G R A D U A T E R E C O R D E X A M I N A T I O N S®
Literature
in English Test
Practice Book
This practice book contains
■ one actual, full-length GRE® Literature in English Test
■ test-taking strategies
Become familiar with
■ test structure and content
■ test instructions and answering procedures
Compare your practice test results with the performance of those who
took the test at a GRE administration.
www.ets.org/gre
Note to Test Takers: Keep this practice book until you receive your score report.
This book contains important information about scoring.
Copyright 䊚 2010 by Educational Testing Service. All rights reserved.
ETS, the ETS logos, GRADUATE RECORD EXAMINATIONS, and GRE are registered trademarks
of Educational Testing Service (ETS) in the United States and other countries.
Table of Contents
Purpose of the GRE Subject Tests ........................ 3
Development of the Subject Tests........................ 3
Content of the Literature in English Test ............ 4
Preparing for a Subject Test.................................. 6
Test-Taking Strategies .......................................... 6
What Your Scores Mean ....................................... 7
Practice GRE Literature in English Test .............. 9
Scoring Your Subject Test .................................. 75
Evaluating Your Performance ............................. 78
Answer Sheet...................................................... 79
Purpose of the
GRE Subject Tests
The GRE Subject Tests are designed to help graduate
school admission committees and fellowship sponsors
assess the qualiications of applicants in speciic ields
of study. The tests also provide you with an assessment
of your own qualiications.
Scores on the tests are intended to indicate
knowledge of the subject matter emphasized in many
undergraduate programs as preparation for graduate
study. Because past achievement is usually a good
indicator of future performance, the scores are helpful
in predicting success in graduate study. Because
the tests are standardized, the test scores permit
comparison of students from different institutions with
different undergraduate programs. For some Subject
Tests, subscores are provided in addition to the total
score; these subscores indicate the strengths and
weaknesses of your preparation, and they may help you
plan future studies.
The GRE Program recommends that scores on
the Subject Tests be considered in conjunction with
other relevant information about applicants. Because
numerous factors inluence success in graduate school,
reliance on a single measure to predict success is not
advisable. Other indicators of competence typically
include undergraduate transcripts showing courses
taken and grades earned, letters of recommendation,
and GRE General Test scores. For information about
the appropriate use of GRE scores, see the GRE Guide
to the Use of Scores at www.ets.org/gre/subject/scores/
understand.
Development of the
Subject Tests
Each new edition of a Subject Test is developed by a
Committee of Examiners composed of professors in
the subject who are on undergraduate and graduate
faculties in different types of institutions and in
different regions of the United States and Canada.
In selecting members for each Committee, the GRE
Program seeks the advice of appropriate professional
associations in the subject.
The content and scope of each test are speciied
and reviewed periodically by the Committee of
Examiners. Test questions are written by Committee
members and by other university faculty members
who are subject-matter specialists. All questions
proposed for the test are reviewed and revised by the
Committee and subject-matter specialists at ETS. The
tests are assembled in accordance with the content
speciications developed by the Committee to ensure
adequate coverage of the various aspects of the ield
and, at the same time, to prevent overemphasis on
any single topic. The entire test is then reviewed and
approved by the Committee.
LITERATURE IN ENGLISH TEST
PRACTICE BOOK
3
Subject-matter and measurement specialists on the
ETS staff assist the committee, providing information
and advice about methods of test construction and
helping to prepare the questions and assemble the test.
In addition, each test question is reviewed to eliminate
language, symbols, or content considered potentially
offensive, inappropriate for major subgroups of the testtaking population, or likely to perpetuate any negative
attitude that may be conveyed to these subgroups.
Because of the diversity of undergraduate curricula,
it is not possible for a single test to cover all the
material you may have studied. The examiners,
therefore, select questions that test the basic
knowledge and skills most important for successful
graduate study in the particular ield. The committee
keeps the test up-to-date by regularly developing new
editions and revising existing editions. In this way, the
test content remains current. In addition, curriculum
surveys are conducted periodically to ensure that the
content of a test relects what is currently being taught
in the undergraduate curriculum.
After a new edition of a Subject Test is irst
administered, examinees’ responses to each test
question are analyzed in a variety of ways to determine
whether each question functioned as expected. These
analyses may reveal that a question is ambiguous,
requires knowledge beyond the scope of the test, or
is inappropriate for the total group or a particular
subgroup of examinees taking the test. Such questions
are not used in computing scores.
Following this analysis, the new test edition is
equated to an existing test edition. In the equating
process, statistical methods are used to assess the
dificulty of the new test. Then scores are adjusted so
that examinees who took a more dificult edition of
the test are not penalized, and examinees who took
an easier edition of the test do not have an advantage.
Variations in the number of questions in the different
editions of the test are also taken into account in this
process.
Scores on the Subject Tests are reported as threedigit scaled scores with the third digit always zero.
4
The maximum possible range for all Subject Test total
scores is from 200 to 990. The actual range of scores
for a particular Subject Test, however, may be smaller.
For Subject Tests that report subscores, the maximum
possible range is 20 to 99; however, the actual range
of subscores for any test or test edition may be smaller.
Subject Test score interpretive information is provided
in Interpreting Your GRE Scores, which you will receive
with your GRE score report. This publication is
also available at www.ets.org/gre/subject/scores/
understand.
Content of the Literature
in English Test
Each edition of the test consists of approximately
230 questions on poetry, drama, biography, the essay,
the short story, the novel, criticism, literary theory and
the history of the language. Some questions are based
on short works reprinted in their entirety, some
on excerpts from longer works. The test draws on
literature in English from the British Isles, the United
States, and other parts of the world. It also contains
a few questions on major works, including the Bible,
translated from other languages.
The test emphasizes authors, works, genres,
and movements. The questions may be somewhat
arbitrarily classiied into two groups: factual and
critical. The factual questions may require a student
to identify characteristics of literary or critical
movements, to assign a literary work to the period
in which it was written, to identify a writer or work
described in a brief critical comment, or to determine
the period or author of a work on the basis of the style
and content of a short excerpt. The critical questions
test the ability to read a literary text perceptively.
Students are asked to examine a given passage of prose
or poetry and to answer questions about meaning, form
and structure, literary techniques, and various aspects
of language.
LITERATURE IN ENGLISH TEST
PRACTICE BOOK
The approximate distribution of questions
according to content categories is indicated by the
following outline.
I. Literary Analysis
40-55%
Questions that call on an ability to interpret given
passages of prose and poetry. Such questions may
involve recognition of conventions and genres,
allusions and references, meaning and tone,
grammatical structures and rhetorical strategies,
and literary techniques.
II. Identiication
15-20%
Recognition of date, author, or work by style and/
or content (for literary theory identiications see
IV below).
III. Cultural and Historical Contexts
20-25%
Questions on literary, cultural, and intellectual
history, as well as identiication of author or
work through a critical statement or biographical
information. Also identiication of details of
character, plot, or setting of a work.
IV. History and Theory of Literary Criticism 10-15%
Identiication and analysis of the characteristics
and methods of various critical and theoretical
approaches.
The literary-historical scope of the test follows the
distribution below.
1. Continental, Classical, and Comparative
Literature through 1925
5-10%
2. British Literature to 1660
(including Milton)
25-30%
3. British Literature 1660-1925
25-35%
4. American Literature through 1925
15-25%
5. American, British, and World
Literatures after 1925
20-30%
Because examinees tend to remember most vividly
questions that proved troublesome, they may feel
that the test has included or emphasized those areas
in which they are least prepared. Students taking the
GRE Literature in English Test should remember that
in a test of this many questions, much of the material
presents no undue dificulty. The very length and scope
of the examination eventually work to the beneit of
students and give them an opportunity to demonstrate
what they do know. No one is expected to answer
all the questions correctly; in fact, it is possible to
achieve the maximum score without answering all the
questions correctly.
The committee of examiners is aware of the
limitations of the multiple-choice format, particularly
for testing competence in literary study. An
examination of this kind provides no opportunity for
the student to formulate a critical response or support
a generalization, and, inevitably, it sacriices depth
to range of coverage. However, in a testing program
designed for a wide variety of students with differing
preparations, the use of a large number of short,
multiple-choice questions has proved to be the most
effective and reliable way of providing a fair and
valid examination.
The committee considers the test an instrument
by which to offer supplementary information about
students. In no way is the examination intended to
minimize the importance of the students’ college
records or the recommendations of the faculty
members who have had the opportunity to work
closely with the students. The committee assumes that
those qualities and skills not measured by a multiplechoice test are relected in a student’s academic record
and recommendations. However, the test may help to
place students in an international perspective or add
another dimension to their proiles.
A test intended to meet the needs of a particular
department should be constructed speciically to
measure the knowledge and skills the department
considers important. A standardized test, such as the
GRE Literature in English Test, allows comparisons
of students from different institutions with different
programs on one measure of competence in literature.
Ideally, a department should not only investigate
the relationships between the success of students in
advanced study and several measures of competence,
but also conduct a systematic evaluation of the test’s
predictive effectiveness after accumulating suficient
records of the graduate work of its students.
LITERATURE IN ENGLISH TEST
PRACTICE BOOK
5
Preparing for a Subject Test
GRE Subject Test questions are designed to measure
skills and knowledge gained over a long period of time.
Although you might increase your scores to some
extent through preparation a few weeks or months
before you take the test, last minute cramming is
unlikely to be of further help. The following
information may be helpful.
䡲 A general review of your college courses is
probably the best preparation for the test.
However, the test covers a broad range of subject
matter, and no one is expected to be familiar with
the content of every question.
䡲 Use this practice book to become familiar with
the types of questions in the GRE Literature in
English Test, taking note of the directions. If you
understand the directions before you take the
test, you will have more time during the test to
focus on the questions themselves.
Test-Taking Strategies
The questions in the practice test in this book
illustrate the types of multiple-choice questions in the
test. When you take the actual test, you will mark your
answers on a separate machine-scorable answer sheet.
Total testing time is two hours and ifty minutes; there
are no separately timed sections. Following are some
general test-taking strategies you may want to consider.
䡲 All questions are of equal value; do not waste
time pondering individual questions you ind
extremely dificult or unfamiliar.
䡲 You may want to work through the test quite
rapidly, irst answering only the questions about
which you feel conident, then going back and
answering questions that require more thought,
and concluding with the most dificult questions
if there is time.
䡲 If you decide to change an answer, make sure
you completely erase it and ill in the oval
corresponding to your desired answer.
䡲 Questions for which you mark no answer or more
than one answer are not counted in scoring.
䡲 Your score will be determined by subtracting
one-fourth the number of incorrect answers from
the number of correct answers. If you have some
knowledge of a question and are able to rule out
one or more of the answer choices as incorrect,
your chances of selecting the correct answer are
improved, and answering such questions is likely
to improve your score. It is unlikely that pure
guessing will raise your score; it may lower your
score.
䡲 Record all answers on your answer sheet.
Answers recorded in your test book will not be
counted.
䡲 Do not wait until the last ive minutes of a testing
session to record answers on your answer sheet.
䡲 Read the test directions carefully, and work as
rapidly as you can without being careless. For
each question, choose the best answer from the
available options.
6
LITERATURE IN ENGLISH TEST
PRACTICE BOOK
What Your Scores Mean
Your raw score—that is, the number of questions you
answered correctly minus one-fourth of the number
you answered incorrectly—is converted to the scaled
score that is reported. This conversion ensures that
a scaled score reported for any edition of a Subject
Test is comparable to the same scaled score earned
on any other edition of the same test. Thus, equal
scaled scores on a particular Subject Test indicate
essentially equal levels of performance regardless of
the test edition taken. Test scores should be compared
only with other scores on the same Subject Test. (For
example, a 680 on the Literature in English Test is not
equivalent to a 680 on the Mathematics Test.)
Before taking the test, you may ind it useful to know
approximately what raw scores would be required to
obtain a certain scaled score. Several factors inluence
the conversion of your raw score to your scaled score,
such as the dificulty of the test edition and the number
of test questions included in the computation of your
raw score. Based on recent editions of the Literature
in English Test, the following table gives the range of
raw scores associated with selected scaled scores for
three different test editions. (Note that when the
number of scored questions for a given test is greater
than the range of possible scaled scores, it is likely that
two or more raw scores will convert to the same scaled
score.) The three test editions in the table that follows
were selected to relect varying degrees of dificulty.
Examinees should note that future test editions may be
somewhat more or less dificult than the test editions
illustrated in the table.
Range of Raw Scores* Needed
to Earn Selected Scaled Score
on Three Literature in English Test Editions
That Differ in Difficulty
Raw Scores
Scaled Score
Form A
Form B
Form C
700
185-189
175-177
167-169
600
145-148
137-140
130-133
500
104-107
100-103
94-97
400
64-67
63-65
58-60
Number of Questions Used to Compute Raw Score
230
230
227
*Raw Score = Number of correct answers minus one-fourth the
number of incorrect answers, rounded to the nearest integer.
For a particular test edition, there are many ways to
earn the same raw score. For example, on the edition
listed above as “Form A,” a raw score of 104 through
107 would earn a scaled score of 500. Below are a few
of the possible ways in which a scaled score of 500
could be earned on that edition.
Examples of Ways to Earn
a Scaled Score of 500 on the Edition
Labeled as “Form A”
Raw
Score
Questions
Answered
Correctly
Questions
Answered
Incorrectly
Questions
Not
Answered
Number of
Questions
Used to
Compute
Raw Score
104
104
0
126
230
104
117
51
62
230
104
129
101
0
230
107
107
0
123
230
107
119
48
63
230
107
131
96
3
230
LITERATURE IN ENGLISH TEST
PRACTICE BOOK
7
Practice Test
To become familiar with how the administration will be conducted at the test
center, irst remove the answer sheet (pages 79 and 80). Then go to the back cover
of the test book (page 74) and follow the instructions for completing the identiication areas of the answer sheet. When you are ready to begin the test, note the time
and begin marking your answers on the answer sheet.
8
LITERATURE IN ENGLISH TEST
PRACTICE BOOK
FORM GR0764
64
GRADUATE RECORD EXAMINATIONS®
LITERATURE IN ENGLISH TEST
Do not break the seal
until you are told to do so.
The contents of this test are confidential.
Disclosure or reproduction of any portion
of it is prohibited.
THIS TEST BOOK MUST NOT BE TAKEN FROM THE ROOM.
Copyright © 2007, 2002, 1999, 1998 by Educational Testing Service. All rights reserved.
GRE, GRADUATE RECORD EXAMINATIONS, ETS, EDUCATIONAL TESTING
SERVICE and the ETS logos are registered trademarks of Educational Testing Service.
9
LITERATURE IN ENGLISH TEST
Time—170 minutes
230 Questions
Directions: Each of the questions or incomplete statements below is followed by five suggested answers or
completions. Select the one that is best in each case and then completely fill in the corresponding oval on the
answer sheet.
1. How can the prisoner reach outside except by
thrusting through the wall? To me the white whale
is that wall, shoved near to me. Sometimes I think
there’s naught beyond. But ’tis enough. He tasks
me; he heaps me; I see in him outrageous
strength, with an inscrutable malice sinewing it.
That inscrutable thing is chiefly what I hate; and
be the white whale agent, or be the white whale
principal, I will wreak that hate upon him.
3. This work was something genuinely new in the
world: the Great West Indian Novel, a vigorous,
prodigiously detailed account of the frustrating
life and early death of a struggling journalist in
Trinidad. It was both a robust portrait of a
peculiar community—the descendants of Uttar
Pradesh Brahmins who came west to Trinidad as
indentured laborers—and a vivid metaphor for
the colonial predicament itself.
The speaker of the lines above is
The passage above is from a discussion of
(A)
(B)
(C)
(D)
(E)
(A)
(B)
(C)
(D)
(E)
Queequeg
Father Mapple
Ishmael
Starbuck
Captain Ahab
Chinua Achebe’s Things Fall Apart
Leslie Marmon Silko’s Ceremony
Louise Erdrich’s Baptism of Desire
V. S. Naipaul’s A House for Mr. Biswas
Kingsley Amis’ Lucky Jim
2. And on the slope above the sea
The hard-handed peasants go their round
Turning the soil, blind to the body
Ambitious and viable, whose pride
Will leave no trace in the quenching tide.
The “body” (line 3) is the body of
(A)
(B)
(C)
(D)
(E)
Ulysses
Achilles
Icarus
Priam
Hector
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10
GO ON TO THE NEXT PAGE.
Questions 4-6 refer to the following critical
discussion of a fictional work.
Amiri Baraka has described the tradition of
leadership in the African American community in
terms of a call-and-response pattern analogous to that
of work songs composed during slavery. In this pattern,
a leader’s call invites a popular response, which then
alters or becomes the next call. As a result, the leading
voice always reflects both individual and community.
Jody’s big voice never issues a real call and will never
evoke a response because of his implicit elitism, which
the community recognizes immediately on his
arrival in Eatonville:
Jody: “Ain’t got no Mayor! Well, who tells y’all
what to do?”
Hicks: “Nobody. Everybody’s grown.”
Jody’s patriarchal, child-adult or superior-inferior
system finds only limited acceptance because it seeks
obedience instead of collaboration. The sharing of
knowledge essential to a community’s preservation of
its history and its continued growth relies on participatory forms. In Their Eyes Were Watching God, stories
or beginnings of stories “call” for adventure, for
response, for mutual creations.
