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  • Question 1
    1 / -0

    Directions For Questions

    This passage is taken from a novel set in early twentieth-
    century England. Mrs. Deverell is the widow of a shop-
    keeper who lived and worked in Volunteer Street; their
    daughter Angel has become a best-selling novelist. Here,
    Mrs. Deverell finds herself in a new home that she and
    Angel share in the prosperous village of Alderhurst.

    I never thought I would live in such a beautiful place,
    Mrs. Deverell told Angel when they first moved in. But
    nowadays she often suffered from the lowering pain of
    believing herself happy when she was not. Who could
    be miserable in such a place? she asked. Yet, on misty
    October evenings or on Sundays, when the church bells
    began, sensations she had never known before came
    over her.
    She sometimes felt better when she went back to see
    her friends on Volunteer Street; but it was a long way to
    go. Angel discouraged the visits, and her friends seemed
    to have changed. Either they put out their best china and
    thought twice before they said anything, or they were
    defiantly informal Youll have to take us as you find
    us and would persist in making remarks like Pardon
    the apron, but theres no servants here to polish the grate.
    In each case, they were watching her for signs of grandeur
    or condescension. She fell into little traps they laid and
    then they were able to report to the neighbors. It hasnt
    taken her long to start putting on airs. She had to be
    especially careful to recognize everyone she met, and
    walked up the street with an expression of anxiety which
    was misinterpreted as disdain.
    The name Deverell Family Grocer stayed for a long
    time over the shop, and she was pleased that it should,
    although Angel frowned with annoyance when she heard
    of it. Then one day the faded name was scraped and burnt
    away, and on her next visit to Volunteer Street, she saw
    that Cubbages Stores was painted there instead. She felt
    an unaccountable panic and dismay at the sight of this and
    at the strange idea of other people and furniture in those
    familiar rooms. Very nice folk, she was told. Shes
    so friendly. Always the same. And such lovely kiddies.
    Mrs. Deverell felt slighted and wounded; going home
    she was so preoccupied that she passed the wife of the
    landlord of The Volunteer without seeing her. I wouldnt
    expect Alderhurst people to speak to a barkeeps wife,
    the woman told everyone in the saloon bar. Even though
    it was our Gran who laid her husband out when he died.
    All of their kindnesses were remembered and brooded
    over; any past kindness Mrs. Deverell had done and
    they were many only served to underline the change
    which had come over her.
    At a time of her life when she needed the security of
    familiar things, these were put beyond her reach. It seemed
    to her that she had wasted her years acquiring skills which
    in the end were to be of no use to her:  her weather-eye for
    a good drying day; her careful ear for judging the gentle
    singing sound of meat roasting in the oven; her touch for
    the freshness of meat; and how, by smelling a cake, she
    could tell if it were baked. These arts, which had taken
    so long to perfect, fell now into disuse. She would never
    again, she grieved, gather up a great fragrant line of
    washing in her arms to carry indoors. One day when they
    had first come to the new house, she had passed through
    the courtyard where sheets were hanging out:  she had
    taken them in her hands and, finding them just at the right
    stage of drying, had begun to unpeg them. They were
    looped all about her shoulders when Angel caught her.
    Please leave work to the people who should do it, she
    had said. You will only give offense. She tried hard
    not to give offense; but it was difficult. The smell of
    ironing being done or the sound of eggs being whisked
    set up a restlessness which she could scarcely control.
    The relationship of mother and daughter seemed to
    have been reversed, and Angel, now in her early twenties,
    was the authoritative one; since girlhood she had been
    taking on one responsibility after another, until she had
    left her mother with nothing to perplex her but how to
    while away the hours when the servants were busy and
    her daughter was at work. Fretfully, she would wander
    around the house, bored, but afraid to interrupt; she was
    like an intimidated child.

    ...view full instructions

    The author most likely quotes Mrs. Deverells friends in lines 14-16 in order to

  • Question 2
    1 / -0

    Directions For Questions

    This passage is taken from a novel set in early twentieth-
    century England. Mrs. Deverell is the widow of a shop-
    keeper who lived and worked in Volunteer Street; their
    daughter Angel has become a best-selling novelist. Here,
    Mrs. Deverell finds herself in a new home that she and
    Angel share in the prosperous village of Alderhurst.

