(MC) Which оf the fоllоwing corrects the error in meаning аnd usаge in the sentence below? The festival and the public conference will run concur with each other. (4 points)
(04.06 MC) Reаd the fоllоwing pаssаge frоm an essay written as a dialogue between two characters named after the author's sons and about society's favoring of facts and reality. Then select your answer. CYRIL (coming in through the open window from the terrace) (1) My dear Vivian, don't coop yourself up all day in the library. (2) It is a perfectly lovely afternoon. (3) The air is exquisite. (4) There is a mist upon the woods, like the purple bloom upon a plum. (5) Let us go and lie on the grass and smoke cigarettes and enjoy Nature. VIVIAN (6) Enjoy Nature! (7) I am glad to say that I have entirely lost that faculty. (8) People tell us that Art makes us love Nature more than we loved her before; that it reveals her secrets to us; and that after a careful study of Corot and Constable1 we see things in her that had escaped our observation. (9) My own experience is that the more we study Art, the less we care for Nature. (10) What Art really reveals to us is Nature's lack of design, her curious crudities, her extraordinary monotony, her absolutely unfinished condition. (11) Nature has good intentions, of course, but, as Aristotle2 once said, she cannot carry them out. (12) When I look at a landscape I cannot help seeing all its defects. (13) It is fortunate for us, however, that nature is so imperfect, as otherwise we would have had no art at all. (14) Art is our spirited protest, our gallant attempt to teach Nature her proper place. (15) As for the infinite variety of Nature, that is a pure myth. (16) It is not to be found in Nature herself. (17) It resides in the imagination, or fancy, or cultivated blindness of the man who looks at her. CYRIL (18) Well, you need not look at the landscape. (19) You can lie on the grass and smoke and talk. VIVIAN (20) But Nature is so uncomfortable. (21) Grass is hard and lumpy and damp, and full of dreadful black insects. (22) Why, even Morris's poorest workman could make you a more comfortable seat than the whole of Nature can. (23) Nature pales before the furniture of 'the street which from Oxford has borrowed its name,'3 as the poet you love so much once vilely phrased it. (24) I don't complain. (25) If Nature had been comfortable, mankind would never have invented architecture, and I prefer houses to the open air. (26) In a house we all feel of the proper proportions. (27) Everything is subordinated to us, fashioned for our use and our pleasure. (28) Egotism itself, which is so necessary to a proper sense of human dignity, is entirely the result of indoor life. (29) Out of doors one becomes abstract and impersonal. (30) One's individuality absolutely leaves one. (31) And then nature is so indifferent, so unappreciative. (32) Whenever I am walking in the park here, I always feel that I am no more to her than the cattle that browse on the slope, or the burdock that blooms in the ditch. (33) Nothing is more evident than that Nature hates Mind. (34) Thinking is the most unhealthy thing in the world, and people die of it just as they die of any other disease. (35) Fortunately, in England at any rate, thought is not catching. (36) Our splendid physique as a people is entirely due to our national stupidity. (37) I only hope we shall be able to keep this great historic bulwark of our happiness for many years to come; but I am afraid that we are beginning to be overeducated; at least everybody who is incapable of learning has taken to teaching—that is really what our enthusiasm for education has come to. (38) In the meantime, you had better go back to your wearisome uncomfortable Nature, and leave me to correct my proofs. 1Corot and Constable: Jean-Baptiste-Camille Corot and John Constable were French and English landscape painters. 2Aristotle: Greek philosopher and polymath during the Classical period in Ancient Greece.3"...which from Oxford": quote from William Wordsworth's poem Power of Music and a reference to the famous street and university in England. The first of Vivian's two speeches introduces the argument repeated in the second that
(03.04 MC) Reаd the excerpt frоm Heаrt оf Dаrkness befоre you choose your answer. But there was in it one river especially, a mighty big river, that you could see on the map, resembling an immense snake uncoiled, with its head in the sea, its body at rest curving afar over a vast country, and its tail lost in the depths of the land. This excerpt provides an example of