4. The passage argues that work songs arose from
(A)
(B)
(C)
(D)
(E)
patriarchalism
political repression
communal interaction
elitism
racism
5. As a leader, Jody is represented as
(A)
(B)
(C)
(D)
(E)
progressive
resourceful
traditional
energetic
authoritarian
Questions 7-9 are based on the following passage.
Line
5
10
Be merry but with modesty, be sober but not too
solemn, be valiant but not too venturous. Let thy attire
be comely but not costly; thy diet wholesome but not
excessive; use pastime as the word importeth, to pass
the time in honest recreation; mistrust no man without
cause, neither be thou credulous without proof; be not
light to follow every man’s opinion, nor obstinate to
stand in thine own conceit. Serve God, love God, fear
God, and God will so bless thee as either heart can
wish or thy friend desire. And so I end my counsel,
beseeching thee to begin to follow it.
7. The verbs beginning the first three sentences—
Be (line 1), Let (line 2), and Serve (line 8)—are
in the
(A)
(B)
(C)
(D)
(E)
indicative
subjunctive
imperative
infinitive
optative
8. In lines 7-8, “to stand in thine own conceit” most
nearly means
(A)
(B)
(C)
(D)
(E)
to give yourself over to dissipations
to keep yourself aloof from others
to consider yourself superior to others
to hold inflexibly to your own viewpoint
to be duped by those who would prey upon
your vanity
9. The passage is echoed by Shakespeare in an
exchange between
(A)
(B)
(C)
(D)
(E)
Romeo and Mercutio
Polonius and Laertes
Othello and Iago
Lear and Cordelia
Falstaff and Bardolph
6. Jody is a character in a novel by
(A)
(B)
(C)
(D)
(E)
Alice Walker
Amiri Baraka
Ishmael Reed
Ernest Gaines
Zora Neale Hurston
Unauthorized copying or reuse of
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GO ON TO THE NEXT PAGE.
11
Questions 10-11 are based on the following
passage.
Line
5
10
Assuredly we bring not innocence into the world,
we bring impurity much rather; that which purifies us
is trial, and trial is by what is contrary. That virtue
therefore which is but a youngling in the contemplation of evil, and knows not the utmost that vice
promises to her followers, and rejects it, is but a blank
virtue, not a pure; her whiteness is but an excremental
whiteness; which was the reason why our sage and
serious poet -------, whom I dare be known to think
a better teacher than Scotus or Aquinas, describing
true temperance under the person of Guyon, brings
him in with his palmer through the cave of Mammon
and the bower of earthly bliss, that he might see and
know, and yet abstain.
10. The author of the passage and the poet mentioned
in line 9 are, respectively,
(A)
(B)
(C)
(D)
(E)
John Milton and Edmund Spenser
John Donne and Geoffrey Chaucer
Sir Thomas Browne and Sir Thomas Malory
Ben Jonson and William Shakespeare
Sir Francis Bacon and Sir Philip Sidney
11. The passage is best described as
(A) an exhortation to avoid contamination by vices
such as greed and lust
(B) an assertion of the superiority of childlike simplicity over learned sophistication
(C) a defense of the minor departures from temperance that are inevitable because of human
weakness
(D) a declaration of the importance of theology in
helping one to recognize virtue and vice
(E) an explanation of the role of evil in the development of virtue
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12
GO ON TO THE NEXT PAGE.
Questions 12-15 refer to the excerpts below. You may find it
helpful to read the questions before you read the excerpts.
(A) It was a bright cold day in April, and the clocks were
striking thirteen. Winston Smith, his chin muzzled into his
breast in an effort to escape the vile wind, slipped quickly
through the glass doors of Victory Mansions, though not
quickly enough to prevent a swirl of gritty dust from
entering along with him.
(B) In the late summer of that year we lived in a house in a
village that looked across the river and the plain to the
mountains. In the bed of the river there were pebbles and
boulders, dry and white in the sun, and the water was
clear and swiftly moving and blue in the channels.
(C) “The Bottoms” succeeded to “Hell Row.” Hell Row was
a block of thatched, bulging cottages that stood by the
brookside on Greenhill Lane. There lived the colliers
who worked in the little gin-pits two fields away. The
brook ran under the alder trees, scarcely soiled by these
small mines, whose coal was drawn to the surface by
donkeys that plodded wearily in a circle round a gin. And
all over the countryside were these same pits, some of
which had been worked in the times of Charles II, the
few colliers and the donkeys burrowing down like ants
into the earth, making queer mounds and little black
places among the corn-fields and the meadows.
(D) It was a dark and stormy night; the rain fell in torrents—
except at occasional intervals, when it was checked by a
violent gust of wind which swept up the streets (for it is
in London that our scene lies), rattling along the
housetops and fiercely agitating against the scanty flame
of the lamps, that struggled against the darkness.
(E) Many years later, as he faced the firing squad, Colonel
Aureliano Buendía was to remember that distant
afternoon when his father took him to discover ice.
12. Which begins Lawrence’s Sons and Lovers ?
13. Which begins Hemingway’s A Farewell to Arms ?
14. Which begins García Márquez’ One Hundred Years of
Solitude ?
15. Which begins Orwell’s 1984 ?
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13
Questions 16-20 are based on the following
passage.
Line
5
10
15
20
“Perhaps I may allow, the Dean
Had too much satire in his vein;
And seem’d determin’d not to starve it,
Because no age could more deserve it.
Yet, malice never was his aim;
He lash’d the vice, but spar’d the name.
No individual could resent,
Where thousands equally were meant.
His satire points at no defect,
But what all mortals may correct:
For he abhorr’d that senseless tribe,
Who call it humour when they jibe:
He spar’d a hump, or crooked nose,
Whose owners set not up for beaux.
True genuine dullness mov’d his pity,
Unless it offer’d to be witty.
Those, who their ignorance confess’d,
He ne’er offended with a jest;
But laugh’d to hear an idiot quote,
A verse from Horace, learn’d by rote.”
16. The passage distinguishes between
(A) poetic affectation and crusading journalism
(B) devotion to public service and pursuit of
personal gain
(C) neoclassical observance of convention and
romantic self-expression
(D) general satire intended to reform and personal
attack intended to injure
(E) humor that is meant to divert and scholarship
that is meant to instruct
Unauthorized copying or reuse of
any part of this page is illegal.
14
17. According to the passage the Dean was especially
motivated to
(A)
(B)
(C)
(D)
(E)
deflate the pretentious
defend the weak
decry the sacrilegious
deplore the uneducated
denounce the heretical
18. The word “dullness” in line 15 can best be
paraphrased as
(A)
(B)
(C)
(D)
(E)
rashness
stupidity
laziness
ugliness
insensitivity
19. The speaker defends the Dean from the charge
that he was
(A)
(B)
(C)
(D)
(E)
pedantic
boastful
spiteful
esoteric
masochistic
20. The writer described is
(A)
(B)
(C)
(D)
(E)
Donne
Swift
Pope
Johnson
Byron
GO ON TO THE NEXT PAGE.
21. In a single half decade, -------, a literary culture
considered an offshoot of England’s displayed
in rapid order Emerson’s Representative Men,
Hawthorne’s The Scarlet Letter and The House
of the Seven Gables, Melville’s Moby-Dick and
Pierre, Stowe’s Uncle Tom’s Cabin, Thoreau’s
Walden, and Whitman’s Leaves of Grass.
The date that will correctly complete line 1 is
(A)
(B)
(C)
(D)
(E)
22. Who is the author of The Dialogic Imagination,
Problems of Dostoevsky’s Poetics, and Rabelais
and His World ?
(A)
(B)
(C)
(D)
(E)
Mikhail Bakhtin
Roland Barthes
Jean-François Lyotard
Michel Foucault
Edward W. Said
1700-1705
1750-1755
1800-1805
1850-1855
1900-1905
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15
Questions 23-26. For each of the passages below, indicate which
of the following terms correctly completes the statement.
(A)
(B)
(C)
(D)
(E)
New Criticism
Deconstruction
Structuralism
Phenomenological Criticism
Reception Theory
23. ------- insisted that the author’s intentions in writing, even if
they could be recovered, were of no relevance to the interpretation of the text. Neither were the emotional responses of
particular readers to be confused with the poem’s meaning:
the poem meant what it meant, regardless of the poet’s intentions or the subjective feelings of the reader. Meaning was
public and objective, inscribed in the very language of the
literary text.
24. In ------- there is no “objective” work of literature lying on the
seminar table: Bleak House is simply the assorted accounts of
the novel that have been given or will be given. The true writer
is the reader. Reading is not a matter of discovering what the
text means, but a process of experiencing what it does to you.
25. ------- flourished in the 1960s as an attempt to apply to
literature the methods and insights of modern linguistics and
anthropology. It largely ignored what signs actually “say” and
concentrated instead on their internal relations to one another.
You can view a poem, a wrestling match, a system of tribal
kinship, or a restaurant menu as a system of signs: the aim is
to isolate the underlying set of laws by which these signs are
combined into meanings.
26. This form of criticism was in part a movement away from
seeing the work as a closed entity, equipped with definite
meanings, toward seeing it as irreducibly plural, an endless
play of signifiers which can never finally be nailed down to
a single center, essence, or meaning. Rather than carve up a
text into binary oppositions, ------- tries to show how such
oppositions, in order to hold themselves in place, are sometimes betrayed into inverting or collapsing themselves. The
niggling and self-contradictory details once banished to the
text’s margins return to plague the critic.
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Questions 27-29 refer to the excerpts below. You may find it
helpful to read the questions before you read the excerpts.
(A) Methought I stood where trees of every clime,
Palm, myrtle, oak, and sycamore, and beech,
With plantane, and spice blossoms, made a screen;
In neighbourhood of fountains, by the noise
Soft showering in mine ears, and, by the touch
Of scent, not far from roses.
(B) Nor where Abassin kings their issue guard,
Mount Amara (though this by some supposed
True Paradise), under the Ethiop line
By Nilus’ head, enclosed with shining rock,
A whole day’s journey high, but wide remote
From this Assyrian garden, where the fiend
Saw undelighted all delight, all kind
Of living creatures, new to sight and strange.
(C) And in the midst of all, a fountaine stood,
Of richest substaunce, that on earth might bee,
So pure and shiny, that the silver flood
Through every channell running one might see;
Most goodly it with curious imageree
Was over-wrought, and shapes of naked boyes,
Of which some seemd with lively jollitee,
To fly about, playing their wanton toyes,
Whilest others did them selves embay in liquid joyes.
(D) So twice five miles of fertile ground
With walls and towers were girdled round:
And there were gardens bright with sinuous rills,
Where blossomed many an incense-bearing tree;
And here were forests ancient as the hills,
Enfolding sunny spots of greenery.
(E) Here waving groves a chequered scene display,
And part admit, and part exclude the day;
As some coy nymph her lover’s warm address
Nor quite indulges, nor can quite repress.
There, interspersed in lawns and opening glades,
Thin trees arise that shun each other’s shades.
27. Which lines occur in a description of the Bower of Bliss?
28. Which lines occur in a description of the Garden of Eden?
29. Which lines occur in a description of Xanadu?
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17
Questions 30-32 are based on the following
passage.
It is true that the original of this story is put into
new words, and the style of the famous lady we here
speak of is a little altered; particularly she is made to
tell her own tale in modester words than she told it at
first, the copy which came first to hand having been
written in language more like one still in Newgate
than one grown penitent and humble, as she afterwards pretends to be.
30. The writer contends that the narrative is
(A)
(B)
(C)
(D)
(E)
authentic although expurgated
ancient although still relevant
a scholarly translation of a corrupt text
a cleverly executed forgery
a morally instructive allegory
31. Newgate refers to a
(A)
(B)
(C)
(D)
(E)
33. It is the silent exchange between Lily Briscoe and
Mrs. Ramsay that informs the book. Lily has her
work, but she has misgivings about exercising her
own powers and is sometimes tempted to fall back
into the Mrs. Ramsay inside herself. Mrs. Ramsay,
at the center of the family, has the safety of her
position as wife and mother, but she is occasionally
depressed and angry, an abstraction to herself.
Each needs the other to complete the dynamic that
runs like a current beneath the surface of the prose.
The question being asked is: Where is the world?
Without or within? The characters who become
the question are Lily and Mrs. Ramsay.
The book discussed above is
(A)
(B)
(C)
(D)
(E)
Woolf’s To the Lighthouse
Cather’s The Professor’s House
Nabokov’s Ada
Lawrence’s The Rainbow
Austen’s Sense and Sensibility
seaport
village
prison
charity school
fashionable neighborhood
32. The “famous lady” is
(A)
(B)
(C)
(D)
(E)
Becky Sharp
Edna Pontellier
Hester Prynne
Moll Flanders
Clarissa Harlowe
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Questions 34-35 are based on the following
passage.
Line
5
10
If one were asked to provide a single explanation
for the growth of English studies in the late nineteenth
century, one could do worse than reply, “the failure of
religion.” As religion progressively ceases to provide
the social “cement,” affective values and basic mythologies by which a socially turbulent class-society can be
welded together, “English” is constructed as a subject
to carry this ideological burden from the Victorian
period onward. The key figure here is -------. . . .
The urgent social need, as ------- recognizes, is to
“Hellenize” or cultivate the philistine middle class,
who have proved unable to underpin their social and
economic power with a suitably rich and subtle
ideology.
34. The writer whose name has been omitted from the
last two sentences is
(A)
(B)
(C)
(D)
(E)
Robert Browning
Alfred, Lord Tennyson
Matthew Arnold
John Ruskin
William Morris
35. The “urgent social need” discussed in line 10 is to
infuse society with the values characteristic of the
ancient
(A)
(B)
(C)
(D)
(E)
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Chaldeans
Helots
Hittites
Hebrews
Greeks
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19
Questions 36-38 are based on the following passage.
Well, and it was graceful of them—they’d break talk off and afford
—She, to bite her mask’s black velvet—he, to finger on his sword,
While you sat and played toccatas, stately at the clavichord?
Line
5
What? Those lesser thirds so plaintive, sixths diminished, sigh on sigh,
Told them something? Those suspensions, those solutions—“Must we die?”
Those commiserating sevenths—“Life might last! We can but try!”
“Were you happy?”—“Yes.”—“And are you still as happy?”—“Yes. And you?”
—“Then, more kisses!”—“Did I stop them, when a million seemed so few?”
Hark, the dominant’s persistence till it must be answered to!
10
So, an octave struck the answer. Oh, they praised you, I dare say!
“Brave Galuppi! that was music; good alike at grave and gay!
I can always leave off talking when I hear a master play.”
36. The lines present a Venetian man and woman
(A)
(B)
(C)
(D)
(E)
taking a gondola ride
watching a play
attending a musical performance
going to church
reading a romance together
38. The use of complex narrative voices in the poem
suggests that the author also wrote
(A)
(B)
(C)
(D)
(E)
“The Canonization”
“Corinna’s Going A-Maying”
“My Last Duchess”
“Goblin Market”
“Gerontion”
37. The speakers in lines 7-8 are
(A)
(B)
(C)
(D)
(E)
the he and she of line 2
the narrator and his lover
the poet and his future readers
Galuppi and the master of line 12
Galuppi and his Muse
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20
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39. “The Panopticon is a machine for dissociating
the see/being seen dyad: in the peripheric ring,
one is totally seen, without ever seeing; in the
central tower, one sees everything without ever
being seen.”
From which of the theoretical paradigms listed
below does the preceding statement derive?
(A) Laura Mulvey’s notion of visual pleasure
in the cinema
(B) Jacques Lacan’s idea of “mirror stage”
(C) Michel Foucault’s theory of discipline
(D) Jacques Derrida’s conception of “spacing”
(E) Judith Butler’s conception of “drag”
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40. The daughter of Minos, ------- provided the hero
------- with a ball of string that allowed him to trace
his way back to the light of day after slaying the
Minotaur in the Labyrinth.
Which of the following will correctly complete
the sentence?
(A)
(B)
(C)
(D)
(E)
Helen . . Paris
Andromeda . . Perseus
Eurydice . . Orpheus
Daphne . . Apollo
Ariadne . . Theseus
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21
Questions 41-44 are based on the following
passage.
Line
5
10
15
20
25
Her attitude toward the great man’s memory struck
Danyers as perfect. She neither proclaimed nor disavowed her identity. She was frankly Silvia to those
who knew and cared. . . . She spoke often of Rendle’s
books, but seldom of himself; there was no posthumous conjugality, no use of the possessive tense, in
her abounding reminiscences. Of the master’s intellectual life, of his habits of thought and work, she never
wearied of talking. She knew the history of each
poem; by what scene or episode each image had been
evoked; how many times the words in a certain line
had been transposed. . . .
Danyers felt that in talking of these things she was
no mere echo of Rendle’s thought. If her identity had
appeared to be merged in his it was because they
thought alike, not because he had thought for her.
Posterity is apt to regard the women whom poets
have sung as chance pegs, on which they hung their
garlands; but Mrs. Anerton’s mind was like some
fertile garden wherein, inevitably, Rendle’s imagination had rooted itself and flowered. Danyers began to
see how many threads of his complex mental tissue
the poet had owed to the blending of her temperament
with his; in a certain sense Silvia had herself created
the Sonnets to Silvia.