    I never thought I would live in such a beautiful place,
    Mrs. Deverell told Angel when they first moved in. But
    nowadays she often suffered from the lowering pain of
    believing herself happy when she was not. Who could
    be miserable in such a place? she asked. Yet, on misty
    October evenings or on Sundays, when the church bells
    began, sensations she had never known before came
    over her.
    She sometimes felt better when she went back to see
    her friends on Volunteer Street; but it was a long way to
    go. Angel discouraged the visits, and her friends seemed
    to have changed. Either they put out their best china and
    thought twice before they said anything, or they were
    defiantly informal Youll have to take us as you find
    us and would persist in making remarks like Pardon
    the apron, but theres no servants here to polish the grate.
    In each case, they were watching her for signs of grandeur
    or condescension. She fell into little traps they laid and
    then they were able to report to the neighbors. It hasnt
    taken her long to start putting on airs. She had to be
    especially careful to recognize everyone she met, and
    walked up the street with an expression of anxiety which
    was misinterpreted as disdain.
    The name Deverell Family Grocer stayed for a long
    time over the shop, and she was pleased that it should,
    although Angel frowned with annoyance when she heard
    of it. Then one day the faded name was scraped and burnt
    away, and on her next visit to Volunteer Street, she saw
    that Cubbages Stores was painted there instead. She felt
    an unaccountable panic and dismay at the sight of this and
    at the strange idea of other people and furniture in those
    familiar rooms. Very nice folk, she was told. Shes
    so friendly. Always the same. And such lovely kiddies.
    Mrs. Deverell felt slighted and wounded; going home
    she was so preoccupied that she passed the wife of the
    landlord of The Volunteer without seeing her. I wouldnt
    expect Alderhurst people to speak to a barkeeps wife,
    the woman told everyone in the saloon bar. Even though
    it was our Gran who laid her husband out when he died.
    All of their kindnesses were remembered and brooded
    over; any past kindness Mrs. Deverell had done and
    they were many only served to underline the change
    which had come over her.
    At a time of her life when she needed the security of
    familiar things, these were put beyond her reach. It seemed
    to her that she had wasted her years acquiring skills which
    in the end were to be of no use to her:  her weather-eye for
    a good drying day; her careful ear for judging the gentle
    singing sound of meat roasting in the oven; her touch for
    the freshness of meat; and how, by smelling a cake, she
    could tell if it were baked. These arts, which had taken
    so long to perfect, fell now into disuse. She would never
    again, she grieved, gather up a great fragrant line of
    washing in her arms to carry indoors. One day when they
    had first come to the new house, she had passed through
    the courtyard where sheets were hanging out:  she had
    taken them in her hands and, finding them just at the right
    stage of drying, had begun to unpeg them. They were
    looped all about her shoulders when Angel caught her.
    Please leave work to the people who should do it, she
    had said. You will only give offense. She tried hard
    not to give offense; but it was difficult. The smell of
    ironing being done or the sound of eggs being whisked
    set up a restlessness which she could scarcely control.
    The relationship of mother and daughter seemed to
    have been reversed, and Angel, now in her early twenties,
    was the authoritative one; since girlhood she had been
    taking on one responsibility after another, until she had
    left her mother with nothing to perplex her but how to
    while away the hours when the servants were busy and
    her daughter was at work. Fretfully, she would wander
    around the house, bored, but afraid to interrupt; she was
    like an intimidated child.

    ...view full instructions

    The speaker of the sentence quoted in lines 15-16 (Pardon . . . grate) most likely intends to

  • Question 3
    1 / -0

    Directions For Questions

    This passage is taken from a novel set in early twentieth-
    century England. Mrs. Deverell is the widow of a shop-
    keeper who lived and worked in Volunteer Street; their
    daughter Angel has become a best-selling novelist. Here,
    Mrs. Deverell finds herself in a new home that she and
    Angel share in the prosperous village of Alderhurst.

