Professional Documents
Culture Documents
1982
SECTION I
Time—60 minutes
Directions: This section consists of selections from literary works and questions on their content,
form, and style. After reading each passage or poem, choose the best answer to each question and
blacken the corresponding space on the answer sheet.
: This section consists of selections from literary works and questions on their content, form, and
style. After reading each passage or poem, choose the best answer to each question and blacken
the corresponding space on the answer sheet.
Note: Pay particular attention to the requirement of questions that contain the words NOT, LEAST, or
EXCEPT.
: Pay particular attention to the requirement of questions that contain the words NOT, LEAST, or
EXCEPT.
Questions 1-13. Read the following poem carefully before you choose your answers.
. Read the following poem carefully before you choose your answers.
A Dialogue Between the Soul and Body Joy’s cheerful Madness does perplex:
0 who shall, from this Dungeon, raise What but a Soul could have the wit
With bolts of Bones, that fetter’d stands So Architects do square and hew,
In Feet; and manacled in Hands. Green Trees that in the Forest grew.
Which, stretcht upright, impales me so, (B) acting as the deliverer of the other
(15) And warms and moves this needless Frame: (D) winning the struggle at the moment
A Body that could never rest, the relationship between the body and the soul?
What Magic could me thus confine (D) Each is subject to the demands of the other.
Within another’s Grief to pine? (E) In time, they become completely unified.
(25) And all my care its self employs, 3. Which of the following devices is dominant in the
Diseases, but what’s worse, the Cure: (B) An extended definition of the soul
And ready oft the Port to gain, (C) Names of parts of the body to represent the
Body struggle
struggle
But Physic* yet could never reach (E) End-stopped lines to temper the urgency of
The poem is reprinted below for your use in answering the remaining questions.
A Dialogue Between the Soul and Body 4. The notion of an eye that can blind and an ear that
With bolts of Bones, that fetter’d stands (C) eye and ear impede the soul’s perception in-
(5) Here blinded with an Eye; and there, (D) eye and ear try continually to perceive the soul
A Soul hung up, as ‘twere, in Chains ‘ (E) fragile eye and ear are stronger than the soul
Tortur’d, besides each other part, 5. In the context of the first stanza, lines 1-2 express
Which, stretcht upright, impales me so, (E) released from enslavement to vice
(A Fever could but do the same.) 6. Which of the following best sums up what is said in
Has made me live to let me die. (A) The body would prefer death to the dictates of
(20) Since this ill Spirit it possest. (B) The soul puts the body in the position of always
Within another’s Grief to pine? (D) The body is the stepping-off place for any
I feel, that cannot feel, the pain. (E) The soul offers the body the chance to achieve
Constrain ‘d not only to endure 7. What does line 15 suggest about the nature of the
Diseases, but what’s worse, the Cure: soul? And ready oft the Port to gain,
(30) Am Shipwrackx into Health again. (A) It is the divine element in a person.
—Andrew Marvell
*Physic: medicine
: medicine
GO ON TO THE NEXT PAGE
8. Which of the following best restates the question 12. The last four lines, which extend the length
of the
(A) What constrains me to suffer from experiences (A) offering a solution to the dilemma of the body
(B) What can make me sorrow for the body in its (B) providing an epigrammatic summary of the
ill state when I have no natural sympathy? body’s view of the soul
(C) What struggle of good and evil makes me both (C) providing comic relief from the serious
cause the misfortunes of the body and then conflict in the poem
(D) Why must the body ultimately come to grief reveal the whole person, body and soul
(E) Why must I dwell in another body after my (E) finally allowing the soul to argue back within
original dwelling place has died? a stanza devoted to the view of the body
9. Lines 25-26 are best understood to mean that the 13. Which of the following most fully expresses
the
(A) soul can neither care nor feel, and so the body’ cleverness of the body in its impingement on the
(B) body ignores the souls efforts to influence it (A) "0 who shall, from this Dungeon, raise/A
(C) soul’s best attempts to exist In unity with the Soul inslav‘d so many ways 7’ (lines 1-2)
body end by killing the body (B) "And, wanting where its spite to try, /Has
(D) body refuses to recognize that it could not live made me live to let me die," (lines 17-18)
without the soul (C) "And alt my care its self employs, /That to
(E) soul ‘s efforts are used by the body for its own preserve, which me destroys:" (tines 25- 26)
maintenance and, consequently, for the (D) "But Physic yet could never reach/The
ruination of
(A) death
(D) illness
(E) hell
the soul.
