany spas of greenery” and the gleam of goldee apien bteeping her nt less surely fom the gel —T ‘march straight on, tring neither to the ph band ‘orto the let, beguiled into no side esues, discussing ‘collateral gustion, but with Keen eye and strong hand aiming right at the heart of my theme. Judge thus ofthe stern severly of my virtue, There so heroism io denying ourselves the please which we cannot compass. I isnot sel-scefic, but sel checshng, tha tums the dyspeptic alderman sway fiom ture soup and the pede foie gras to mush and milk. The hungry newsbos, regaling his notes wil the sens tht come up from a subterranean Kitchen, oes ot always know whether oc not he is honest, till the cook tums sway fora moment, and a seaming Join is within each of his yearing fingers is mo ‘redittoa weal-minded worst roto be ‘minded and write poetry. She could not if she ed ‘but to feed on locusts and wild hony thatthe soul ‘maybe ia beter condition to fight the rath’ bates, ‘—t0 go with empry stomach fora clear consccnce™ sike.—to sacrifice intelectual tates to womanly utes, when the two conflict, — “That's the tre pathos nd subtime, ‘OF hamae ite, ‘You wil therefore, no longer withhold your appre ciative admiration, en, fll possession of what 1 thedloglans cll the power of contrary choice, make the unmistakable aeserion that Lam 2 woman «a862) 1. The passage focuses primarily onthe (A) eiticlies thatthe speaker bad in geting published @) advisability of women considering careers in ‘wring (© speakers analysis of ow her ovn wrtng tayle developed (©) speaker's pride in being a female anda writer {) inspiration ta enabled the speaker to become 2, Inline 19, “clumsiness” refers tothe (A) confusion cased by failing to give readers fundamental information (8) swkovardness of «young boy (© difficulty of being a female writer in amale- ‘dominated profession ( displeasure created by reading carelessly ‘crafied wing (8) bore resulting from reading stores arated by unsophisticated speakers 3, Inte 2, the speaker use “ceistend” to wean (A) ieatfed property () convert toa new religion (©) aunt on journey () taughthow to wete ©) forced wo agree 4. Inthe second paragraph, the speaker characterizes beret e being (A) ware that her motives include revenge (8) fom between vo confusing alemaives (©) eager to appease her cits {(D) wodsueted in the face of prejudice (6) uncertain abou the quality of her writing ‘5, The “arrow in ine 38 metaphorical refer. (A) unrequited love (8) the envy of othe female waters {@) the seledoubt that writers sometimes experience () apsiafel memory (©) etc fom men 6. The speakers point inthe fist sentence ofthe ‘hi paragraph (ines 40-42) i thal (A) writers ote give generously of themselves ) She could easily disguise the face that she isa female writer (© readers canbe fooled by repetition into believing a writer (©) epetion in writing is often a desirable ‘quality () she found easy to pursu a carer in wing 7, nthe third paragraph, the speker’s primary purpose isto (A) asset her own qualifications (@) develop an argument for more honesty in (© create a elaborate analogy (©) introduce anew tope For consideration @) establish a hypodhetial stutio for analysis 8, Asused inline 46, wanting” is best imerpretes to (A) descing (B) capturing {© lacking (©) fauling © bunting 9. Inline 47," refers to (A) “The fll magnasiity” (line 40) () “which reiteration” (ine 40) (©) *my secs sy” Cine 42) (D) “the stronger sox” ines 45-46) () “anil sprightiness" “001 AP English Language and Composition Relesed Exam Excerpt ‘Te possage is reprinted for your use in answering the remaining questions. Tam a woman. dsie to state it distinctly, becuse ket 40a T would be dose by, when Team ust as well snot It asp a perio of my temperament exceedingly tobe deceived. When sa one tells a try, ‘ve wish o know atthe ease wheter the strytellet [aman ora worn, The two sence awaken two cently distinct sets ffelings, and you would no mote use the one forthe other han you Would put on our tiny teacps at breakfast or lay the carving iy the bute pat. Consequently itis very exasperat ‘ngto sit, open-eyed and expecan, watching the removal ofthe successive swathings which hide from youthe dusky slries ofan old-time princess, and. ‘when the