AP Literature and Composition Exam Multiple Choice from 1982 THE COLLEGE BOARD Advanced Placement Examination ENGLISH

LITERATURE AND COM POSITION 1982 ENGLISH LITERATURE AND COMPOSITION 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: Or Sorrows other Madness vex. Which Knowledge forces me to know, (40) And Memory will not forgo. 0 who shall, from this Dungeon, raise What but a Soul could have the wit A Soul inslav’d so many ways? To build me up for Sin so fit? 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. (5) Here blinded with an Eye; and there, Deaf with the drumming of an Ear. —Andrew Marvell A Soul hung up, as ‘twere, in Chains *physic: medicine Of Nerves, and Arteries, and Veins. Tortur’ d, besides each other part,

1.

(10) In a vain head, and double Heart.

Body 1. The headings of the stanzas, Soul and Body, indicate which one of the two is O who shall me deliver whole, From bonds of this Tyrannic Soul? (A) being addressed Which, stretcht upright, impales me so, (B) acting as the deliverer of the other That mine own Precipice I go; (C) being described (15) And warms and moves this needless Frame: (D) winning the struggle at the moment (A Fever could but do the same.) (E) speaking And, wanting where its spite to try, Has made me live to. let me die. 2. In the poem, which of the following best describes A Body that could never rest, the relationship between the body and the soul? (20) Since this ill Spirit it possest. (A) The body controls the soul. Soul (B) The soul owns and manages the body. (C) They are separate and independent. 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. Where whatsoever it complain, I feel, that cannot feel, the pain. (25) And all my care its self employs, 3. Which of the following devices is dominant in the That to preserve, which me destroys: first stanza? Constrain ‘d not only to endure (A) An extended metaphor of cruel imprisonment 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 (30) Am Shipwrackt into Health again, whole

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(D) Internal rhyme to emphasize the internal nature of the

Body struggle struggle But Physic* yet could never reach (E) End-stopped lines to temper the urgency of The Maladies thou me dost teach; the message Whom the first Cramp of Hope dost tear: And then the Palsy shakes of Fear.

(35) The Pestilence of Love does heat: Or Hatred’s hidden Ulcer eat. raise (B) soul claims to have senses. GO ON TO THE NEXT PAGE The poem is reprinted below for your use in answering the remaining questions. (A) The body would prefer death to the dictates of A Body that could never rest. (D) eye and ear try continually to perceive the soul Deaf with the drumming of an Ear. A Dialogue Between the Soul and Body 4. besides each other part. as ‘twere. Soul (C) The body becomes a danger to others when it . (C) saved from eternal damnation From bonds of this Tyrannic Soul? (D) cured of a crippling ailment Which. a longing to be (A) freed from an actual prison Body (B) separated from physical life (B) separated from physical life O who shall me deliver whole. impales me so. that fetter’d stands (C) eye and ear impede the soul’s perception inIn Feet. and Veins. In the context of the first stanza.) 6. and manacled in Hands. the soul. but never do A Soul hung up. 5. (20) Since this ill Spirit it possest. The notion of an eye that can blind and an ear that can deafen (lines 5-6) suggests that the Soul (A) body is in fact in worse condition than the soul (A) body is in fact in worse condition than the soul o who shall. lines 1-2 express (10) In a vain Head. Tortur’d. stead of aiding it (5) Here blinded with an Eye. stretcht upright. (15) And warms and moves this needless Frame: (A Fever could but do the same. wanting where its spite to try. Which of the following best sums up what is said in And. in Chains ‘ (E) fragile eye and ear are stronger than the soul Of Nerves. lines 13-14 7 Has made me live to let me die. (E) released from enslavement to vice That mine own Precipice I go. and double Heart. but those senses A Soul inslav’d so many ways? fail With bolts of Bones. (B) The soul puts the body in the position of always being a danger to itself. and Arteries. and there. from this Dungeon.