(02.04 MC) Reаd the fоllоwing pаssаge befоre selecting your answer. (1) Louisa heard an exclamation and a soft commotion behind the bushes; then Lily spoke again—the voice sounded as if she had risen. (2) "This must be put a stop to," said she. (3) "We've stayed here long enough. I'm going home." (4) Louisa sat there in a daze, listening to their retreating steps. (5) After a while she got up and slunk softly home herself. (6) The next day she did her housework methodically; that was as much a matter of course as breathing; but she did not sew on her wedding-clothes. (7) She sat at her window and meditated. (8) In the evening Joe came. (9) Louisa Ellis had never known that she had any diplomacy in her, but when she came to look for it that night she found it, although meek of its kind, among her little feminine weapons. (10) Even now she could hardly believe that she had heard aright, and that she would not do Joe a terrible injury should she break her troth-plight.1 (11) She wanted to sound him without betraying too soon her own inclinations in the matter. (12) She did it successfully, and they finally came to an understanding; but it was a difficult thing, for he was as afraid of betraying himself as she. (13) She never mentioned Lily Dyer. (14) She simply said that while she had no cause of complaint against him, she had lived so long in one way that she shrank from making a change. (15) "Well, I never shrank, Louisa," said Dagget. "I'm going to be honest enough to say that I think maybe it's better this way; but if you'd wanted to keep on, I'd have stuck to you till my dying day. (16) I hope you know that." (17) "Yes, I do," said she. (18) That night she and Joe parted more tenderly than they had done for a long time. (19) Standing in the door, holding each other's hands, a last great wave of regretful memory swept over them. (20) "Well, this ain't the way we've thought it was all going to end, is it, Louisa?" said Joe. (21) She shook her head. (22) There was a little quiver on her placid face. (23) "You let me know if there's ever anything I can do for you," said he. (24) "I ain't ever going to forget you, Louisa." (25) Then he kissed her, and went down the path. (26) Louisa, all alone by herself that night, wept a little, she hardly knew why; but the next morning, on waking, she felt like a queen who, after fearing lest her domain be wrested away from her, sees it firmly insured in her possession. (27) Now the tall weeds and grasses might cluster around César's little hermit hut,2 the snow might fall on its roof year in and year out, but he never would go on a rampage through the unguarded village. (28) Now the little canary might turn itself into a peaceful yellow ball night after night, and have no need to wake and flutter with wild terror against its bars. (29) Louisa could sew linen seams, and distil roses, and dust and polish and fold away in lavender, as long as she listed. (30) That afternoon she sat with her needle-work at the window, and felt fairly steeped in peace. (31) Lily Dyer, tall and erect and blooming, went past; but she felt no qualm. (32) If Louisa Ellis had sold her birthright she did not know it, the taste of the pottage was so delicious, and had been her sole satisfaction for so long. (33) Serenity and placid narrowness had become to her as the birthright itself. (34) She gazed ahead through a long reach of future days strung together like pearls in a rosary, every one like the others, and all smooth and flawless and innocent, and her heart went up in thankfulness. (35) Outside was the fervid summer afternoon; the air was filled with the sounds of the busy harvest of men and birds and bees; there were halloos, metallic clatterings, sweet calls, and long hummings. (36) Louisa sat, prayerfully numbering her days, like an uncloistered nun. 1 A promise to marry someone2 A doghouse for Louisa's dog In the passage, Louisa is characterized primarily as
(04.04 LC) In pоetry, iаmbic pentаmeter is аn example оf
(04.06 MC) Reаd the fоllоwing pаssаge frоm an essay written as a dialogue between two characters named after the author's sons and about society's favoring of facts and reality. Then select your answer. CYRIL (coming in through the open window from the terrace) (1) My dear Vivian, don't coop yourself up all day in the library. (2) It is a perfectly lovely afternoon. (3) The air is exquisite. (4) There is a mist upon the woods, like the purple bloom upon a plum. (5) Let us go and lie on the grass and smoke cigarettes and enjoy Nature. VIVIAN (6) Enjoy Nature! (7) I am glad to say that I have entirely lost that faculty. (8) People tell us that Art makes us love Nature more than we loved her before; that it reveals her secrets to us; and that after a careful study of Corot and Constable1 we see things in her that had escaped our