42. In context, the closest equivalent for “conjugality”
(line 6) is
(A)
(B)
(C)
(D)
(E)
speculation on the effect of a death
refusal to accept the fact of death
use of the past tense of a verb
disapproval of cohabitation without marriage
display of intimate ties
43. In context, the phrase “chance pegs, on which
they hung their garlands” (lines 18-19) suggests
that the female subjects of love poems are often
seen as
(A) seeking immortality in the poems that celebrate them
(B) mere occasions for the poet’s creative
expression
(C) flowers in the fullness of their bloom
(D) besieged by numerous admirers
(E) indifferent to the poet’s passion
44. The second paragraph likens the relationship
between Rendle and Mrs. Anerton to that between
(A)
(B)
(C)
(D)
(E)
plant and soil
sound and echo
flower and garland
thread and needle
page and book
—Edith Wharton
41. The first paragraph describes Danyers’ admiring
approval of Mrs. Anerton’s
(A) naïveté and sophistication
(B) affirmation and denial
(C) knowledgeability and freedom from
possessiveness
(D) wit and ability to make distinctions
(E) self-abasement and worshipful admiration
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22
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Questions 45-47 refer to the following passage.
What dire offence from amorous causes springs,
What mighty contests rise from trivial things,
I sing—This verse to CARYLL, Muse! is due;
This, even Belinda may vouchsafe to view:
Slight is the subject, but not so the praise,
If she inspire, and he approve my lays.
45. The passage appears in
(A)
(B)
(C)
(D)
(E)
a sentimental comedy
a pastoral elegy
a fabliau
a mock epic
an interlude
46. In the poem, the passage occurs
(A)
(B)
(C)
(D)
(E)
at the beginning
in a digression
at the climax
in the denouement
in an epilogue
47. The author is
(A)
(B)
(C)
(D)
(E)
Dryden
Byron
Goldsmith
Swift
Pope
48. The story is grounded in the forbidden nature
of Aschenbach’s obsession with a young boy; its
author ultimately links the obsession with death,
disease, and esthetic disintegration.
The author of the story discussed above is
(A)
(B)
(C)
(D)
(E)
Goethe
Mann
Neruda
Borges
Proust
49. All of the following were published during the
1920s EXCEPT
(A)
(B)
(C)
(D)
(E)
F. Scott Fitzgerald’s The Great Gatsby
Virginia Woolf’s Mrs. Dalloway
T.S. Eliot’s The Waste Land
Henry James’s The Golden Bowl
E.M. Forster’s A Passage to India
50. All of the following were published during the
1960s EXCEPT
(A)
(B)
(C)
(D)
(E)
Truman Capote’s In Cold Blood
Salman Rushdie’s The Satanic Verses
Thomas Pynchon’s V.
Philip Roth’s Portnoy’s Complaint
The Autobiography of Malcolm X
51. For writers of the late seventeenth and early
eighteenth centuries, verse was primarily a
vehicle for argumentation. It is no coincidence
that of the two greatest poets of the age, one
devoted himself to an epic dealing with the Fall
of Man; the other, in two of his poems, presented
an explication through Biblical allegory of the
Exclusion Crisis of 1681 (-------) and a warmly,
intelligently argued debate—also allegorical—
between the Church of Rome and the Church of
England (-------).
Which of the following will correctly complete
the passage above?
(A)
(B)
(C)
(D)
(E)
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Rasselas and The Vanity of Human Wishes
An Essay on Man and An Essay on Criticism
L’Allegro and Il Penseroso
Religio Medici and Urn-Burial
Absalom and Achitophel and The Hind and
the Panther
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23
Questions 52-54 refer to the following poem.
Questions 55-56 are based on the following
passage.
so much depends
upon
a red wheel
barrow
Line
5
Line
5
glazed with rain
water
beside the white
chickens
52. The poet also made which of the following
statements?
(A) “No ideas but in things.”
(B) “Poetry is the spontaneous overflow of
powerful feelings.”
(C) “Poetry reconciles man with himself and the
universe.”
(D) “Poetry is not a turning loose of emotion, but
an escape from emotion.”
(E) “What the imagination seizes as beauty must
be truth.”
53. The poem most closely resembles which of the
following poetic forms?
(A)
(B)
(C)
(D)
(E)
10
My vegetable love should grow
Vaster than empires, and more slow,
An hundred years should go to praise
Thine eyes, and on thy forehead gaze;
Two hundred to adore each breast:
But thirty thousand to the rest;
An age at least to every part,
And the last age should show your heart,
For, lady, you deserve this state,
Nor would I love at lower rate.
55. In his attempt to impress the lady, the speaker
resorts to
(A)
(B)
(C)
(D)
(E)
bathos
self-pity
understatement
intimidation
hyperbole
56. The author is
(A)
(B)
(C)
(D)
(E)
Housman
Herrick
Marvell
Tennyson
Lovelace
Ode
Eclogue
Villanelle
Limerick
Haiku
54. During which of the following decades was the
poem composed?
(A)
(B)
(C)
(D)
(E)
1881-1890
1901-1910
1921-1930
1951-1960
1971-1980
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24
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Questions 57-59 are based on the following
passage.
Donald Barthelme died just after completing
The King, so it would hardly be just to blame him
for what his publishers put on the book jacket. Still,
“brilliantly innovative” is more than usually inaccurate, for there is a long and distinguished tradition of
exploiting the comic possibilities in chivalric romance,
especially Arthurian, which extends from Barthelme
and Monty Python back through (1) to (2)
or even Chaucer’s (3) .
57. Which of the following best completes the
passage at (1) ?
(A)
(B)
(C)
(D)
(E)
Crane
Dreiser
Poe
Howells
Twain
58. Which of the following best completes the
passage at (2) ?
(A)
(B)
(C)
(D)
(E)
Cervantes’ Don Quixote
Corneille’s Le Cid
Molière’s Tartuffe
Rabelais’ Pantagruel
Voltaire’s Candide
59. Which of the following best completes the
passage at (3) ?
(A)
(B)
(C)
(D)
(E)
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“The Parson’s Tale”
“The Clerk’s Tale”
“The Nun’s Priest’s Tale”
“The Pardoner’s Tale”
“Tale of Sir Thopas”
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25
60. Arthur that y-herde, wrathest kinge,
That Modred wes i Cornwale mid muchele mon-weorede,
And ther wolde abiden that Arthur come riden.
The passage above is best paraphrased by which of the
following?
(A) Arthur, that hard-hearted and devious King that Modred
was wearily fighting, came riding to the place where
Modred abided.
(B) Arthur heard him, the wrathful King, that was in league
with Modred and Cornwall and although he was weary
rode out against him.
(C) Arthur, the shepherd, was angered at the King who came
from Modred in Cornwall, and remained in his house
feeling full of wrath.
(D) King Arthur, greatly angered, heard that Modred was in
Cornwall with a great host of men, and that he intended
to stay there until Arthur came riding toward him.
(E) King Arthur brought together his flock and laid waste a
large area from Modred to Cornwall and then decided
to build a castle there.
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26
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61. “To refer to symbols as ‘Lacanian symbols,’ to
dub self-doubt ‘Lacanian self-doubt,’ and to call
reflections in a mirror ‘Lacanian reflections’ is not
to read the novel from a perspective informed by
Lacan. Nor do parenthetical references to Barthes’
hermeneutic code and Foucault’s analysis of
sexual discourse constitute an interpretation
necessarily different from that of traditional
humanist criticism.”
Questions 62-64 are based on the following
passage.
Line
5
The author of the passage is objecting to
critics who
(A) try to force a parallel between recent critical
approaches and traditional humanist criticism
(B) rely too heavily for their literary insights on
concepts borrowed from such disciplines as
psychology and history
(C) decoratively apply the names and terminology
of recent critical theories without employing
the methodology
(D) attempt to reduce the study of literature to a
hunt for coded messages and symbols
(E) stubbornly maintain a traditional notion of the
role of criticism while refusing to acknowledge new theoretical developments
10
As an unperfect actor on the stage,
Who with his fear is put beside his part,
Or some fierce thing replete with too much rage,
Whose strength’s abundance weakens his own heart;
So I for fear of trust forget to say
The perfect ceremony of love’s rite,
And in mine own love’s strength seem to decay,
O’ercharged with burthen of mine own love’s might.
O let my books be then the eloquence
And dumb presagers of my speaking breast,
Who plead for love and look for recompense
More than that tongue that more hath more expressed.
O learn to read what silent love hath writ,
To hear with eyes belongs to love’s fine wit.
62. Which of the following best describes lines 1-4 ?
(A) Two comparisons to the speaker are made;
both are cases in which emotion in some way
impairs the person experiencing it.
(B) A comparison of an actor to a fierce animal
describes and renders dramatic the speaker’s
inchoate feelings.
(C) Aware of his own mortality, the speaker finds
it difficult to be courageous and forceful.
(D) The speaker believes himself to be playing a
part; he no longer feels the emotions he
expresses.
(E) The speaker is compared to an incompetent
poseur who fails to convince the very people
he seeks to impress.
63. The choice between my and mine in lines 7, 8, 9,
and 10 rests on the same rationale as the Modern
English choice between
(A)
(B)
(C)
(D)
(E)
they and them
like and as
their and theirs
may and might
a and an
64. The best paraphrase of “dumb presagers”
(line 10) is
(A)
(B)
(C)
(D)
(E)
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stupid fortune-tellers
mute portents
false eloquence
voiceless agonies
meritorious dullness
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27
Questions 65-68 are based on the following
passage.
Line
5
10
15
Orientalism is a style of thought based upon an
ontological and epistemological distinction made
between “the Orient” and (most of the time) “the
Occident.” . . . Orientalism can be discussed and
analyzed as the corporate institution for dealing with
the Orient—dealing with it by making statements
about it, authorizing views of it, describing it, by
teaching it, settling it, restructuring, and having
authority over the Orient. . . . Without examining
Orientalism as a discourse one cannot possibly
understand the enormously systematic discipline by
which European culture was able to manage—and
even produce—the Orient politically, sociologically,
militarily, ideologically, scientifically, and imaginatively during the post-Enlightenment period.
66. The term “Orientalism” is most closely associated
with the theories of
(A)
(B)
(C)
(D)
(E)
structuralism
deconstruction
Marxism
new historicism
postcolonialism
67. In calling Orientalism a “discourse” (line 10), the
author draws on the terminology most closely
associated with
(A)
(B)
(C)
(D)
(E)
Michel Foucault
Jacques Lacan
Jacques Derrida
Gayatri Spivak
Julie Kristeva
68. The author is
65. The passage argues that
(A) the Orient and the Occident are exact
opposites of each other
(B) Orientalism as a discipline does not receive
sufficient corporate funding
(C) European scholars have focused on the
sociopolitical realities of the Orient
(D) European universities do not have enough
classes in Eastern culture
(E) Europeans remake the Orient in attempting
to understand it
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28
(A)
(B)
(C)
(D)
(E)
Stanley Fish
Luce Irigaray
Sara Suleri
Edward Said
Wolfgang Iser
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Questions 69-70 are based on the following
passage.
“Cædmon, sing me hwæthwugu.” þa andswarede
he and cwæð: “Ne can ic noht singan. . . .” Eft he
cwaæð, se ðe mid hine sprecende wæs: “Hwæðre
þu meaht me singan.” þa cwæð he: “Hwæt sceal ic
singan?” Cwæð he: “Sing me frumsceaft.”
69. The dialogue is an exchange between
(A)
(B)
(C)
(D)
(E)
Chaucer and Gower
Alfred and Alcuin
a Viking and a churl
a herdsman and a man in a dream
an abbess and the ghost of a monk
70. The piece of literature that resulted from the
exchange was
(A)
(B)
(C)
(D)
(E)
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an alliterative hymn
a saint’s life
a battle epic
a romantic ballad
a satirical allegory
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29
Questions 71-84. For each of the following passages, identify the author or the work. Base your decision on
the content and style of each passage.
71. The arrangement of our houses ought surely to
express the kind of life we lead, or desire to lead.
. . . For us to set to work to imitate the minor vices
of the Borgias, or the degraded and nightmare
whims of the blasé and bankrupt French aristocracy
of Louis the Fifteenth’s time, seems to me merely
ridiculous. So I say our furniture should be good
citizens’ furniture, solid and well made in workmanship, and in design should have nothing
about it that is not easily defensible.
(A)
(B)
(C)
(D)
(E)
Morris
Arnold
Carlyle
Newman
Lyly
72. What is now called the nature of women is an
eminently artificial thing—the result of forced
repression in some directions, unnatural stimulation in others . . . for the benefit and pleasure of
their masters . . . . Then, because certain products
of the general vital force sprout luxuriantly and
reach a great development in this heated atmosphere and under this active nurture and watering,
while other shoots from the same root, which are
left outside in the wintry air, with ice purposely
heaped all round them, have a stunted growth, and
some are burnt off with fire and disappear; men,
with that inability to recognise their own work . . .
believe that the tree grows of itself the way they
have made it grow.
(A)
(B)
(C)
(D)
(E)
Ruskin
Lamb
Carlyle
Macaulay
Mill
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30
73.
A SOUND
Elephant beaten with candy and little pops
and chews all bolts and reckless rats, this is this.
CUSTARD
Custard is this. It has aches, aches when.
Not to be narrowly. This makes a whole little hill.
It is better than a little thing that has mellow real
mellow. It is better than lakes whole lakes, it is
better than seeing.
CHICKEN
Alas a dirty word, alas a dirty bird, alas a dirty
third.
(A)
(B)
(C)
(D)
(E)
Gertrude Stein
Marianne Moore
Wallace Stevens
W.H. Auden
T.S. Eliot
74. There died a myriad,
And of the best, among them,
For an old bitch gone in the teeth,
For a botched civilization,
Charm, smiling at the good mouth,
Quick eyes gone under earth’s lid,
For two gross of broken statues,
For a few thousand battered books.
(A)
(B)
(C)
(D)
(E)
Ezra Pound
Robert Frost
William Carlos Williams
Sylvia Plath
A.E. Housman
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75. “To sum up: your father, whom you love, dies,
you are his heir, you come back to find that hardly
was the corpse cold before his young brother
popped on to his throne and into his sheets, thereby
offending both legal and natural practice. Now why
are you behaving in this extraordinary manner?”
“I can’t imagine!”
(A) O’Neill’s The Emperor Jones
(B) Pirandello’s Six Characters in Search of an
Author
(C) Pinter’s The Homecoming
(D) Beckett’s Endgame
(E) Stoppard’s Rosencrantz and Guildenstern are
Dead
76. It was on a dreary night of November, that I beheld
the accomplishment of my toils. With an anxiety
that almost amounted to agony, I collected the
instruments of life around me, that I might infuse
a spark of being into the lifeless thing that lay at
my feet. It was already one in the morning; the
rain pattered dismally against the panes, and my
candle was nearly burnt out.
(A)
(B)
(C)
(D)
(E)
77. But the age of chivalry is gone.—That of sophisters, economists, and calculators, has succeeded;
and the glory of Europe is extinguished for ever.
Never, never more, shall we behold that generous
loyalty to rank and sex, that proud submission, that
dignified obedience, that subordination of the heart,
which kept alive, even in servitude itself, the spirit
of an exalted freedom. The unbought grace of life,
the cheap defence of nations, the nurse of manly
sentiment and heroic enterprize is gone! It is gone,
that sensibility of principle, that chastity of honour,
which felt a stain like a wound, which inspired
courage whilst it mitigated ferocity, which ennobled whatever it touched, and under which vice
itself lost half its evil, by losing all its grossness.
(A)
(B)
(C)
(D)
(E)
Samuel Johnson
Edmund Burke
Thomas Paine
Mary Wollstonecraft
Walter Pater
Conrad’s Lord Jim
Radcliffe’s The Mysteries of Udolpho
Hawthorne’s The House of the Seven Gables
Dickens’ Great Expectations
Shelley’s Frankenstein
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31
78. The IMAGINATION, then, I consider either as
primary, or secondary. The primary IMAGINATION I hold to be the living power and prime
agent of all human perception, and as a repetition
in the finite mind of the eternal act of creation in
the infinite I AM. The secondary I consider as an
echo of the former, coexisting with the conscious
will, yet still as identical with the primary in the
kind of its agency, and differing only in degree,
and in the mode of its operation. It dissolves, diffuses, dissipates, in order to re-create; or where
this process is rendered impossible, yet still, at all
events, it struggles to idealize and to unify. It is
essentially vital, even as all objects (as objects)
are essentially fixed and dead.
(A)
(B)
(C)
(D)
(E)
Coleridge
Addison
Dryden
Arnold
Eliot
79. Once upon a time and a very good time it was
there was a moocow coming down along the
road and this moocow that was coming down
along the road met a nicens little boy named
baby tuckoo. . . .
His father told him that story: his father looked
at him through a glass: he had a hairy face.
He was baby tuckoo. The moocow came down
the road where Betty Byrne lived: she sold lemon
platt.