    I never thought I would live in such a beautiful place,
    Mrs. Deverell told Angel when they first moved in. But
    nowadays she often suffered from the lowering pain of
    believing herself happy when she was not. Who could
    be miserable in such a place? she asked. Yet, on misty
    October evenings or on Sundays, when the church bells
    began, sensations she had never known before came
    over her.
    She sometimes felt better when she went back to see
    her friends on Volunteer Street; but it was a long way to
    go. Angel discouraged the visits, and her friends seemed
    to have changed. Either they put out their best china and
    thought twice before they said anything, or they were
    defiantly informal Youll have to take us as you find
    us and would persist in making remarks like Pardon
    the apron, but theres no servants here to polish the grate.
    In each case, they were watching her for signs of grandeur
    or condescension. She fell into little traps they laid and
    then they were able to report to the neighbors. It hasnt
    taken her long to start putting on airs. She had to be
    especially careful to recognize everyone she met, and
    walked up the street with an expression of anxiety which
    was misinterpreted as disdain.
    The name Deverell Family Grocer stayed for a long
    time over the shop, and she was pleased that it should,
    although Angel frowned with annoyance when she heard
    of it. Then one day the faded name was scraped and burnt
    away, and on her next visit to Volunteer Street, she saw
    that Cubbages Stores was painted there instead. She felt
    an unaccountable panic and dismay at the sight of this and
    at the strange idea of other people and furniture in those
    familiar rooms. Very nice folk, she was told. Shes
    so friendly. Always the same. And such lovely kiddies.
    Mrs. Deverell felt slighted and wounded; going home
    she was so preoccupied that she passed the wife of the
    landlord of The Volunteer without seeing her. I wouldnt
    expect Alderhurst people to speak to a barkeeps wife,
    the woman told everyone in the saloon bar. Even though
    it was our Gran who laid her husband out when he died.
    All of their kindnesses were remembered and brooded
    over; any past kindness Mrs. Deverell had done and
    they were many only served to underline the change
    which had come over her.
    At a time of her life when she needed the security of
    familiar things, these were put beyond her reach. It seemed
    to her that she had wasted her years acquiring skills which
    in the end were to be of no use to her:  her weather-eye for
    a good drying day; her careful ear for judging the gentle
    singing sound of meat roasting in the oven; her touch for
    the freshness of meat; and how, by smelling a cake, she
    could tell if it were baked. These arts, which had taken
    so long to perfect, fell now into disuse. She would never
    again, she grieved, gather up a great fragrant line of
    washing in her arms to carry indoors. One day when they
    had first come to the new house, she had passed through
    the courtyard where sheets were hanging out:  she had
    taken them in her hands and, finding them just at the right
    stage of drying, had begun to unpeg them. They were
    looped all about her shoulders when Angel caught her.
    Please leave work to the people who should do it, she
    had said. You will only give offense. She tried hard
    not to give offense; but it was difficult. The smell of
    ironing being done or the sound of eggs being whisked
    set up a restlessness which she could scarcely control.
    The relationship of mother and daughter seemed to
    have been reversed, and Angel, now in her early twenties,
    was the authoritative one; since girlhood she had been
    taking on one responsibility after another, until she had
    left her mother with nothing to perplex her but how to
    while away the hours when the servants were busy and
    her daughter was at work. Fretfully, she would wander
    around the house, bored, but afraid to interrupt; she was
    like an intimidated child.

    ...view full instructions

    Which interpretation of Mrs. Deverells statement in line 1 (I never . . . place) is most fully supported by the rest of the passage?

  • Question 4
    1 / -0

    Directions For Questions

    This passage is taken from a novel set in early twentieth-
    century England. Mrs. Deverell is the widow of a shop-
    keeper who lived and worked in Volunteer Street; their
    daughter Angel has become a best-selling novelist. Here,
    Mrs. Deverell finds herself in a new home that she and
    Angel share in the prosperous village of Alderhurst.