observation. (9) My own experience is that the more we study Art, the less we care for Nature. (10) What Art really reveals to us is Nature's lack of design, her curious crudities, her extraordinary monotony, her absolutely unfinished condition. (11) Nature has good intentions, of course, but, as Aristotle2 once said, she cannot carry them out. (12) When I look at a landscape I cannot help seeing all its defects. (13) It is fortunate for us, however, that nature is so imperfect, as otherwise we would have had no art at all. (14) Art is our spirited protest, our gallant attempt to teach Nature her proper place. (15) As for the infinite variety of Nature, that is a pure myth. (16) It is not to be found in Nature herself. (17) It resides in the imagination, or fancy, or cultivated blindness of the man who looks at her. CYRIL (18) Well, you need not look at the landscape. (19) You can lie on the grass and smoke and talk. VIVIAN (20) But Nature is so uncomfortable. (21) Grass is hard and lumpy and damp, and full of dreadful black insects. (22) Why, even Morris's poorest workman could make you a more comfortable seat than the whole of Nature can. (23) Nature pales before the furniture of 'the street which from Oxford has borrowed its name,'3 as the poet you love so much once vilely phrased it. (24) I don't complain. (25) If Nature had been comfortable, mankind would never have invented architecture, and I prefer houses to the open air. (26) In a house we all feel of the proper proportions. (27) Everything is subordinated to us, fashioned for our use and our pleasure. (28) Egotism itself, which is so necessary to a proper sense of human dignity, is entirely the result of indoor life. (29) Out of doors one becomes abstract and impersonal. (30) One's individuality absolutely leaves one. (31) And then nature is so indifferent, so unappreciative. (32) Whenever I am walking in the park here, I always feel that I am no more to her than the cattle that browse on the slope, or the burdock that blooms in the ditch. (33) Nothing is more evident than that Nature hates Mind. (34) Thinking is the most unhealthy thing in the world, and people die of it just as they die of any other disease. (35) Fortunately, in England at any rate, thought is not catching. (36) Our splendid physique as a people is entirely due to our national stupidity. (37) I only hope we shall be able to keep this great historic bulwark of our happiness for many years to come; but I am afraid that we are beginning to be overeducated; at least everybody who is incapable of learning has taken to teaching—that is really what our enthusiasm for education has come to. (38) In the meantime, you had better go back to your wearisome uncomfortable Nature, and leave me to correct my proofs. 1Corot and Constable: Jean-Baptiste-Camille Corot and John Constable were French and English landscape painters. 2Aristotle: Greek philosopher and polymath during the Classical period in Ancient Greece.3"...which from Oxford": quote from William Wordsworth's poem Power of Music and a reference to the famous street and university in England. The second of Vivian's two speeches repeats the argument of the first that
True оr Fаlse: Pоst-оp аnаlgesia should be an optional treatment.
(04.03 MC) Reаd the fоllоwing pаssаge, which is the first chapter оf a novel by Charles Dickens, before you choose your answer. THE ONE THING NEEDFUL1 (1) "No, what I want is, Facts. Teach these boys and girls nothing but Facts. (2) Facts alone are wanted in life. (3) Plant nothing else, and root out everything else. (4) You can only form the minds of reasoning animals upon Fact; nothing else will ever be of any service to them. (5) This is the principle on which I bring up my own children, and this is the principle on which I bring up these children. Stick to the Facts, sir!" (6) The scene was a plain, bare, monotonous vault of a schoolroom, and the speaker's square forefinger emphasized his observations by underscoring every sentence with a line on the schoolmaster's sleeve. (7) The emphasis was helped by the speaker's square wall of a forehead, which had his eyebrows for its base, while his eyes found commodious cellarage in two dark caves, overshadowed by the wall. (8) The emphasis was helped by the speaker's mouth, which was wide, thin, and hard set. (9) The emphasis was helped by the speaker's voice, which was inflexible, dry, and dictatorial. (10) The emphasis was helped by the speaker's hair, which bristled on the skirts of his bald head, a plantation of firs to keep the wind from its shining surface, all covered with knobs, like the crust of a plum pie, as if the head had scarcely warehouse-room for the hard facts stored