(A) Joyce’s A Portrait of the Artist as a Young
Man
(B) Beckett’s Watt
(C) Lawrence’s The Rainbow
(D) Vonnegut’s Cat’s Cradle
(E) Faulkner’s As I Lay Dying
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32
80. Such fools are we, she thought, crossing Victoria
Street. For Heaven only knows why one loves it so,
how one sees it so, making it up, building it round
one, tumbling it, creating it every moment afresh;
but the veriest frumps, the most dejected of miseries sitting on doorsteps (drink their downfall) do
the same; can’t be dealt with, she felt positive, by
Acts of Parliament for that very reason: they love
life. In people’s eyes, in the swing, tramp, and
trudge; in the bellow and the uproar; the carriages,
motor cars, omnibuses, vans, sandwich men shuffling and swinging; brass bands; barrel organs; in
the triumph and the jingle and the strange high
singing of some aeroplane overhead was what
she loved; life, London, this moment of June.
(A)
(B)
(C)
(D)
(E)
Edith Wharton
Kate Chopin
Doris Lessing
Virginia Woolf
Katherine Anne Porter
81. Up, and to the office. This day I hear that Prince
Rupert is to be trepanned—God give good issue
to it. . . . This night comes home my new Silver
Snuffe-dish which I do give myself for my closet;
which is all I purpose to bestow in plate of myself
or shall need many a day, if I can keep what I have.
So to bed. I am very well pleased this night with
reading a poem I brought home with me last night
from Westminster hall, of Driden’s upon the
present war—a very good poem.
(A)
(B)
(C)
(D)
(E)
Ruskin
Coleridge
Swift
Pope
Pepys
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82. . . . my own grasp of invisibility aids me to understand Louis Armstrong’s music, . . . Invisibility, let
me explain, gives one a slightly different sense of
time, you’re never quite on the beat. Sometimes
you’re ahead and sometimes behind. Instead of the
swift imperceptible flowing of time, you are aware
of its nodes, those points where time stands still.
(A)
(B)
(C)
(D)
(E)
Richard Wright
F. Scott Fitzgerald
Ralph Ellison
Jack Kerouac
James Baldwin
83. But to Christ lord of thunder
Crouch; lay knee by earth low under:
“Holiest, loveliest, bravest,
Save my hero, O Hero savest
84. When the Robarts’s party entered the drawingroom the Grantlys were already there, and the
archdeacon’s voice sounded loud and imposing in
Lucy’s ears, as she heard him speaking while she
was yet on the threshold of the door. “My dear
Lady Lufton, I would believe anything on earth
about her,—anything. There is nothing too outrageous for her. Had she insisted on going there with
the bishop’s apron on, I should not have been
surprised.” And then they all knew that the archdeacon was talking about Mrs. Proudie, for
Mrs. Proudie was his bugbear.
(A)
(B)
(C)
(D)
(E)
Trollope
Dickens
Thackeray
Fielding
Defoe
And the prayer thou hearst me making
Have, at the awful overtaking,
Heard; have heard and granted
Grace that day grace was wanted.”
(A)
(B)
(C)
(D)
(E)
Eliot
Pound
Hopkins
Stevens
Yeats
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33
Questions 85-88 are based on the following
passage.
Line
5
10
15
20
25
30
Mr. Casaubon, as might be expected, spent a great
deal of his time at the Grange in these weeks, and the
hindrance which courtship occasioned to the progress
of his great work—the Key to all Mythologies—naturally made him look forward the more eagerly to the
happy termination of courtship. But he had deliberately
incurred the hindrance, having made up his mind that
it was now time for him to adorn his life with the
graces of female companionship, to irradiate the
gloom which fatigue was apt to hang over the intervals of studious labour with the play of female fancy,
and to secure in this, his culminating age, the solace of
female tendance for his declining years. Hence he
determined to abandon himself to the stream of feeling,
and perhaps was surprised to find what an exceedingly
shallow rill it was. As in droughty regions baptism by
immersion could only be performed symbolically, so
Mr. Casaubon found that sprinkling was the utmost
approach to a plunge which his stream would afford
him; and he concluded that the poets had much exaggerated the force of masculine passion. Nevertheless,
he observed with pleasure that Miss Brooke showed
an ardent submissive affection which promised to fulfil
his most agreeable previsions of marriage. It had once
or twice crossed his mind that possibly there was some
deficiency in her to account for the moderation of his
abandonment; but he was unable to discern the deficiency, or to figure to himself a woman who would
have pleased him better; so that there was clearly no
reason to fall back upon but the exaggerations of
human tradition.
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34
85. In looking forward “to the happy termination of
courtship” (lines 5-6), Mr. Casaubon is motivated
by his
(A) desire for the physical consummation of his
marriage
(B) wish to return to his scholarly pursuits
(C) hope of avoiding the expense of a long
courtship
(D) dislike of the frivolous inhabitants of the
Grange
(E) jealousy of the rivals for his fiancée’s
attentions
86. The subject that sentences three and four
(lines 13-21) treat metaphorically is
(A)
(B)
(C)
(D)
(E)
intellectual curiosity
religious ritual
spiritual regeneration
physical and emotional ardor
repressed anger and violence
87. The last sentence (lines 24-31) emphasizes
Casaubon’s
(A)
(B)
(C)
(D)
(E)
impetuosity
greed
complacency
piety
lechery
88. The author of the passage is
(A)
(B)
(C)
(D)
(E)
Graham Greene
Thomas Hardy
Evelyn Waugh
Joseph Conrad
George Eliot
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Questions 89-90 are based on the following
passage.
But ------- spake in a parable, and he said:
A certain man had two sons.
------- didn’t give this man a name,
But his name is God Almighty.
And ------- didn’t call these sons by name,
But ev’ry young man,
Ev’rywhere,
Is one of these two sons.
And the younger son said to his father,
He said: Father, divide up the property,
And give me my portion now.
And the father with tears in his eyes said: Son,
Don’t leave your father’s house.
But the boy was stubborn in his head,
And haughty in his heart,
And he took his share of his father’s goods,
And he went into a far-off country.
—James Weldon Johnson
89. Which of the following will correctly complete
lines 1, 3, and 5 ?
(A)
(B)
(C)
(D)
(E)
Ezekiel
Solomon
Jesus
David
Paul
90. The passage is based on the story of
(A)
(B)
(C)
(D)
(E)
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Saul and David
the Good Samaritan
Joseph and his brothers
the Expulsion from Eden
the Prodigal Son
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35
Questions 91-95 refer to the following passage.
Line
5
10
15
20
25
30
What opium is instilled into all disaster! It shows
formidable as we approach it, but there is at last no
rough rasping friction, but the most slippery sliding
surfaces. We fall soft on a thought. . . . People grieve
and bemoan themselves, but it is not half so bad with
them as they say. There are moods in which we court
suffering, in the hope that here, at least, we shall find
reality, sharp peaks and edges of truth. But it turns out
to be scene-painting and counterfeit. The only thing
grief has taught me, is to know how shallow it is.
That, like all the rest, plays about the surface, and
never introduces me into the reality, for contact with
which, we would even pay the costly price of sons
and lovers. Was it Boscovich who found out that
bodies never come in contact? Well, souls never touch
their objects. An innavigable sea washes with silent
waves between us and the things we aim at and converse with. Grief too will make us idealists. In the
death of my son, now more than two years ago, I
seem to have lost a beautiful estate,—no more. I
cannot get it nearer to me. If tomorrow I should be
informed of the bankruptcy of my principal debtors,
the loss of my property would be a great inconvenience to me, perhaps, for many years; but it would
leave me as it found me,—neither better nor worse.
So is it with this calamity: it does not touch me:
something which I fancied was a part of me, which
could not be torn away without tearing me, nor
enlarged without enriching me, falls off from me,
and leaves no scar. . . . I grieve that grief can teach
me nothing, nor carry me one step into real nature.
92. According to the author, at times “we court
suffering” (lines 6-7) because we believe that
(A)
(B)
(C)
(D)
(E)
pain is more enjoyable than pleasure or truth
pain brings us into contact with reality
pain makes people more resilient
pain earns us sympathy from others
the cessation of pain brings pleasure
93. The clause “the things we aim at and converse
with” (lines 17-18) means roughly the same as
the phrase
(A)
(B)
(C)
(D)
(E)
“slippery sliding surfaces” (lines 3-4)
“innavigable sea” (line 16)
“beautiful estate” (line 20)
“principal debtors” (line 22)
“real nature” (line 31)
94. The phrase “no more” (line 20) most nearly
means
(A)
(B)
(C)
(D)
(E)
no longer in existence
nothing deeper
I can bear no additional pain
I understate my grief
I cannot remember my grief
95. The passage was written by
(A)
(B)
(C)
(D)
(E)
Mark Twain
Edgar Allan Poe
Benjamin Franklin
Ralph Waldo Emerson
T.S. Eliot
91. In line 1, opium is used figuratively for its
capacity to
(A)
(B)
(C)
(D)
(E)
deaden the senses
corrupt the soul
weaken the will
produce euphoria
cause nightmares
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36
GO ON TO THE NEXT PAGE.
96. Listen to a woman speak at a public gathering
(if she hasn’t painfully lost her wind). She doesn’t
“speak,” she throws her trembling body forward;
she lets go of herself, she flies; all of her passes
into her voice, and it’s with her body that she
vitally supports the “logic” of her speech. Her
flesh speaks true. She lays herself bare. In fact,
she physically materializes what she is thinking;
she signifies it with her body. In a certain way she
inscribes what she’s saying, because she doesn’t
deny her drives the intractable and impassioned
part they have in speaking. Her speech, even
when “theoretical” or political, is never simple
or linear or “objectified,” generalized: she draws
her story into history.
—Hélène Cixous, “The Laugh of the Medusa”
The passage supports the view that
(A)
(B)
(C)
(D)
a woman speaks through her gendered body
the body is a measure of historical power
the theoretical is an inscription of desire
oratory has traditionally been a woman’s
source of power
(E) women speakers are typically unaffected by
the dominant ideology
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97. A poet’s part-by-part enumeration of his
mistress’s beauties draws on a rhetorical
structure known as the
(A)
(B)
(C)
(D)
(E)
interlace pattern
epithalamion
apostrophe
débat
blazon
98. He overturned theatrical conventions and satirized
modern society while discovering new uses of
language and theatrical techniques. With outrageous comedy he attacked the most serious
subjects: blind conformity, totalitarianism,
despair, and death. In his best-known plays
he turned drawing-room comedy on its head
(The Bald Soprano), had a stage filled with
empty chairs (The Chairs), and transformed
man into beast (Rhinoceros).
The passage above discusses the work of
(A)
(B)
(C)
(D)
(E)
Tom Stoppard
Federico García Lorca
Samuel Beckett
Eugène Ionesco
Jean Genet
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37
Questions 99-101 refer to the excerpts below. You may find it
helpful to read the questions before you read the excerpts.
(A) In the world’s broad field of battle,
In the bivouac of Life,
Be not like dumb, driven cattle!
Be a hero in the strife!
(B) Life is first boredom, then fear.
Whether or not we use it, it goes,
And leaves what something hidden from us chose,
And age, and then the only end of age.
(C) He is not here; but far away
The noise of life begins again,
And ghastly through the drizzling rain
On the bald street breaks the blank day.
(D) Life, like a dome of many-colored glass,
Stains the white radiance of Eternity,
Until Death tramples it to fragments.
(E) Life’s but a walking shadow, a poor player,
That struts and frets his hour upon the stage,
And then is heard no more; it is a tale
Told by an idiot, full of sound and fury,
Signifying nothing.
99. Which is by Philip Larkin?
100. Which is by Shelley?
101. Which is by Tennyson?
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38
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102. “O harp and altar, of the fury fused . . . ”
“Terrific threshold of the prophet’s pledge . . . ”
“Unfractioned idiom, immaculate sigh of stars . . . ”
The lines above are excerpted from a work in which
(A)
(B)
(C)
(D)
(E)
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Wordsworth writes about Tintern Abbey
Hart Crane writes about the Brooklyn Bridge
T.S. Eliot writes about the Tower of London
Burns writes about the Scottish Highlands
Gray writes about a country churchyard
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39
Questions 103-105 are based on the following passage.
BOTTOM:
SNOUT:
STARVELING:
BOTTOM:
QUINCE:
There are things in this comedy of Pyramus and Thisby that will never please. First, Pyramus
must draw a sword to kill himself; which the ladies cannot abide. How answer you that?
By’r lakin, a parlous fear.
I believe you must leave the killing out, when all is done.
Not a whit: I have a device to make all well. Write me a prologue; and let the prologue seem to
say, we will do no harm with our swords, and that Pyramus is not killed indeed: and for the more
better assurance, tell them that I Pyramus am not Pyramus, but Bottom the weaver: this will put
them out of fear.
Well, we will have such a prologue; and it shall be written in eight and six.
103. The dialogue is from
(A)
(B)
(C)
(D)
(E)
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40
The Comedy of Errors
A Midsummer Night’s Dream
The Taming of the Shrew
Twelfth Night
The Winter’s Tale
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104. Which of the following critical passages most directly addresses the issue
raised by Bottom?
(A) Nothing can please many, and please long, but just representations
of general nature. Particular manners can be known to few, and
therefore few only can judge how nearly they are copied.
(B) To bring a lover, a lady, and a rival into the fable; to entangle
them in contradictory obligations, perplex them with oppositions
of interest, and harass them with violence of desires inconsistent
with each other . . . is the business of the modern dramatist. For
this, probability is violated, life is misrepresented, and language
is depraved.
(C) Narration in dramatic poetry is naturally tedious, as it is unanimated
and inactive, and obstructs the progress of the action; it should
therefore always be rapid and enlivened by frequent interruption.
(D) The result of my inquiries . . . is that the unities of time and place
are not essential to a just drama . . . and that a play written with
nice observation of critical rules is to be contemplated as an
elaborate curiosity by which is shown rather what is possible
than what is necessary.
(E) It is false that any representation is mistaken for reality; that any
dramatic fable in its materiality was ever credible or, for a single
moment, was ever credited. . . . The delight of tragedy proceeds
from our consciousness of fiction.
105. The author of all the critical passages in the previous question is
(A)
(B)
(C)
(D)
(E)
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Dryden
Arnold
Hazlitt
Johnson
Eliot
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41
106. He has no one, “no wife, no parent, child, ally.” Therefore, he brags:
whom I make,
Must be my heir: and this makes men observe me.
This draws new clients, daily, to my house,
Women, and men, of every sex, and age.
Through his machinations he makes the jealous husband play pander to
his wife, the loving father disinherit his son.
The passage above describes
(A)
(B)
(C)
(D)
(E)
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42
Othello
Merlin
Faustus
Prospero
Volpone
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Questions 107-112 are based on the following
passage.
Line
5
So what with blod and what with teres
Out of hire yhe and of hir mouth,
He made hire faire face uncouth:
Sche lay swounende unto the deth,
Ther was unethes eny breth;
Bot yit whan he hire tunge refte,
A litel part therof belefte,
Bot sche with al no word mai soune,
Bot chitre and as a brid jargoune.
107. Which of the following lines make use of the
same story?
(A) Twit twit twit
Jug jug jug jug jug jug
So rudely forc’d.
Tereu
(B) Tu—whit!— —Tu—whoo!
And hark, again! the crowing cock,
How drowsily it crew.
(C) I do not know which to prefer,
The beauty of inflections
Or the beauty of innuendoes
(D) A sudden blow: the great wings beating still
Above the staggering girl. . .
(E) This I sat engaged in guessing, but no
syllable expressing
To the fowl whose fiery eyes now burned
into my bosom’s core
109. The best Modern English equivalent for the word
“uncouth” as it is used in line 3 is
(A)
(B)
(C)
(D)
(E)
unrecognizable
untouchable
unmannerly
toothless
decayed
110. In Modern English, the word “brid” (line 9) has
become
(A)
(B)
(C)
(D)
(E)
bard
bird
braid
bride
broad
111. The word “jargoune” is used in the last line as
(A)
(B)
(C)
(D)
(E)
a noun in apposition to “word” (line 8)
a noun in apposition to “soune” (line 8)
a verb parallel to “chitre” (line 9)
an adverb modifying “chitre” (line 9)
an adjective modifying “brid” (line 9)
112. The language of the passage indicates that the
author is contemporary with
(A)
(B)
(C)
(D)
(E)
the Beowulf poet
Chaucer
Wyatt
Spenser
Donne
108. The meter is
(A)
(B)
(C)
(D)
(E)
anapestic trimeter
iambic tetrameter
iambic pentameter
ballad meter
alliterative strong stress
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43
113. It allegorizes the Christian struggle to achieve salvation as a journey from the City of Destruction,
through such obstacles and distractions as the
Slough of Despond and Vanity Fair, to the
Celestial City.
The passage above describes
(A)
(B)
(C)
(D)
(E)
Gulliver’s Travels
Piers Plowman
The Fall of Hyperion
The Pilgrim’s Progress
Metamorphoses
Questions 116-119 are based on the following
passage.
Line
5
10
114. Jacques Derrida’s early essay “Structure, Sign,
and Play in the Discourse of the Human Sciences”
responds most immediately to which of the
following?
(A)
(B)
(C)
(D)
(E)
Einstein’s theory of relativity
Marx’s theory of labor
Heidegger’s theory of being
Levi-Strauss’s study of myth
Heisenberg’s uncertainty principle
115. In a classic passage from The Souls of Black Folk,
------- gives the following account of the African
American experience: “One ever feels his
twoness—an American, a Negro; two souls, two
thoughts, two unreconciled strivings; two warring
ideals in one dark body, whose dogged strength
alone keeps it from being torn asunder.”