unvolling is over, tofind ie nothing, after all but great labberly boy. Equally trying isto fel your interest clustering rouod a naraor'smanbood, i your individuality merging i his, till of a stan, by the merest chance, you cach the sell of ernotine, and there you are. Away with uch clumsiness! Let us have everbody christened before we begin io, therefore, with Spar Ginness, depose and ‘say tbat am a woman, Tam aware that I place myself a signal disadvanage by the avowal Ty in the fase ‘of beeditary prejudice. Tam thrust at once beyond the ple of masculine sympathy. Mea wil neither cect ny success nar lament my flare, because they will ‘consider me poaching on het mance. If Tehroicl & big bet they will rng Torward one twice as lage. IFT mourn deceased squash, they will rer “Weran's farming” Shonsing Sell, shall perforce {allio Charyeis. (Vide Casal Dictionary bave lentmine, but know one was areck and te other a ‘wipool, though I cant state, with any defntness, which was which) Tmay bear hamble and dopre- ating 28 T choose, but wil nt aval me, A very ‘gony of selfabasement will e no armor against the poisoned shafts which assumed superiority wil hur ‘against me. Yet press the arow to my bleding ‘ect and cally reterat, Tam a womae “The fll magnanimity of which reiteration canbe perceived only when Taform you that 1 cool easily ‘eosive you, if Tehose. There i about my serious ile ‘vigor of thought, a comprebensivenes f view. = loseness of logi, and a trseness of dition, ‘commonly supposed to pertain only tothe atonger Sex Not wanting incon fanciful speghiness ‘hich is the peculiar grace of woman, i poseses ls, In large measure, that concentatveness which s deemed the peculiaesength of man- Where an od- ‘ary woman will eave the beaten track, wandeng in 2 thousand lle bywaye of her oxrn-—flowsty and 4007 AP Fol Langage and Capone Raa Bam ace at ‘benifits te, and leading het sy fet to “sunny spots of greenery” and the gleam of golden apples, Dut keeping her not ss sutly from the goal 1 ‘march sight of, turning neither othe ight hand, ‘orto the left, beguiled nto no side seus, digesting ho collateral question, but with keen eye and srong hand siming right at te heart of my theme, Judge thus ofthe sen covery of my vive. Teves eto in denying ourselves the pleasure which we ‘anno compas. isnot sefseifion, bt salf- ‘chershing, that tums the dyspeptic alderman aay fiom turle-sup and the pdté de foie gras tors and nik, The hungry newsboy,regaling his nets wath the sei that ebme up from a subteranean kitchen, {doesnot alvays know whether or not he honest, ll the cook turns away fora moment and steaming pin is within seach of his yearning Rgers. Iie mo redittoa weak-minded woman not tobe song. ‘minded and wee poeuy. She could nt if ehe ied: ‘butt feed on locusts and wild boney thatthe ool ‘may bein beter condition to fight the tah’s bates, ‘—to go with empty stomach fora clear conscience Sake,—o sacrifice intelleoual ates to womanly duties, when the two conic, — “Thats the te pathos and subline, Orhumas tie” You ris ong win yourappe | Cite ain wom il pet a tog ores e ‘Smal neon a Ta Soma 1862) 10, The “dyspeptic alderman” (Line 62) i presented as sn llastation of (A) the pain endured by one who succumbs to ‘empiation () restrained behavior thats not ven by moral ‘ompunctons (©) the unjustified suffering of an ianacest victim (©) admirable behavior tht has gone unrecognized (@) teetfet of an empty stomach on one’s 11, Which of the following isthe most direst suites to the “weake-minded woman” (ine 65)? (A) The speaker (B) A wealeminded man (©) The “angry newaboy” (ine 64) (D) The reader ofthe speaker's writings (8) One who can only engage in traditional enna pursuits 2 en Beceachartamcenent (pan | BTS capac genes | Saeco (E) appeals to authority | | | | "BOT A Hagia Langage snd Conpasion sod Bas Bap ‘Questions 13-28, Read the following passage carefully before you choote your ancwers, ‘Buta far more important corection, applicable to the common vague idea of iterstr, ito be sought, ot so much in a beter definition of literature, a fa 8 shaper distinction of the two inctons which it falls. In that great sci organ whic, collectively, we al iterate, there may be distinguished vo separate offices, hat may blend and often doo, but capable, severally, of severe insulation, and vatrlly ‘ited for reciprocal repulsion. There frst the litee- ‘ture of lnwledge, and, econdly, the literature of power. The funtion ofthe ists to Zeac; the fanc- tion ofthe second is o move: the Frt ea rudder ‘he eeond an oar ora sail The first speaks to the mere dscarsive understanding; the second speaks ukiately, may happen, tothe higher understanding, or reason, but always rough afestons of pleasure snd sympathy. Remotely itmay travel towards an objet seated in what Lord Bacon ells dry ight bot proximately it does and must operate—elze i ceases tobea literature ofpower.