Adapted from “Trees Worth Knowing” by Julia Ellen Rogers (1922)

“The swift unfolding of the leaves in spring is always a miracle. One day the budded twigs are still wrapped in the deep sleep of winter. A trace of green appears about the edges of the bud scales—they loosen and fall, and the tender green shoot looks timidly out and begins to unfold its crumpled leaves. Soon the delicate blade broadens and takes on the texture and familiar appearance of the grown-up leaf. Behold! While we watched the single shoot the bare tree has clothed itself in the green canopy of summer.

How can this miracle take place? How does the tree come into full leaf, sometimes within a fraction of a week? It could never happen except for the store of concentrated food that the sap dissolves in spring and carries to the buds, and for the remarkable activity of the cambium cells within the buds.

What is a bud? It is a shoot in miniature—its leaves or flowers, or both, formed with wondrous completeness in the previous summer. About its base are crowded leaved so hardened and overlapped as to cover and protect the tender shoot. All the tree can ever express of beauty or of energy comes out of these precious little ‘growing points,’ wrapped up all winter, but impatient, as spring approaches, to accept the invitation of the south wind and sun.”

Based on the passage, what is most likely the author's attitude about trees?

Adapted from “Trees Worth Knowing” by Julia Ellen Rogers (1922)

“The swift unfolding of the leaves in spring is always a miracle. One day the budded twigs are still wrapped in the deep sleep of winter. A trace of green appears about the edges of the bud scales—they loosen and fall, and the tender green shoot looks timidly out and begins to unfold its crumpled leaves. Soon the delicate blade broadens and takes on the texture and familiar appearance of the grown-up leaf. Behold! While we watched the single shoot the bare tree has clothed itself in the green canopy of summer.

How can this miracle take place? How does the tree come into full leaf, sometimes within a fraction of a week? It could never happen except for the store of concentrated food that the sap dissolves in spring and carries to the buds, and for the remarkable activity of the cambium cells within the buds.

What is a bud? It is a shoot in miniature—its leaves or flowers, or both, formed with wondrous completeness in the previous summer. About its base are crowded leaved so hardened and overlapped as to cover and protect the tender shoot. All the tree can ever express of beauty or of energy comes out of these precious little ‘growing points,’ wrapped up all winter, but impatient, as spring approaches, to accept the invitation of the south wind and sun.”

Based on the passage, what is most likely the author's attitude about trees?

Adapted from The Voyage Out by Virginia Woolf (1915).

"\[... Rachel\] had been educated as the majority of well-to-do girls in the last part of the nineteenth century were educated. Kindly doctors and gentle old professors had taught her the rudiments of about ten different branches of knowledge, but they would as soon have forced her to go through one piece of drudgery thoroughly as they would have told her that her hands were dirty. The one hour or the two hours weekly passed very pleasantly, partly owing to the other pupils, partly to the fact that the window looked upon the back of a shop, where figures appeared against the red windows in winter, partly to the accidents that are bound to happen when more than two people are in the same room together. But there was no subject in the world which she knew accurately. Her mind was in the state of an intelligent man's in the beginning of the reign of Queen Elizabeth; she would believe practically anything she was told, invent reasons for anything she said. The shape of the earth, the history of the world, how trains worked, or money was invested, what laws were in force, which people wanted what, and why they wanted it, the most elementary idea of a system in modern life—none of this had been imparted to her by any of her professors or mistresses. But this system of education had one great advantage. It did not teach anything, but it put no obstacle in the way of any real talent that the pupil might chance to have. Rachel, being musical, was allowed to learn nothing but music; she became a fanatic about music. All the energies that might have gone into languages, science, or literature, that might have made her friends, or shown her the world, poured straight into music. Finding her teachers inadequate, she had practically taught herself. At the age of twenty-four she knew as much about music as most people do when they are thirty; and could play as well as nature allowed her to, which, as became daily more obvious, was a really generous allowance. If this one definite gift was surrounded by dreams and ideas of the most extravagant and foolish description, no one was any the wiser."

