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Name: ___________________Instructions & Information: Most AP English Literature multiple-choice tests are 50-60 questions; this one is 58 questions (including one you’ve seen before). Most AP tests include 4 passages (2 poems, 2 prose). For this one, I couldn’t find enough with longer sets of questions from the AP Central question bank, so it has 6 texts, with more poems than prose (but one of the poems reads like prose). For the real test, you would be allowed 60 minutes. For this one, you have to read more passages, so 65-70 minutes would be fairer. It’s okay if you use a bit more time than that, but try to not go over 75-ish minutes. Do this on your own (and don’t use dictionaries or the internet—but feel free to write down words that you want to look up later). (If you run out of time, go ahead and finish the other questions, but note where you would have gotten to.) Use the Scantron for your answers (either while taking the test or after you finish it). I’m hoping to have a key by Monday, but we may need to go into AP Central Monday and have student(s) fill it out again to gain access to the answers.The following poem was first published in 1914.A Lady1?You are beautiful and faded?Like an old opera tune?Played upon a harpsichord;?Or like the sun-flooded silks5?Of an eighteenth-century boudoir.*?In your eyes?Smoulder the fallen roses of out-lived minutes,?And the perfume of your soul?Is vague and suffusing,10?With the pungence of sealed spice-jars.?Your half-tones delight me,?And I grow mad with gazing?At your blent colours.?My vigour is a new-minted penny,15?Which I cast at your feet.?Gather it up from the dust,?That its sparkle may amuse you.*a woman’s private bedroom or dressing roomIn the references to an “old opera tune” (line 2), “sun-flooded silks” (line 4), and “sealed spice-jars” (line 10), the speaker usesallusion to hint at the lady’s social prominencealliteration to emphasize the lady’s subtle powerhyperbole to evoke the lady’s advanced ageimagery to suggest the lady’s wide-ranging interestspersonification to show the lady’s distinctive beautyIn context, the phrase “grow mad” (line 12) suggests that the speaker?isangryinspireddelusionalrecklessimpassionedIn the similes in lines 1-5, the “harpsichord” and the “boudoir” primarily serve to evoke which of the following?Elegance and bygone daysTradition and the artsVitality and originalityMaterialism and superficial beautyWealth and cultural dominanceIn context, the image of the penny in line 14 is appropriate because?itslow value contrasts with the apparent wealth of the ladyfreshness contrasts with the appearance of the ladyordinariness contrasts with the splendor of the ladyinsignificance contrasts with the fame of the ladyworthlessness contrasts with the haughtiness of the ladyWhich best describes how stanzas are used in the poem?To indicate the passage of timeTo suggest an unspoken conflictTo emphasize a change in focusTo signal a reversal in attitudeTo convey a different point of viewRead the following lines carefully before you choose your answers.Now to the ascent of that steep savage hillSatan had journeyed on, pensive and slow;But further way found none; so thick entwined,As one continued brake, the undergrowth(5)?Of shrubs and tangling bushes had perplexedAll path of man or beast that passed that way.One gate there only was, and that looked eastOn the other side: which when the Arch-Felon saw,Due entrance he disdained, and, in contempt,(10)?At one slight bound high overleaped all boundOf hill or highest wall, and sheer withinLights on his feet. As when a prowling wolf,Whom hunger drives to seek new haunt for prey,Watching where shepherds pen their flocks at eve,(15)?In hurdled cotes amid the field secure,Leaps o’er the fence with ease into the fold;Or as a thief bent to unhoard the cashOf some rich burgher, whose substantial doors,Cross-barred and bolted fast, fear no assault,(20)?In at the window climbs, or o’er the tiles:So clomb this first grand Thief into God’s fold;So since into his Church lewd hirelings climb.