~on and tough Ua humid light which closes itself nthe mists und liter in! of humsn pasion, dsc, and genial emotions. Men have so litle reflected on the higher function of Iiterature as to find its paradox if one should deserve ‘asa mean or subordinate purpose of books to ive information. But this is paradox ony in the sense which makes i honorable tobe paraoncl. Whenever we talkin ordinary linguage of seeking {information or gaining knowledge, we understand the words as comested with something of absolute novelty. Butt isthe grandeur ofall tith which can ‘occupy a very high place in human interest that ii ever absolutely nove othe meanest of minds: it exis etemally, by way of germ or latent principe, in thc lowest asi the highest, needing to be developed but never tobe planted. Tobe capable of transplant ion isthe immediate eriterion ofa truth ha anges ons lower scale. Besides whic, there irre thing ‘han truth, namely, power or deep sympathy with ‘rut. What is the effect, for instance, upon society, of children? By the pity, by the tendemess, and by the peculiar modes of admiration, which connect. “hemselves withthe helpesmness, withthe innocence, ‘nd withthe simplicity of ehldre, not only sre the primal affections strengthened and contimlly -enewed, but the qualities which re dearest nthe ‘Sight of heaven —the frailty, for iostnce, which {001 AP Engh ngnage en Conpasion Rasaed Bam Bc 8 ppeais to forbearance, he innocence which symbol lars the heavenly, and he simplicity which is most, 50 alien from the worldy—are kept up in perpetual remembrance, and thee ideals ee contin refreshed, A purpose ofthe same nature is answered by the higher iter, m2, the iteretze of power. ‘What do yoa lear from Paradise Lost? Nothing at 4 all. What do you leam from a cookery-book? Some ‘hing new, someting that you ed not know before, ‘in every paragraph But would you therefore put the wretched cookery-book on a higher level ef ‘station thin the divine poem? What you ove @ toMfiton isnot any knowledge, of which a milion separate tems are stil but a milion of advancing ‘eps on the sume earthly level; what you owe ia power thats, exereise and expansion fo your wn latent capacity of rympatty with the infin, where © every pean each separate inlax ea step upwards, 8 step ascending ss upon a Jacob's ladder” fom earth tomysterisattudes above tho exh. ll the steps of knowledge, fom fist last cary you further on the same plne, but could never aise you one foot 270 above your ancient level of earth; whereas the Very Ast step in power i ight, i an ecending move ‘ment into another element where earths forgoten cases) 2 le bern tm nemig nd 13, The speaker's primary purpose in the passage isto (A) propose a change () destrbe process (©) explain n idea (D) cite the taste of readers ( praes work of iterate 14 Throuphout he passage, “Iitertare” i used to (A) works of poetry and prose Seton (B) books that are likely to become clasios (©) publications that are intended o provide entertainment (©) all the writing in one particular fed (‘writen works in genera, 15, Which ofthe following best desribes the function ofthe first sentence ofthe passage? (A) Itinwoduces an argument and asks the reader to ako a side (B) Ieprovides specific deals o support the central idea of he passage. (©) Weiscusses the flaws ofa common miscon- exption. (©) Resablishes the speakers credentials as an ‘expert onthe eubjet ofthe passage (©) prepares forthe ental opie by dismissing ‘mother topic a5 less promising. 