    I never thought I would live in such a beautiful place,
    Mrs. Deverell told Angel when they first moved in. But
    nowadays she often suffered from the lowering pain of
    believing herself happy when she was not. Who could
    be miserable in such a place? she asked. Yet, on misty
    October evenings or on Sundays, when the church bells
    began, sensations she had never known before came
    over her.
    She sometimes felt better when she went back to see
    her friends on Volunteer Street; but it was a long way to
    go. Angel discouraged the visits, and her friends seemed
    to have changed. Either they put out their best china and
    thought twice before they said anything, or they were
    defiantly informal Youll have to take us as you find
    us and would persist in making remarks like Pardon
    the apron, but theres no servants here to polish the grate.
    In each case, they were watching her for signs of grandeur
    or condescension. She fell into little traps they laid and
    then they were able to report to the neighbors. It hasnt
    taken her long to start putting on airs. She had to be
    especially careful to recognize everyone she met, and
    walked up the street with an expression of anxiety which
    was misinterpreted as disdain.
    The name Deverell Family Grocer stayed for a long
    time over the shop, and she was pleased that it should,
    although Angel frowned with annoyance when she heard
    of it. Then one day the faded name was scraped and burnt
    away, and on her next visit to Volunteer Street, she saw
    that Cubbages Stores was painted there instead. She felt
    an unaccountable panic and dismay at the sight of this and
    at the strange idea of other people and furniture in those
    familiar rooms. Very nice folk, she was told. Shes
    so friendly. Always the same. And such lovely kiddies.
    Mrs. Deverell felt slighted and wounded; going home
    she was so preoccupied that she passed the wife of the
    landlord of The Volunteer without seeing her. I wouldnt
    expect Alderhurst people to speak to a barkeeps wife,
    the woman told everyone in the saloon bar. Even though
    it was our Gran who laid her husband out when he died.
    All of their kindnesses were remembered and brooded
    over; any past kindness Mrs. Deverell had done and
    they were many only served to underline the change
    which had come over her.
    At a time of her life when she needed the security of
    familiar things, these were put beyond her reach. It seemed
    to her that she had wasted her years acquiring skills which
    in the end were to be of no use to her:  her weather-eye for
    a good drying day; her careful ear for judging the gentle
    singing sound of meat roasting in the oven; her touch for
    the freshness of meat; and how, by smelling a cake, she
    could tell if it were baked. These arts, which had taken
    so long to perfect, fell now into disuse. She would never
    again, she grieved, gather up a great fragrant line of
    washing in her arms to carry indoors. One day when they
    had first come to the new house, she had passed through
    the courtyard where sheets were hanging out:  she had
    taken them in her hands and, finding them just at the right
    stage of drying, had begun to unpeg them. They were
    looped all about her shoulders when Angel caught her.
    Please leave work to the people who should do it, she
    had said. You will only give offense. She tried hard
    not to give offense; but it was difficult. The smell of
    ironing being done or the sound of eggs being whisked
    set up a restlessness which she could scarcely control.
    The relationship of mother and daughter seemed to
    have been reversed, and Angel, now in her early twenties,
    was the authoritative one; since girlhood she had been
    taking on one responsibility after another, until she had
    left her mother with nothing to perplex her but how to
    while away the hours when the servants were busy and
    her daughter was at work. Fretfully, she would wander
    around the house, bored, but afraid to interrupt; she was
    like an intimidated child.

    ...view full instructions

    The sensations (line 7) might best be described as feelings of

  • Question 5
    1 / -0

    Directions For Questions

    This passage is taken from a novel set in early twentieth-
    century England. Mrs. Deverell is the widow of a shop-
    keeper who lived and worked in Volunteer Street; their
    daughter Angel has become a best-selling novelist. Here,
    Mrs. Deverell finds herself in a new home that she and
    Angel share in the prosperous village of Alderhurst.