(1667)According to the passage, why does Satan not enter the garden by the gate?The gate is protected by God.The gate is hidden by overgrown shrubbery.He is too large to fit through the gate.He is contemptuous of proper procedures.He fears an encounter with other creatures.In line 15, “hurdled cotes” refers toblocked pathsnatural obstaclesfenced enclosureswool garmentssteep hillsIn line 18, the “rich burgher” is analogous toa wolfSatanGoda travelera hirelingIn line 5, “perplexed” is best interpreted to meanwidenedcomplicatedquestionedendangereddiscoveredSatan's action is best described astrespassusurpationbetrayaldreamconsecrationThe imagery in the passage suggests all of the following about Satan EXCEPT hispridestealthinessrapaciousnessstupidityunscrupulousnessThe subject of “fear” (line 19) is“shepherds” (line 14)“flocks” (line 14)“thief” (line 17)“burgher” (line 18)“doors” (line 18)Which of the following lines most probably contains a commentary on the poet’s own era?Line 2Line 7Line 9Line 10Line 22Read the following passage carefully before you choose your answersYour Kentuckian of the present day is a good illustration of the doctrine of transmitted instincts and peculiarities. His fathers were mighty hunters,—men who lived in the woods, and slept under the free, open heavens, with the stars to hold their candles; and their descendant to this day always acts as if the house were his camp,—wears his hat at all hours, tumbles himself about, and puts his heels on the tops of chairs or mantel-pieces, just as his father rolled on the green sward, and put his upon trees and logs,—keeps all the windows and doors open, winter and summer, that he may get air enough for his great lungs,—calls everybody “stranger,” with nonchalant bonhomie, and is altogether the frankest, easiest, most jovial creature living.Into such an assembly of the free and easy our traveller entered. He was a short, thick-set man, carefully dressed, with a round, good-natured countenance, and something rather fussy and particular in his appearance. He was very careful of his valise and umbrella, bringing them in with his own hands, and resisting, pertinaciously, all offers from the various servants to relieve him of them. He looked round the bar-room with rather an anxious air, and, retreating with his valuables to the warmest corner, disposed them under his chair, sat down, and looked rather apprehensively up at the worthy whose heels illustrated the end of the mantel-piece, who was spitting from right to left, with a courage and energy rather alarming to gentlemen of weak nerves and particular habits.“I say, stranger, how are ye?” said the aforesaid gentleman, firing an honorary salute of tobacco-juice in the direction of the new arrival.“Well, I reckon,” was the reply of the other, as he dodged, with some alarm, the threatening honor.About two thirds into the first paragraph, "sward" is best interpreted to meanweaponclothmeadowhearthpathwayIn the context of the passage, the first paragraph serves primarily toindicate that the narrator is an unsympathetic participantcensure the character of Kentuckiansestablish a character that will be contrasted with that of the travellercelebrate the romance of the American frontierforeshadow the sinister events about to take placeIn the second paragraph, the series of three sentences beginning with "He" serves toreveal a congenial relationshipexplore a character's motivationsaccumulate suspenseful imagesreiterate an ominous warningdevelop a humorous contrastIn the series of comparisons in the first paragraph, “trees and logs" are analogous to which of these contained in the same paragraph?"heels" (sentence 2)"chairs or mantel-pieces"?(sentence 2)"windows and doors"?(sentence 2)"winter and summer"?(sentence 2)"great lungs"?(sentence 2)Near the end of the first paragraph, the phrase "nonchalant bonhomie" is best understood to meanunspoken greetingfluent speechnative intelligencemeddlesome intimacycasual friendlinessNear the end of the second paragraph, "illustrated" most nearly meanspicturedreproduceddecoratedexemplifiedexplicatedThe behavior of the traveller with regard to his “valise and umbrella” (third sentence of paragraph 2) is used asan example of the traveller’s fastidious charactera sign of the traveller’s desire to remain inconspicuousan explanation of the traveller’s role in the storya warning about the lure of material possessionsa reminder of the hostile atmosphere in the roomThe first sentence of the passage served toprovide a theoretical frame for the description that followsintroduce the regional dialect spoken by the charactersevoke nostalgic images of a simpler, more innocent timeContrast a technical idiom with informal speechestablish the tone and mood of the sceneThe narrator accounts for the behavior of present-day Kentuckians byexplaining that it is a response to a changing environmentevoking philosophical doctrines of free willreferencing fate and the power of the starsclaiming that it has been inheritedacknowledging the complex influences that caused itThe narrator’s attitude toward the “aforesaid gentleman” (third paragraph) is best characterized asunbounded admirationamused indulgencefeigned indifferenceovert contemptstunned disbeliefThe phrase “with the stars to hold their candles” (second sentence) is used to suggest that the “men” (earlier in the same sentence)were too proud to