Which of the following correctly completes line 2 ?
(A)
(B)
(C)
(D)
(E)
James Baldwin
Robert Hayden
Booker T. Washington
W.E.B. DuBois
Charles W. Chesnutt
Leviathan, which God of all his works
Created hugest that swim th’ Ocean stream:
Him haply slumbring on the Norway foam
The Pilot of some small night-founder’d Skiff,
Deeming some Island, oft, as Sea-men tell,
With fixed Anchor in his skaly rind
Moors by his side under the Lee, while Night
Invests the Sea, and wished Morn delayes:
So stretcht out huge in length the Arch-fiend lay
Chain’d on the burning Lake.
116. Which of the conventions of the epic is illustrated
by the lines above?
(A)
(B)
(C)
(D)
(E)
The epic invocation
The epic simile
The epic catalog
The beginning in medias res
The stating of the argument
117. Which of the following correctly describes “Him”
(line 3) ?
(A)
(B)
(C)
(D)
(E)
It is in apposition with “Pilot” (line 4).
It is the subject of “Deeming” (line 5).
It is the object of “Deeming” (line 5).
It is the subject of “Moors” (line 7).
It is the object of “Moors” (line 7).
118. The lines are written in
(A)
(B)
(C)
(D)
(E)
free verse
blank verse
sprung rhythm
alexandrines
heroic couplets
119. The author of the lines is
(A)
(B)
(C)
(D)
(E)
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Milton
Spenser
Byron
Pope
Dryden
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Questions 120-121 are based on the following passage.
UNDERSHAFT: Remember the words of Plato.
CUSINS: Plato! You dare quote Plato to me!
UNDERSHAFT: Plato says, my friend, that society cannot be saved until either the Professors of Greek take to
making gunpowder, or else the makers of gunpowder become Professors of Greek.
120. In the passage above, Undershaft is ironically
paraphrasing Plato’s discussion of
(A)
(B)
(C)
(D)
(E)
the allegory of the cave
the theory of ideas
philosopher-kings
art as imitation
reincarnation
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121. The passage above is from
(A)
(B)
(C)
(D)
(E)
O’Neill’s Mourning Becomes Electra
Anouilh’s Antigone
Ibsen’s A Doll’s House
Shaw’s Major Barbara
García Lorca’s Blood Wedding
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45
Questions 122-123 are based on the following
passage.
Questions 124-126 are based on the following
passage.
The original oppression of Woman was based on
crude denigration. She caused Man to fall. So she
became . . . a culprit richly deserving of whatever
suffering Man chose thereafter to heap on her. That
is Woman in the Book of Genesis. Out here, our
ancestors, without the benefit of hearing about the
Old Testament, made the very same story differing
only in local colour. At first the Sky was very close to
the Earth. But every evening Woman cut off a piece
of the Sky to put in her soup pot or, as in yet another
rendering—so prodigious is Man’s inventiveness—
she wiped her kitchen hands on the Sky’s face.
Whatever the detail of Woman’s provocation, the
Sky finally moved away in anger, and God with it.
W.H. Auden has observed that the “typical Greek
tragic situation is one in which whatever the hero
does must be wrong—Agamemnon must either kill
his daughter (1) or betray his duty to his army.
Orestes must either disobey the orders of Apollo
or be guilty of matricide. Oedipus must either persist in asking questions or let Thebes be destroyed
by plague. (2) must violate her duty either to her
dead brother or to her city, etc. But the fact that he
finds himself in a tragic situation where he has sinned
unwittingly or must sin against his will is a sign that
he is guilty of another sin for which the gods hold him
responsible, namely the sin of (3) , an overweening
self-confidence which makes him believe that he is a
god who cannot be made to suffer.”
—Chinua Achebe, from Anthills of the Savannah
122. The speaker in Achebe’s novel compares the
Biblical story to
(A) African hymns and spirituals
(B) African mythology and folklore
(C) African interpretations of Christian
hagiography
(D) African American antebellum work songs
(E) African American slave narratives
123. The speaker in Achebe’s novel argues that
(A) Africans are more likely than Europeans
to preserve their myths
(B) Africans and Europeans independently
arrived at similar attitudes toward women
(C) African women have only recently begun to
counter traditional images of themselves
(D) African thought borrowed its ideas of women
from European colonizers
(E) African thought counters some ingrained
European cultural assumptions
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46
124. Which of the following will correctly complete
the passage at 1 ?
(A)
(B)
(C)
(D)
(E)
Iphigenia
Clytemnestra
Medea
Antigone
Electra
125. Which of the following will correctly complete
the passage at 2 ?
(A)
(B)
(C)
(D)
(E)
Iphigenia
Clytemnestra
Medea
Antigone
Electra
126. Which of the following will correctly complete
the passage at 3 ?
(A)
(B)
(C)
(D)
(E)
sloth
lust
hubris
cupidity
catharsis
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127. Cross out please those immensely overpaid accounts,
That matter of Troy and Achilles’ wrath, and Aeneas’, Odysseus’ wanderings.
Placard “Removed” and “To Let” on the rocks of your snowy Parnassus.
Which of the following correctly describes the lines above?
(A)
(B)
(C)
(D)
(E)
Whitman invites the Muse to migrate to America.
Twain belittles the American contribution to literature.
James explains his reasons for living abroad.
Poe articulates his Poetic Principle.
Emerson rejects poetry as a viable art form.
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47
Questions 128-130 are based on the following
passage.
And him beside rides fierce revenging Wrath,
Upon a Lion, loth for to be led;
And in his hand a burning brond he hath,
The which he brandisheth about his hed;
His eyes did hurle forth sparkles fiery red,
And starèd sterne on all, that him beheld,
As ashes pale of hew and seeming ded;
And on his dagger still his hand he held
Trembling through hasty rage, when choler in
him sweld.
Line
5
131. We see the initials of the hero of the book—
Humphrey Chimpden Earwicker—in “Howth
Castle and Environs.” He is always present in
some form or other: his initials are sewn into
the fabric like a monogram. He is humanity in
general: Here Comes Everybody.
The passage above is from a discussion of
(A)
(B)
(C)
(D)
(E)
Sons and Lovers
Finnegans Wake
A Passage to India
The House of Mirth
The Mill on the Floss
128. In context, the closest paraphrase for “him beside”
(line 1) is
(A)
(B)
(C)
(D)
(E)
in place of him
at his side
not only him
along with all the others
opposing them
129. In context, “loth for” (line 2) means
(A)
(B)
(C)
(D)
(E)
melancholy
angry
unwilling
too proud
too lethargic
130. In line 9, “choler” is used to denote
(A)
(B)
(C)
(D)
(E)
dyspepsia
an infectious disease
a canker
anger
ennui
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48
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Questions 132-135 refer to the following passage.
Line
5
10
15
20
25
We deplore the outrages which accompany revolutions. But the more violent the outrages, the more
assured we feel that a revolution was necessary. The
violence of those outrages will always be proportioned
to the ferocity and ignorance of the people: and the
ferocity and ignorance of the people will be proportioned to the oppression and degradation under which
they have been accustomed to live. Thus it was in
our civil war. . . . There is only one cure for the evils
which newly acquired freedom produces—and that
cure is freedom. When a prisoner leaves his cell, he
cannot bear the light of day;—he is unable to discriminate colors, or recognize faces. But the remedy
is not to remand him into his dungeon, but to accustom him to the rays of the sun. The blaze of truth and
liberty may at first dazzle and bewilder nations which
have become half blind in the house of bondage. But
let them gaze on, and they will soon be able to bear it.
In a few years men learn to reason. . . . Many politicians of our time are in the habit of laying it down as
a self-evident proposition, that no people ought to be
free till they are fit to use their freedom. The maxim is
worthy of the fool in the old story who resolved not to
go into the water till he had learnt to swim! If men are
to wait for liberty till they become wise and good in
slavery, they may indeed wait forever.
133. The chief of the “outrages” in “our civil war,”
referred to in line 9, was the
(A)
(B)
(C)
(D)
(E)
beheading of Charles I
Reign of Terror
Boston Massacre
execution of the Romanovs
Easter Uprising
134. The phrase “house of bondage” (line 17)
alludes to events recounted in
(A)
(B)
(C)
(D)
(E)
Exodus
the Iliad
the Inferno
Beowulf
the Aeneid
135. In the maxim cited in lines 22-24, “water”
represents
(A)
(B)
(C)
(D)
(E)
oppression
revolution
violence
reason
liberty
132. The passage contains an example of
(A)
(B)
(C)
(D)
(E)
apostrophe
epic simile
epic invocation
mythological allusion
argument by analogy
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49
Questions 136-137 refer to the following stanza.
Sweet is the lore which nature brings;
Our meddling intellect
Mis-shapes the beauteous forms of things:—
We murder to dissect.
136. The author is
(A)
(B)
(C)
(D)
(E)
an Elizabethan poet
a metaphysical poet
a neoclassical poet
a Romantic poet
a Modernist poet
137. Which of the following best summarizes the
speaker’s position?
(A) Nature is incomplete without a human
witness to attest to its beauty.
(B) Nature is consistently complicating human
affairs and occupations.
(C) The flaws inherent in human nature are also
evident in the natural world.
(D) Human endeavors will succeed only if the
laws of nature are taken into account.
(E) Nature yields a pleasure superior to that
derived from intrusive human inquiry.
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50
138. So poignant did the original audiences find his
itinerant war profiteer that he actually rewrote
the play to make her harder, meaner, less sympathetic. Far from being a tragic heroine, she was
to be an archetype of petit-bourgeois greed and
shortsightedness.
The passage above is from a discussion of
(A)
(B)
(C)
(D)
(E)
Strindberg’s Miss Julie
Ibsen’s Nora
Shaw’s Eliza Doolittle
O’Neill’s Lavinia
Brecht’s Mother Courage
139. I seem to myself to have waked up one morning in
possession of them—of Ralph Touchett and his
parents, of Madame Merle, of Gilbert Osmond and
his daughter and his sister, of Lord Warburton,
Caspar Goodwood and Miss Stackpole, the
definite array of contributions to ------- history.
Which of the following correctly completes the
sentence above from the author’s preface?
(A)
(B)
(C)
(D)
(E)
Roger Chillingworth’s
Edna Pontellier’s
Silas Lapham’s
Isabel Archer’s
Lily Bart’s
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Questions 140-142 refer to the passages below. You may find it
helpful to read the questions before you read the passages.
(A) Poetry is indeed something divine. It is at once the center
and circumference of knowledge; it is that which
comprehends all other sciences, and that to which all
science must be referred. It is at the same time the root
and blossom of all other systems of thought; it is that
from which all spring, and that which adorns all.
(B) So that the ending end of all earthly learning being
virtuous action, those skills that most serve to bring forth
that have a most just title to be princes over all the rest;
wherein, if we can show, the poet is worthy to have it
before any other competitors.
(C) There can be no more useful help for discovering what
poetry belongs to the class of the truly excellent, and can
therefore do us most good, than to have always in one’s
mind lines and expressions of the great masters, and to
apply them as a touchstone to other poetry. . . . Short
passages, even single lines, will serve our turn quite
sufficiently.
(D) Poetry is not magic. In so far as it, or any other of the
arts, can be said to have an ulterior purpose, it is by
telling the truth, to disenchant and disintoxicate. . . .
Poetry makes nothing happen.
(E) I do not doubt that it may safely be affirmed, that there
neither is, nor can be, any essential difference between
the language of prose and metrical composition. . . . They
both speak by and to the same organs; the bodies in
which both of them are clothed may be said to be of the
same substance, their affections are kindred and almost
identical, not necessarily differing even in degree.
140. Which is by Sidney?
141. Which is by Shelley?
142. Which is by Wordsworth?
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51
Questions 143-145 refer to the excerpts from The
Canterbury Tales below. You may find it helpful to read
the questions before you read the excerpts.
(A) Wyd was his parisshe, and houses fer asonder,
But he ne lefte nat, for reyn ne thonder,
In siknesse nor in meschief to visite
The ferreste in his parisshe, muche and lite.
(B) Nowher so bisy a man as he ther nas,
And yet he seemed bisier than he was.
In termes hadde he caas and doomes alle
That fro the tyme of kyng William were falle.
(C) Ful many a fat partrich hadde he in muwe,
Ful many a breem and many a luce in stuwe.
Wo was his cook but if his sauce were
Poynaunt and sharp, and redy al his geere.
(D) Of twenty yeer of age he was, I gesse,
And of his stature he was of evene lengthe,
And wonderly delyvere, and of greet strengthe.
(E) For hym was levere have at his beddes heed
Twenty bookes, clad in blak or reed,
Of Aristotle and his philosophie,
Than robes riche, or fithele, or gay sautrie.
143. Which describes the sergeant of the law?
144. Which describes the clerk of Oxford?
145. Which describes the poor parson?
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Questions 146-148 refer to the following sonnet
sequences.
(A)
(B)
(C)
(D)
(E)
Amoretti
The House of Life
Sonnets from the Portuguese
Astrophil and Stella
Modern Love
146. Which is by Spenser?
147. Which is by Dante Gabriel Rossetti?
148. Which is by Elizabeth Barrett Browning?
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53
Questions 149-150 are based on the following
passage.
Shuttles in the rocking loom of history,
the dark ships move, the dark ships move,
their bright ironical names
like jests of kindness on a murderer’s mouth;
plough through thrashing glister toward
fata morgana’s lucent melting shore,
------- toward New World littorals that are
mirage and myth and actual shore.
Line
5
149. Which of the following will correctly complete
line 7 by picking up the imagery of line 1 ?
(A)
(B)
(C)
(D)
(E)
walk
parade
stretch
stagger
weave
151. For -------, reality is symbolized by three intolerable elements: “I can’t stand a naked light bulb,
any more than I can a rude remark or a vulgar
action.” New Orleans represents for her the
grossest elements of a world she has tried to
avoid. When she complains about the Kowalskis’
living conditions, her sister Stella replies, “New
Orleans isn’t like other cities,” and Mitch’s
response to her “I’m not properly dressed” is
“That don’t make no difference in the Quarter.”
Which of the following will correctly complete
line 1 ?
(A)
(B)
(C)
(D)
(E)
Blanche DuBois
Edna Pontellier
Candace Compson
Carrie Meeber
Rosa Coldfield
150. Which of the following accurately describes the
lines?
(A) They are from Robert Hayden’s poem on the
Atlantic slave trade.
(B) They are from Langston Hughes’s poem on
jazz and blues music.
(C) They are from Phillis Wheatley’s poem on
her early education.
(D) They are from Henrietta Ray’s poem on
Greek myths.
(E) They are from Gwendolyn Brooks’s poem on
the Harlem Renaissance.
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54
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Questions 152-154 are based on the following
passage.
There is, to be sure, a powerful literary tradition
that shows women failing to exact some form of
revenge, failing to strike back, acting as the schoolmarm against the cowboy. In such works, whenever
there’s a woman around, violence must be repressed
and civilization prevail. But an equally strong countertradition shows many women who have acted out
violent forms of retaliation: (1) , in George Eliot’s
Adam Bede, who murders her newborn child because
its father has abandoned her; (2) , who “dies beautifully” by putting a bullet through her head because
she cannot bear to be manipulated by someone with
power over her; and (3) , who murders her two
children by Jason when he repudiates her to marry
the daughter of Creon.
152. Which of the following will correctly complete
the passage at 1 ?
(A)
(B)
(C)
(D)
(E)
Hedda Gabler
Emma Bovary
Anna Karenina
Hetty Sorrel
Clarissa Dalloway
153. Which of the following will correctly complete
the passage at 2 ?
(A)
(B)
(C)
(D)
(E)
Hedda Gabler
Emma Bovary
Anna Karenina
Hetty Sorrel
Clarissa Dalloway
154. Which of the following will correctly complete
the passage at 3 ?
(A)
(B)
(C)
(D)
(E)
155. It is a tour de force effected by the author’s
consistent refusal to take the form of the novel
seriously, for the author renders completely arbitrary both the events narrated and the order in
which they are told. As he recounts the episodes
and anecdotes that make up the lives of Walter
Shandy and Dr. Slop, Uncle Toby and Corporal
Trim, he tells us what he likes when he likes with
an insouciance calculated to rob readers of any
faith they might have had in the novel form.
The author discussed above is
(A)
(B)
(C)
(D)
(E)
Fielding
Thackeray
Sterne
Dickens
Scott
156. Francis Beaumont’s broadly farcical Knight of
the Burning Pestle, with its near-verbatim parody
of Hotspur’s speech quoted by a would-be actor as
a “huffing part,” was, according to the preface to
its first printing, “utterly rejected” by the public.
Plebeians do not appreciate metatheater; groundlings get no joy from intertextuality.
According to the passage above, Elizabethan
audiences were likely to reject plays that
(A) served to belittle rather than glorify
Shakespeare
(B) challenged accepted models of elegant
behavior
(C) relied on a knowledge of other dramatic
works
(D) mocked the dignity of military heroes from
the past
(E) resorted to low comedy in treating metaphysical themes
Clytemnestra
Helen
Medea
Cassandra
Electra
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55
Questions 157-162 are based on the following
passage.