16. In context, the word offices” (line 7 is best understood o mean (A) actions performed on behalf of another (@) functions or duties asigned fo someone oF something (©) positions of trust or authority (©) buildings in which business a carved out © scliious or social ceremonies 17. Which words, when inserted between “bu end “capable” (lines 7-8), best elarfy the mening of the Soond sentence? (A) wit (®) becoming more (©) by being (©) which were (©) thatare 18 nines 1-22 al ofthe following are presented ‘opporitions betwen the Hieratures of power nd ‘knowledge EXCEPT (A) severe insulation .. reciprocal repulsion ‘ines 8-9) (8) wo teach. to move (ines 11-12) (© rudder. oar (ies 12-13) () discursive understanding. igher nderatanding (lines 14-18) (©) arylight-. amid ight lines 18-21) 19, Innes 23-26 ("Men have so. give Information”), the speaker asserts thatthe (A) publics sumpicios of those who theorize ‘about the nature of literature (8) publi has filed to consider 852 source of information (©) higher funtion of literature is primarily to convey information () higher funtions of iteratare are dismissed as paradoxical © higher functions of iteramre are understood bbutnot discussed by the pubic 20, The amecedent of “it” (line 33) 8 (A) “ordinary language” (line 28) @) “absolute novelty” (lines 30-31) (©) “all th” Cine 31) (D) “a vey high place” Gine 32) (©) “meanest of minds” (line 33) 2. a lines 31-38, al ofthe following words contibate to the sme metaphor EXCEPT (4) “germ” line 34) () “developed” (ine 25) (© “planted” Gine 36) (©) “transplantation” (lines 3637) () *seale™ (ine 38) 22, The speaker associates children withthe literature of power because they both (A) Fikeus emotionally rather than rationally with uth () symbolize the redemptive power of (©) ilusrate the paradoxical lationship of power and weakness (©) require ust ely on instinct rather than experience to understand them (©) axe jg somewhat lniealy by ‘most people ‘The passage i reprinted for your use in answering the remaining question. ‘Bot a far more important cometion, applicable to the commen vague ides of literature, so be eought, rnotso much in beter definition of terre sin ‘sharper distinction ofthe two functions which it {Alls Ie that great social ergen whic, collectively, ‘we cal iterate, there may be distinguished wo separate offices, that may blend and often do so, but capable, severly, fa severe msulason, and atally {ted for reciprocal replsion. Teves firs he Hier tire of knowledge, nd, secondly, the literature of| ‘power. The function ofthe frst so teach the Sane {ion ofthe secoad is to move: the frst sauder, the secondan or ors sail The first peas tothe ‘mare discursive understanding; th scond speaks shimaely, it may happen, to the higher understanding, ‘or reason, but always dhrough affections of plesure and sympathy. Remotely it may wave towards an object casted in what Loré Bacon calle dy light bute proximately it does and must operate—eie ocses fobealiternvre ofpower—on and trough hat ud Tight whieh clothes itself inthe mist and giering irs! of human passions desires, and genial emotions. ‘Men have so litle reflected onthe higher functions of 72 Tteratre as to find ita paradox if oe shold deseibe itasa mean or subordinate purpose of books to sive information. But this ta paradox emly in the sense which makes it honorable to be paradorcl Whenever we alin ondinay language of seeking information or gsining knowledge, we understand the words as connected with something of absolute novelty. But itis the grandeur of ll uth which can ‘eupy a very high place in man terest that iis never shaolutely novel to he meanest of minds: it xis eterally, by way of germ latent principle in the lowest asm the highest, needing to be developed bbatnever tbe planted. To be capable of tansplanta- tion isthe immediteeriteron of atrath hat anges ‘ona lower scale. Besides which, there ie arer thing than truth, namely, power, or dep eympaty with ‘ruth, Whats the effect, for instance, pon tote, ‘of children? By the pity, by the tenderness, and by the peculiar modes of admiration, which coanect themselves with the helplessness, wih the innocence, nd withthe simplicity of eiléren, not only are the primal affections stengthened and contnlly renewed, but the qualities which are dearest in he sight of heaven —the fal, for instance, which ‘BOT AP Engh Langage ind