The word in bold in the passage most nearly means ________________.

Adapted from The Voyage Out by Virginia Woolf (1915).

"\[... Rachel\] had been educated as the majority of well-to-do girls in the last part of the nineteenth century were educated. Kindly doctors and gentle old professors had taught her the rudiments of about ten different branches of knowledge, but they would as soon have forced her to go through one piece of drudgery thoroughly as they would have told her that her hands were dirty. The one hour or the two hours weekly passed very pleasantly, partly owing to the other pupils, partly to the fact that the window looked upon the back of a shop, where figures appeared against the red windows in winter, partly to the accidents that are bound to happen when more than two people are in the same room together. But there was no subject in the world which she knew accurately. Her mind was in the state of an intelligent man's in the beginning of the reign of Queen Elizabeth; she would believe practically anything she was told, invent reasons for anything she said. The shape of the earth, the history of the world, how trains worked, or money was invested, what laws were in force, which people wanted what, and why they wanted it, the most elementary idea of a system in modern life—none of this had been imparted to her by any of her professors or mistresses. But this system of education had one great advantage. It did not teach anything, but it put no obstacle in the way of any real talent that the pupil might chance to have. Rachel, being musical, was allowed to learn nothing but music; she became a fanatic about music. All the energies that might have gone into languages, science, or literature, that might have made her friends, or shown her the world, poured straight into music. Finding her teachers inadequate, she had practically taught herself. At the age of twenty-four she knew as much about music as most people do when they are thirty; and could play as well as nature allowed her to, which, as became daily more obvious, was a really generous allowance. If this one definite gift was surrounded by dreams and ideas of the most extravagant and foolish description, no one was any the wiser."

The word in bold in the passage most nearly means ________________.

Passage adapted from Narrative of the Life of Frederick Douglass, an American Slave by Frederick Douglass (1845).

The slaves selected to go to the Great House Farm, for the monthly allowance for themselves and their fellow-slaves, were peculiarly enthusiastic. While on their way, they would make the dense old woods, for miles around, reverberate with their wild songs, revealing at once the highest joy and the deepest sadness. \[...\]

I did not, when a slave, understand the deep meaning of those rude and apparently incoherent songs. I was myself within the circle; so that I neither saw nor heard as those without might see and hear. They told a tale of woe which was then altogether beyond my feeble comprehension; they were tones loud, long, and deep; they breathed the prayer and complaint of souls boiling over with the bitterest anguish. Every tone was a testimony against slavery, and a prayer to God for deliverance from chains. The hearing of those wild notes always depressed my spirit, and filled me with ineffable sadness. I have frequently found myself in tears while hearing them. The mere recurrence to those songs, even now, afflicts me; and while I am writing these lines, an expression of feeling has already found its way down my cheek. To those songs I trace my first glimmering conception of the dehumanizing character of slavery. I can never get rid of that conception. Those songs still follow me, to deepen my hatred of slavery, and quicken my sympathies for my brethren in bonds. If any one wishes to be impressed with the soul-killing effects of slavery, let him go to Colonel Lloyd's plantation, and, on allowance-day, place himself in the deep pine woods, and there let him, in silence, analyze the sounds that shall pass through the chambers of his soul,--and if he is not thus impressed, it will only be because "there is no flesh in his obdurate heart."

I have often been utterly astonished, since I came to the north, to find persons who could speak of the singing, among slaves, as evidence of their contentment and happiness. It is impossible to conceive of a greater mistake. Slaves sing most when they are most unhappy. The songs of the slave represent the sorrows of his heart; and he is relieved by them, only as an aching heart is relieved by its tears. At least, such is my experience. I have often sung to drown my sorrow, but seldom to express my happiness. Crying for joy, and singing for joy, were alike uncommon to me while in the jaws of slavery. The singing of a man cast away upon a desolate island might be as appropriately considered as evidence of contentment and happiness, as the singing of a slave; the songs of the one and of the other are prompted by the same emotion.