What but a Soul could have the wit To build me up for Sin so fit? So Architects do square and hew. But Physic yet could never reach The Maladies thou me dost teach. Joy’s cheerful Madness does perplex: Or Sorrow’s other Madness vex. Green Trees that in the Forest grew. What does line 15 suggest about the nature of the Diseases. that cannot feel. (C) It confuses by introducing conflicting emotions. Whom the first Cramp of Hope dost tear: And then the Palsy shakes of Fear. (D) It is the animating force in a person. Which Knowledge forces me to know. the Cure: soul? And ready oft the Port to gain. (35) The Pestilence of Love does heat: Or Hatred’ s hidden Ulcer eat. That to preserve. new heights. attempt to understand the nature of the soul. (B) It is the source of evil as well as good. the pain. but what’s worse. (30) Am Shipwrackx into Health again. which me destroys: Constrain ‘d not only to endure 7. (A) It is the divine element in a person. I feel. (E) It makes one conscious of physical sensations. —Andrew Marvell *Physic: medicine : medicine GO ON TO THE NEXT PAGE . Within another’s Grief to pine? (D) The body is the stepping-off place for any Where whatsoever it complain.(C) The body becomes a danger to others when it What Magic could me thus confine ignores what the soul teaches. (40) And Memory will not forgo. Body (D) It is the animating force in a person. (E) The soul offers the body the chance to achieve (25) And all my care its self employs.

"Port" (line 29) refers metaphorically to (A) death (B) the body (C) the unity of body and soul (D) illness . Which of the following most fully expresses the (A) soul can neither care nor feel. /Has (D) body refuses to recognize that it could not live made me live to let me die." (lines 31-32) ruination of (E) "Which Knowledge forces me to know.8. The last four lines." (lines 17-18) without the soul (C) "And alt my care its self employs. wanting where its spite to try." (lines 39-40) 10. and so the body’ cleverness of the body in its impingement on the has no reason to try to preserve it (B) body ignores the souls efforts to influence it (A) "0 who shall. /That to (E) soul ‘s efforts are used by the body for its own preserve. from this Dungeon. which me destroys:" (tines 25. for the (D) "But Physic yet could never reach/The the soul Maladies thou me dost teach. 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. which extend the length of the posed in lines 21-22 ? last stanza. Which of the following best restates the question 12. have the effect of (A) What constrains me to suffer from experiences (A) offering a solution to the dilemma of the body that are not naturally my own? and soul (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 regret them? (D) breaking through the irony of the poem to (D) Why must the body ultimately come to grief reveal the whole person. consequently. combined (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 9.26) maintenance and. Lines 25-26 are best understood to mean that the 13. /And Memory will not forgo. body and soul and I be saved? .

further. Which of the following best describes the effect of the metaphors in lines 31-36 ? 1. GO ON TO THE NEXT PAGE Questions 14-29. If the only form of tradition. 1.(E) hell 1. Read the following passage carefully before you choose your answers. of handing down. (B) The very number of ailments exaggerates the weakness of the body and the strength of the soul. 11. (A) The likening of emotion to illness suggests that the soul and body are really one. 1. We have seen many such simple currents soon lost in the sand. consisted in following the ways of the immediate generation before us in a blind or timid adherence to its successes. (D) The metaphors stress that the body perceives the emotions physically and. 1. (C) The mention of Leaching implies that knowing oneself well is the key to healing the breach between body and soul. and novelty is better (10) . "tradition" should positively be (5) discouraged. that it perceives only their negative effects. (E) The metaphors indicate that the obsession of the body with its own ailments keeps it from giving expression to the soul.

nor can he form himself wholly on one or two private admirations. the historical sense compels a man to write not merely with his own generation in his bones. nor can he form himself wholly upon one preferred period. (15) twenty—fifth year. and this historical sense Involves a perception. and the third is a pleasant and highly desirable supplement.than repetition. of his own contempora neity. Tradition is a matter of much wider significance. which does not at all flow invariably through the most distinguished reputations. He must be quite aware of the obvious (40) . an indiscriminate bolus. is what makes a writer traditional. but of its presence. which we may call nearly indispensable to anyone who would continue to be a writer beyond his . not only of the pastness of the past. This historical sense. the second is an important (35) experience of youth. It cannot be Inherited. the historical sense. in the first place. which is a sense of the timeless as well as of the temporal and of the timeless and of the temporal together. To proceed to a more intelligible exposition of the relation of the writer to the past: he can (30) neither take the past as a lump. And it is at the same (25) time what makes a writer most acutely conscious of his place in time. The writer must be very conscious of the main current. It involves. and if you want it you must obtain it by great labour. but with a feeling that the whole of the literature of Europe from Homer and within it the whole of the literature of his own country has a (20) simultaneous existence and composes a simultaneous order. The first course is inadmissible.