acknowledge a higher powerlived without the benefit of artificial illuminationwere independent minded and did not ask others for helpcursed those who suffered under the shackles of civilizationexploited nature without worrying about the consequencesThe following questions refer to this poem.?Read the following passage carefully before you choose your answers.In Washington, District of Columbia, the “Fall”sun shone, and all that was not evergreen or stonein Rock Creek Cemetery was glowing. Before theSaint Gaudens statue Soames Forsyte sat on his(5)?overcoat, with the marble screen to his back, enjoyingthe seclusion and a streak of sunlight passagingbetween the cypresses.With his daughter and her husband he had been uphere already, the afternoon before, and had taken a(10)?fancy to the place. Apart from the general attractionof a cemetery, this statue awakened the connoisseurwithin him. Though not a thing you could acquire, itwas undoubtedly a work of art, and produced a verymarked effect. He did not remember a statue that(15)?made him feel so thoroughly at home. That greatgreenish bronze figure of seated woman within thehooding folds of her ample cloak seemed to carry himdown to the bottom of his own soul. Yesterday, in thepresence of Fleur, Michael, and other people, all(20)?gaping like himself, he had not so much noted themood of the thing as its technical excellence, butnow, alone, he could enjoy the luxury of his ownsensations. Some called it “Grief,” some “The AdamsMemorial.” He didn’t know, but in any case there it(25)?was, the best thing he had come across in America,the one that gave him the most pleasure, in spite ofall the water he had seen at Niagara and thoseskyscrapers in New York. Three times he hadchanged his position on that crescent marble seat,(30)?varying his sensations every time. From his presentposition the woman had passed beyond grief. She satin a frozen acceptance deeper than death itself, veryremarkable! There was something about death! Heremembered his own father, James, a quarter of an(35)?hour after death, as if—as if he had been told at last!A red-oak leaf fell on to his lapel, another on to hisknee; Soames did not brush them off. Easy to sit stillin front of that thing! They ought to make America sitthere once a week!(40)?He rose, crossed towards the statue, and gingerlytouched a fold in the green bronze, as if questioningthe possibility of everlasting nothingness.“Got a sister living in Dallas—married a railroadman down there as a young girl. Why! Texas is a(45)?wonderful State. I know my sister laughs at the ideathat the climate of Texas isn’t about right.”Soames withdrew his hand from the bronze, andreturned to his seat. Two tall thin elderly figures wereentering the sanctuary. They moved into the middle(50)?and stood silent. Presently one said “Well!” and theymoved out again at the other end. A little stir of windfluttered some fallen leaves at the base of the statue.Soames shifted along to the extreme left. From therethe statue was once more woman—very noble! And(55)?he sat motionless in his attitude of a thinker, the lowerpart of his face buried in his hand.Considerably browned and distinctly healthylooking,he was accustomed to regard himself asworn out by his long travel, which, after encircling(60)?the world, would end, the day after tomorrow, byembarkation on the?Adelphic. This three-day run toWashington was the last straw, and he was supportingit very well. The city was pleasing; it had some finebuildings and a great many trees with the tints on;(65)?there wasn’t the rush of New York, and plenty ofhouses that people could live in, he should think. Ofcourse the place was full of Americans, but that wasunavoidable. He was happy about Fleur too; she hadquite got over that unpleasant Ferrar business, seemed(70)?on excellent terms with young Michael, and waslooking forward to her home and her baby again.There was, indeed, in Soames a sense of culminationand of peace—a feeling of virtue having been its ownreward, and beyond all, the thought that he would(75)?soon be smelling English grass and seeing again theriver flowing past his cows. Annette, even, might beglad to see him—he had bought her a really niceemerald bracelet in New York. To such generalsatisfaction this statue of “Grief” was putting the(80)?finishing touch.Reprinted with the permission of Scribner, a Division of Simon & Schuster, Inc., from A MODERN COMEDY by John Galsworthy. Copyright ? 