TEST NAME: English II CFA#1_Spring 2015
TEST ID: 451168
GRADE: 10
SUBJECT: English Language and Literature
TEST CATEGORY: District Benchmark
English II CFA#1_Spring 2015
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03/04/15, English II CFA#1_Spring 2015
Student: Class:
Date:
Instructions
You will have 90 minutes to complete your Common
Formative Assessment #1. Press the link that reads "Start
Your Test". Please work diligently.
Read the passage ­ 'Edgar Allan Poe ­ A Mystery' ­ and answer the question below:
Edgar Allan Poe ­ A Mystery
Edgar Allan Poe—A Mystery
by William H. Elson and Christine Keck
So irregular was the life of Edgar Allan Poe, and so strong were the
prejudices of his critics that not only his character and habits of life, but
even the simplest facts of his biography, are surrounded with mystery and
are subjects of doubt and dispute.
By everything, but the accident of birth, Poe belongs to the South. His father
was from Baltimore, and his mother was of English birth. They were both
members of a theatrical company playing in Boston at the time of Poe’s
birth, January 19, 1809. At the age of three, he was left an orphan by the
death of his mother. A wealthy Scotchman of Virginia, Mr. John Allan,
adopted him and brought him up in luxury—a much spoiled child, everywhere
adored for his beauty and precocity1.
He was sent to school in a suburb of London and upon his return to America
entered the University of Virginia, a proud, reserved, and self­willed youth.
Here he led an irregular life, so that Mr. Allan was forced to withdraw him
from school and gave him work in his office. The routine of office work was
very distasteful to Poe, and he ran away to Boston, where he published his
first volume of poems. Here he enlisted in the army, but when Mr. Allan
heard of his whereabouts, he secured his discharge and obtained an
appointment for him, as a cadet, at West Point. The severe discipline of that
school proved irksome to his restless nature, and after a few months, he
brought upon himself his dismissal. At the age of twenty­two, he found
himself adrift with nothing further to expect from Mr. Allan.
Literature presented itself as his most natural vocation. He had written
poetry from the pure love of it, but now actual poverty drove him to the
more remunerative2 prose writing. He engaged in journalistic work in
Baltimore, living with his aunt, Mrs. Clemm, and her daughter, Virginia. Two
years later, he married Virginia Clemm, a mere child; but Poe, whose
reverence for women was his noblest trait, loved her and cared for her
through poverty and ill­health, until her death eleven years later, a short
time before his own. His life was a melancholy one, a fierce struggle and
English II CFA#1_Spring 2015
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final defeat. In 1849, on his way to New York from Richmond, chance
brought him and election day together in the city of Baltimore. He was found
in an election booth, delirious, and died a few days later.
Poe was a keen critic of the literary men of his day, but he applied the same
standards to himself. He was constantly rewriting and polishing what he had
written. Poe’s greatness lay in his imaginative work—his tales and his
poems. The tales may be said to constitute a distinct addition to the world’s
literature. From times past, there have been tales in prose and in verse,
tales legendary, romantic, and humorous, but never any quite like Poe’s.
The appeal of his poetry is to the sentiment of beauty—the one appeal,
which according to his theory is the final justification of any poem. Language
is made to yield its utmost of melody. “The Raven” was first published in
January, 1845, and immediately became and remains one of the most widely
known of English poems. It can be mentioned anywhere, without apology or
explanation, and there is scarcely a lover of melodious verse who cannot
repeat many of its lines and stanzas.
Every reader of Poe’s prose will be impressed with the charm of the language
itself, the fascination of the vivid scenes and the magic touch like the
Necromancer’s2 wand, which removes these scenes into the uncharted realm
of the supernatural and invests them with a kind of sacred awe.
1 precocity: intelligence achieved far ahead of normal developmental
schedules
2remunerative: money­making
3
Necromancer: one who practices magic or sorcery
From Project Gutenberg at http://www.gutenberg.org/files/ (8/7/2012).
1.
Which detail do the authors use to support the idea of how writing
emerged as a career for Poe?
A.
“Literature presented itself as his most natural vocation.”
B.
“He had written poetry from the pure love of it.”
C.
“ But now actual poverty drove him to the more remunerative prose
writing.”
D.
“He engaged in journalistic work in Baltimore, living with his aunt,
Mrs. Clemm, and her daughter, Virginia.”
Read the passage ­ 'Edgar Allan Poe ­ A Mystery' ­ and answer the question below:
English II CFA#1_Spring 2015
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2.