The main purpose of this passage is to _________________.

Passage adapted from Narrative of the Life of Frederick Douglass, an American Slave by Frederick Douglass (1845).

The slaves selected to go to the Great House Farm, for the monthly allowance for themselves and their fellow-slaves, were peculiarly enthusiastic. While on their way, they would make the dense old woods, for miles around, reverberate with their wild songs, revealing at once the highest joy and the deepest sadness. \[...\]

I did not, when a slave, understand the deep meaning of those rude and apparently incoherent songs. I was myself within the circle; so that I neither saw nor heard as those without might see and hear. They told a tale of woe which was then altogether beyond my feeble comprehension; they were tones loud, long, and deep; they breathed the prayer and complaint of souls boiling over with the bitterest anguish. Every tone was a testimony against slavery, and a prayer to God for deliverance from chains. The hearing of those wild notes always depressed my spirit, and filled me with ineffable sadness. I have frequently found myself in tears while hearing them. The mere recurrence to those songs, even now, afflicts me; and while I am writing these lines, an expression of feeling has already found its way down my cheek. To those songs I trace my first glimmering conception of the dehumanizing character of slavery. I can never get rid of that conception. Those songs still follow me, to deepen my hatred of slavery, and quicken my sympathies for my brethren in bonds. If any one wishes to be impressed with the soul-killing effects of slavery, let him go to Colonel Lloyd's plantation, and, on allowance-day, place himself in the deep pine woods, and there let him, in silence, analyze the sounds that shall pass through the chambers of his soul,--and if he is not thus impressed, it will only be because "there is no flesh in his obdurate heart."

I have often been utterly astonished, since I came to the north, to find persons who could speak of the singing, among slaves, as evidence of their contentment and happiness. It is impossible to conceive of a greater mistake. Slaves sing most when they are most unhappy. The songs of the slave represent the sorrows of his heart; and he is relieved by them, only as an aching heart is relieved by its tears. At least, such is my experience. I have often sung to drown my sorrow, but seldom to express my happiness. Crying for joy, and singing for joy, were alike uncommon to me while in the jaws of slavery. The singing of a man cast away upon a desolate island might be as appropriately considered as evidence of contentment and happiness, as the singing of a slave; the songs of the one and of the other are prompted by the same emotion.

The main purpose of this passage is to _________________.

Adapted from The Voyage Out by Virginia Woolf (1915).

"\[... Rachel\] had been educated as the majority of well-to-do girls in the last part of the nineteenth century were educated. Kindly doctors and gentle old professors had taught her the rudiments of about ten different branches of knowledge, but they would as soon have forced her to go through one piece of drudgery thoroughly as they would have told her that her hands were dirty. The one hour or the two hours weekly passed very pleasantly, partly owing to the other pupils, partly to the fact that the window looked upon the back of a shop, where figures appeared against the red windows in winter, partly to the accidents that are bound to happen when more than two people are in the same room together. But there was no subject in the world which she knew accurately. Her mind was in the state of an intelligent man's in the beginning of the reign of Queen Elizabeth; she would believe practically anything she was told, invent reasons for anything she said. The shape of the earth, the history of the world, how trains worked, or money was invested, what laws were in force, which people wanted what, and why they wanted it, the most elementary idea of a system in modern life—none of this had been imparted to her by any of her professors or mistresses. But this system of education had one great advantage. It did not teach anything, but it put no obstacle in the way of any real talent that the pupil might chance to have. Rachel, being musical, was allowed to learn nothing but music; she became a fanatic about music. All the energies that might have gone into languages, science, or literature, that might have made her friends, or shown her the world, poured straight into music. Finding her teachers inadequate, she had practically taught herself. At the age of twenty-four she knew as much about music as most people do when they are thirty; and could play as well as nature allowed her to, which, as became daily more obvious, was a really generous allowance. If this one definite gift was surrounded by dreams and ideas of the most extravagant and foolish description, no one was any the wiser."