Per haps not even an improvement from the point of view of the psychologist or not to the extent which we imagine. The primary distinction made in the first paragraph is one between (A) a narrow definition of tradition and a more inclusive one (6) the concerns of a contemporary writer and those of one from the past (C) an understanding of the past and a rejection of the present (D) the literature of Renaissance Europe and that of ancient Greece 1. any improvement.fact that art never improves. and that this change is a development which abandons nothing en route. or the rock drawing of the Magdalenian draughtsmen. refinement (50) perhaps. perhaps only in the end based upon a (55) complication In economics and machinery. from the point of view of the artist. complication certainly. That this development. but that the material of art is never quite the same. But the difference between the present and the past is that 14. is not. or Homer. He must be aware that the mind of Europe—the mind of his own country—a mind which he Learns In time to be much more important than his own private mind—is a (45) mind which changes. (E) a literary tradition and a historical period . which does not superannuate either Shakespeare.

II. (D) It poses a rhetorical question that is debated throughout the passage.fifth year" (lines 11-13) suggests which of the following? I. (E) It establishes the reliability of the author as an impartial arbiter. (C) It clears the way for serious discussion by dismissing a common misconception.15 Which of the following best describes the function of the first sentence of the passage? (A) It states the main thesis of the passage as a whole. (A)1 only . Few writers can improve their perceptions after their twenty-fifth year. the clause "anyone who would continue to be a writer beyond his twenty. Young writers cannot be expected to have a developed historical sense. Ill. 16 The phrase "lost in the sand" (line 6) is best read as a metaphor relating to (A) forgotten masterpieces (B) prehistoric times (C) ephemeral trends (D) the sense of the timeless 1. (B) It provides concrete evidence to support the central idea of the first paragraph. Mature writers need to have a historical sense. 17 (E) literary enigmas In context.

and they are that which we know. writers who are most 22. In the first paragraph. TIe passage is reprinuxi below for your use in answering the renwning qucstwns.(B) abandonment of the commitment to read older diately preceding generation in favor of literature novelty and originality (C) relaxation of the standards that make a work o~ (C) have an intimate acquaintance with past and art Likely. According to the passage. (60)Someone said: "The dead writers are remote from us because we know so much more than they did. the author is most concerned as that which with (A) explaining how writers may be aware of their (A) changes and improves constantly (B) is and has been durable in literature .(B) II only (C) Ill only (D) I and II only (E) I and Ill only GO ON TO THE NEXT PAGE the conscious present is an awareness of the past in a way and to an extent which the past s awareness of itself cannot show. 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 works of modern writers 23. The "main current" (line 37) is best understood 19. 18. The author implies that the "first cour3e is in t~ aware of their own contemporaneity would be missible" (lines 33-34) because following it those who leads to (A) have rejected the sterile conventions of earlier (A) failure to discriminate among the various literature in order to achieve self-expression literary works of past centuries (B) have refused to follow the ways of the imme." Precisely.