Line
5
10
Heard melodies are sweet, but those unheard
Are sweeter; therefore, ye soft pipes, play on;
Not to the sensual ear, but, more endear’d,
Pipe to the spirit ditties of no tone:
Fair youth, beneath the trees, thou canst not leave
Thy song, nor ever can those trees be bare;
Bold Lover, never, never canst thou kiss,
Though winning near the goal—yet, do not grieve;
She cannot fade, though thou hast not thy bliss,
For ever wilt thou love, and she be fair!
157. In line 3, “sensual” most nearly means
(A)
(B)
(C)
(D)
(E)
sensory
lustful
satiated
unrestrained
self-indulgent
158. “Pipe” in line 4 functions grammatically as a
(A)
(B)
(C)
(D)
(E)
noun that is parallel to “pipes” (line 2)
verb that is parallel to “play” (line 2)
noun that is in apposition to “ear” (line 3)
noun that is modified by “endear’d” (line 3)
verb that is parallel to “canst” (line 5)
160. In line 9, “though thou hast not thy bliss” can best
be taken to mean
(A) although your spirit has not been saved
(B) although you have no notion of what
happiness is
(C) although you have not given others joy in
return
(D) although you worry that the memory of
pleasure may fade
(E) although you have not achieved consummation of your desires
161. In line 10, “and she be fair” can best be taken to
mean
(A)
(B)
(C)
(D)
(E)
even if she is fair to you
and she will treat you fairly
and she will be forever beautiful
may she always be as fair as she is now
only as long as she remains fair
162. The lines are from
(A) Wordsworth’s “Ode: Intimations of
Immortality”
(B) Coleridge’s “Dejection: An Ode”
(C) Byron’s “She Walks in Beauty”
(D) Shelley’s “Hymn to Intellectual Beauty”
(E) Keats’s “Ode on a Grecian Urn”
159. The trees will never “be bare” (line 6) because
(A) they are part of the prelapsarian Eden
(B) they are part of a work of art and thus not
subject to time
(C) the setting is a temperate Mediterranean
climate
(D) the scene is a depiction of the afterlife
(E) generations of lovers will continue to meet
under them
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56
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Questions 163-164 are based on the following
passage.
Line
5
10
15
Jesus was taken to prison and given the usual
caning, because he was a native. The Roman prisoners like Barabbas weren’t caned because they were
white and when Barabbas was taken to court the judge
said to the people in court, this man has not committed
many crimes because he is a white man. So I must set
him free, and all the people in court agreed because
they were all musungus. So Barabbas was set free
and was sent back to England. Then the judge started
asking Jesus many questions, like, where did you
administer the oath? Give me the names of all those
Christians who took the oath; why are you fighting
against our Government? Don’t you like the way we
are ruling you, and what do you mean by Uhuru?
What type of language is that? and so on and so
on. Now Jesus had studied the ways of the Roman
musungu so he knew how to answer their type of
questions just like our Jomo Kenyatta, who made
all the judges behave like foolish men.
163. Which of the following accurately describes the
passage?
(A) It presents the Gospels as a political allegory.
(B) It presents a chapter from Revelation as a call
to revolution.
(C) It presents Paul’s epistles as a commentary on
the legal system.
(D) It presents Job as a philosophical parable.
(E) It presents Acts as a social satire.
164. The version of the story given here differs from
the story on which it is based in that here
(A) Jesus is made to appear before a judge
(B) Jesus is perceived as a political threat by the
government
(C) Jesus and Barabbas are of different races
(D) Barabbas is allowed to go free
(E) Barabbas is actually innocent of any
wrongdoing
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57
Questions 165-166 refer to the following passage.
Vasquez. No useful Arts have yet found footing here;
But all untaught and salvage does appear.
Cortez.
Wild and untaught are Terms which we alone
Invent, for fashions differing from our own:
For all their Customs are by Nature wrought,
But we, by Art, unteach what Nature taught.
165. When Cortez speaks of “we,” he is considering himself and
Vasquez as
(A)
(B)
(C)
(D)
(E)
soldiers
travelers
Europeans
males
Catholics
166. The view of Nature expressed by Cortez is closest to that in
which of the following passages?
(A) Any sudden gust of passion (as an ecstasie of love in an
unexpected meeting) cannot better be express’d than in a
word and a sigh, breaking one another. Nature is dumb
on such occasions, and to make her speak, would be to
represent her unlike herself.
(B) [Man] trusted God was love indeed
And love Creation’s final law—
Though Nature, red in tooth and claw
With ravine, shrieked against his creed—
(C) I am thy father’s spirit,
Doom’d for a certain term to walk the night,
And for the day confin’d to fast in fires,
Till the foul crimes done in my days of nature
Are burnt and purg’d away.
(D) Art she had none, yet wanted none:
For Nature did that Want supply,
So rich in Treasures of her Own,
She might our boasted Stores defy:
Such Noble vigour did her Verse adorn,
That it seem’d borrow’d, where ’twas only born.
(E) O, reason not the need! our basest beggars
Are in the poorest thing superfluous.
Allow not nature more than nature needs,
Man’s life is cheap as beast’s.
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Questions 167-169 are based on the following
passage.
Line
5
10
15
20
“I am not ungrateful,” said Urania, “but fortunate,
I am not his slave. I love Love, as he should be loved,
and so deare Lady do you, and then you will plainly
see, he is not such a Deity, as your Idolatry makes
him . . . it is our want of courage and judgement
makes us his slaves: take heart to your noble, and
knowing selfe, and let him bee as he is a proud, then
puling Babe.”
“Alasse my friend,” said Pamphilia, “how sorry am
I your excellent counsell is bestowed on one so little
deserving it, as not being able to right it by following
it, which I am not able to doe. . . . To leave
Amphilanthus for being false, would shew my love
was not for his sake, but mine owne. . . . O no deere
Cousen I loved him for himselfe . . . and will love
though he dispise me. . . . ”
“Tis pittie,” said Urania, “that ever that fruitless
thing Constancy was taught you as a vertue, since
for vertues sake you will love it, as having true possession of your soule, but understand, this vertue hath
limits to hold it in, being a vertue, but thus that it is a
vice in them that breake it, but those with whom it is
broken, are by the breach free to leave or choose
again where more staidnes may be found.”
— Lady Mary Wroth,
from The First Part of the
Countess of Montgomery’s
Urania (1621)
168. Urania criticizes Pamphilia for
(A) having ever fallen in love with Amphilanthus
in the first place
(B) preferring a man’s blandishments to her own
womanly advice
(C) maintaining her commitment to Amphilanthus even though he has been untrue to her
(D) defending Amphilanthus’ indiscretions rather
than allowing herself the male luxury of
being strong and judgmental
(E) seeing herself as undeserving of Amphilanthus instead of realizing that she is worthy
of him
169. In lines 20-24 (“this vertue . . . be found”), Urania
makes a distinction between the
(A) transgressions of a lover who has been
unfaithful and the rights of a faithful lover
who has been betrayed
(B) blessedness of love sanctified by the Church
and the baseness of carnal passion
(C) resilience of a match based on love and the
brittleness of one based on social or material considerations
(D) hope that characterizes the naïve lover and
the cynicism that characterizes the disillusioned lover
(E) tendency of young lovers to idealize each
other and the tendency of mature lovers to
recognize each other’s limitations
167. The “proud, then puling Babe” (lines 7-8) is
synonymous with
(A)
(B)
(C)
(D)
(E)
“slave” (line 2)
“Love” (line 2)
“Idolatry” (line 4)
“selfe” (line 7)
“Amphilanthus” (line 13)
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59
Questions 170-171 are based on the following
passage.
Line
5
10
And as for command of language—why you never
see a bluejay get stuck for a word. No man ever did.
They just boil out of him! And another thing: I’ve
noticed a good deal, and there’s no bird, or cow, or
anything that uses as good grammar as a bluejay. You
may say a cat uses good grammar. Well, a cat does—
but you let a cat get excited once; you let a cat get
to pulling fur with another cat on a shed, nights, and
you’ll hear grammar that will give you the lockjaw.
Ignorant people think it’s the noise which fighting
cats make that is so aggravating, but it ain’t so; -------.
172. Hwer is Paris and Heleyne,
Þat weren so bryht and feyre on bleo?
Amadas, Tristram, and Ideyne,
Yseude, and alle þeo?
Ector, wiþ his scharpe meyne,
And Cesar, riche of worldes feo?
These lines exemplify
(A)
(B)
(C)
(D)
(E)
an amour courtois plaint
the ubi sunt motif
the carpe diem motif
the pathetic fallacy
the intentional fallacy
170. Which of the following will correctly complete
line 11 ?
(A) stupid people often say similar things
(B) bluejays can make an even more raucous
noise
(C) it’s the danger of disease from a cat bite
(D) it’s the sickening grammar they use
(E) the noise and the fighting are part of the
mating ritual
171. The author of the passage is
(A)
(B)
(C)
(D)
(E)
Irving
Twain
Cather
Faulkner
Welty
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Questions 173-176 refer to the passages below. You may find it helpful to read the questions before you read the
passages.
(A) Children suffered no discriminatory treatment. They were valued everywhere they were employed. They did
not complain as adults tended to do. Employers liked to think of them as happy elves. If there was a problem
about employing children it had to do only with their endurance. They were more agile than adults but they
tended in the latter hours of the day to lose a degree of efficiency. In the canneries and mills these were the
hours they were most likely to lose their fingers or have their hands mangled or their legs crushed; they had
to be counseled to stay alert.
(B) The valley, wide and fruitful, supplied its inhabitants with the necessaries of life, and all delights and superfluities were added at the annual visit which the emperour paid his children, when the iron gate was opened
to the sound of music; and during eight days every one that resided in the valley was required to propose
whatever might contribute to make seclusion pleasant, to fill up the vacancies of attention, and lessen the
tediousness of time. . . . Such was the appearance of security and delight which this retirement afforded,
that they to whom it was new always desired that it might be perpetual.
(C) These Yahoos engendered, and their Brood in a short time grew so numerous as to over-run and infest the
whole Nation. . . . the Houyhnhnms to get rid of this Evil, made a general Hunting, and at last inclosed the
whole Herd; and destroying the Older, every Houyhnhnm kept two young Ones in a Kennel, and brought
them to such a Degree of Tameness, as an Animal so savage by Nature can be capable of acquiring; using
them for Draught and Carriage.
(D) Besides husbandrie, whiche (as I saide) is common to them all, everye one of them learneth one or other
several and particular science, as his owne proper crafte. That is most commonly either clothworking in wol
or flaxe, or masonrie, or the smithes craft, or the carpenters science. For there is none other occupation that
any number to speake of doth use there.
(E) It is no exaggeration to state that the classic culture [there] comprises only one discipline: psychology.
All others are subordinated to it. I have said that the men of this planet conceive the universe as a series of
mental processes which do not develop in space but successively in time. Spinoza ascribes to his inexhaustible divinity the attributes of extension and thought; no one [there] would understand the juxtaposition of the
first (which is typical only of certain states) and the second—which is a perfect synonym of the cosmos. In
other words, they do not conceive that the spatial persists in time. The perception of a cloud of smoke on the
horizon and then of the burning field and then of the half-extinguished cigarette that produced the blaze is
considered an example of association of ideas.
173. Which is from Borges’ description of Tlön?
174. Which is from Swift’s Gulliver’s Travels ?
175. Which is from Johnson’s Rasselas ?
176. Which is from More’s Utopia ?
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61
Questions 177-180 are based on the following passage.
Line
5
10
For the god being one day too warm in his wooing,
She took to the tree to escape his pursuing;
Be the cause what it might, from his offers she shrunk,
And, Ginevra-like, shut herself up in a trunk;
And, though ’twas a step into which he had driven her,
He somehow or other had never forgiven her;
Her memory he nursed as a kind of a tonic,
Something bitter to chew when he’d play the Byronic,
And I can’t count the obstinate nymphs that he brought over
By a strange kind of smile he put on when he thought of her.
“My case is like Dido’s,” he sometimes remarked;
“When I last saw my love, she was fairly embarked.”
—James Russell Lowell, A Fable for Critics
177. The lines comment on the story of
(A)
(B)
(C)
(D)
(E)
Apollo and Daphne
Venus and Adonis
Jason and Medea
Zeus and Europa
Orpheus and Eurydice
178. In this context, to “play the Byronic” (line 8) is to
emulate the
(A)
(B)
(C)
(D)
(E)
criminal despair of Cain
athletic prowess of Leander
curious passivity of Don Juan
self-dramatizing suffering of Childe Harold
selfless nobility of the Prisoner of Chillon
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62
179. By the line “My case is like Dido’s” (line 11), the
speaker means that both he and Dido
(A) became promiscuous in an attempt to forget
their loved ones
(B) intended to renounce love because of an
unhappy love affair
(C) provisioned the ships carrying their loved
ones away
(D) escaped from their importunate lovers
(E) experienced the flight of someone they loved
180. In line 12, “embarked” reinforces the pun in
(A)
(B)
(C)
(D)
(E)
“warm in his wooing” (line 1)
“shut herself up in a trunk” (line 4)
“Her memory he nursed” (line 7)
“he’d play the Byronic” (line 8)
“nymphs that he brought over” (line 9)
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181. When the narrator of ------- says, “It is
a truth universally acknowledged, that a single
man in possession of a fortune, must be in want
of a wife,” the reader, alerted by the questionable
logic of the proposition about single men with
Line
fortunes, interprets the “universal” generalization
as an ironic comment on a particular social group
obsessed with match-making.
Which of the following will correctly complete
line 1 ?
(A)
(B)
(C)
(D)
(E)
David Copperfield
Tom Jones
Pride and Prejudice
The Scarlet Letter
Women in Love
182. Her father protests: “What! Married! . . . Do
you think your mother and I should have lived
comfortably so long together if ever we had been
married? Baggage!” Her mother seconds him:
“Can you support the expense of a husband,
hussy, in gaming and drinking?” And when she
declares that she loves her husband, the handsome
highwayman Macheath, her mother adds: “Love
him! Worse and worse! I thought the girl had
been better bred! . . . Your duty to your parents,
hussy, obliges you to hang him. What would
many a wife give for such an opportunity!”
The character addressed and the play in which the
dialogue above appears are
(A)
(B)
(C)
(D)
(E)
Polly Peachum and The Beggar’s Opera
Lydia Languish and The Rivals
Kate Hardcastle and She Stoops to Conquer
Lady Wishfort and The Way of the World
Lady Sneerwell and The School for Scandal
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Questions 183-186 refer to the following excerpt.
Alas! so all things now do hold their peace,
Heaven and earth disturbèd in no thing;
The beasts, the air, the birds their song do cease,
The nightès chare the stars about doth bring.
Calm is the sea, the waves work less and less.
—Henry Howard, Earl of Surrey
183. The dominant mood of the passage is one of
(A)
(B)
(C)
(D)
(E)
serenity blended with melancholy
irritability tending toward restlessness
joy heightened by anticipation
fear sharpened by loathing
bitterness rising to anger
184. Which of the following pairs of words forms an
imperfect rhyme?
(A)
(B)
(C)
(D)
(E)
“peace” (line 1) and “thing” (line 2)
“peace” (line 1) and “cease” (line 3)
“thing” (line 2) and “bring” (line 4)
“cease” (line 3) and “less” (line 5)
“bring” (line 4) and “less” (line 5)
185. Trochees occur at the beginning of lines
(A)
(B)
(C)
(D)
(E)
1 and 2
1 and 3
2 and 4
2 and 5
3 and 5
186. The word “chare” in line 4 functions
grammatically as
(A)
(B)
(C)
(D)
an adjective modifying “stars”
an adverb modifying “doth bring”
a noun that is the subject of “doth bring”
a conjunction that introduces a clause with
“stars” as the subject
(E) a verb that has “nightès” as its subject and
“stars” as its direct object
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63
Questions 187-190 refer to the following passage.
Line
5
10
15
20
25
Men think that it is essential that the Nation have
commerce, and export ice, and talk through a telegraph, and ride thirty miles an hour, without a doubt,
whether they do or not; but whether we should live like
baboons or like men, is a little uncertain. If we do not
get out sleepers, and forge rails, and devote days and
nights to the work, but go to tinkering upon our lives
to improve them, who will build railroads? And if railroads are not built, how shall we get to heaven in
season? But if we stay at home and mind our business, who will want railroads? We do not ride on the
railroad; it rides upon us. Did you ever think what
those sleepers are that underlie the railroad? Each one
is a man, an Irishman, or a Yankee man. The rails are
laid on them, and they are covered with sand, and the
cars run smoothly over them. They are sound sleepers,
I assure you. And every few years a new lot is laid
down and run over; so that, if some have the pleasure
of riding on a rail, others have the misfortune to be
ridden upon. And when they run over a man that is
walking in his sleep, a supernumerary sleeper in the
wrong position, and wake him up, they suddenly stop
the cars, and make a hue and cry about it, as if this
were an exception. I am glad to know that it takes a
gang of men for every five miles to keep the sleepers
down and level in their beds as it is, for this is a sign
that they may sometime get up again.