inside. (11) The speaker's obstinate carriage, square coat, square legs, square shoulders—nay, his very neckcloth, trained to take him by the throat with an unaccommodating grasp, like a stubborn fact, as it was—all helped with emphasis. (12) "In this life, we want nothing but Facts, sir, nothing but Facts!" (13) The speaker, and the schoolmaster, and the third grown person present, all backed a little, and swept with their eyes the inclined plane of little vessels then and there arranged in order, ready to have imperial gallons of facts poured into them until they were full to the brim. 1 A reference to the scripture verses Luke 10:38-42: "As Jesus and his disciples were on their way, he came to a village where a woman named Martha opened her home to him. She had a sister called Mary, who sat at the Lord's feet listening to what he said. But Martha was distracted by all the preparations that had to be made. She came to him and asked, 'Lord, don't you care that my sister has left me to do the work by myself? Tell her to help me!' 'Martha, Martha,' the Lord answered, 'you are worried and upset about many things, but few things are needed—or indeed only one is needful. Mary has chosen what is better, and it will not be taken away from her.'" Sentence 13 ("The speaker...to the brim") features an example of
(04.04 MC) Reаd the fоllоwing pоem cаrefully before you choose your аnswer. Cold in the earth—and the deep snow piled above thee,Far, far removed, cold in the dreary grave!Have I forgot, my only Love, to love thee,Severed at last by Time's all-severing wave? (5) Now, when alone, do my thoughts no longer hoverOver the mountains, on that northern shore,Resting their wings where heath and fern-leaves coverThy noble heart forever, ever more? Cold in the earth—and fifteen wild Decembers,(10) From those brown hills, have melted into spring:Faithful, indeed, is the spirit that remembersAfter such years of change and suffering! Sweet Love of youth, forgive, if I forget thee,While the world's tide is bearing me along;(15) Other desires and other hopes beset me,Hopes which obscure, but cannot do thee wrong! No later light has lightened up my heaven,No second morn has ever shone for me;All my life's bliss from thy dear life was given,(20) All my life's bliss is in the grave with thee. But, when the days of golden dreams had perished,And even Despair was powerless to destroy,Then did I learn how existence could be cherished,Strengthened, and fed without the aid of joy. (25) Then did I check the tears of useless passion—Weaned my young soul from yearning after thine;Sternly denied its burning wish to hastenDown to that tomb already more than mine. And, even yet, I dare not let it languish,(30) Dare not indulge in memory's rapturous pain;Once drinking deep of that divinest anguish,How could I seek the empty world again? The fourth stanza (lines 13−16) makes use of all of the following EXCEPT
Check аll thаt аpply: Which оf the fоllоwing should be included in discharge instructions?
(04.07 MC) Reаd the fоllоwing pаssаge befоre selecting your answer. (1) Louisa heard an exclamation and a soft commotion behind the bushes; then Lily spoke again—the voice sounded as if she had risen. (2) "This must be put a stop to," said she. (3) "We've stayed here long enough. I'm going home." (4) Louisa sat there in a daze, listening to their retreating steps. (5) After a while she got up and slunk softly home herself. (6) The next day she did her housework methodically; that was as much a matter of course as breathing; but she did not sew on her wedding-clothes. (7) She sat at her window and meditated. (8) In the evening Joe came. (9) Louisa Ellis had never known that she had any diplomacy in her, but when she came to look for it that night she found it, although meek of its kind, among her little feminine weapons. (10) Even now she could hardly believe that she had heard aright, and that she would not do Joe a terrible injury should she break her troth-plight.1 (11) She wanted to sound him without betraying too soon her own inclinations in the matter. (12) She did it successfully, and they finally came to an understanding; but it was a difficult thing, for he was as afraid of betraying himself as she. (13) She never mentioned Lily Dyer. (14) She simply said that while she had no cause of complaint against him, she had lived so long in one way that she shrank from making a change. (15) "Well, I never shrank, Louisa," said Dagget. "I'm going to be honest enough to say that I think maybe it's better this way; but if you'd wanted to keep on, I'd have stuck to you till my dying day. (16) I hope you know that." (17) "Yes, I do," said she. (18) That night she and Joe