Which statement from the text is used by the authors to support the
central idea?
A.
“So strong were the prejudices of his critics that not only his character
and habits of life, but even the simplest facts of his biography . . .
are subjects of doubt and dispute.”
B.
“At the age of three, he was left an orphan by the death of his
mother.”
C.
“The severe discipline of that school proved irksome to his restless
nature, and after a few months, he brought upon himself his
dismissal.”
D.
“His life was a melancholy one, a fierce struggle and final defeat.”
Read the passage ­ 'Edgar Allan Poe ­ A Mystery' ­ and answer the question below:
3.
What evidence supports the idea that Poe was critical of his own work?
A.
“Poe was a keen critic of the literary men of his day.”
B.
“He was constantly rewriting and polishing what he had written.”
C.
“There have been tales in prose and in verse . . . but never any quite
like Poe’s.”
D.
“The one appeal, which according to his theory is the final
justification of any poem.”
Read the passage ­ 'Edgar Allan Poe ­ A Mystery' ­ and answer the question below:
4.
Which is a summary of the selection?
A.
Poe was a loving man who set the standard for future writers.
B.
Poe was a lonely man who put all his energy into his literary works.
C.
Poe was a mysterious man who left a legacy of imaginative literature.
D.
Poe was a troubled man whose personal life interfered with his
writing.
Read the passage ­ 'Edgar Allan Poe ­ A Mystery' ­ and answer the question below:
English II CFA#1_Spring 2015
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5.
Which is the central idea of the selection?
A.
Edgar Allan Poe lived a unique life.
B.
Edgar Allan Poe was a disturbed man.
C.
Edgar Allan Poe lost many of his loved ones.
D.
Edgar Allan Poe became a well­known writer. Read the passage ­ 'Edgar Allan Poe ­ A Mystery' ­ and answer the question below:
6.
Which detail from the selection supports the central idea?
A.
“His father was from Baltimore, and his mother was of English birth.”
B.
“Here he led an irregular life, so that Mr. Allan was forced to withdraw
him from school and gave him work in his office.”
C.
“The routine of office work was very distasteful to Poe, and he ran
away to Boston.”
D.
“He was constantly rewriting and polishing what he had written.”
Read the passage ­ 'Edgar Allan Poe ­ A Mystery' ­ and answer the question below:
7.
How do the authors develop the central idea?
A.
by highlighting those most important to Poe
B.
by depicting Poe through those who knew him
C.
by describing the difficult experiences in Poe’s life
D.
by providing examples of Poe’s literary achievements
Read the passage ­ 'Edgar Allan Poe ­ A Mystery' ­ and answer the question below:
8.
How do the authors organize the ideas and events in the selection?
A.
using chronological sequencing
B.
using cause and effect strategies
C.
using order of importance sequencing
D.
using comparison and contrast strategies
English II CFA#1_Spring 2015
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Read the passage ­ 'Edgar Allan Poe ­ A Mystery' ­ and answer the question below:
How does the author develop the idea that Poe led an “irregular” life?
9.
A.
by describing his diverse readers
B.
by relating his earliest attempts at writing
C.
by highlighting the wide variety of his writing
D.
by detailing his defiance to Mr. Allan’s plans
Read the passage ­ 'Edgar Allan Poe ­ A Mystery' ­ and answer the question below:
10.
Which connection do the authors make between Poe’s criticisms of the
work of others and his own writing?
A.
Poe applied the same standards to others as he did to his own
writing.
B.
Poe’s investigations of other literary works inspired his own writing.
C.
Poe’s research encouraged him to create his own genre of writing.
D.
Poe’s study of others led him to change his own style of writing.
Read the passage ­ 'Edgar Allan Poe ­ A Mystery' ­ and answer the question below:
11.
Which connection do the authors make between Poe’s life and his
writing?
A.
Poe’s plots revolved mostly around his unique history.
B.
Poe’s turbulent life prevented him from achieving greatness.
C.
Poe’s dramatic writing reflected his irregular life experiences. D.
Poe’s characters were based loosely on people from his past. Read the passage ­ 'Edgar Allan Poe ­ A Mystery' ­ and answer the question below:
12.
Which connection is made in the selection between Poe’s independence
from Mr. Allan and Poe’s career?
A.
Poe began to take his writing more seriously.
B.
Poe decided to take a hiatus from his writing.
C.
Poe was inspired to create more dramatic poetry.
D.
Poe was inspired to seek revenge through his writing.