"the mind of Europe" (line 42) criticism II. 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 young writer to hold? proposed (A) The opinion that older literature is probably (D) an example of art that had no self-conscious irrelevant to contemporary men and women. the repeated linkage of the words III. In line 45. the author refers to the "rock meaningless drawing of Magdalenian draughtsmen" as (D) author’s disgust that contemporary writers have focused only on the timeless (A) an example of an artistic style that has been (E) unresolved debate as to which of the two imitated by contemporary artists concepts is more important (B) a part of a continuing artistic tradition that is still changing 21. According to lines 28-36. In lines 22-23. (B) The idea that writing is more a matter of natural talent than of hard work. the "mind which changes" refers to literature which of the following? (E) summarizing ‘historical trends in literary I. ness about being part of an artistic tradition 1. and III thought of as opposites (C) ironic conclusion that all that is temporal is 25. "the mind of his own country" (lines 42-43) 20. "his own private mind" (line 44) "timeless" and "temporal" can be interpreted as an (A) I only emphasis on the (B) Ill only (A) author’s assumption that the two words are (C) I and II only used carelessly by contemporary writers (D) I and III only (B) necessity of allying two concepts usually (B) I. In lines 48-49.own contemporaneity (13) defining the historical sense as it relates to (C) has had wide popular appeal (D) is suitable for stylistic imitation 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. (E) evidence of the need to use the same standards . II.

1. it cannot be inherited. in the first place. (15) but of its presence. and this historical sense involves a perception.{C) The idea that Shakespeare and Dickens are in evaluating literature and painting the only writers that he or she need use as models. but with a feeling that the whole of the literature of Europe from Homer and within it the . and if you want ft you must obtain it by great labour. Tradition is a matter of much wider significance. not only of the pastness of the past. We have seen many such simple currents soon lost in the sand. (10) involves. the historical sense compels a man to write not merely with his own generation in his bones. It 1. which we may call nearly indispensable to anyone who would continue to be a writer beyond his twenty-fifth year. "tradition" should positively be TIe passage is reprinuxi below for your use in answering the renwning qucstwns. consisted in following the ways of the immediate generation before us in a blind or timid adherence to its successes. GO ON TO THE NEXT PAGE If the only form of tradition. (D) The notion that older literature is inherently superior to the works of contemporary writers (E) The belief that genius is more likely to spring from one region or historical period than from another. (5) discouraged. of handing down. 1. the historical sense. and novelty is better than repetition.

nor can he form himself wholly upon one preferred period. nor can he form himself wholly on one or two private admirations. (30) neither take the past as a lump. This historical sense. . The first course is inadmissible. He must be quite aware of the obvious (40) fact that art never improves. of his own contemporaneity. . is what makes a writer traditional. (20) simultaneous existence and composes a simultaneous order. and that this change is a development which abandons nothing en route. He must be aware that the mind of Europe—the mind of his own country—a mind which he learns in time to be much more important than his own private mind—is a (45) mind which changes. To proceed to a more Intelligible exposition of the relation of the writer to the past: he can 1. . but that the material of art is never quite the same. which is a sense of the timeless as well as of the temporal and of the timeless and of the temporal together. the second Is an important (35) experience of youth.whole of the literature of his own country has a 1. and the third is a pleasant and highly desirable supplement. which does not at all flow invariably through the most distinguished reputations. And it is at the same 1. an indiscriminate bolus. (21) time what makes a writer most acutely conscious of his place in time. The writer must be very conscious of the main current.

1. (60) Someone said: "The dead writers are remote from us because we know so much more than they did. or the rock drawing of the Magdalenian draughtsmen. 26. improvement" (lines 49-51)? (A) The difference between the past and the present is 1. That this development. 2. and they are that which we know. . complication certainly. The function of the quotation in lines 60-62 is primarily to (A) support ironically an idea different from the one apparently intended by "Someone’ (B) refute the Idea that art does not Improve (C) ridicule the idea that writers of the past were ignorant (D) show that although "Someone’s" ideas are obviously to be respected. Perhaps not even an improvement from the point of view of the psychologist or not to the extent which we imagine. or Homer. is not. . (B) We all unconsciously believe 1. (C) The significance of art is (D) The writer must be aware (E) A historian would deny 27. refinement (50) perhaps. literary critics do often have disagreements . Which of the following is implicit before "That this development . any improvement. perhaps only in the end based upon a (55) complication in economics and machinery. .which does not superannuate either Shakespeare. from the point of view of the artist." Precisely. But the difference between the present and the past is that the conscious present is an awareness of the past in a way and to an extent which the past’s s awareness of itself cannot show. .