    I never thought I would live in such a beautiful place,
    Mrs. Deverell told Angel when they first moved in. But
    nowadays she often suffered from the lowering pain of
    believing herself happy when she was not. Who could
    be miserable in such a place? she asked. Yet, on misty
    October evenings or on Sundays, when the church bells
    began, sensations she had never known before came
    over her.
    She sometimes felt better when she went back to see
    her friends on Volunteer Street; but it was a long way to
    go. Angel discouraged the visits, and her friends seemed
    to have changed. Either they put out their best china and
    thought twice before they said anything, or they were
    defiantly informal Youll have to take us as you find
    us and would persist in making remarks like Pardon
    the apron, but theres no servants here to polish the grate.
    In each case, they were watching her for signs of grandeur
    or condescension. She fell into little traps they laid and
    then they were able to report to the neighbors. It hasnt
    taken her long to start putting on airs. She had to be
    especially careful to recognize everyone she met, and
    walked up the street with an expression of anxiety which
    was misinterpreted as disdain.
    The name Deverell Family Grocer stayed for a long
    time over the shop, and she was pleased that it should,
    although Angel frowned with annoyance when she heard
    of it. Then one day the faded name was scraped and burnt
    away, and on her next visit to Volunteer Street, she saw
    that Cubbages Stores was painted there instead. She felt
    an unaccountable panic and dismay at the sight of this and
    at the strange idea of other people and furniture in those
    familiar rooms. Very nice folk, she was told. Shes
    so friendly. Always the same. And such lovely kiddies.
    Mrs. Deverell felt slighted and wounded; going home
    she was so preoccupied that she passed the wife of the
    landlord of The Volunteer without seeing her. I wouldnt
    expect Alderhurst people to speak to a barkeeps wife,
    the woman told everyone in the saloon bar. Even though
    it was our Gran who laid her husband out when he died.
    All of their kindnesses were remembered and brooded
    over; any past kindness Mrs. Deverell had done and
    they were many only served to underline the change
    which had come over her.
    At a time of her life when she needed the security of
    familiar things, these were put beyond her reach. It seemed
    to her that she had wasted her years acquiring skills which
    in the end were to be of no use to her:  her weather-eye for
    a good drying day; her careful ear for judging the gentle
    singing sound of meat roasting in the oven; her touch for
    the freshness of meat; and how, by smelling a cake, she
    could tell if it were baked. These arts, which had taken
    so long to perfect, fell now into disuse. She would never
    again, she grieved, gather up a great fragrant line of
    washing in her arms to carry indoors. One day when they
    had first come to the new house, she had passed through
    the courtyard where sheets were hanging out:  she had
    taken them in her hands and, finding them just at the right
    stage of drying, had begun to unpeg them. They were
    looped all about her shoulders when Angel caught her.
    Please leave work to the people who should do it, she
    had said. You will only give offense. She tried hard
    not to give offense; but it was difficult. The smell of
    ironing being done or the sound of eggs being whisked
    set up a restlessness which she could scarcely control.
    The relationship of mother and daughter seemed to
    have been reversed, and Angel, now in her early twenties,
    was the authoritative one; since girlhood she had been
    taking on one responsibility after another, until she had
    left her mother with nothing to perplex her but how to
    while away the hours when the servants were busy and
    her daughter was at work. Fretfully, she would wander
    around the house, bored, but afraid to interrupt; she was
    like an intimidated child.

    ...view full instructions

    Lines 40-43 (All of . . . her) suggest which of the following about the customers in the saloon bar?

  • Question 6
    1 / -0

    Directions For Questions

    In the following passage from a newspaper commentary written in 1968, an architecture critic discusses old theaters and concert halls. 
    After 50 years of life and 20 years of death, the great Adler and Sullivan Auditorium in Chicago is back in business again. Orchestra Hall, also in Chicago, was beautifully spruced up for its sixty-eighth birthday. In St. Louis, a 1925 movie palace has been successfully transformed into Powell Symphony Hall, complete with handsome bar from New York's demolished Metropolitan Opera House. 
    Sentimentalism? Hardly. This is no more than a practical coming of cultural age, a belated recognition that fine old buildings frequently offer the most for the money in an assortment of values, including cost, and above all, that new cultural centers do not. It indicates the dawning of certain sensibilities, perspectives, and standards without which arts programs are mockeries of everything the arts stand for.
    The last decade has seen city after city rush pell-mell into the promotion of great gobs of cultural real estate. It has seen a few good new theaters and a lot of bad ones, temples to bourgeois muses with all the panache of suburban shopping centers. The practice has been to treat the arts in chamber-of-commerce, rather than in creative terms. That is just as tragic as it sounds.
    31897The trend toward preservation is significant not only because it is saving and restoring some superior buildings that are testimonials to the creative achievements of other times, but also because it is bucking the conventional wisdom of the conventional power structure that provides the backing for conventional cultural centers to house the arts.82646 That wisdom, as it comes true-blue from the hearts and minds of real estate dealers and investment bankers, is that you don't keep old buildings; they are obsolete. Anything new is better than anything old and anything big is better than anything small, and if a few cultural values are lost along the way, it is not too large a price to pay. In addition, the new, big buildings must be all in one place so they will show. They'll not only serve the arts, they'll improve the surrounding property values. Build now, and fill them later.
    At the same time, tear down the past, rip out cultural roots, erase tradition, rub out the architectural evidence that the arts flowered earlier in our cities and enriched them and that this enrichment is culture. Substitute a safe and sanitary status symbol for the loss. Put up the shiny mediocrities of the present and demolish the shabby masterpieces of the past. That is the ironic other side of the cultural explosion coin. In drama, and in life, irony and tragedy go hand in hand. 
    Chicago's Auditorium is such a masterpiece. With its glowing, golden ambiance, its soaring arches and super-stage from which whispers can be heard in the far reaches of the theater, it became a legend in its own time. One of the great nineteenth-century works of Louis Sullivan and Dankmar Adler and an anchor point of modern architectural history, it has been an acknowledged model of acoustical and aesthetic excellence. (Interestingly, the Auditorium is a hard theater in which to install microphones today, and many modern performers, untrained in balance and projection and reliant on technical mixing of sound, find it hard to function in a near-perfect house.)
    Until October 1967, the last performance at the Auditorium was of Hellzapoppin in 1941, and the last use of the great stage was for bowling alleys during the Second World War. Closed after that, it settled into decay for the next 20 years. Falling plaster filled the hall, and the golden ceiling was partly ruined by broken roof drains. Last fall the Auditorium reopened, not quite in its old glory, but close to it. The splendors of the house were traced in the eight-candlepower glory of carbon-filament light bulbs of the same kind used in 1889 when the theater, and electricity, were new. Their gentle brilliance picked out restored architectural features in warm gilt and umber.
    We have never had greater technical means or expertise to make our landmarks bloom. The question is no longer whether we can bring old theaters back to new brilliance, but whether we can fill them when they're done. As with the new centers, that will be the acid cultural test.