English II CFA#1_Spring 2015
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Read the passage ­ 'Excerpt from My Reminiscences' ­ and answer the question below:
Excerpt from My Reminiscences
Excerpt from My Reminiscences
by Rabindranath Tagore
I know not who paints the pictures on memory’s canvas; but whoever he may
be, what he is painting are pictures; by which I mean that he is not there
with his brush simply to make a faithful copy of all that is happening. He
takes in and leaves out according to his taste. He makes many a big thing
small and small thing big. He has no compunction1 in putting into the
background that which was to the fore, or bringing to the front that which
was behind. In short he is painting pictures, and not writing history.
Thus, over Life’s outward aspect passes the series of events, and within is
being painted a set of pictures. The two correspond but are not one.
We do not get the leisure to view thoroughly this studio within us. Portions
of it now and then catch our eye, but the greater part remains out of sight in
the darkness. Why the ever­busy painter is painting; when he will have
done; for what gallery his pictures are destined—who can tell?
Some years ago, on being questioned as to the events of my past life, I had
occasion to pry into this picture­chamber. I had thought to be content with
selecting some few materials for my Life’s story. I then discovered, as I
opened the door, that Life’s memories are not Life’s history, but the original
work of an unseen Artist. The variegated2 colors scattered about are not
reflections of outside lights, but belong to the painter himself, and come
passion­tinged from his heart; thereby unfitting the record on the canvas for
use as evidence in a court of law.
But though the attempt to gather precise history from memory’s storehouse
may be fruitless, there is a fascination in looking over the pictures, a
fascination which cast its spell on me.
The road over which we journey, the wayside shelter in which we pause, are
not pictures while yet we travel—they are too necessary, too obvious. When,
however, before turning into the evening resthouse, we look back upon the
cities, fields, rivers, and hills which we have been through in Life’s morning,
then, in the light of the passing day, are they pictures indeed. Thus, when
my opportunity came, did I look back, and was engrossed.
Was this interest aroused within me solely by a natural affection for my own
past? Some personal feeling, of course, there must have been, but the
pictures had also an independent artistic value of their own. There is no
event in my reminiscences3 worthy of being preserved for all time. But the
English II CFA#1_Spring 2015
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quality of the subject is not the only justification for a record. What one has
truly felt, if only it can be made sensible to others, is always of importance
to one’s fellow men. If pictures which have taken shape in memory can be
brought out in words, they are worth a place in literature.
It is as literary material that I offer my memory pictures. To take them as an
attempt at autobiography would be a mistake. In such a view these
reminiscences would appear useless as well as incomplete.
1 compunction: moral issue
2 variegated: having a variety
3
reminiscences: memories
Project Gutenberg, 2007. http://www.gutenberg.org/files/22217/22217­
h/22217­h.htm (04/03/12).
13.
How does the representation of the artist as declining to make “a faithful
copy” impact the reader?
A.
It shows the artist’s depictions are flawed.
B.
It shows the artist’s intentions are ethical.
C.
It explains how the artist is internally embattled.
D.
It explains how the artist is accurate in his paintings.
Read the passage ­ 'Excerpt from My Reminiscences' ­ and answer the question below:
14.
How does the author’s use of compunction in the first paragraph impact
the representation of the artist?
A.
It represents the lack of conscience the artist uses when creating
life’s paintings.
B.
It demonstrates the attention to detail the artist uses in rendering
his paintings.
C.
It acknowledges the importance of precision used by the artist in his
paintings.
D.
It shows the lack of compassion the artist uses in painting memories.
Read the passage ­ 'Excerpt from My Reminiscences' ­ and answer the question below:
English II CFA#1_Spring 2015
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15.
How does the use of “variegated colors” in paragraph 4 represent the
meaning of memories?
A.
Memories are straightforward and precise, lacking any form of variety.
B.
Memories can be symbolized as legal evidence that can be used in
courts.
C.
Memories must be denoted with as little detail to truth as possible.
D.
Memories contain diverse layers of information and emotion.
Read the passage ­ 'Excerpt from My Reminiscences' ­ and answer the question below:
16.
How does the author’s description of the artist in paragraphs 1, 2, and 3
correspond to the meaning of the selection?
A.
Autobiographies are represented by meticulous attention to detail.
B.
Individuals paint the best pictures of historical events.
C.
Memories and truth are not necessarily the same.
D.
Emotion should be used when recording history.
Read the passage ­ 'Excerpt from My Reminiscences' ­ and answer the question below:
17.
How do paintings and history lack conformity as described in the
selection?
