Passage adapted from The Interpretation of Dreams by Sigmund Freud (1900)

It is easy to demonstrate that dreams often have the character of blatant wish-fullfillments; so much so that one wonders why the language of dreams was not understood long ago. For instance, there is a dream that I can experience at will, experimentally, as it were. When I eat sardines, olives, or other strongly salted foods in the evening, I am awakened in the night by thirst. But the awaking is always preceded by a dream with the same content: I gulp the water down; and it tastes delicious to me as only a cool drink can when one is dying of thirst; and then I wake up and really have to drink. The cause of this simple dream is the thirst which I feel when I awaken. This feeling causes the desire to drink, and the dream shows me this desire fulfilled. It thereby serves a function which I can easily guess. I am a good sleeper, unaccustomed to being awakened by any need. If I can slake my thirst by dreaming that I am drinking, I don't need to wake up in order to be satisfied. Thus this is a convenience dream. The dream is substituted for action, as so often in life.

Recently this same dream occurred in a somewhat modified form. I had become thirsty even before sleeping and drained the glass of water which was standing on the nightstand next to my bed. A few hours later during the night I had a new attack of thirst which was more inconvenient. In order to get some water I would have had to get up and take the glass standing on my wife's nightstand. I dreamed therefore that my wife gave me a drink out of a vessel. This vessel was an Etruscan funerary urn which I had brought back from a trip to Italy and had since given away. However, the water in it tasted so salty (plainly because of the ashes) that I had to wake up. It is easy to see how neatly this dream arranged matters; since it its only aim was wish-fulfillment, it could be completely egotistical. A love of convenience is not really compatible with consideration for others. The introduction of the funerary urn is probably another wish-fulfillment; I was sorry that I didn't own the vessel any more--just as the water glass beside my wife was inaccessible. The urn also fit the growing salty taste which I knew would force me to wake up.

The bolded and underlined statement is best described as a/an ________________.

Adapted from Jude the Obscure by Thomas Hardy (1895)

He sounded the clacker till his arm ached, and at length his heart grew sympathetic with the birds' thwarted desires. They seemed, like himself, to be living in a world which did not want them. Why should he frighten them away? They took upon more and more the aspect of gentle friends and pensioners—the only friends he could claim as being in the least degree interested in him, for his aunt had often told him that she was not. He ceased his rattling, and they alighted anew.

"Poor little dears!" said Jude, aloud. "You shall have some dinner—you shall. There is enough for us all. Farmer Troutham can afford to let you have some. Eat, then my dear little birdies, and make a good meal!"

They stayed and ate, inky spots on the nut-brown soil, and Jude enjoyed their appetite. A magic thread of fellow-feeling united his own life with theirs. Puny and sorry as those lives were, they much resembled his own.

His clacker he had by this time thrown away from him, as being a mean and sordid instrument, offensive both to the birds and to himself as their friend. All at once he became conscious of a smart blow upon his buttocks, followed by a loud clack, which announced to his surprised senses that the clacker had been the instrument of offense used. The birds and Jude started up simultaneously, and the dazed eyes of the latter beheld the farmer in person, the great Troutham himself, his red face glaring down upon Jude's cowering frame, the clacker swinging in his hand.

"So it's 'Eat my dear birdies,' is it, young man? 'Eat, dear birdies,' indeed! I'll tickle your breeches, and see if you say, 'Eat, dear birdies' again in a hurry! And you've been idling at the schoolmaster's too, instead of coming here, ha'n't ye, hey? That's how you earn your sixpence a day for keeping the rooks off my corn!"

Select the answer that best identifies the main idea of the first paragraph.

Adapted from Jude the Obscure by Thomas Hardy (1895)

He sounded the clacker till his arm ached, and at length his heart grew sympathetic with the birds' thwarted desires. They seemed, like himself, to be living in a world which did not want them. Why should he frighten them away? They took upon more and more the aspect of gentle friends and pensioners—the only friends he could claim as being in the least degree interested in him, for his aunt had often told him that she was not. He ceased his rattling, and they alighted anew.

"Poor little dears!" said Jude, aloud. "You shall have some dinner—you shall. There is enough for us all. Farmer Troutham can afford to let you have some. Eat, then my dear little birdies, and make a good meal!"

They stayed and ate, inky spots on the nut-brown soil, and Jude enjoyed their appetite. A magic thread of fellow-feeling united his own life with theirs. Puny and sorry as those lives were, they much resembled his own.

His clacker he had by this time thrown away from him, as being a mean and sordid instrument, offensive both to the birds and to himself as their friend. All at once he became conscious of a smart blow upon his buttocks, followed by a loud clack, which announced to his surprised senses that the clacker had been the instrument of offense used. The birds and Jude started up simultaneously, and the dazed eyes of the latter beheld the farmer in person, the great Troutham himself, his red face glaring down upon Jude's cowering frame, the clacker swinging in his hand.

"So it's 'Eat my dear birdies,' is it, young man? 'Eat, dear birdies,' indeed! I'll tickle your breeches, and see if you say, 'Eat, dear birdies' again in a hurry! And you've been idling at the schoolmaster's too, instead of coming here, ha'n't ye, hey? That's how you earn your sixpence a day for keeping the rooks off my corn!"

Select the answer that best identifies the main idea of the first paragraph.

Adapted from Jude the Obscure by Thomas Hardy (1895)

He sounded the clacker till his arm ached, and at length his heart grew sympathetic with the birds' thwarted desires. They seemed, like himself, to be living in a world which did not want them. Why should he frighten them away? They took upon more and more the aspect of gentle friends and pensioners—the only friends he could claim as being in the least degree interested in him, for his aunt had often told him that she was not. He ceased his rattling, and they alighted anew.