Ganpocion Racal am Bea a appeals to forbearance, the imocence which symbol izes the heavenly, and the simplicity which i most alien fiom the worldly—are kept up in perpetual ‘temembrance, and thei ideals ae continlly reffehed. purpose ofthe sme natre is answered by tc higher erature, ws, the Ktrature of power ‘What do you lear from Paradise Last? Nothing at sll, What do you lear fom a eookery-book? Some- thing new, something that you di not know before, imevery pargraph. Bot would you therefore put the wretched cookery -book on a higher level of ‘estimation dan the divine poem? What you ove 'o Millon is not any knowledge, of which a milin ‘separate items are sll buta million of advancing stepson the same earthly lve; whnt you ove i, ‘poner, that is, exercise and expansion to your O¥n Intent capacity of sympathy withthe afte, where ‘very pls aed each separate infu isa step wpwar, a sep ascending as upon @ Jacob's lade fom earth tomysterious altitudes above the earth. A the steps ‘of knowledge, fom frst to lst, catty you further on the ume plane, but could never alse you ove fot hove your ancien! level of ent whereas the ery Jit step in power is fight, i an ascending move- ‘ment into another element where earth is forget, ses) 23, The response “Nothing at all” to the question “What do you lam from Paradise Laat?” (ive 54) is meant to (A) suggest thatthe vale of Parade Losi nat ‘inthe knowiedge it conveys (B) undercut the value that trary cities have placed on Parade Lost (©) imply that the style of Paradise Last makes the poem too dificult for most readers (D)etiticie the notion that works of literature ‘should serve « morl purpose (@) summarize the diflring effets on human sensibility of children snd higher Hteature 24. The speaker views Miltn 9 writer whose works eam (A) enlarge one's dep sympathy with tath (B) teach one how to recognize good literature (©) give instruction about the nate of life on Earth (D) speak to one’s discursive understanding () both infor ad inspire 25, Inthe pasage, the “cookery-book” (line 55) is used primarily as an example of writing that is (A) boring (8) repetitive (©) ewieward (©) informative © imorative 26, Inthe final sentences ofthe pasage (ines 57-72), the speaker uses which ofthe following to charac fetize the literatures of knowledge and power ? (A) An extended analogy ©) A paradox (©) A balance of overstatement and Uundersatenent (D) Awity anecdote (©) Anappeal to suthority 27. The tone of ines $9.72 can best be described as (A) tentative and prudent (B) detached and ronie (©) fervent and emphatic () defesive and seltaware (©) supportive an reassuring 28, The intended audience fr thie passage is most probably (A) pious readers (B) educated adits (©) amateur writers (©) professional poets () book publishers (Questions 29-43. Read the following passage carefully before you choose your answers. Odely enough, while several explanations are ‘advanced as to how Charles Pater, Jy" became Snowm 38 “Bird” ("Vardi ina etl mst ‘morphosis) none is conclusive. There, howevee, ‘overpowering internal evidence that whatever the ‘woe circumstance of is omithologcal designation, ‘had ite odo with the chicken yard, Randy oosers nd operatic hens are fanart fans of the animated. toons, but for al the pathetic cernedy of ie iving-— and despite the crabbed and coasted character of his style—Parker was a most inventive medi in biad-watcher's terminology, rue sonst “This fail in the exposition of Biss legead is inwigving, for nicknames ace indicative of «change {roma given oan achieved identity, wheter by tse fall and they tellus someting ofthe nicknatved individual's interaction with hs fellows. Taos, since te Suspect that more of legend is involved ini naming Jet usa least const Roger Tory Peterson's Field Guide ro the Birds for shin sto vty ding a pried winea most jazamen wee labeled “ats,” someone hung the bid on Charlie. Let us note too hat “legend” originally meant “the soy of asain sd that sins were alten identified wid symbolic snimals, ‘Two species won our immediate anton the gold finch and the mockingbied—thegofinch been the ‘beatnik phrase “Bid lives,” whic, following Packer's ah hasbeen chalked endlessly on Village buildings ‘nd subway walls, reminds us that daring the thireeath and founeenth centuries a symbolic olin fe= ‘qusutlyappcared in European deveionl pings. 