A.
Paintings are more realistic, while history is shaded by untruths.
B.
Paintings require creative input, while history requires precision.
C.
Paintings focus on beauty, while history focuses on creativity.
D.
Paintings cause deception, while history affects emotions.
Read the passage ­ 'Excerpt from the Narrative of the Life of Frederick Douglass' ­ and answer the question
below:
Excerpt from the Narrative of the Life of Frederick Douglass
Frederick Douglass was born into slavery on a plantation in Maryland. At age
8, he was sent to work for a while as a house servant for a family in
Baltimore. Years later he escaped to the North where he became a
successful orator and abolitionist, and eventually purchased his freedom.
Excerpt from the Narrative of the
English II CFA#1_Spring 2015
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Life of Frederick Douglas
by Frederick Douglass
I lived in Master Hugh’s family about seven years. During this time, I
succeeded in learning to read and write. In accomplishing this, I was
compelled to resort to various stratagems. I had no regular teacher. My
mistress, who had kindly commenced to instruct me, had, in compliance with
the advice and direction of her husband, not only ceased to instruct, but had
set her face against my being instructed by any one else. It is due, however,
to my mistress to say of her, that she did not adopt this course of treatment
immediately. She at first lacked the depravity1 indispensable to shutting me
up in mental darkness. It was at least necessary for her to have some
training in the exercise of irresponsible power, to make her equal to the task
of treating me as though I were a brute.
My mistress was, as I have said, a kind and tenderhearted woman; and in
the simplicity of her soul she commenced, when I first went to live with her,
to treat me as she supposed one human being ought to treat another. In
entering upon the duties of a slaveholder, she did not seem to perceive that
I sustained to her the relation of a mere chattel2, and that for her to treat
me as a human being was not only wrong, but dangerously so. Slavery
proved as injurious to her as it did to me. When I went there, she was a
pious, warm, and tenderhearted woman. There was no sorrow or suffering for
which she had not a tear. She had bread for the hungry, clothes for the
naked, and comfort for every mourner that came within her reach. Slavery
soon proved its ability to divest her of these heavenly qualities. Under its
influence, the tender heart became stone, and the lamblike disposition gave
way to one of tiger­like fierceness. The first step in her downward course
was in her ceasing to instruct me. She now commenced to practice her
husband’s precepts. She finally became even more violent in her opposition
than her husband himself. She was not satisfied with simply doing as well as
he had commanded; she seemed anxious to do better. Nothing seemed to
make her angrier than to see me with a newspaper. She seemed to think
that here lay the danger. I have had her rush at me with a face made all up
of fury, and snatch from me a newspaper, in a manner that fully revealed her
apprehension. She was an apt woman; and a little experience soon
demonstrated, to her satisfaction, that education and slavery were
incompatible with each other.
From this time I was most narrowly watched. If I was in a separate room any
considerable length of time, I was sure to be suspected of having a book,
and was at once called to give an account of myself. All this, however, was
too late. The first step had been taken. Mistress, in teaching me the
alphabet, had given me the inch, and no precaution could prevent me from
taking the ell.3
The plan which I adopted, and the one by which I was most successful, was
that of making friends of all the little white boys whom I met in the street.
As many of these as I could, I converted into teachers. With their kindly aid,
obtained at different times and in different places, I finally succeeded in
learning to read. When I was sent of errands, I always took my book with
me, and by going one part of my errand quickly, I found time to get a lesson
before my return. I used also to carry bread with me, enough of which was
English II CFA#1_Spring 2015
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always in the house, and to which I was always welcome; for I was much
better off in this regard than many of the poor white children in our
neighborhood. This bread I used to bestow upon the hungry little urchins,
who, in return, would give me that more valuable bread of knowledge.
1
depravity: moral corruption
2 mere chattel: only a servant
3 taking the ell: the expression “Give him an inch, and he’ll take the ell”
means “Give him an inch, and he will take four.”
Project Gutenberg, 2006. http://www.gutenberg.org/files/23/23­h/23­h.htm
(02/22/2013).
18.
Which phrase from the selection expresses the importance Frederick
Douglass placed on learning to read?
A.
“valuable bread”
B.
“heavenly qualities” C.
“irresponsible power” D.
“various stratagems”
Read the passage ­ 'Excerpt from the Narrative of the Life of Frederick Douglass' ­ and answer the question
below:
19.
Based on paragraph 2, with which statement about slavery would
Frederick Douglass agree?
A.
Slavery is a burden that cannot be overcome.