. Taken as a whole. The development of the argument can best be described as progressing from the (A) assertion of an idea to an elaboration of its meaning (B) summary of an argument to an analysis of the Logic of the conflicting sides (C) statement of a hypothesis to a summary of possible objections to it 1. Our slow. the leaves untroubled about us. (10) How should we dream of this place without us?— The sun mere fire. Mad-eyed from stating the obvious. unreckoning hearts will be left behind. (5) Spare us all word of the weapons.(E) add a new definition to the concept of ‘remoteness. (D) criticism of a process to a defense of its value (E) description of an abstract idea to a compilation of concrete examples of it 29. the passage is best described as (A) a narrative with a historical perspective (B) a technical discussion of a point of literary criticism (C) an argument developed through the use of anecdotes (D) an expository passage largely concerned with definition (E) a descriptive passage that makes use of concrete examples I. Read the following poem carefully before you choose your answer. Advice to a Prophet When you come. Unable to fear what Is too strange." while subtly indicating approval of the ideas expressed 28. Nor shall you scare us with talk of the death of the race. Not proclaiming our fall but begging us In God’s name to have self—pity. The long numbers that rocket the mind. 1. — IHW~! ‘T — Questions 30-42. GO ON TO THE NEXT PAGE TIe passage is reprinuxi below for your use in answering the renwning qucstwns. as you soon must1 to the streets of our city. their force and range.

We could believe. prophet. When you come. Read the following poem carefully before you choose your answer. The lark avoid the reaches of our eye. Xanthus: in Greek myth. (hat glass obscured or broken . How the view alters. What should we be without The dolphin’s arc. as you soon must In which we have said the rose of our love and the clean (30) Horse of our courage. the vines are blackened by frost. 4. Though we cannot conceive Of an undreamt thing. come demanding (35) Whether there shall be lofty or long standing When the bronze annals of the oak-tree close. in which beheld The singing locust of the soul unshelled. grown perfectly shy. 3. a river scalded by Hephaestus.A stone look on the stone’s face? Speak of the world s own change. Ask us. 30. And all we mean or wish to mean. The speaker assumes that the prophet referred to in lines 1-12 will come proclaiming 1. (A) a new religious dispensation (B) joyous sell-awareness (C) a new political order (D) the horror of self-destruction (E) an appreciation of nature . If you told us so. god of fire. how we shall call Our natures forth when that live tongue is all Dispelled. (25) These things in which we have seen ourselves and spoken? Ask us. we know to our cost (15) How the dreamt cloud crumbles. that the white-tailed deer will slip Into perfect shade. 5. ask us whether with the worldless rose Our hearts shall fail us. (20) The jack-pine lose its knuckled grip On the cold ledge. its gliding trout Stunned in a twinkling. 2. and every torrent burn As Xanthus once. the dove’s return.

grown perfectly shy. Mad-eyed from stating the obvious. their force and range. the vines are blackened by frost. What should we be without . Not proclaiming our fall but begging us In God’s name to have self—pity. 31. we know to our cost (15) How the dreamt cloud crumbles. 1. The long numbers that rocket the mind. Nor shall you scare us with talk of the death of the race. Unable to fear what Is too strange. Reprinted from his volume Advice to a Prophet and Other Poems by permission of Harcourt Brace Jovanovich. The lark avoid the reaches of our eye. as you soon must1 to the streets of our city. the leaves untroubled about us. — IHW~! ‘T — Advice to a Prophet When you come. and every torrent burn As Xanthus once. (5) Spare us all word of the weapons. Though we cannot conceive Of an undreamt thing. If you Told us so. Inc. How the view alters. (10) How should we dream of this place without us?— The sun mere fire. unreckoning hearts will be left behind. its gliding trout Stunned in a twinkling. We could believe. that the white-tailed deer will slip Into perfect shade. A stone look on the stone’s face? Speak of the world s own change. Our slow. the prophet’s "word of the weapons" (line 5) will probably not be heeded because (A) human beings are really fascinated by weapons (B) nature is more fascinating than warfare (C) men and women are more concerned with love than with weapons (D) people have heard such talk too often before (E) people cannot comprehend abstract descriptions of power TIe passage is reprinuxi below for your use in answering the renwning qucstwns. (20) The jack-pine lose its knuckled grip On the cold ledge.© 1959 by Richard Wilbur. According to the speaker.

