ENGLISH LITERATURE AND COMPOSITION

SECTION I
Time—1 hour

Directions: This section consists of selections from literary works and questions on their content, form, and style.
After reading each passage or poem, choose the best answer to each question and then fill in the corresponding circle
on the answer sheet.

Note: Pay particular attention to the requirements of questions that contain the words NOT, LEAST, or EXCEPT.

Questions 1-10. Read the following poem carefully 2. In lines 5-8 (“Why write . . . proceed?”), the
before you choose your answers. speaker most clearly implies that his poems
(A) have largely been published anonymously
Why is my verse so barren of new pride? (B) are notable for their imaginative use of nature
So far from variation or quick change? imagery
Why with the time do I not glance aside (C) explore themes that are timeless and
Line To new-found methods and to compounds strange? universal
5 Why write I still all one, ever the same, (D) have changed very gradually over the years
And keep invention in a noted weed, (E) are easily recognizable as his because of their
That every word doth almost tell my name, literary features
Showing their birth, and where they did proceed?
O know, sweet love, I always write of you, 3. “Their” and “they” (line 8) refer to which of the
10 And you and love are still my argument; following?
So all my best is dressing old words new,
Spending again what is already spent: (A) “methods” (line 4)
For as the sun is daily new and old, (B) “invention” (line 6)
So is my love, still telling what is told. (C) “noted weed” (line 6)
(D) “every word” (line 7)
(1609) (E) “my name” (line 7)

1. In context, the question in line 5 (“Why write . . .

ever the same”) conveys the speaker’s
(A) apparent self-reproach for using poetic
diction he has used before
(B) ambition to earn fame by being in the
vanguard of poetic movements
(C) yearning for a wider range of themes in order
to develop his poetic skill
(D) reluctant acknowledgement that he is no
longer as prolific as he once was
(E) disgust with his inability to write in a more
polished, conventional poetic form
4. The questions in the first eight lines of the poem
primarily serve to
(A) express genuine concern about a loss of
poetic skill
(B) illustrate a generalization about the
ephemeral nature of romantic love
(C) express frustration with the demands of
conventional poetry
(D) lament the use of artifice in most poetic
writing
(E) set up an assertion about the nature of the
poet’s love

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5. Line 10 (“And you . . . argument”) identifies 8. The poem’s final two lines do which of the
which of the following about the speaker? following?
(A) The abiding theme of his personal and (A) Reinforce the mood established in the
literary focus opening lines
(B) The jealousy he feels as a result of his (B) Compare the speaker’s beloved to a natural
devotion to his beloved phenomenon
(C) The degree to which his love is requited (C) Undercut the argument of the poem by
(D) His determination to convince others of his pointing out a logical inconsistency
sentiments (D) Present a simile that resolves a contradiction
(E) His tendency to question the depth and described in the preceding lines
sincerity of his own feelings (E) Interrupt a regular metric pattern to indicate a
change in subject matter
6. The image presented in line 11 (“So all . . . new”)
most significantly implies the speaker’s 9. The overall tone of the poem is best described as
(A) skill in presenting the same thoughts in (A) angry and combative
numerous poems (B) purposeful and heartfelt
(B) conviction that poetry is defined more by (C) whimsical and nonchalant
technique than substance (D) apprehensive and ambivalent
(C) ongoing concern that he has not found a (E) subdued and melancholic
successful medium
(D) sense of being stifled by idioms that appear 10. Which of the following best characterizes the
redundant development of the poem as a whole?
(E) celebration of the most traditional
(A) The speaker acknowledges a weakness in his
poetic forms
writing, only to turn this weakness into a
means of affirming his devotion to his
7. In line 12, the speaker compares the expression of
beloved.
romantic love to
(B) The speaker flaunts his familiarity with a rich
(A) political diplomacy array of literary resources, only to assert
(B) financial transactions that none of them can do justice to his
(C) legal negotiations beloved.
(D) an athletic competition (C) The speaker laments a flaw in his character,
(E) a spiritual awakening then seeks to gain his beloved’s sympathy
by emphasizing his wretchedness.
(D) The speaker asserts his indifference to
literary fashions, then argues that his
independence of mind makes him a more
faithful lover.
(E) The speaker expresses doubts about his
poetic talents, then reassures himself by
recalling the steadfast devotion of his
beloved.