B.
Slavery is an evil that primarily hurts slave owners. C.
Slavery is a moral evil that harms slave owners and slaves.
D.
Slavery would not exist if everyone was properly educated.
Read the passage ­ 'Excerpt from the Narrative of the Life of Frederick Douglass' ­ and answer the question
below:
20.
Which statement describes the author’s attitude about education?
A.
Education should be freely provided to everyone.
B.
Education should be sought and fought for by everyone.
C.
Education should be provided to only those who want it. D.
Education should be denied to those who do not appreciate it.
English II CFA#1_Spring 2015
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Read the passage ­ 'Excerpt from the Narrative of the Life of Frederick Douglass' ­ and answer the question
below:
21.
Based on paragraph 2, what can the reader infer?
A.
Slavery is an evil that can only be cured by education. B.
Slavery is an evil that is passed down through generations.
C.
Slavery has the power to turn good people into cruel ones.
D.
Slavery has the power to inspire slaves to earn an education.
Read the passage ­ 'Excerpt from the Narrative of the Life of Frederick Douglass' ­ and answer the question
below:
22.
Which sentence shows that Frederick Douglass had a greater
understanding of human interaction than his mistress?
A.
“My mistress, who had kindly commenced to instruct me, had, in
compliance with the advice and direction of her husband, not only
ceased to instruct, but had set her face against my being instructed
by any one else.”
B.
“It was at least necessary for her to have some training in the
exercise of irresponsible power, to make her equal to the task of
treating me as though I were a brute.”
C.
“In entering upon the duties of a slaveholder, she did not seem to
perceive that I sustained to her the relation of a mere chattel, and
that for her to treat me as a human being was not only wrong, but
dangerously so.”
D.
“She was an apt woman; and a little experience soon demonstrated,
to her satisfaction, that education and slavery were incompatible with
each other.”
23. How does the indirect characterization of the narrator advance the theme of the selection?
Read the passage ­ 'The Queen of Spades' ­ and answer the question below:
The Queen of Spades
Excerpt from “The Queen of
Spades”
English II CFA#1_Spring 2015
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by Alexander Pushkin
And, in truth, Lizaveta Ivanovna was a very unfortunate creature. “The bread
of the stranger is bitter,” says Dante, “and his staircase hard to climb.” But
who can know what the bitterness of dependence is so well as the poor
companion of an old lady of quality?
Countess A—— had by no means a bad heart, but she was capricious1, like a
woman who had been spoilt by the world, as well as being avaricious2 and
egotistical3, like all old people who have seen their best days, and whose
thoughts are with the past and not the present. She participated in all the
vanities of the great world, went to balls, where she sat in a corner, painted
and dressed in old­fashioned style, like a deformed but indispensable
ornament of the ballroom; all the guests on entering approached her and
made a profound bow, as if in accordance with a set ceremony, but after that
nobody took any further notice of her. She received the whole town at her
house, and observed the strictest etiquette, although she could no longer
recognize the faces of people. Her numerous domestics, growing fat and old
in her antechamber and servants’ hall, did just as they liked, and vied with
each other in robbing the aged Countess in the most barefaced manner.
Lizaveta Ivanovna was the martyr of the household. She made tea, and was
reproached with using too much sugar; she read novels aloud to the
Countess, and the faults of the author were visited upon her head; she
accompanied the Countess in her walks, and was held answerable for the
weather or the state of the pavement. A salary was attached to the post,
but she very rarely received it, although she was expected to dress like
everybody else, that is to say, like very few indeed.
In society she played the most pitiable role. Everybody knew her, and
nobody paid her any attention. At balls she danced only when a partner was
wanted, and ladies would only take hold of her arm when it was necessary to
lead her out of the room to attend to their dresses. She was very self­
conscious, and felt her position keenly, and she looked about her with
impatience for a deliverer to come to her rescue; but the young men,
calculating in their giddiness, honored her with but very little attention,
although Lizaveta Ivanovna was a hundred times prettier than the bare­
faced and cold­hearted marriageable girls around whom they hovered.
Many a time did she quietly slink away from the glittering but wearisome
drawing room, to go and cry in her own poor little room, in which stood a
screen, a chest of drawers, a looking glass and a painted bedstead, and
where a tallow candle burnt feebly in a copper candlestick.
1 capricious: impulsive; changeable
2
3
avaricious: greedy
egotistical: having an inflated opinion of oneself
Project Gutenberg,
2004. http://www.gutenberg.org/cache/epub/13437/pg13437.html
English II CFA#1_Spring 2015
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24.