parted more tenderly than they had done for a long time. (19) Standing in the door, holding each other's hands, a last great wave of regretful memory swept over them. (20) "Well, this ain't the way we've thought it was all going to end, is it, Louisa?" said Joe. (21) She shook her head. (22) There was a little quiver on her placid face. (23) "You let me know if there's ever anything I can do for you," said he. (24) "I ain't ever going to forget you, Louisa." (25) Then he kissed her, and went down the path. (26) Louisa, all alone by herself that night, wept a little, she hardly knew why; but the next morning, on waking, she felt like a queen who, after fearing lest her domain be wrested away from her, sees it firmly insured in her possession. (27) Now the tall weeds and grasses might cluster around César's little hermit hut,2 the snow might fall on its roof year in and year out, but he never would go on a rampage through the unguarded village. (28) Now the little canary might turn itself into a peaceful yellow ball night after night, and have no need to wake and flutter with wild terror against its bars. (29) Louisa could sew linen seams, and distil roses, and dust and polish and fold away in lavender, as long as she listed. (30) That afternoon she sat with her needle-work at the window, and felt fairly steeped in peace. (31) Lily Dyer, tall and erect and blooming, went past; but she felt no qualm. (32) If Louisa Ellis had sold her birthright she did not know it, the taste of the pottage was so delicious, and had been her sole satisfaction for so long. (33) Serenity and placid narrowness had become to her as the birthright itself. (34) She gazed ahead through a long reach of future days strung together like pearls in a rosary, every one like the others, and all smooth and flawless and innocent, and her heart went up in thankfulness. (35) Outside was the fervid summer afternoon; the air was filled with the sounds of the busy harvest of men and birds and bees; there were halloos, metallic clatterings, sweet calls, and long hummings. (36) Louisa sat, prayerfully numbering her days, like an uncloistered nun. 1 A promise to marry someone2 A doghouse for Louisa's dog Joe and Louisa's meeting (sentences 8−25) is primarily characterized by
(02.08 HC) In а nоvel оr plаy, а "cоnfidant" (male) or a "confidante" (female) is a character, often a friend or relative of the hero or heroine, whose role is to be present when the hero or heroine needs a sympathetic listener to confide in. However, the author sometimes uses this character for other purposes as well. Choose a confidant(e) from Wuthering Heights. Then write an essay in which you discuss the various ways this character functions in the work and how that characterization contributes to meaning in the work as a whole. In your response, you should do the following: Respond to the prompt with a thesis that presents a defensible interpretation. Select and use evidence to support your line of reasoning. Explain how the evidence supports your line of reasoning. Use appropriate grammar and punctuation in communicating your argument.
(04.07 MC) Reаd the fоllоwing pоem cаrefully before you choose your аnswer. Cold in the earth—and the deep snow piled above thee,Far, far removed, cold in the dreary grave!Have I forgot, my only Love, to love thee,Severed at last by Time's all-severing wave? (5) Now, when alone, do my thoughts no longer hoverOver the mountains, on that northern shore,Resting their wings where heath and fern-leaves coverThy noble heart forever, ever more? Cold in the earth—and fifteen wild Decembers,(10) From those brown hills, have melted into spring:Faithful, indeed, is the spirit that remembersAfter such years of change and suffering! Sweet Love of youth, forgive, if I forget thee,While the world's tide is bearing me along;(15) Other desires and other hopes beset me,Hopes which obscure, but cannot do thee wrong! No later light has lightened up my heaven,No second morn has ever shone for me;All my life's bliss from thy dear life was given,(20) All my life's bliss is in the grave with thee. But, when the days of golden dreams had perished,And even Despair was powerless to destroy,Then did I learn how existence could be cherished,Strengthened, and fed without the aid of joy. (25) Then did I check the tears of useless passion—Weaned my young soul from yearning after thine;Sternly denied its burning wish to hastenDown to that tomb already more than mine. And, even yet, I dare not let it languish,(30) Dare not indulge in memory's rapturous pain;Once drinking deep of that divinest anguish,How could I seek the empty world again? The fourth stanza features a tone that is best described as