Questions 14-29. Read the following passage carefully before you choose your answers.
generation before us in a blind or timid adherence to its successes, "tradition" should positively be
(5)
discouraged. We have seen many such simple currents soon lost in the sand; and novelty is better
(10)
than repetition. Tradition is a matter of much wider significance. It cannot be Inherited, and if you
want it you must obtain it by great labour. It involves, in the first place, the historical sense, which
we may call nearly indispensable to anyone
(15)
twenty—fifth year; and this historical sense Involves a perception, not only of the pastness of the
past, but of its presence; the historical sense compels a man to write not merely with his own
generation in
(20)
simultaneous existence and composes a simultaneous order. This historical sense, which is a sense
of
(25)
(30)
(35)
highly desirable supplement. The writer must be very conscious of the main current, which does not
(40)
fact that art never improves, but that the material
(45)
(50)
(55)
14.
inclusive one
the present
of ancient Greece
whole.
an impartial arbiter.
16
as a metaphor relating to
17
sense.
(A)1 only
(B) II only
know. -
TIe passage is reprinuxi below for your use in answering the renwning qucstwns.
18. According to the passage, writers who are most 22. The author implies that the "first cour3e is in
t~ -
aware of their own contemporaneity would be missible" (lines 33-34) because following it
(A) have rejected the sterile conventions of earlier (A) failure to discriminate among the various
(B) have refused to follow the ways of the imme- (B) abandonment of the commitment to read older
novelty and originality (C) relaxation of the standards that make a work o~
(C) have an intimate acquaintance with past and art Likely, to endure
present literary works (D) neglect of the study of present-day writers who
(D) understand that contemporary works are will become part of the tradition
Likely to lose their popularity in time (B) forgetting that a writer’s first duty is to
(B) prefer the great literature of the past to the preserve his or her integrity
19. In the first paragraph, the author is most concerned as that which
with
(A) explaining how writers may be aware of their (A) changes and improves constantly
(13) defining the historical sense as it relates to (C) has had wide popular appeal
writing
(C) berating those who dismiss the notion of (E) epitomizes the characteristics of one period
tradition
(D) developing a theory of what is durable in 24. In line 45, the "mind which changes" refers to
(E) summarizing ‘historical trends in literary I. "the mind of Europe" (line 42)
20. In lines 22-23, the repeated linkage of the words III. "his own private mind" (line 44)
(A) author’s assumption that the two words are (C) I and II only
(B) necessity of allying two concepts usually (B) I, II, and III
thought of as opposites
(C) ironic conclusion that all that is temporal is 25. In lines 48-49, the author refers to the "rock
meaningless drawing of Magdalenian draughtsmen" as
have focused only on the timeless (A) an example of an artistic style that has been
still changing
21. According to lines 28-36, which of the following (C) evidence of the kind of re-evaluation that
would be a natural and tolerable attitude for a takes place when new critical theories are
(A) The opinion that older literature is probably (D) an example of art that had no self-conscious
irrelevant to contemporary men and women. ness about being part of an artistic tradition
of natural talent than of hard work. (E) evidence of the need to use the same standards
{C) The idea that Shakespeare and Dickens are in evaluating literature and painting
the only writers that he or she need use as
models.
writers
TIe passage is reprinuxi below for your use in answering the renwning qucstwns.
neity. . .
(40) fact that art never improves, but that the material
know. . .
26. Which of the following is implicit before "That this development . . . improvement" (lines 49-51)?
(A) The difference between the past and the present is
(A) support ironically an idea different from the one apparently intended by "Someone’
(C) ridicule the idea that writers of the past were ignorant
(D) show that although "Someone’s" ideas are obviously to be respected, literary critics do often
have disagreements
(E) add a new definition to the concept of ‘remoteness," while subtly indicating approval of the ideas
expressed
28. The development of the argument can best be described as progressing from the
of concrete examples of it
I.
TIe passage is reprinuxi below for your use in answering the renwning qucstwns. — IHW~! ‘T —
Questions 30-42. Read the following poem carefully before you choose your answer.
Advice to a Prophet
When you come, as you soon must1 to the streets of our city,
Mad-eyed from stating the obvious,
1. (5) Spare us all word of the weapons, their force and range,
Nor shall you scare us with talk of the death of the race.
(15) How the dreamt cloud crumbles, the vines are blackened by frost,
. Read the following poem carefully before you choose your answer. When you come, as you soon
must
In which we have said the rose of our love and the clean
(30) Horse of our courage, in which beheld The singing locust of the soul unshelled, And all we mean
or wish to mean.
30. The speaker assumes that the prophet referred to in lines 1-12 will come proclaiming
(C) men and women are more concerned with love than with weapons
(D) people have heard such talk too often before
TIe passage is reprinuxi below for your use in answering the renwning qucstwns. — IHW~! ‘T —
Advice to a Prophet
When you come, as you soon must1 to the streets of our city,
Mad-eyed from stating the obvious,
1. (5) Spare us all word of the weapons, their force and range,
Nor shall you scare us with talk of the death of the race.
(15) How the dreamt cloud crumbles, the vines are blackened by frost,
In which we have said the rose of our love and the clean
(30) Horse of our courage, in which beheld The singing locust of the soul unshelled, And all we mean
or wish to mean.