The dolphin’s arc. the speaker is suggesting that (A) a stone is the most difficult natural object to comprehend (B) such a stone is a metaphor for a human lack of understanding (C) it is human beings who see a face on stones (D) nature is a hostile environment for the human race (E) the pain of Life Is bearable only to a stoic 33. a river scalded by Hephaestus. come demanding (35) Whether there shall be lofty or long standing When the bronze annals of the oak-tree close. ask us whether with the worldless rose Our hearts shall fail us. Ask us. Reprinted from his volume Advice to a Prophet and Other Poems by permission of Harcourt Brace Jovanovich. the speaker is asserting that we .’ (line 12). Inc. GO ON TO NEXT PAGE (A) (B) (C) (D) (E) The poem is reprinted below for your use in answering the remaining questions. And all we mean or wish to mean. r 32. In lines 14-16. Xanthus: in Greek myth. how we shall call Our natures forth when that live tongue is all Dispelled. In the phrase. (hat glass obscured or broken In which we have said the rose of our love and the clean (30) Horse of our courage. the dove’s return. in which beheld The singing locust of the soul unshelled. god of fire. In Line 13 the speaker is doing which of the following? Anticipating the prophet’s own advice Despairing of ever influencing the prophet Exchanging his own point of view with that of the prophet Heeding the prophets advice Prescribing what the prophet should say 34. (25) These things in which we have seen ourselves and spoken? Ask us. © 1959 by Richard Wilbur. prophet. "A stone Look on the stone’s face.

3. the dove’s return" (line 24) we would (A) be less worried about war and destruction (B) crave coarser pleasures than the enjoyment of nature (C) have less understanding of ourselves and our lives (D) be unable to love (E) find ourselves unwilling to heed the advice of prophets 36. the horse (line 30). 2.(A) learn more or less about decay in nature according to our point of view (B) can never understand change in nature (C) are always instructed by an altering of our perspective (U) have all experienced loss and disappointment (E) realize that the end of the world may be near 35. (B) an image of the poet’s mind (C) a symbol of the hlst9ry of the world (D) a reference to the poem Itself (E) a metaphor for the advice of the prophet 39. (A) biblical story of Noah (B) leap of a dolphin (C) hunting of dolphins with bow and arrow (D) rainbow (E) migration pattern of the dolphin 38. 4. The phrase that live tongue" (line 27) is best understood as (A) a metaphor for nature 1. ‘The dolphin ‘ s arc" (line 24) refers to the 1. and the locust (line 31) (A) literally to denote specific natural objects . 3. we use the images of the rose (line 29). The phrase ‘knuckled grip" (line ~) implies that the jack-pine (A) will never realty fall from the ledge (B) has roots that grasp like a hand (C) is very precariously attached to the Ledge (D) is a rough and inhuman part of nature (E) is very awkwardly placed 37. The speaker implies that without "the dolphin’s arc. 4. 2. According-to the speaker.

2. . (B) It represents a sarcastic challenge to the prophet to ask the right questions. Read the following passage carefully before you choose your answers. (C) it suggests that the speaker is certain of the answer he will receive. a vast. standing in a golden age. Which of the following best describes the poem as a whole? (A) An amusing satire on the excesses of modern prophets (B) A poetic expression of the need for love to give meaning to life (C) A lyrical celebration of the Importance of nature for man (D) A personal meditation on human courage In the face of destruction (E) A philosophical and didactic poem about man and nature GO ONTO THE NEXT PAGE The poem is reprinted below for your use in answering the remaining questions. I sometimes dream of a larger and more populous house. (D) It makes the line scan as a perfect example of Iambic pentameter. Read the following passage carefully before you choose your answers. (C) When art no longer Imitates nature (D) When nature has ceased to exist (E) When the forests are finally restored 42. 41. of enduring materials.(B) as metaphors to aid in comprehending abstractions (C) as similes illustrating the speaker’s attitude toward nature (D) to reinforce images previously used by the prophet (E) to explain the need for scientific study of nature 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. and without ginger-bread work. . rude. 3. which shall still consist of only one room. (E) It provides a tone of imploring earnestness. Which of the following best paraphrases the meaning of line 36 ? (A) When the end of the year has come (B) When the chronicles no longer tell of trees 1. r Questions 43-55.