'pocrypl story has it that upon being gen a clay bird forty, the infant Jesus brought it mireclously tole as a godfinch. Thus the small, tay browr bid with bright red patch abou the base ofits bill nd broad yellow band across ite wings became ‘representative ofthe sou the Pasion, andthe ‘sence. In more worldly ite Renaissance art the line bird became the ambiguous symbol of death andthe sous immonelity. For our own purposes, however its sng poses a majer problem? itis ike that of canary Which, sul or wo sou ules the sefinch out ‘The mockingbird, Minus polygons, is more ‘promising Peterson informs us tht its song Consists ‘t"Tong successions of notes and phrases of pest 2001 AP ag Uggs and Coupontion Red Ba Bact a7 net pe ped orn ines Woo nwt mc te mn tre atele mier"ahs "aeons {Tne ont ee Seaton angst “scp vc cub come cas Shas wy ssa Satine ouaot nrc erioogh Ieuan anh Hep ws chan liye yf ence nad ens stspacatce ay reac eope"t angel bs Ili minty oer op ay inca ose ies ab ih le pring yc es ti np ure ar cape ‘gs mp a as freee veces ote arn ap ter wu vib tes roe ak Sylar pocealcoet cane ‘etna te eatery Seater ee “nic sin snd aap (190198) ncaa tee 29, The speaker suggests thatthe primary purpose ot tne passage isto (A) analyze the harmonies of jazz (B) describe the advantages of « methodology (©) probe for an appropriate association (D) compare jaze must and Birdsong (©) explore the influences on Parkers musical sie 30, Which ofthe fllowing bert describes the one of the passage? (A) Underetated modesty (B) Mock solemnity (©) Defensiveness (©) Indecisiveness (8) Cynicism 31 The fanetion ofthe opening sentence might best be descbed as (A) rebuting a objection (B) establishing the status ofa situation (©) dismissing afallcious clara (D) promoting one theory ever another © guabilying» sotemene 432, The function ofthe second sentence (lines 4-7) isto (A) dispense witha possible explanation () trace the omitboloica derivation of Parker's nickname (©) discount te significance of ensin evidence (©) point out the importance of dactmenting, else (©) emphasize the volume of research done on ‘Parker 3 Inthe fist paragraph ofthe passage, “Randy roosters and operatic hens” (lines 7-8) contrast most directly with (A) “Yardbind” (ine 3) (B) “animated cartoons” (lines ©9) (©) "pathetic comedy” (ne 9) (©) “birdwatchers terminology” (Line 12) (6) “true songster” (line 12) 34. Inline 13, “flue” most diet refers to (A) a conspicuous defeat (B) a personal mistake (©) an instance of faulty aaience reponse (©) sn experience with obstacles (©) minabiliy to ascersin definitively 35. The primary effet ofthe dscusion in the second and third paragraphs (ines 13-44 is one of (A) immediscy because ofthe specie imagery (@) ‘familiarity because ofthe speakers stone personal voice (©) exaggerated sentimentality because ofthe Toaded diction (D) subtle humor because ofthe consved nature ofthe argument (8) momentary contusion esate ofthe peaks contradictory loyalties 36, The sentence that Begins inline 41 ¢*For our cova... ") marks a shi fora (A) unqualified assertion to naratve exposition (@) affectionate nostalgia to exaggerated pathos (© discursive musing to direct argument (©) acontemprary perspective to ahistorical one (8) askepticl stance to naive one 37. Inthe context of the passe, the reference tthe “canary” (ine 48) mos ely suggests which of the folowing? (A) Parker's musi was much ike hat of canary (B) The canary’s song sto high-pitched to ‘represent the snd ofa saxophone. (C) The canary, lke th goldineh, doesnot sng with much variety, (D) The canary bas no religious aszociations. (E) Both the canary andthe golinch have pro und symbolic significance 38. Te sentence in ines 5462 includes all of the following EXCEPT (A) parallel structure (B) aliterion (©) enomatopocia () an accumulation of desi © anagmoron 39, Which of te flowing tstements most cou rately summarizes the effect ofthe sentence in ines 84-62 (A) The length of the seatence suggest the eifi- culty of ats creation, (B) The numerous sbsttions provide a starting contrat to the preceding sentence. (©) The irony ofthe sentence highligh the com= plexity of Parker's