1929 by Charles Scribner’s Sons; copyright renewed 1957 by Ada Galsworthy. All rights reserved.According to the passage, which statement about the statue is true?Its technical excellence initially prevented Soames from recognizing its power.Its location leads Soames to see it as more somber than it might otherwise appear.Its effect on Soames diminishes the longer he views it.Its meaning to Soames varies with his angle of perspective.Its significance to Soames depends largely on his mood.In lines 30-33 (“From . . . remarkable”), the narrator suggests that the woman appears to havebeen overwhelmed by sufferingfound comfort in her memorieslearned to suppress her griefgrown weary of her lifereached a point of acquiescenceIn line 22, the word “luxury” is best interpreted as suggesting that Soamesthinks of art only in monetary termsexpects to have his whims catered toviews emotions as experiences to be savoredregards his grief as frivolous and undignifiedrefuses to consider the fact that he will dieIn the first paragraph (lines 1-7), the cemetery is presented asoppressiveausterefecundsublimeidyllicLines 18-23 (“Yesterday . . . sensations”) describe a change frombegrudging admiration to fervent approbationcareful consideration to impulsive actionpublic commendation to private aversionaesthetic rumination to logical evaluationintellectual appreciation to affective reactionIn the context of the passage as a whole, the description of Soames as feeling “thoroughly at home” (line 15) in front of the statue isironic, since Soames has been traveling for a long time and looks forward to returning homeparadoxical, since Soames feels somewhat disoriented when he looks at the statuesurprising, since Soames typically does not find art affectingexaggerated, since Soames quickly loses interest in the statueapt, since Soames possesses a scholarly interest in funerary sculptureLines 33-35 (“He remembered . . . last”) describe death as though it werea revelationa metamorphosisa reprievea surrenderan embarrassmentSoames’s attitude toward “Americans” (line 67) is best described asresigned tolerancelasting perplexityemphatic dismissaleager curiosityprudent warinessTaken together, the two paragraphs in lines 40-46 most directly presenta contrast between idealism and pragmatisma comparison of the universal with the particulara juxtaposition of the profound and the mundanean analogy linking personal reflection with public debatean incongruity between private morality and the common goodThe final paragraph (lines 57-80) primarily presents Soames asecstaticwistfuldeterminedcontentedgratefulThe narrator mentions the oak leaves in lines 36-37 to emphasize that Soames isalooffascinatedobduratecallousstoicThe primary purpose of the passage is todescribe the atmosphere of the cemeteryadvance a view about the United Statesdiscuss the nature of Soames’s relationshipsreveal aspects of Soames’s characteroffer speculations about Soames’s motivationsWhich of the following responses is part of the “marked effect” (line 14) in the second paragraph that the statue has on Soames?He is overcome with grief.He meditates on mortality.He feels alone in the world.He reconsiders his ambitions.He accepts his failures.Read the following poem carefully before you choose your answers.Time was, a sober Englishman wou’d knockHis servants up, and rise by five a clock,Instruct his Family in ev'ry rule,And send his Wife to Church, his Son to school.(5)?To worship like his Fathers was his care;To teach their frugal Virtues to his Heir;To prove, that Luxury could never hold;And place, on good Security, his Gold.Now Times are chang'd, and one Poetick Itch(10)?Has seiz'd the Court and City, Poor and Rich:Sons, Sires, and Grandsires, all will wear the Bays,Our Wives read Milton, and our Daughters Plays,To Theatres, and to Rehearsals throng,And all our Grace at Table is a Song.(15)?I, who so oft renounce the Muses, lye,Not—'s self e'er tells more?Fibs?than I;When, sick of Muse, our follies we deplore,And promise our best Friends to ryme no more;We wake next morning in a raging Fit,(20)?And call for Pen and Ink to show our Wit.He serv'd a ’Prenticeship, who sets up shop;Ward try'd on Puppies, and the Poor, his Drop;Ev’n Radcliff’s Doctors travel first to France,Nor dare to practise till they’ve learn'd to dance.(25)?Who builds a Bridge that never drove a pyle?(Should Ripley venture, all the World would smile)But those who cannot write, and those who can,All ryme, and scrawl, and scribble, to a man.Yet Sir, reflect, the mischief is not great;(30)?These Madmen never hurt the Church or State:Sometimes the Folly benefits mankind;And rarely Av’rice taints the tuneful mind.Allow him but his Play-thing of a Pen,He ne'er rebels, or plots, like other men:(35)?Flight of Cashiers, or Mobs, he'll never mind;And knows no losses while the Muse is kind.To cheat a Friend, or Ward, he leaves to Peter;The good man heaps up nothing but mere metre,Enjoys his Garden and his Book in quiet;(40)?And then—a perfect Hermit in his Diet.Of little use the Man you may suppose,Who says in verse what others say in prose;Yet let me show, a Poet's of some weight,And (tho’ no Soldier) useful to the State.