parlor. primitive halt. pantry. and some aloft on rafters with the spiders. if they choose. without further journey. with bare rafters and purlins supporting a sort of lower heaven over one’s head. —useful to keep off rain and snow. at once kitchen. (15) some on settles. and converse. and 1. and sleep. wherein you must reach up a torch upon a pole to see the root. where the weary traveller may (a)) wash. (5) substantial. containing all the essentials of a house. and pay your respects to the fire that cooks your dinner and the oven that bakes your . (30) hear the pot boil. so convenient a thing as a cupboard. where you can see 80 necessary a thing as a barrel or a ladder. and garret. where the king and queen posts stand out to receive your homage. where you can see all the treasures of the 1. chamber. and 1. and eat. and every thing hangs upon its peg that a man should use. and the ceremony is over. such a shelter as you would be glad to reach in a tempestuous night. (25) house at one view. when you 1. (10) have done reverence to the prostrate Saturn of an older dynasty on stepping over the sill. where some may live in the fire-place.1. store-house. some at another. some at one end of the ball. and nothing for house-keeping. without ceiling or plastering. a cavernous house. a house which you have got into when you have opened the outside door. some In the recess of a window.

but I am not aware that I have been in many men’s houses. and the necessary furniture and utensils are the chief ornaments. when the cook would descend into the cellar.bread. --in solitary confinement. If . Nowadays the host does not admit you to his hearth. and hospitality is the art of keeping you at the greatest 1. I am aware that I have been on many a man’s premises. where the washing is not put out. and perhaps 1. nor the mistress. and so learn whether the ground is solid or hollow beneath you without stamping. A house whose inside is as open and manifest as a bird’s 1. and not to be carefully excluded from seven-eighths of it. nor the fire. and you cannot go in at the front door and out at the back without seeing some of its inhabitants. (45) cell. (35) you are sometimes requested to move from off the trap-door. (55) I might visit in my old clothes a king and queen who lived simply in such a house as (have described. where to be a guest Is to be presented with the freedom of the house. (40) nest. 1. and told to make yourself at home there. (50) distance. shut up in a particular 1. but has got the mason to build one for yourself somewhere in his alley. There is as much secrecy about the cooking as if he had a design to poison you. and might have been legally ordered off.

58) . In line 3. but backing out of a modern palace will be all that I shall desire to learn. Which of the following best describes the house in the passage? (A) A functional ideal that combines beauty and utility (B) A reasonable. (B) "house" (line 2) (C) "age" (line 2) (D) "materials" (Line 3) (E) "work" (line 3) 46. 43. 5. 3. The speaker contrasts his preferred house with which of the following? 1. "which" refers to (A) "dream" (line 1) 1. filled with every possible convenience 44.I were going their way. inexpensive alternative to expensive mansions (C) A house to which the author hopes to bring his bride (D) A solution to the problem of housing Large families (E) A dream house. if ever I am caught In one. 2. 2. 4. The opening sentence (which ends on tine 38) can best be described as (A) a sentence that presents a lengthy and complex argument (B) a syntactically complex but unified sentence (C) an amorphous sentence indicating the contents of a pleasant dream (D) a balanced sentence that describes first the house and next Its inhabitants (E) a haphazard sentence that scrambles and repeats its topics 45. 3. 1. (A) "primitive hall" (line 5) (B) "cavernous house" (tines 11-12) (C) "shelter" (line 21) (D) "bird ‘s nest" (lines 39-40) (E) "modern palace" (Lines 57. 4.