"Poor little dears!" said Jude, aloud. "You shall have some dinner—you shall. There is enough for us all. Farmer Troutham can afford to let you have some. Eat, then my dear little birdies, and make a good meal!"

They stayed and ate, inky spots on the nut-brown soil, and Jude enjoyed their appetite. A magic thread of fellow-feeling united his own life with theirs. Puny and sorry as those lives were, they much resembled his own.

His clacker he had by this time thrown away from him, as being a mean and sordid instrument, offensive both to the birds and to himself as their friend. All at once he became conscious of a smart blow upon his buttocks, followed by a loud clack, which announced to his surprised senses that the clacker had been the instrument of offense used. The birds and Jude started up simultaneously, and the dazed eyes of the latter beheld the farmer in person, the great Troutham himself, his red face glaring down upon Jude's cowering frame, the clacker swinging in his hand.

"So it's 'Eat my dear birdies,' is it, young man? 'Eat, dear birdies,' indeed! I'll tickle your breeches, and see if you say, 'Eat, dear birdies' again in a hurry! And you've been idling at the schoolmaster's too, instead of coming here, ha'n't ye, hey? That's how you earn your sixpence a day for keeping the rooks off my corn!"

Select the answer that best identifies the main idea of the first paragraph.

PROLOGUE.

Now, luck yet sends us, and a little wit

Will serve to make our play hit;

(According to the palates of the season)

Here is rhime, not empty of reason.

… thus much I can give you as a token (5)

Of his play's worth, no eggs are broken,

… The laws of time, place, persons he observeth,

From no needful rule he swerveth.

All gall and copperas from his ink he draineth,

Only a little salt remaineth, (10)

Wherewith he'll rub your cheeks, till red, with laughter,

They shall look fresh a week after.

Based on context, what is the meaning of Line 9, “All gall and copperas from his ink he draineth”?

Passage adapted from Thomas Bulfinch’s “Prometheus and Pandora” (1860)

The creation of the world is a problem naturally fitted to excite the liveliest interest of man, its inhabitant. The ancient pagans, not having the information on the subject which we derive from the pages of Scripture, had their own way of telling the story, which is as follows: Before earth and sea and heaven were created, all things wore one aspect, to which we give the name of Chaos—a confused and shapeless mass, nothing but dead weight, in which, however, slumbered the seeds of things. Earth, sea, and air were all mixed up together; so the earth was not solid, the sea was not fluid, and the air was not transparent. God and Nature at last interposed, and put an end to this discord, separating earth from sea, and heaven from both. The fiery part, being the lightest, sprang up, and formed the skies; the air was next in weight and place. The earth, being heavier, sank below; and the water took the lowest place, and buoyed up the earth.

Here some god—it is not known which—gave his good offices in arranging and disposing the earth. He appointed rivers and bays their places, raised mountains, scooped out valleys, distributed woods, fountains, fertile fields, and stony plains. The air being cleared, the stars began to appear, fishes took possession of the sea, birds of the air, and four-footed beasts of the land.

The origin of which of the following is NOT explained in this passage?

Passage adapted from Little Women by Louisa May Alcott (1868)

There were to be no ceremonious performances, everything was to be as natural and homelike as possible, so when Aunt March arrived, she was scandalized to see the bride come running to welcome and lead her in, to find the bridegroom fastening up a garland that had fallen down, and to catch a glimpse of the paternal minister marching upstairs with a grave countenance and a wine bottle under each arm.

“Upon my word, here's a state of things!” cried the old lady, taking the seat of honor prepared for her, and settling the folds of her lavender moire with a great rustle. “You oughtn't to be seen till the last minute, child.”

“I'm not a show, Aunty, and no one is coming to stare at me, to criticize my dress, or count the cost of my luncheon. I'm too happy to care what anyone says or thinks, and I'm going to have my little wedding just as I like it. John, dear, here's your hammer.” And away went Meg to help “that man” in his highly improper employment.

The reader would most likely predict the wedding to be ______________.

"As the days went by, the evolution of like into love was accelerated. White Fang \[the wolf\] himself began to grow aware of it, though in his consciousness he knew not what love was. It manifested itself to him as a void in his being—a hungry, aching, yearning void that clamoured to be filled. It was a pain and an unrest; and it received easement only by the touch of the new god’s presence. At such times love was joy to him, a wild, keen-thrilling satisfaction. But when away from his god, the pain and the unrest returned; the void in him sprang up and pressed against him with its emptiness, and the hunger gnawed and gnawed unceasingly. "

Adapted from White Fang by Jack London (1906)

Does White Fang know he's fallen in love?

PROLOGUE.

Now, luck yet sends us, and a little wit

Will serve to make our play hit;

(According to the palates of the season)

Here is rhime, not empty of reason.

… thus much I can give you as a token (5)

Of his play's worth, no eggs are broken,

… The laws of time, place, persons he observeth,

From no needful rule he swerveth.

All gall and copperas from his ink he draineth,

Only a little salt remaineth, (10)

Wherewith he'll rub your cheeks, till red, with laughter,

They shall look fresh a week after.

According to the passage, what factors are necessary to create a successful play?

PROLOGUE.

Now, luck yet sends us, and a little wit

Will serve to make our play hit;

(According to the palates of the season)

Here is rhime, not empty of reason.

… thus much I can give you as a token (5)

Of his play's worth, no eggs are broken,

… The laws of time, place, persons he observeth,

From no needful rule he swerveth.

All gall and copperas from his ink he draineth,

Only a little salt remaineth, (10)

Wherewith he'll rub your cheeks, till red, with laughter,

They shall look fresh a week after.

Based on context, what is the meaning of Line 9, “All gall and copperas from his ink he draineth”?