Based on paragraph 3, how did the Countess treat Lizaveta?
A.
She scolded Lizaveta for her laziness.
B.
She valued Lizaveta's devotion to the job.
C.
She held Lizaveta accountable for unpleasantness.
D.
She praised Lizaveta for the attention Lizaveta received.
Read the passage ­ 'The Queen of Spades' ­ and answer the question below:
25.
Which quotation explains why Lizaveta has the 'most pitiable role' in
society?
A.
“Everybody knew her, and nobody paid her any attention.”
B.
“At balls she danced only when a partner was wanted”
C.
“She was very self­conscious, and felt her position keenly”
D.
“the young men…honored her with but very little attention”
Read the passage ­ 'The Queen of Spades' ­ and answer the question below:
26.
Based on paragraph 2, how do the Countess’s guests act toward her?
A.
They consider her to be wise.
B.
They appreciate her sense of style.
C.
They think her rules are unnecessary.
D.
They act respectfully because of custom.
Read the passage ­ 'The Queen of Spades' ­ and answer the question below:
27.
According to paragraph 2, which statement describes the relationship of
the servants to the Countess?
A.
They respected her position.
B.
They took advantage of her.
C.
They were visibly cruel to her.
D.
They were affectionate toward her.
English II CFA#1_Spring 2015
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Read the passage ­ 'The Queen of Spades' ­ and answer the question below:
28.
In paragraph 4, how do the townspeople view Lizaveta?
A.
They ignore her.
B.
They are friendly to her.
C.
They sympathize with her.
D.
They think she is beautiful.
Read the passage ­ 'The Queen of Spades' ­ and answer the question below:
29.
Which sentence in the selection shows that the Countess takes
advantage of Lizaveta?
A.
“And, in truth, Lizaveta Ivanovna was a very unfortunate creature.”
B.
“A salary was attached to the post, but she very rarely received it”
C.
“In society she played the most pitiable role.”
D.
“Many a time did she quietly slink away from the glittering but
wearisome drawing room, to go and cry”
Read the passage ­ 'The Queen of Spades' ­ and answer the question below:
30.
Which sentence in paragraph 2 shows that the Countess is like “people
who have seen their best days?”
A.
“The Countess A—— had by no means a bad heart, but she was
capricious, like a woman who had been spoilt by the world”
B.
“She participated in all the vanities of the great world, went to balls”
C.
“She sat in a corner, painted and dressed in old­fashioned style, like
a deformed but indispensable ornament of the ballroom”
D.
“She received the whole town at her house, and observed the
strictest etiquette”
Read the passage ­ 'The Queen of Spades' ­ and answer the question below:
English II CFA#1_Spring 2015
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31.
What does “martyr of the household” in paragraph 3 indicate about
Lizaveta?
A.
She was lonely and depressed.
B.
She was the Countess’s favorite.
C.
She was admired by the servants.
D.
She suffered as a result of her job.
Read the passage ­ 'The Queen of Spades' ­ and answer the question below:
32.
In the sentence in paragraph 2, what does “like a deformed but
indispensable ornament” indicate about the presence of the Countess?
A.
Her old­fashioned clothing made her unpopular with the other guests.
B.
She was always invited and expected but just wished to stay home.
C.
Her elaborate dress and hairstyle made her seem unapproachable.
D.
She was always present but was mostly ignored by others.
Read the passage ­ 'The Queen of Spades' ­ and answer the question below:
33.
Based on paragraph 4, how does the author use the word pitiable?
A.
to show that Lizaveta lacks good looks B.
to show that Lizaveta is unnoticed by many C.
to show that Lizaveta is worthy of sympathy
D.
to show that Lizaveta is considered unpopular
Read the passage ­ 'The Queen of Spades' ­ and answer the question below:
34.
What is the effect of the simile “like a deformed but indispensable
ornament of the ballroom” in paragraph 2?