(45)?What will a Child learn sooner than a song?What better teach a Foreigner the tongue?What's long or short, each accent where to place,And speak in publick with some sort of grace.I scarce can think him such a worthless thing,(50)?Unless he praise some monster of a King,Or Virtue, or Religion turn to sport,To please a lewd, or un-believing Court.According to the speaker, "These Madmen" (line 30) lack all of the following vices EXCEPTgreedseditiousnessfraudulencevanitygluttonyAccording to the speaker, a positive aspect of poetry is itsmoral valuedidactic usefulnessresemblance to other languagesuncomplicated natureirreverent wittinessAccording to the speaker, poets are despicable if theyimitate the style of other poetsbecome involved in political controversyfail to follow established rulesmock what is worthy of respectcompose only lyric verseBeginning in line 29, the speaker does which of the following?Begins to comment on another subjectSummarizes his previous argument.Qualifies his previous position.Provides support for an earlier thesis.Anticipates an objection to his argument.In line 11, the phrase "wear the Bays" is best taken to mean which of the following?Claim renown as poetsSet the fashionExhaust the oppositionBecome more religiousBecome the objects of ridiculeIn line 30, the phrase "These Madmen" refers tothe speaker's enemiesWard and Radcliffmedical doctorscharlatanspoetsIn lines 15–20, the speaker regards himself assuperior to other rhymestersessentially a moralistmore learned than other poetsgenuinely repentant of his errorsanother example of an incorrigible breedIn lines 9–20, the desire to write is seen chiefly asevidence of wita political threatthe result of meditationa need for self-justificationan irresistible compulsionLines 23–24 suggest that Radcliff's doctorsare as much concerned with social accomplishments as with medical trainingprefer French medical education to Englishare more skilled as physicians than as entertainershave more interest in the writing of poetry than in the practice of medicineare more skillful because of their dedication to the fine artsThe change referred to in line 9 is described as one frompiousness to sinfulnesssincerity to hypocrisystraightforwardness to ironyfreedom to restraintseriousness to frivolityThe Englishman described in lines 1–8 is pictured chiefly in his role asbankerpoetpatriarchsuitorcriticThe Englishman pictured in lines 1–8 is best described as which of the following?Scholarly and reclusivePious and conscientiousSolemn and melancholyMirthful and carefreeHypocritical and falseThe main point made about writers and poets in lines 21–28 is that theyfeel no need to study and learn their artare all about equally untalentedprefer to write than to do useful workwill never achieve the greatness of people in other professionsmake themselves ridiculous by attempting to ridicule othersThe relationship between lines 1–8 and lines 9–14 is best described by which of the following?Lines 1–8 establish a thesis; lines 9–14 refute it.Lines 1–8 present a description; lines 9–14 present a contrasting description.Lines 1–8 present a rule; lines 9–14 describe an exception to it.Lines 1–8 pose a question; lines 9–14 answer it.Lines 1–8 begin a narrative; lines 9–14 embellish it.In lines 43–52, the speaker attempts to do which of the following?Recapitulate his argumentRecount an anecdoteOffer a justificationDraw an analogyChastise the readerRead the following passage carefully before you choose your answers. This passage is excerpted from a short story first published in England in 1854. (See next page.)A timely recommendation from one of my kindest friends and patrons placed the commission for painting the likeness in my lucky hands; and I was instructed to attend on a certain day at Mr. Boxsious’s private residence, with all my materials ready for taking a first sitting.On arriving at the house, I was shown into a very prettily furnished morning-room. The bow-window looked out on a large inclosed meadow, which represented the principal square in Tidbury. On the opposite side of the meadow I could see the new hotel (with a wing lately added), and close by, the old hotel obstinately unchanged since it had first been built. Then, further down the street, the doctor’s house, with a colored lamp and a small door-plate, and the banker’s office, with a plain lamp and a big door-plate—then some dreary private lodging-houses—then, at right angles to these, a street of shops; the cheese-monger’s very small, the chemist’s very smart, the pastry-cook’s very dowdy, and the green-grocer’s very dark, I was still looking out at the view thus presented, when I was suddenly apostrophized by a glib, disputatious voice behind me.