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 Questions 11-21. Read the following passage
carefully before you choose your answers.
Thirty or so years after he arrived in London,
Chanu decided that it was time to see the sights. “All
I saw was the Houses of Parliament. And that was in
Line 1979.” It was a project. Much equipment was needed.
5 Preparations were made. Chanu bought a pair of
shorts which hung just below his knees. He tried them
on and filled the numerous pockets with a compass,
guidebook, binoculars, bottled water, maps, and two
types of disposable camera. Thus loaded, the shorts
10 hung at mid-calf. He bought a baseball cap and wore
it around the flat with the visor variously angled up
and down and turned around to the back of his head.
A money belt secured the shorts around his waist and
prevented them from reaching his ankles. He made
15 a list of tourist attractions and devised a star rating
system that encompassed historical significance,
something he termed “entertainment factor,” and
value for money. The girls would enjoy themselves.
They were forewarned of this requirement.
20 On a hot Saturday morning towards the end of July
the planning came to fruition. “I’ve spent more than
half my life here,” said Chanu, “but I hardly left these
few streets.” He stared out of the bus window at the
grimy colors of Bethnal Green Road. “All this time
25 I have been struggling and struggling, and I barely
had time to lift my head and look around.”
They sat at the front of the bus, on the top deck.
Chanu shared a seat with Nazneen and Shahana, and
Bibi sat across the aisle. Nazneen crossed her ankles
30 and tucked her feet beneath the seat to make way for
the two plastic carrier bags that contained their picnic.
“You’ll stink the bus out,” Shahana had said. “I’m not
sitting with you.” But she had not moved away.
“It’s like this,” said Chanu. “When you have all the
35 time in the world to see something, you don’t bother
to see it. Now that we are going home, I have become
a tourist.” He pulled his sunglasses from his forehead
onto his nose. They were part of the new equipment.
Nazneen looked down at his sandals, which were
40 also new. She regarded the thick yellow nails of his
big toes. The spongy head of a corn poked from
beneath the strap. She had neglected them, these feet.
She brushed an imaginary hair from her husband’s
shoulder.
45 He turned to the girls. “How do you like your
holiday so far?” Bibi said that she liked it very well,
and Shahana squinted and shuffled and leaned her
head against the window.
Chanu began to hum. He danced with his head,
50 which wobbled from side to side, and drummed out
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a rhythm on his thigh. The humming appeared to
come from low down in his chest and melded with
the general tune of the bus, vibrating on the bass
notes.
55 Nazneen decided she would make this day
unlike any other. She would not allow this day
to disappoint him.
The conductor came to collect fares. He had
a slack-jawed expression: nothing could interest him.
60 “Two at one pound, and two children please,” said
Chanu. He received his tickets. “Sightseeing,” he
announced, and flourished his guidebook. “Family
holiday.”
“Right,” said the conductor. He jingled his bag,
65 looking for change. He was squashed by his job.
The ceiling forced him to stoop.
“Can you tell me something? To your mind,
does the British Museum rate more highly than the
National Gallery? Or would you recommend gallery
70 over museum?”
The conductor pushed his lower lip out with his
tongue. He stared hard at Chanu, as if considering
whether to eject him from the bus.
“In my rating system,” explained Chanu, “they are
75 neck and neck. It would be good to take an opinion
from a local.”
“Where’ve you come from, mate?”
“Oh, just two blocks behind,” said Chanu. “But
this is the first holiday for twenty or thirty years.”
80 The conductor swayed. It was still early but the
bus was hot and Nazneen could smell his sweat.
He looked at Chanu’s guidebook. He twisted around
and looked at the girls. At a half-glance he knew
everything about Nazneen, and then he shook his head
85 and walked away.
Reprinted with the permission of Scribner, a Division of Simon &
Schuster, Inc., from BRICK LANE by Monica Ali. Copyright ©2003 by
Monica Ali. All rights reserved.
11. The description in lines 5-12 (“Chanu . . . head”)
implies that Chanu
(A) seeks to impress his new acquaintances in
the city
(B) does not normally wear such items
(C) has no idea what tourists actually wear
(D) would prefer to stay home rather than leave
the house
(E) prefers inexpensive to expensive clothing
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12. In line 17, the quotation marks around the phrase 17. Nazneen’s gesture in lines 43-44
“entertainment factor” imply that (“She . . . shoulder”) is one of
(A) none of the places Chanu wants to visit are (A) desperation
entertaining (B) affection
(B) the measurement is largely personal and (C) exasperation
idiosyncratic (D) determination
(C) the measurement is not as important as other (E) hopefulness
elements of the rating system
(D) Chanu has little faith that his rating system 18. The interaction between Chanu and his daughters
is actually worthwhile in lines 45-48 serves to
(E) Chanu’s primary wish is to entertain his
(A) show Chanu’s impatience for exciting events
daughters
to happen
(B) suggest that Chanu is more affectionate
13. In the first and the second paragraphs
toward his daughters than toward Nazneen
respectively, Chanu’s mood shifts from
(C) illustrate a contrast between Chanu’s two
(A) purposeful to reflective daughters
(B) idealistic to realistic (D) indicate Chanu’s regrets about his life
(C) practical to fantastical (E) foreshadow Chanu’s encounter with the
(D) self-confident to self-pitying conductor
(E) hopeful to disillusioned
19. Chanu’s attempt to converse with the conductor
14. The first sentence of the passage (lines 1-2) and in lines 67-76 indicates his
the words spoken by Chanu in lines 21-26
(A) insistence upon making decisions
indicate that he
systematically
(A) is largely apprehensive about the (B) preference for avoiding serious topics with
outside world strangers
(B) has had priorities other than pleasure (C) desire to befriend everyone he meets
for much of his life (D) indifference about the city in which he lives
(C) prefers avoiding the company of others (E) anxiety about social interactions
(D) secretly dislikes the city in which he lives
(E) finds it challenging to navigate city streets 20. During the exchange between Chanu and the
conductor in lines 77-79 (“Where’ve . . . years”),
15. Shahana’s complaints in lines 32-33 (“You’ll . . . Chanu most likely assumes that the conductor
you”) primarily suggest that she
(A) is taken aback by the clothes he is wearing
(A) wants to ruin her father’s project (B) has previously seen him traveling on this
(B) had wanted to eat at a restaurant instead bus route
(C) feels embarrassed by her family’s ways (C) incorrectly assumes he is a visiting tourist
(D) is jealous of Bibi (D) thinks the answers to his questions are
(E) is angered by her father’s passivity obvious
(E) shrewdly assesses the dynamic of his family
16. “She had neglected them, these feet” (line 42)
indicates that Nazneen’s attitude toward her 21. In its characterization of Chanu, the passage
husband is marked by all of the following conveys the
EXCEPT
(A) pathetic nature of his inability to see the
(A) deference and duty world as it really is
(B) tenderness and love (B) orderliness underlying his enthusiasm
(C) care and attentiveness (C) cruelty that motivates his seeming
(D) responsibility and guilt benevolence
(E) indifference and contempt (D) difficulty he has communicating with others
(E) necessity of his seeming extravagances

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