188. In the passage, “sleepers” refers literally to
(A)
(B)
(C)
(D)
(E)
trains that are not in motion
unemployed laborers
part of the railroad tracks
Christians careless in their moral lives
the idle rich who patronize the railroad
189. The final image of the passage in which the
sleepers “get up” (line 27) suggests the possibility of
(A) an increase in wages
(B) nighttime collisions between trains and
workers
(C) a revolt by the workers
(D) a rebirth of religious enthusiasm
(E) an emigration into less populated regions
190. The passage is from a work by
(A)
(B)
(C)
(D)
(E)
Elizabeth Gaskell
Henry David Thoreau
Charles Dickens
Ernest Hemingway
Thomas Hardy
187. The author most objects to the railroads because
they
(A)
(B)
(C)
(D)
(E)
waste the taxpayers’ money
cannot transport people as fast as is claimed
bring foreign workers into the region
encourage workers to profane the Sabbath
consume the physical and spiritual lives of
the workers
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191. I said I had lost my parents. It would be nearer the
truth to say that my parents seem to have lost me.
. . . I don’t actually know who I am by birth . . .
I was . . . well, I was found.
Questions 193-195 are based on the following
passage.
Having been tenant long to a rich lord,
Not thriving, I resolvèd to be bold,
And make a suit unto him, to afford
A new small-rented lease, and cancel th’ old.
The speaker is
(A) Jack Worthing in The Importance of Being
Earnest
(B) Captain Absolute in The Rivals
(C) George in Who’s Afraid of Virginia Woolf?
(D) Laura Wingfield in The Glass Menagerie
(E) Eliza Doolittle in Pygmalion
192. In writing about the central role of the “Africanist
presence” in American literature, Toni Morrison
states: “Literature redistributes and mutates in
figurative language the social conventions of
Africanism. In minstrelsy, a layer of blackness
applied to a white face released it from law. Just
as entertainers, through or by association with
blackface, could render permissible topics that
otherwise would have been taboo, so American
writers were able to employ an imagined
Africanist persona to -------.”
Which of the following best completes the
passage above?
(A) give concrete form to abstract theorizing
about the perfectibility of human nature
(B) impose a sense of political and social urgency
on depictions of ordinary life
(C) question the complacent assumption that the
New World represented the world before
the Fall
(D) trigger plot devices that involved the main
characters in unexpected difficulties
(E) articulate and imaginatively act out the
forbidden in American culture
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Line
5
10
In heaven at his manor I him sought:
They told me there that he was lately gone
About some land which he had dearly bought
Long since on earth to take possession.
I straight returned, and knowing his great birth,
Sought him accordingly in great resorts—
In cities, theaters, gardens, parks, and courts:
At length I heard a ragged noise and mirth
Of thieves and murderers, there I him espied,
Who straight, “Your suit is granted,” said, and died.
193. The poem is most like
(A)
(B)
(C)
(D)
(E)
a masque
a parable
a pastoral
a homily
an epigram
194. The “rich lord” of line 1 stands for
(A)
(B)
(C)
(D)
(E)
James I
Mammon
Satan
Christ
St. Peter
195. The author and title are
(A)
(B)
(C)
(D)
(E)
George Herbert, “Redemption”
John Donne, “The Canonization”
Francis Bacon, “Of Plantations”
Robert Herrick, “Delight in Disorder”
Andrew Marvell, “The Coronet”
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65
Questions 196-197 are based on the following
passage.
Questions 198-199 refer to the following critical
passage.
It is a tale of nameless terror, the vision of
Roderick Usher going mad as his ancestral house
crumbles around him, a prey to terrors he cannot name
and a longing, its nature never specified, for his silent
twin sister, Madeline. Such ------- goings-on enjoyed
special vogue among many writers of the nineteenth
century.
The intimacies of colonialism are thereby translated
into the social and political peculiarities represented by
the question, how can a people invite another people
not into a home, or into a different culture, but into that
alternative civil space known as a friendship? Into what
caves of disappointed sublimity must such civility collapse, before it can articulate the fact that colonial
friendship is never autonomous from the literal
presence of the racial body?
196. Which of the following will correctly complete
the last sentence of the passage?
(A)
(B)
(C)
(D)
(E)
epistolary
picaresque
structuralist
classical
gothic
197. The short story described above is by
(A)
(B)
(C)
(D)
(E)
Poe
Melville
Hawthorne
James
Faulkner
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66
198. The passage above discusses which of the
following novels?
(A)
(B)
(C)
(D)
(E)
Jane Eyre
Gulliver’s Travels
A Passage to India
Jacob’s Room
A House for Mr. Biswas
199. The phrase “what caves of disappointed sublimity”
alludes to the
(A)
(B)
(C)
(D)
(E)
narrator’s descent into hell
scene of an alleged assault
decline of the British Empire
obscured view from a mountaintop
loss of the Golden Age
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Questions 200-204 are based on the following
passage.
Line
5
10
15
Thanne is it wysdom, as it thynketh me,
To maken vertu of necessitee,
And take it weel that we may nat eshue,
And namely that to us alle is due.
And whoso gruccheth ought, he dooth folye,
And rebel is to hym that al may gye.
And certeinly a man hath moost honour
To dyen in his excellence and flour,
Whan he is siker of his goode name;
Thanne hath he doon his freend, ne hym, no shame.
And gladder oghte his freend been of his deeth,
Whan with honour up yolden is his breeth,
Than whan his name apalled is for age,
For al forgeten is his vassellage.
Thanne is it best, as for a worthy fame,
To dyen whan that he is best of name.
200. Line 3 may best be paraphrased as which of the
following?
(A) And take care in order that we may not be
lost
(B) And take virtue as that which we must not set
aside
(C) And not forget to take the commonweal into
account
(D) And accept uncomplainingly what we cannot
avoid
(E) And seize our chance at fame and fortune
201. In line 8, “flour” is best understood to mean a
man’s
(A)
(B)
(C)
(D)
(E)
203. The verse form is that of
(A)
(B)
(C)
(D)
(E)
octosyllabic couplets
decasyllabic couplets
fourteeners
rhyme royal
alliterative-accentual verse
204. The author is
(A)
(B)
(C)
(D)
(E)
the Gawain poet
Chaucer
Langland
Cædmon
Malory
205. The play is based on a thoroughly unsentimental
view of the relations between parents and children.
Harpagon bustles energetically to make ludicrous
liaisons for his son Cléante and daughter Elise.
Cléante hankers to be a dandy; his bluffness makes
up for what he lacks in elegance. The play depicts
their combat as Harpagon competes against
Cléante for the hand of beautiful Mariane and
tries to force on his daughter Elise an old fellow
whose main virtue is that he asks no dowry.
The play described above is
(A)
(B)
(C)
(D)
(E)
Strindberg’s The Father
Miller’s The Crucible
Molière’s The Miser
Sartre’s No Exit
Corneille’s Le Cid
accomplishments
fortune
lineage
prime
reputation
202. In line 9, “siker” most nearly means
(A)
(B)
(C)
(D)
(E)
certain
deprived
envious
hopeful
respectful
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67
Questions 206-209 refer to the passages below. You may find it
helpful to read the questions before you read the passages.
(A) This is the saddest story I have ever heard. We had
known the Ashburnhams for nine seasons of the town of
Nauheim with an extreme intimacy—or, rather, with an
acquaintanceship as loose and easy and yet as close as a
good glove’s with your hand. My wife and I knew
Captain and Mrs. Ashburnham as well as it was possible
to know anybody, and yet, in another sense, we knew
nothing at all about them.
(B) The Nellie, a cruising yawl, swung to her anchor without
a flutter of the sails, and was at rest. The flood had made,
the wind was nearly calm, and being bound down the
river, the only thing for it was to come to and wait for
the turn of the tide.
The sea-reach of the Thames stretched before us like
the beginning of an interminable waterway.
(C) She waited, Kate Croy, for her father to come in, but he
kept her unconscionably, and there were moments at
which she showed herself, in the glass over the mantel, a
face positively pale with the irritation that had brought
her to the point of going away without sight of him. It
was at this point, however, that she remained.
(D) I am in my mother’s room. It’s I who live there now. I
don’t know how I got there. Perhaps in an ambulance,
certainly a vehicle of some kind. I was helped. I’d never
have got there alone. There’s this man who comes every
week. Perhaps I got there thanks to him. He says not.
(E) Two mountain chains traverse the republic roughly from
north to south, forming between them a number of
valleys and plateaus. Overlooking one of these valleys,
which is dominated by two volcanoes, lies, six thousand
feet above sea level, the town of Quauhnahuac.
206. Which opens The Good Soldier ?
207. Which opens Heart of Darkness ?
208. Which opens The Wings of the Dove ?
209. Which opens Molloy ?
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68
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Questions 210-215 refer to the following lines.
Line
5
10
Should you, my lord, while you peruse my song,
Wonder from whence my love of Freedom sprung,
Whence flow these wishes for the common good,
By feeling hearts best understood,
I, young in life, by seeming cruel fate,
Was snatch’d from Afric’s fancy’d happy seat:
What pangs excruciating must molest,
What sorrows labour in my parents’ breast?
Steel’d was the soul and by no misery mov’d
That from a father seiz’d his babe belov’d:
Such, such my case. And can I then but pray
Others may never feel tyrannic sway?
210. The primary relationship developed in the passage
is that between
(A)
(B)
(C)
(D)
(E)
present and future
native-born and immigrant
philosophical ends and practical means
material goods and spiritual well-being
personal experience and political ideals
213. In line 8, “labour” functions as
(A)
(B)
(C)
(D)
(E)
a noun meaning “work”
a noun meaning “ordeal”
a verb meaning “to struggle”
a verb meaning “to endeavor”
an adjective modifying “sorrows”
214. Which of the following words reveals a complexity
of perspective in the speaker’s position?
(A)
(B)
(C)
(D)
(E)
“Wonder” (line 2)
“wishes” (line 3)
“feeling” (line 4)
“seeming” (line 5)
“sorrows” (line 8)
215. The author of the passage is
(A)
(B)
(C)
(D)
(E)
Anne Finch
John Dryden
Alexander Pope
Phillis Wheatley
Gwendolyn Brooks
211. In line 1, “peruse” means to
(A)
(B)
(C)
(D)
(E)
publish
read through
recite slowly
dismiss
distrust
212. In line 3, “common” means
(A)
(B)
(C)
(D)
(E)
lower-class
readily available
collective
well-known
coarse
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69
Questions 216-217 are based on the following
passage.
Poesy therefore is an art of (1) , for so (2)
termeth it in his word mimesis that is to say, a representing, counterfeiting, or figuring forth—to speak
metaphorically, a speaking picture; with this end, to
teach and delight.
216. Which of the following should be inserted at 1 ?
(A)
(B)
(C)
(D)
(E)
logic
imitation
seduction
fantasy
manipulation
218. In contrast to -------, Plotinus considers the artist a
creator of vehicles of valuable, though imperfect,
spiritual insight. Plotinus’ artist does not work by
rational principles; he does not, as ------- would
have had him, lead us to the ideas through the use
of reason. Rather, he tries to express in an artistic
medium some insight into the One.
Which of the following will correctly complete
the first two sentences of the passage?
(A)
(B)
(C)
(D)
(E)
Plato
Horace
Juvenal
Ovid
Virgil
217. Which of the following should be inserted at 2 ?
(A)
(B)
(C)
(D)
(E)
Aristotle
Cicero
Augustine
Longinus
Johnson
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70
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Questions 219-221 are based on the following
passage.
Line
5
10
Since thou hast view’d some Gorgon, and art grown
A solid stone:
To bring again to softness thy hard heart
Is past my art.
Ice may relent to water in a thaw;
But stone made flesh Loves Chymistry ne’re saw.
Therefore by thinking on thy hardness, I
Will petrify;
And so within our double Quarryes Wombe,
Dig out Loves Tombe.
Thus strangely will our difference agree;
And, with our selves, amaze the world, to see
How both Revenge and Sympathy consent
To make two Rocks each others Monument.
These beauteous forms,
Through a long absence, have not been to me
As is a landscape to a blind man’s eye
“Tintern Abbey,” lines 22-24
222. Which of the following rhetorical terms best
describes the lines above?
(A)
(B)
(C)
(D)
(E)
Apostrophe
Litotes
Hyperbole
Catachresis
Chiasmus
219. The phrase “stone made flesh” (line 6) functions
grammatically as
(A)
(B)
(C)
(D)
(E)
an appositive to “thaw” (line 5)
the subject of “saw” (line 6)
the object of “saw” (line 6)
the subject of “Will petrify” (line 8)
the object of “Will petrify” (line 8)
220. The effect produced by the Gorgon (lines 1-2) is
also produced by the speaker’s
(A)
(B)
(C)
(D)
(E)
long history of amorous conquest
failure to remember his beloved
repentance of past misdeeds
inability to experience “Loves Chymistry”
contemplation of his beloved’s obduracy
221. The type of elaborate image on which this poem
is based is called a
(A)
(B)
(C)
(D)
(E)
simile
euphemism
personification
conceit
synecdoche
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any part of this page is illegal.
GO ON TO THE NEXT PAGE.
71
223. Which of the following best exemplifies a
typological relation?
(A) The sacrifice of Isaac as prefiguring the
crucifixion of Christ
(B) The structure of Joyce’s Ulysses as imitating
the structure of Homer’s Odyssey
(C) Antoinette’s story in Rhys’s Wide Sargasso
Sea as extrapolating from the story of
Bertha Mason in Brontë’s Jane Eyre
(D) The opening lines of Eliot’s The Waste Land
as echoing Chaucer’s The Canterbury Tales
(E) The fall of Adam and Eve as preceding
Cain’s murder of his brother Abel
Questions 224-226 are based on the following
passage.
Line
5
10
All three began with roughly the same material:
life, odd and otherwise, in small towns of the rural
South. Given this common starting point, comparisons were probably inevitable, but they also are
misleading. Each looked at the South in a different
way. ------- dramatized the tailings and butt ends of a
long tragic myth in his Yoknapatawpha stories; ------perceived a gallery of grotesques testing the limits of
God’s mercy to man. ------- seems most at home in
Mississippi backwaters “spread out from Baptist
church to schoolhouse” and with residents like the
narrator postmistress at “the next to smallest P.O.
in the entire state.”
224. Which of the following will correctly complete
line 6 ?
(A)
(B)
(C)
(D)
(E)
William Faulkner
Eudora Welty
Flannery O’Connor
Thomas Pynchon
Ernest Gaines
225. Which of the following will correctly complete
line 7 ?
(A)
(B)
(C)
(D)
(E)
William Faulkner
Eudora Welty
Flannery O’Connor
Thomas Pynchon
Ernest Gaines
226. Which of the following will correctly complete
line 9 ?
(A)
(B)
(C)
(D)
(E)
Unauthorized copying or reuse of
any part of this page is illegal.
72
William Faulkner
Eudora Welty
Flannery O’Connor
Thomas Pynchon
Ernest Gaines
GO ON TO THE NEXT PAGE.
229. Lines 1-8 ask for the
Questions 227-230 are based on the following
passage.
Line
5
10
At the round earth’s imagined corners, blow
Your trumpets, angels; and arise, arise
From death, you numberless infinities
Of souls, and to your scatter’d bodies go;
All whom the flood did, and fire shall, o’erthrow,
All whom war, dearth, age, agues, tyrannies,
Despair, law, chance hath slain, and you whose eyes
Shall behold God, and never taste death’s woe.
But let them sleep, Lord, and me mourn a space;
For, if above all these, my sins abound,
‘Tis late to ask abundance of Thy grace
When we are there. Here on this lowly ground,
Teach me how to repent; for that’s as good
As if Thou hadst sealed my pardon with Thy blood.
(A)
(B)
(C)
(D)
(E)
defeat of the Philistines
Assumption of Mary
Slaughter of the Innocents
Resurrection of the Dead
Harrowing of Hell
230. The author is
(A)
(B)
(C)
(D)
(E)
Donne
Swift
Dryden
Pope
Herrick
227. The “fire” (line 5) is the
(A) passion that characterizes human affairs
(B) breath of life that informs all animate creatures
(C) final conflagration that will consume all the
earth
(D) warmth and intensity of God’s love
(E) hate that often clouds human judgments
228. Lines 5-8 (“All whom . . . death’s woe”) refer to
(A) only those who have experienced unhappiness
and tragedy
(B) only those with strong religious feelings
(C) only those who have led Christian lives
(D) all who died at birth
(E) all who will have lived before the Last
Judgment
STOP
If you finish before time is called, you may check your work on this test.
Unauthorized copying or reuse of
any part of this page is illegal.
73
NOTE: To ensure prompt processing of test results, it is important that you fill in the blanks exactly as directed.
I
SUBJECT TEST
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your full name
in this box:
PRINT: ___________________________________________________________________
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SIGN: ____________________________________________________________________
6. TITLE CODE
Copy this code in box 6 on
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Literature in English
TEST NAME ___________________________________
GR0764
FORM CODE ____________________________________
GRADUATE RECORD EXAMINATIONS SUBJECT TEST
B. The Subject Tests are intended to measure your achievement in a specialized field of study. Most of the questions are
concerned with subject matter that is probably familiar to you, but some of the questions may refer to areas that you
have not studied.