“Now, then, Mr. Artist,” cried the voice, “do you call that getting ready for work? Where are your paints and brushes, and all the rest of it? My name’s Boxsious, and I’m here to sit for my picture.”I turned round, and confronted a little man with his legs astraddle, and his hands in his pockets. He had light-gray eyes, red all round the lids, bristling pepper-colored hair, an unnaturally rosy complexion, and an eager, impudent, clever look. I made two discoveries in one glance at him: First, that he was a wretched subject for a portrait; secondly, that, whatever he might do or say, it would not be of the least use for me to stand on my dignity with him.“I shall be ready directly, sir,” said I.“Ready directly?” repeated my new sitter. “What do you mean, Mr. Artist, by ready directly? I’m ready?now. What was your contract with the Town Council, who have subscribed for this picture? To paint the portrait. And what was my contract? To sit for it. Here am I ready to sit, and there are you not ready to paint me. According to all the rules of law and logic, you are committing a breach of contract already. Stop! let’s have a look at your paints. Are they the best quality? If not, I warn you, sir, there’s a second breach of contract! Brushes, too? Why, they’re old brushes, by the Lord Harry! The Town Council pays you well, Mr. Artist; why don’t you work for them with new brushes? What? you work best with old? I contend, sir, that you can’t. Does my housemaid clean best with an old broom? Do my clerks write best with old pens? Don’t color up, and don’t look as if you were going to quarrel with me! You can’t quarrel with me. If you were fifty times as irritable a man as you look, you couldn’t quarrel with me. I’m not young, and I’m not touchy—I’m Boxsious, the lawyer; the only man in the world who can’t be insulted, try it how you like!”He chuckled as he said this, and walked away to the window. It was quite useless to take anything he said seriously, so I finished preparing my palette for the morning’s work with the utmost serenity of look and manner that I could possibly assume.Which choice best describes the presentation of the interactions between the two characters from the beginning of the third paragraph through the end of the passage (“Now . . . assume”)?A confrontation is initiated but does not become a conflict.A disagreement is expressed articulately and finally resolved.A series of accusations are consistently met with anger and defiance.A challenge is issued but does not result in a competition.A list of complaints leads to proposals of remedies.How do the events and actions presented in the first two paragraphs (“A timely . . . behind me”) serve to heighten the subsequent impression made by Boxsious on the reader?They encourage the reader to mistrust the narrator’s cheery optimism.They persuade the reader to share the narrator’s growing confidence.They guide the reader to anticipate a dramatic change in the narrator’s life.They establish a false expectation for the reader of an unremarkable session.They prepare the reader to prefer Boxsious over the long-winded narrator.Which choice best describes the relationship between the details of the setting presented in the middle of the second paragraph (“On the . . . dark”) and the passage as a whole?The details establish that the house is in a desirable location consistent with Boxsious’ sense of his own high status in the community.The details provide a justification for Boxsious’ impatience with business owners.The details offer a contrast to the well-ordered harmony within Boxsious’ home.The details reveal the narrator’s underlying resentment of the townspeople.The details confirm the narrator’s artistic interest in a colorful scene.Toward the end of the sixth paragraph, the author uses a comment by Boxsious (“Don’t color . . . with me!”) to overcome the disadvantage that first-person narrators cannotinterpret their own decisions objectivelyexplain why they dislike another characterreport conversations among othersrefer to events in the futuredescribe how they appear to othersThe final paragraph indicates that the narrator’s perspective on his predicament is that he needs to treat Boxsious as?amisguided dignitarynonsensical eccentricboastful antagonistlighthearted hostclever employerThe narrator’s overall point of view presents the series of events?asa fortunate and memorable discoverya startling and humorous adventurean unusual and somewhat baffling experiencean alarming and moderately dangerous emergencyan unavoidable and ultimately futile project ................
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