A.
to indicate the grandeur of the Countess’s home
B.
to emphasize that the Countess has no real purpose
C.
to show that the Countess’s beauty is widely appreciated
D.
to suggest that the Countess’s ballgown has fallen into disrepair
English II CFA#1_Spring 2015
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Read the passage ­ 'Excerpt 2 from Stories By Foreign Authors: “Mumu”' ­ and answer the question below:
Excerpt 2 from Stories By Foreign Authors: “Mumu”
Excerpt from Stories By Foreign
Authors: “Mumu”
by Ivan Turgenev
Tatiana, one of the laundresses . . . (as a trained and skillful laundress she
was in charge of the fine linen only), was a woman of twenty­eight, thin,
fair­haired, with moles on her left cheek. Moles on the left cheek are
regarded as an evil omen in Russia—a token of unhappy life . . . Tatiana
could not boast of her good luck. From her earliest youth she had been badly
treated; she had done the work of two, and had never known affection; she
had been poorly clothed and had received the smallest wages. Relations she
had practically none; an uncle she had once had, a butler, left behind in the
country as useless, and other uncles of hers were peasants—that was all. At
one time she had passed for a beauty, but her good looks were very soon
over. In disposition, she was very meek, or, rather, scared; towards herself,
she felt perfect indifference; of others, she stood in mortal dread; she
thought of nothing but how to get her work done in good time, never talked
to anyone, and trembled at the very name of her mistress, though the latter
scarcely knew her by sight.
When Gerasim, [the mute], was brought from the country, she was ready to
die with fear on seeing his huge figure, tried all she could to avoid meeting
him, even dropped her eyelids when sometimes she chanced to run past him,
hurrying from the house to the laundry. Gerasim at first paid no special
attention to her, then he used to smile when she came his way, then he
began even to stare admiringly at her, and at last he never took his eyes off
her. She took his fancy, whether by the mild expression of her face or the
timidity of her movements, who can tell?
One day she was stealing across the yard1 with a starched dressing­jacket of
her mistress’s carefully poised on her outspread fingers . . . someone
suddenly grasped her vigorously by the elbow; she turned round and fairly
screamed; behind her stood Gerasim. With a foolish smile, making
inarticulate caressing grunts, he held out to her a gingerbread rooster with
gold tinsel on his tail and wings. She was about to refuse it, but he thrust it
forcibly into her hand, shook his head, walked away, and turning round, once
more grunted something very affectionately to her.
From that day forward he gave her no peace; wherever she went, he was on
the spot at once, coming to meet her, smiling, grunting, waving his hands;
all at once he would pull a ribbon out of the bosom of his smock and put it
in her hand, or would sweep the dust out of her way. The poor girl simply did
not know how to behave or what to do. Soon the whole household knew of
the mute porter’s wiles; jeers, jokes, sly hints, were showered upon Tatiana.
At Gerasim, however, it was not everyone who would dare to scoff; he did
not like jokes; indeed, in his presence, she, too, was left in peace. Whether
she liked it or not, the girl found herself to be under his protection. Like all
deaf­mutes, he . . . very readily perceived when they were laughing at him or
at her.
English II CFA#1_Spring 2015
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One day, at dinner, the wardrobe­keeper, Tatiana’s superior, fell to nagging,
as it is called, at her, and brought the poor thing to such a state that she
did not know where to look, and was almost crying with vexation.2 Gerasim
got up all of a sudden, stretched out his gigantic hand, laid it on the
wardrobe­maid's head, and looked into her face with such grim ferocity that
her head positively flopped upon the table. Everyone was still. Gerasim took
up his spoon again and went on with his cabbage­soup . . . Another time,
noticing that Kapiton . . . was gossiping somewhat too attentively with
Tatiana, Gerasim beckoned him to him, led him into the cartshed, and taking
up a shaft that was standing in a corner by one end, lightly, but most
significantly, menaced3 him with it. Since then no one addressed a word to
Tatiana. And all this cost him nothing.
1 stealing across the yard: carefully moving or walking
2 vexation: frustration
3 menaced: threatened
Stories by Foreign Authors: “Mumu” by Ivan Turgenev. Project Gutenberg,
2004. http://www.gutenberg.org/cache/epub/5741/pg5741.html (11/06/12).
35. Which quote demonstrates the central idea that all people, whether poor
or attractive, are worthy of loving and being loved?
A.
“She was ready to die with fear on seeing his huge figure.”
B.
“The poor girl simply did not know how to behave or what to do.”
C.
“Indeed, in his presence, she, too, was left in peace.”
D.
“And all this cost him nothing.”
Read the passage ­ 'Excerpt 2 from Stories By Foreign Authors: “Mumu”' ­ and answer the question below:
36.
What does the last paragraph suggest about Gerasim’s personality?
A.
He is a bully.
B.
He loves confrontation.
C.
He is an easy­going individual.
D.
He believes that all should be treated fairly.
Read the passage ­ 'Excerpt 2 from Stories By Foreign Authors: “Mumu”' ­ and answer the question below:
English II CFA#1_Spring 2015
Page 18 of 21
37.