Your score will be determined by subtracting one-fourth the number of incorrect answers from the number of correct
answers. Questions for which you mark no answer or more than one answer are not counted in scoring. If you have
some knowledge of a question and are able to rule out one or more of the answer choices as incorrect, your chances of
selecting the correct answer are improved, and answering such questions will likely improve your score. It is unlikely
that pure guessing will raise your score; it may lower your score.
You are advised to use your time effectively and to work as rapidly as you can without losing accuracy. Do not spend
too much time on questions that are too difficult for you. Go on to the other questions and come back to the difficult
ones later if you can.
YOU MUST INDICATE ALL YOUR ANSWERS ON THE SEPARATE ANSWER SHEET. No credit will be given
for anything written in this examination book, but you may write in the book as much as you wish to work out your
answers. After you have decided on your response to a question, fill in the corresponding oval on the answer sheet.
BE SURE THAT EACH MARK IS DARK AND COMPLETELY FILLS THE OVAL. Mark only one answer to each
question. No credit will be given for multiple answers. Erase all stray marks. If you change an answer, be sure that all
previous marks are erased completely. Incomplete erasures may be read as intended answers. Do not be concerned that
the answer sheet provides spaces for more answers than there are questions in the test.
Sample Answer
Example:
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(A)
(B)
(C)
(D)
(E)
Rome
Paris
London
Cairo
Oslo
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
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C
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CORRECT ANSWER
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Educational Testing Service
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Scoring Your Subject Test
The Literature in English Test scores are reported on
a 200 to 990 score scale in ten-point increments. The
actual range of scores is smaller, and it varies from
edition to edition because different editions are not of
precisely the same dificulty. However, this variation
in score range is usually small and should be taken into
account mainly when comparing two very high scores.
In general, differences between scores at the 99th
percentile should be ignored. The score conversion
table on page 77 shows the score range for this
edition of the test only.
The worksheet on page 76 lists the correct answers
to the questions. Columns are provided for you to
mark whether you chose the correct (C) answer or
an incorrect (I) answer to each question. Draw a line
across any question you omitted, because it is not
counted in the scoring. At the bottom of the page,
enter the total number correct and the total number
incorrect. Divide the total incorrect by 4 and subtract
the resulting number from the total correct. Then
round the result to the nearest whole number. This
will give you your raw total score. Use the total score
conversion table on page 77 to ind the scaled total
score that corresponds to your raw total score.
Example: Suppose you chose the correct answers to
138 questions and incorrect answers to 49. Dividing
49 by 4 yields 12.3. Subtracting 12.3 from 138 equals
125.7, which is rounded to 126. The raw score of 126
corresponds to a scaled score of 550.
LITERATURE IN ENGLISH TEST
PRACTICE BOOK
75
Worksheet for the Literature in English Test, Form GR0764 Only
Answer Key and Percentages* of Examinees Answering Each Question Correctly
QUESTION TO
Number
Answer
P+
C
TAL
I
QUESTION TO
Number
Answer
P+
C
TAL
I
QUESTION TO
Number
Answer
P+
1
2
3
4
5
E
C
D
C
E
82
54
47
84
91
81
82
83
84
85
E
C
C
A
B
45
63
38
19
82
161
162
163
164
165
C
E
A
C
C
90
49
77
67
74
6
7
8
9
10
E
C
D
B
A
78
82
85
58
47
86
87
88
89
90
D
C
E
C
E
75
80
47
65
85
166
167
168
169
170
D
B
C
A
D
52
36
68
68
83
11
12
13
14
15
E
C
B
E
A
73
41
62
84
69
91
92
93
94
95
A
B
E
B
D
74
95
58
55
41
171
172
173
174
175
B
B
E
C
B
52
29
39
87
32
16
17
18
19
20
D
A
B
C
B
89
76
87
81
35
96
97
98
99
100
A
E
D
B
D
87
36
34
31
34
176
177
178
179
180
D
A
D
E
B
45
54
56
69
80
21
22
23
24
25
D
A
A
E
C
84
45
69
83
62
101
102
103
104
105
C
B
B
E
D
27
17
69
70
28
181
182
183
184
185
C
A
A
D
D
88
25
91
79
35
26
27
28
29
30
B
C
B
D
A
78
32
39
30
75
106
107
108
109
110
E
A
B
A
B
49
19
48
68
50
186
187
188
189
190
C
E
C
C
B
38
86
43
75
46
31
32
33
34
35
C
D
A
C
E
46
44
64
55
89
111
112
113
114
115
C
B
D
D
D
24
80
79
34
75
191
192
193
194
195
A
E
B
D
A
52
84
57
48
45
36
37
38
39
40
C
A
C
C
E
81
58
32
36
65
116
117
118
119
120
B
C
B
A
C
48
22
71
62
68
196
197
198
199
200
E
A
C
B
D
95
93
67
26
44
41
42
43
44
45
C
E
B
A
D
83
82
93
92
79
121
122
123
124
125
D
B
B
A
D
30
93
93
53
76
201
202
203
204
205
D
A
B
B
C
34
55
58
36
39
46
47
48
49
50
A
E
B
D
B
74
68
33
52
45
126
127
128
129
130
C
A
B
C
D
92
61
84
58
89
206
207
208
209
210
A
B
C
D
E
24
67
26
19
57
51
52
53
54
55
E
A
E
C
E
59
68
67
39
92
131
132
133
134
135
B
E
A
A
E
42
85
22
51
79
211
212
213
214
215
B
C
C
D
D
85
86
75
57
53
56
57
58
59
60
C
E
A
E
D
56
53
70
27
79
136
137
138
139
140
D
E
E
D
B
60
90
27
27
27
216
217
218
219
220
B
A
A
C
E
79
76
66
54
51
61
62
63
64
65
C
A
E
B
E
71
86
40
60
85
141
142
143
144
145
A
E
B
E
A
29
22
47
67
71
221
222
223
224
225
D
B
A
A
C
48
37
24
84
66
66
67
68
69
70
E
A
D
D
A
72
37
55
44
47
146
147
148
149
150
A
B
C
E
A
28
28
50
64
78
226
227
228
229
230
B
C
E
D
A
53
90
64
89
82
71
72
73
74
75
A
E
A
A
E
15
44
59
42
72
151
152
153
154
155
A
D
A
C
C
64
57
32
76
39
76
77
78
79
80
E
B
A
A
D
96
22
64
65
60
156
157
158
159
160
C
A
B
B
E
79
78
88
69
79
C
Correct (C)
Incorrect (I)
Total Score:
C – I/4 = ____________
Scaled Score (SS) = ____________
* The P+ column indicates the percent of LITERATURE IN ENGLISH Test examinees who answered each question correctly; it is based on a sample of
November 2007 examinees selected to represent all LITERATURE IN ENGLISH Test examinees tested between July 1, 2006 and June 30, 2009.
76
TAL
I
Score Conversions and Percents Below* for GRE Literature
in English Test, Form GR0764 Only
TOTAL SCORE
Raw Score
Scaled Score
%
Raw Score
Scaled Score
%
230
226-229
810
800
99
99
222-225
218-221
214-217
210-213
206-209
202-205
198-201
194-197
190-193
185-189
790
780
770
760
750
740
730
720
710
700
99
99
99
99
99
98
98
97
96
95
112-115
108-111
104-107
520
510
500
39
36
32
181-184
177-180
173-176
169-172
165-168
161-164
157-160
153-156
149-152
145-148
690
680
670
660
650
640
630
620
610
600
93
91
89
87
84
82
79
76
73
69
100-103
96-99
92-95
88-91
84-87
80-83
76-79
72-75
68-71
64-67
490
480
470
460
450
440
430
420
410
400
29
26
23
20
17
15
13
10
8
7
141-144
137-140
133-136
129-132
124-128
120-123
116-119
590
580
570
560
550
540
530
66
62
58
55
50
47
43
59-63
55-58
51-54
47-50
43-46
39-42
35-38
31-34
27-30
23-26
390
380
370
360
350
340
330
320
310
300
6
5
4
3
2
2
1
1
1
1
19-22
15-18
11-14
7-10
3-6
0-2
290
280
270
260
250
240
1
1
1
1
1
1
* Percentage scoring below the scaled score is based on the performance
of 10,052 examinees who took the LITERATURE IN ENGLISH Test between
July 1, 2006 and June 30, 2009.
LITERATURE IN ENGLISH TEST
PRACTICE BOOK
77
Evaluating Your Performance
Now that you have scored your test, you may wish to
compare your performance with the performance of
others who took this test. Both the worksheet on page
76 and the table on page 77 use performance data from
GRE Literature in English Test examinees.
The data in the worksheet on page 76 are based
on the performance of a sample of the examinees
who took this test in November 2007. This sample
was selected to represent the total population of GRE
Literature in English Test examinees tested between
July 2006 and June 2009. The numbers in the column
labeled “P+” on the worksheet indicate the percentages of examinees in this sample who answered each
question correctly. You may use these numbers as a
guide for evaluating your performance on each test
question.
The table on page 77 contains, for each scaled
score, the percentage of examinees tested between
July 2006 and June 2009 who received lower scores.
Interpretive data based on the scores earned by examinees tested in this three-year period will be used by
admissions oficers in the 2010-11 testing year. These
percentages appear in the score conversion table in a
78
column to the right of the scaled scores. For example,
in the percentage column opposite the scaled score of
550 is the number 50. This means that 50 percent of
the GRE Literature in English Test examinees tested
between July 2006 and June 2009 scored lower than
550. To compare yourself with this population, look at
the percentage next to the scaled score you earned on
the practice test.
It is important to realize that the conditions under
which you tested yourself were not exactly the same as
those you will encounter at a test center. It is impossible to predict how different test-taking conditions will
affect test performance, and this is only one factor that
may account for differences between your practice test
scores and your actual test scores. By comparing your
performance on this practice test with the performance
of other GRE Literature in English Test examinees,
however, you will be able to determine your strengths
and weaknesses and can then plan a program of study
to prepare yourself for taking the GRE Literature in
English Test under standard conditions.
LITERATURE IN ENGLISH TEST
PRACTICE BOOK
79
DO NOT USE INK
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91
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E
D
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B
98
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C
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Q
A
P
Q
18
19
20
21
22
P
Q
A
P
Q
E
P
Q
D
P
Q
C
P
Q
B
P
Q
A
P
Q
A
P
Q
E
P
Q
D
P
Q
C
P
Q
B
P
Q
A
P
Q
A
P
q
53
54
55
O
E
N
O
D
N
O
C
N
O
B
N
O
A
N
O
15
16
17
N
O
A
N
O
52
N
O
E
N
O
D
N
O
C
N
O
B
N
O
A
N
O
14
N
O
A
N
O
E
N
O
D
N
o
C
M
B
M
A
M
A
M
E
M
D
M
C
M
B
M
A
M
E
M
D
M
C
M
B
M
A
M
A
M
87
88
89
M
E
L
M
D
K
L
C
K
L
B
K
L
A
K
L
49
50
51
K
L
E
K
L
D
K
L
C
K
L
B
K
L
A
K
L
11
12
13
K
L
A
K
L
86
K
L
E
K
L
D
K
L
C
K
L
B
K
A
J
48
J
E
J
D
J
C
J
B
J
A
J
10
J
A
J
E
J
D
J
C
J
B
J
A
J
E
J
D
J
C
I
J
B
H
I
A
H
I
A
H
I
E
H
I
D
H
I
C
H
I
B
H
I
A
H
I
E
H
I
D
H
I
C
H
I
B
H
I
A
H
I
A
H
I
83
84
85
H
I
E
H
I
D
H
C
G
B
G
A
G
45
46
47
G
E
G
D
G
C
G
B
G
A
G
7
8
9
G
A
G
E
G
D
G
C
G
B
G
A
G
E
F
G
D
F
C
F
B
F
A
F
A
F
81
82
F
E
F
D
F
C
F
B
F
A
F
43
44
F
E
F
D
F
C
F
B
E
F
A
D
E
5
6
D
E
A
D
E
E
D
E
D
D
E
C
D
E
B
D
E
A
D
E
E
D
E
D
D
E
C
D
E
B
D
E
A
D
E
A
D
E
79
80
D
E
E
D
E
D
D
C
C
B
C
A
C
41
42
C
E
C
D
C
C
C
B
C
A
C
3
4
C
A
C
A
C
77
78
C
E
C
E
C
D
C
D
B
C
A
C
B
C
A
B
B
A
B
B
A
B
A
A
B
A
A
B
39
40
A
B
E
A
B
E
A
B
D
A
B
D
A
B
C
A
B
C
A
B
B
A
B
B
A
B
A
A
B
A
A
1
2
First
Name Middle
Initial Initial
YOU MAY FIND MORE RESPONSE SPACES THAN YOU NEED. IF SO, PLEASE LEAVE THEM BLANK.
Omit spaces, apostrophes, Jr., II., etc.
Last Name only (Family Name or Surname) - First 15 Letters
BE SURE EACH MARK IS DARK AND COMPLETELY FILLS THE INTENDED SPACE AS ILLUSTRATED HERE:
Enter your last name, irst name initial (given name), and
1. NAME middle initial if you have one.
2.
YOUR NAME:
(Print)
Last Name (Family or Surname)
First Name (Given)
M.I.
3. DATE OF BIRTH
MAILING ADDRESS:
(Print)
Month
P.O. Box or Street Address
Day
5. REGISTRATION
NUMBER
4. SOCIAL SECURITY
NUMBER
Jan.
State or Province
Country
Zip or Postal Code
CENTER:
City
Country
State or Province
Center Number
Room Number
Mar.
your test book)
FORM CODE (on back cover of
Feb.
City
7. TEST NAME (on back cover of
(on back cover of
your test book)
(from your admission ticket)
(U.S.A. only)
Year
6. TITLE CODE
your test book)
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
April 1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
May
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
June 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
July
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
Aug.
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
Sept.
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
Oct.
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
Nov.
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
Dec.
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
9
8. TEST BOOK SERIAL NUMBER
(number in upper right corner of front cover of
your test book)
SHADED AREA FOR ETS USE ONLY
742862
SIGNATURE:
®
Copyright ® 2007 by Educational Testing Service, Princeton, NJ 08541
All rights reserved. Printed in U.S.A.
Q3117-06,07/1
00101-02954 • TF77E70
1
2
3
4
MH/wan07190
Item responses continued on reverse side.
E
E
E
E
SIDE 1
E
E
E
E
E
E
E
E
E
E
E
E
E
E
E
- SUBJECT TEST
E
E
E
E
E
E
E
E
E
E
E
E
E
E
E
E
E
E
GRADUATE RECORD EXAMINATIONS ® -
Use only a pencil with soft, black lead (No. 2 or HB) to complete this answer sheet.
Be sure to ill in completely the space that corresponds to your answer choice.
Completely erase any errors or stray marks.
SIDE 2
CERTIFICATION STATEMENT
Please write the following statement below, DO NOT PRINT.
“I certify that I am the person whose name appears on this answer sheet. I also
agree not to disclose the contents of the test I am taking today to anyone.”
Sign and date where indicated.
SUBJECT TEST
COMPLETE THE
CERTIFICATION STATEMENT,
THEN TURN ANSWER SHEET
OVER TO SIDE 1.
SIGNATURE:
DATE:
Month
123
124
125
126
127
128
129
130
131
132
133
134
135
136
137
138
139
140
141
142
143
144
145
146
TR
D
E
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
153
154
155
A
B
C
D
E
156
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
157
158
159
A
B
C
D
E
160
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
161
162
163
A
B
C
D
E
164
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
TW
TFS
FOR ETS USE ONLY
80
149
150
151
152
165
166
167
168
169
170
171
172
173
174
175
176
177
178
TCS
A
B
C
D
E
179
A
B
C
D
E
A
B
C
D
E
180
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
218
A
B
C
D
E
185
186
187
215
216
217
A
B
C
D
E
A
B
C
D
E
188
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
222
A
B
C
D
E
189
190
191
219
220
221
A
B
C
D
E
A
B
C
D
E
192
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
226
A
B
C
D
E
193
194
195
223
224
225
A
B
C
D
E
A
B
C
D
E
196
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
227
228
229
A
B
C
D
E
A
B
C
D
E
230
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
181
182
183
184
197
198
199
200
201
202
203
204
205
206
207
208
209
210
211
212
213
214
231
232
233
234
235
236
237
238
239
240
241
242
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
A
B
C
D
E
1R
1W
1FS
1CS
2R
2W
2FS
2CS
3R
3W
3FS
3CS
4R
4W
4FS
4CS
5R
5W
5FS
5CS
6R
6W
6FS
6CS
B. sign your full name here:
122
C
B
A. Fill in both ovals here . . .
119
120
121
B
A
To cancel your scores from this test administration, you must:
117
118
147
148
A
IF YOU DO NOT WANT THIS ANSWER SHEET TO BE SCORED
115
116
Year
.
YOU MAY FIND MORE RESPONSE SPACES THAN YOU NEED. IF SO, PLEASE LEAVE THEM BLANK.
If you want to cancel your scores from this test administration, complete A and B below. You will not receive scores for this test. No
record of this test or the cancellation will be sent to the recipients you indicated, and there will be no scores for this test on your GRE
ile.
BE SURE EACH MARK IS DARK AND COMPLETELY FILLS THE INTENDED SPACE AS ILLUSTRATED HERE:
Day
756795
83476-007626 • UNLPDF710