According to the passage, Rachel's instructors would be unlikely to ________________.

Adapted from The Voyage Out by Virginia Woolf (1915).

"\[... Rachel\] had been educated as the majority of well-to-do girls in the last part of the nineteenth century were educated. Kindly doctors and gentle old professors had taught her the rudiments of about ten different branches of knowledge, but they would as soon have forced her to go through one piece of drudgery thoroughly as they would have told her that her hands were dirty. The one hour or the two hours weekly passed very pleasantly, partly owing to the other pupils, partly to the fact that the window looked upon the back of a shop, where figures appeared against the red windows in winter, partly to the accidents that are bound to happen when more than two people are in the same room together. But there was no subject in the world which she knew accurately. Her mind was in the state of an intelligent man's in the beginning of the reign of Queen Elizabeth; she would believe practically anything she was told, invent reasons for anything she said. The shape of the earth, the history of the world, how trains worked, or money was invested, what laws were in force, which people wanted what, and why they wanted it, the most elementary idea of a system in modern life—none of this had been imparted to her by any of her professors or mistresses. But this system of education had one great advantage. It did not teach anything, but it put no obstacle in the way of any real talent that the pupil might chance to have. Rachel, being musical, was allowed to learn nothing but music; she became a fanatic about music. All the energies that might have gone into languages, science, or literature, that might have made her friends, or shown her the world, poured straight into music. Finding her teachers inadequate, she had practically taught herself. At the age of twenty-four she knew as much about music as most people do when they are thirty; and could play as well as nature allowed her to, which, as became daily more obvious, was a really generous allowance. If this one definite gift was surrounded by dreams and ideas of the most extravagant and foolish description, no one was any the wiser."

According to the passage, Rachel's instructors would be unlikely to ________________.

Adapted from “Greenhouses: Their Construction and Equipment” by W.J. Wright (1917)

“Generally speaking, there are only two satisfactory methods of greenhouse heating: Steam and hot water. Direct heating by stoves is not satisfactory even in small houses, and no satisfactory system has yet been devised for the use of hot-air furnaces. The only method aside from steam or hot water which deserves mention is heating by flues. They are wasteful of fuel, and their use is not justified, except in cheaply constructed houses which are used only for a few months in the spring or fall.

The principles pertaining to greenhouse heating are much the same as those involved in heating other buildings, except that the loss of heat is greater from glass than from wood or brick walls, and a higher and more constant night temperature is required than is necessary in dwellings. For this reason, relatively more radiating surface is required and boilers of larger capacity are needed.

In heating with flues the equipment consists simply of a furnace at one end of the house and a chimney at the other, the two being connected by a flue, carried underneath the bench or buried just underneath the soil, through which the heat and smoke are carried. This may be made of brick, but large-size drain or sewer tile are more commonly used. These withstand the heat and are easily and cheaply put in place. It is best to have the flue slope upward slightly toward the chimney. As has already been stated, this method is wasteful of fuel. It is also difficult to regulate. It is still employed to some extent by gardeners in cheap houses, used only in late winter or early spring for the starting of early vegetable plants, sweet potatoes, etc.”

Based on the passage, which heating method would the author most likely use if he were to heat his own greenhouse?

The following is an excerpt from Pride and Prejudice by Jane Austen (1813):

“From the very beginning — from the first moment, I may almost say — of my acquaintance with you, your manners, impressing me with the fullest belief of your arrogance, your conceit, and your selfish disdain of the feelings of others, were such as to form the groundwork of disapprobation on which succeeding events have built so immovable a dislike; and I had not known you a month before I felt that you were the last man in the world whom I could ever be prevailed on to marry.”

Which of the following may be inferred about the speaker in the passage above?