How does the author’s details about Tatiana advance the theme?
A.
by describing Tatiana as a lonely, unattractive, and impersonal
woman and then showing the affection that Gerasim shows toward
her
B.
by describing Tatiana as a dedicated yet indifferent hard worker and
then showing the way her fellow workers respond to her
C.
by describing Tatiana as a trained and skillful young woman and then
showing how Gerasim frightens her
D.
by describing Tatiana as young, fair, and beautiful and then showing
how Gerasim scares her
Read the passage ­ 'Excerpt 2 from Stories By Foreign Authors: “Mumu”' ­ and answer the question below:
38.
How does Tatiana’s relationship with other characters develop throughout
the story?
A.
The characters become more antagonistic toward Tatiana because of
her reluctance towards Gerasim.
B.
She is more confident to be around the other characters because she
is protected by Gerasim.
C.
It remains stagnate as she continues to keep to herself from
beginning to end.
D.
Other characters become more protective of her because of Gerasim’s
actions.
Read the passage ­ 'Excerpt 2 from Stories By Foreign Authors: “Mumu”' ­ and answer the question below:
39.
Which shows the development of Tatiana’s character in the selection?
A.
She first fears Gerasim but later realizes he wants to protect her.
B.
She continues to keep to herself due to her extreme fear of Gerasim.
C.
She continues to have the ability to respond appropriately in social
situations.
D.
She first appreciates the protection from Gerasim because she fears
for her safety.
Read the passage ­ 'Excerpt 2 from Stories By Foreign Authors: “Mumu”' ­ and answer the question below:
English II CFA#1_Spring 2015
Page 19 of 21
40.
How do Gerasim’s actions towards Tatiana help develop their
relationship?
A.
Gerasim uses his size and power to suppress Tatiana.
B.
Gerasim’s actions are to show Tatiana that she can overcome
oppression.
C.
Gerasim’s actions exemplify Tatiana’s desire to express her feelings
for him.
D.
Gerasim is consistent in flirting with Tatiana until she learns to
accept his attention.
Read the passage ­ 'Excerpt 2 from Stories By Foreign Authors: “Mumu”' ­ and answer the question below:
41.
Which of the following summarizes Gerasim’s central conflict?
A.
He is an outsider from the country and does not fit in.
B.
He is in love but must find unconventional ways to show it.
C.
He does not like to be laughed at but is unable to tell people to stop.
D.
He is unable to talk to a woman he loves, but others talk freely to
her.
Read the passage ­ 'Excerpt 2 from Stories By Foreign Authors: “Mumu”' ­ and answer the question below:
42.
Which quote summarizes the selection?
A.
“From her earliest youth she had been badly treated.”
B.
“When Gerasim, [the mute], was brought from the country, she was
ready to die with fear on seeing his huge figure.”
C.
“Gerasim at first paid no special attention to her, then he used to
smile when she came his way.”
D.
“Indeed, in his presence, she, too, was left in peace. Whether she
liked it or not, the girl found herself to be under his protection.”
Read the passage ­ 'Excerpt 2 from Stories By Foreign Authors: “Mumu”' ­ and answer the question below:
English II CFA#1_Spring 2015
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43.
How does Gerasim’s character contribute to the the theme of the
selection?
A.
He provides Tatiana with positive attention missing from her life.
B.
He provides Tatiana relief from the worries of her work.
C.
He causes Tatiana to fear his persistent attention.
D.
He causes Tatiana to lose trust in his intentions.
Read the passage ­ 'Excerpt 2 from Stories By Foreign Authors: “Mumu”' ­ and answer the question below:
44.
How does the relationship between Tatiana and Gerasim change
throughout the selection?
A.
Tatiana’s fear of Gerasim increases as he shows her more attention.
B.
Tatiana’s fear of Gerasim decreases as he shows her more attention.
C.
Gerasim’s affections for Tatiana increase as she returns his kindness.
D.
Gerasim’s affections for Tatiana decrease as she treats him with
indifference.
Read the passage ­ 'Excerpt 2 from Stories By Foreign Authors: “Mumu”' ­ and answer the question below:
45.
How does Gerasim’s intimidating nature contribute to the theme of the
selection?
A.
It reveals how he compensates for his disability. B.
It uncovers how he vents frustration.
C.
It shows how he expresses love.
D.
It exposes his hidden motive.
46.
How do Gerasim’s interactions with Tatiana advance the plot?
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