music. (D) The complenity of the sentence's structure tors the complexity of Parker's musi (8) The extensive se of prepositions underscores ‘he repetiivenes of Parkers aye Engin Lanpege ond Compontion Recaed Exam Excerpt The passage is reprinted fr your us in answering the remaining question, Osy enough, wil sve explanations re advanced as to how Chaves Pater rs became owns ic” (ardor ei et orgs), nove oncnshe. Thee howee, verponering imeral evidence that herve tue cumstnes of hs omic eign iad it todo withthe ehicken yard, Randy rors ‘operatic hes ae fis ofan of he nate too, bat oral eth ving indepth cabiedand csc chee is syle—Parer was aon inventive mele Uind-wache'steminlogy, atu songs, “hs ar inte expen uf Bas ends ining, fornicenants areca of change ffoma ven ton achieved ident, wheter by fal and they te smething oe ince inva inteacion with ef. Thn sce swe supoc that mow of eged is ivaled ait ‘eoaming. ec at eas conl Roger Toy econ Feld Gute oth ids ot 0 ring peed when mos uz weeded “es” someone hung he br on Chr, Lt woe ‘otha “oped” ein ean the ty af a sd that tins were often Wentied with yabole Two species won our inmate tet te gol Sach ad the mocking he goles th Seam tase “Bid ives" wh flowing Parkers ‘et, as benched ensayo Village bangs sey wal ends th dong he sth fd founenth cntunes symbole gaaiac fe Geet appeared in Bupa devational puting. An Speco sory hs ttt pon beng gency ed fora toy tie nfin Jesu troup mal tolfeasa gldGach. Ths the soa ny. frown ‘ied witha bight ed patch ou th tse oO 8 tisad yelow band ass wings bee tspeetatve of he ssl the Psa Sut. o mare very ite Reise a tbe te id became the bios yb of doth and he soul's immoral. Fo ou own purposes, howe is one poses jo poten Wi thao canarywhich sel or oso, the tole ot ‘The mocking imu poeta, is mae ‘romisng Peterson infor hes tong cones Fong sucrsions of es and phrase of peat 1 AP agi Language sd Composon Rdcaed Bam Bae 29 ‘aries, with each phase repeated half-dozen times ‘before going onto the nat,” tet the mockingbirds are “excellent mimics" who “adepdly imitates cone ‘or more species found inthe neighborhood,” and that they frequently sing at night-adesrition which not ‘only comes close to Paker’s way with a saoptone bbuteven bin ats tit of his characte. For although fe usualy sang a night, hs playing was characters ized by velocity, by lng-contnuod enccsions of ‘notes and pases, by swoops, lets, echoes, rapidly ‘epeatedbebops—I mean rebopped bebop by ‘mocking mimicry of other jassmen's sles, nd by interpolation of motifs from extraneous melas all of which added upto a dazaling display of wt ee, bbriesque and patos. Further, he was 8s expert lssong his improvisations from the dense brush ax ‘rom the exreme treetops ofthe harmon . snd thore was, without doubt, as irepresible ome «yin is personal conduct a in his music. Sen hn camera era mn imine hy dees “Agel msi sa amg 0485 asda ne a 40. As used inline 63, issing” best means (A) emerging (8) tominating (©) emiting (©) circulating (©) escaping 41. The speaker uses the mater of nickname asa 43, The passage most directly resembles the speaker's (A) symbol for the comfort Parker's devotees aeros of Puker'ssigieia is ‘erve ftom his memory (A) juxtaposition of disparate elements (@) method of dispensing with uncomplimen- (B) lyrical description of religion and art. | tary estimations of Parker (© blatant mimicy of other writer techniques (©) vebici for discussing problems inthe (D) relentless insistence ona single theme nomenclature of bids © reliance on abbreviated, staccato phases (D) pretext for characterizing Parker and is ‘musical technique (©) means of interjecting humor to temper the pathos surcunding Peer 42, The stance assumed by the speaker is moet similar towhich ofthe following? (A) An enieprencur seeking financial backing for anew product (®) A judge reprimanding lawyer fr improper conduct (©) A student weighing the decision about which college to attend (D) A scholar weighing the merits of various theories (© A teacher instructing clas on how to per- form an exercise A El agape ” (Questions 4454. Read the following passage will se gif and impact as verbs without the slightest caretlly before you choose your answers.

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