50. r (A) (B) (C) (D) (E) 1. 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) ? 1. which of the following does NOT modify "house" (line 2) ? (A) "standing" (line 2) (B) "of enduring materials" (lines 2-3) (C ) "without ginger-bread work" (line 3) (D) "useful to keep off rain and snow" (lines 7-8) (E) "where the king and queen posts stand out" (lines 8-9) CO ON TO THE NEXT PACE The poem is reprinted below for your use in answering the remaining questions. (A) The clause would better have been introduced . In lines 1-11.47. to send out (A) (B) (C) (D) (E) I only I and II only I and Ill only II and Ill only I. II. In lines 33-34. and Ill 48. "put out" means which of the following? I.

The phrase "at once kitchen. . (D) The sentence would be clearer if the phrase "a man should use" were placed before "every thing.by "but. and garret" (lines 26-27) modifies (A) "shelter" (line 21) (B) "house" (line 23) ." 1. (E) The verb phrase "should use" represents an abrupt shift in tense within the sentence. (C) The clause would have no grammatical ambiguity if the clause ‘that a man should use" were placed after "every thing." 2. (B) The possessive pronoun "its" has an unclear reference. pantry. 49. 1. . . 3." 1.

5.(C ) "house-keeping" (lines 23-24) (D) "treasures" (Line 24) (E) "peg" (line 26) II. (B) "hearth" (Une47) (C) "alley’ (line 48) (D) "premises" (line 52) (E) "palace" (line 58) 52. After line 46. the author’s tone becomes more conciliatory nostalgic testy and critical . 7. to extinguish III. 6. The best contrast with the image of "a bird’s nest" (lines 39-40) is (A) "cell’ (Line 45) 4. To annoy 51.

he Is commenting on (A) the small number of invitations that he has accepted (B) his general insensitivity to unpleasant surroundings (C) a lack of what he considers genuine hospitality .~) (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).expensive and self-dramatizing light and cheerful 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) (B) "some aloft on rafters with the spiders (Lines 16-17) (C) "where the weary traveller may wash" (Lines 19.

and 55 percent of the sample ~f 2. Which of the following best describes the passage as a whole? (A) An allegorical idealization of pioneering life in America (B) A parody of an American utopian settlement (C) A biting attack on the American home (D) An oblique indictment of philistinism and selfish ostentation (E) A parable applying the Golden Rule to personal hospitality END OF SECTION 1 52.000 candidates. 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. for question number 6 the correct answer. the author’s tone becomes more — 17 — 1982 Advanced Placement English Literature and Composition Examination An answer sheet with the correct responses gridded appears on page 19. As a general rule.After line 46. The percentage is based on an analysis of a sample of approximately 2. 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. Also listed is the percentage of the sample candidates who selected the correct answer. Below are listed the correct answer keys to the multiple—choice questions.000 candidates answered the question correctly. Percentage Percentage Answering Answering Correctly Correctly .(D) his own tack of skill In being a good guest (E) the failure of his hosts to understand his thinking 55. For example.

lessonsession. A 24 22. A 65 50. A 68 36. B 52 9. C 84 25. E 82 19. A 62 24. B 29 26. C 68 8. C 48 21.com/modules. E 72 37. D 89 3. B 76 47. B 97 18. E 42 15. B 55 34.DO NOT GO ON TO SECTION II UNTIL YOU ARE TOLD TO DO SO. A 35 38. E 54 45. YOU MAY CHECK YOUR WORK ON THIS SECTION. B 78 12.php?name=News&file=article&sid=9 . C 39 41. B 66 10. C 78 46. B 60 40. B 48 53. C 85 27. http://www. E 91% 29. D 67 35. D 48 7. A 43 11. D 21 ‘~/ 28. D 86 14. B 71 33. C 40 49. E 53 13. A 50 55. C 67 52. A 55 IF YOU FINISH BEFORE TIME IS CALLED. B 88 48. 8 38 51.1. B 33 17. E 75 4. D 52 39. D 55 54. A 62 16. C 63 43. D 87 30. D 39% 2. E 79 6. C 21 5. A 76 31. D 52 20. A 75 42. C 87 32. C 58 44. E 48 23.

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