© 1959 by Richard Wilbur. Reprinted from his volume Advice to a Prophet and Other Poems by
permission of Harcourt Brace Jovanovich, Inc.
GO ON TO NEXT PAGE
(A)
(B)
(C)
(D)
(E)
The poem is reprinted below for your use in answering the remaining questions. r 32. In the phrase,
"A stone Look on the stone’s face,’ (line 12). the speaker is suggesting that
(A) a stone is the most difficult natural object to comprehend
(U) have all experienced loss and disappointment (E) realize that the end of the world may be near
35. The speaker implies that without "the dolphin’s arc, the dove’s return" (line 24) we would
(A) be less worried about war and destruction
36. The phrase ‘knuckled grip" (line ~) implies that the jack-pine
4. (D) rainbow
38. The phrase that live tongue" (line 27) is best understood as
39. According-to the speaker, we use the images of the rose (line 29), the horse (line 30), and the
locust (line 31)
40. WhIch of the following best describes an effect of the repetition of the phrase "ask us" in line
33 ?
(A) It suggests that the prophet himself is the cause of much of the world ‘ s misery.
(B) It represents a sarcastic challenge to the prophet to ask the right questions.
(C) it suggests that the speaker is certain of the answer he will receive.
(D) It makes the line scan as a perfect example of Iambic pentameter.
(B) A poetic expression of the need for love to give meaning to life
The poem is reprinted below for your use in answering the remaining questions. r
Questions 43-55. Read the following passage carefully before you choose your answers.
. Read the following passage carefully before you choose your answers.
I sometimes dream of a larger and more popu-
keep off rain and snow; where the king and queen
into when you have opened the outside door, and the
1. (25) house at one view, and every thing hangs upon its
1. (30) hear the pot boil, and pay your respects to the fire
that cooks your dinner and the oven that bakes your
bread, and the necessary furniture and utensils are
1. (40) nest, and you cannot go in at the front door and out
the passage?
44. The opening sentence (which ends on tine 38) can best be described as
(D) a balanced sentence that describes first the house and next Its inhabitants
46. The speaker contrasts his preferred house with which of the following?
(E) "where the king and queen posts stand out" (lines 8-9)
The poem is reprinted below for your use in answering the remaining questions. r
(A)
(B)
(C)
(D)
(E)
I. to send out
(A)
(B)
(C)
(D)
(E)
I only
I and II only
48. Which of the following is true about the syntax of the clause "and every thing hangs upon its peg
that a man should use" (lines 25-26) ?
reference.
"every thing."
II. to extinguish
III. To annoy
51. The best contrast with the image of "a bird’s nest" (lines 39-40) is
conciliatory
nostalgic
53. The most explicit suggestion that all who enter have the full freedom of the house is
contained in
(A) "where the king and queen posts stand out to receive your homage" (lines 8-9)
(D) "every thing hangs upon its peg that a man should use" (lines 25-26)
(E) "pay your respects to the fire that cooks your dinner" (Lines 30-31)
54. When the author says "I am not aware that I have been in ma1’~y men’s houses" (Lines
53-54), he Is
commenting on
END OF SECTION 1
— 17 —
An answer sheet with the correct responses gridded appears on page 19.
Below are listed the correct answer keys to the multiple—choice questions. Also listed is the
percentage of the sample candidates who selected the correct answer. The percentage is based on
an analysis of a sample of approximately 2,000 candidates. For example, for question number 6 the
correct answer, and 55 percent of the sample ~f 2,000 candidates answered the question correctly.
As a general rule, candidates who chose the correct answer to each individual question also
achieved a higher mean score on the test as a whole than did candidates who chose the wrong
answers. For a more complete explanation of how multiple—choice questions are written and how
the correct answers are arrived at see Multiple—Choice Testing in Literature: Advanced Placement
English.
Percentage Percentage
Answering Answering
Correctly Correctly
1. E 91% 29. D 39%
2. D 87 30. D 89
3. A 76 31. E 75
4. C 87 32. C 21
5. B 71 33. E 79
6. B 55 34. D 48
7. D 67 35. C 68
8. A 68 36. B 52
9. E 72 37. B 66
10. A 35 38. A 43
11. D 52 39. B 78
12. B 60 40. E 53
13. C 39 41. D 86
14. A 75 42. E 42
15. C 63 43. A 62
16. C 58 44. B 33
17. E 54 45. B 97
18. C 78 46. E 82
19. B 76 47. D 52
20. B 88 48. C 48
21. C 40 49. A 24
22. A 65 50. E 48
23. 8 38 51. A 62
24. C 67 52. C 84
25. B 48 53. B 29
26. D 55 54. C 85
27. A 50 55. D 21
‘~/ 28. A 55
IF YOU FINISH BEFORE TIME IS CALLED, YOU MAY CHECK YOUR WORK ON THIS SECTION.DO NOT GO
ON TO SECTION II UNTIL YOU ARE TOLD TO DO SO.
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