    ...view full instructions

    The description in lines 20-21 (temples . . . centers) best serves to

  • Question 7
    1 / -0

    Directions For Questions

    In the following passage from a newspaper commentary written in 1968, an architecture critic discusses old theaters and concert halls. 
    After 50 years of life and 20 years of death, the great Adler and Sullivan Auditorium in Chicago is back in business again. Orchestra Hall, also in Chicago, was beautifully spruced up for its sixty-eighth birthday. In St. Louis, a 1925 movie palace has been successfully transformed into Powell Symphony Hall, complete with handsome bar from New York's demolished Metropolitan Opera House. 
    Sentimentalism? Hardly. This is no more than a practical coming of cultural age, a belated recognition that fine old buildings frequently offer the most for the money in an assortment of values, including cost, and above all, that new cultural centers do not. It indicates the dawning of certain sensibilities, perspectives, and standards without which arts programs are mockeries of everything the arts stand for.
    The last decade has seen city after city rush pell-mell into the promotion of great gobs of cultural real estate. It has seen a few good new theaters and a lot of bad ones, temples to bourgeois muses with all the panache of suburban shopping centers. The practice has been to treat the arts in chamber-of-commerce, rather than in creative terms. That is just as tragic as it sounds.
    31897The trend toward preservation is significant not only because it is saving and restoring some superior buildings that are testimonials to the creative achievements of other times, but also because it is bucking the conventional wisdom of the conventional power structure that provides the backing for conventional cultural centers to house the arts.82646 That wisdom, as it comes true-blue from the hearts and minds of real estate dealers and investment bankers, is that you don't keep old buildings; they are obsolete. Anything new is better than anything old and anything big is better than anything small, and if a few cultural values are lost along the way, it is not too large a price to pay. In addition, the new, big buildings must be all in one place so they will show. They'll not only serve the arts, they'll improve the surrounding property values. Build now, and fill them later.
    At the same time, tear down the past, rip out cultural roots, erase tradition, rub out the architectural evidence that the arts flowered earlier in our cities and enriched them and that this enrichment is culture. Substitute a safe and sanitary status symbol for the loss. Put up the shiny mediocrities of the present and demolish the shabby masterpieces of the past. That is the ironic other side of the cultural explosion coin. In drama, and in life, irony and tragedy go hand in hand. 
    Chicago's Auditorium is such a masterpiece. With its glowing, golden ambiance, its soaring arches and super-stage from which whispers can be heard in the far reaches of the theater, it became a legend in its own time. One of the great nineteenth-century works of Louis Sullivan and Dankmar Adler and an anchor point of modern architectural history, it has been an acknowledged model of acoustical and aesthetic excellence. (Interestingly, the Auditorium is a hard theater in which to install microphones today, and many modern performers, untrained in balance and projection and reliant on technical mixing of sound, find it hard to function in a near-perfect house.)
    Until October 1967, the last performance at the Auditorium was of Hellzapoppin in 1941, and the last use of the great stage was for bowling alleys during the Second World War. Closed after that, it settled into decay for the next 20 years. Falling plaster filled the hall, and the golden ceiling was partly ruined by broken roof drains. Last fall the Auditorium reopened, not quite in its old glory, but close to it. The splendors of the house were traced in the eight-candlepower glory of carbon-filament light bulbs of the same kind used in 1889 when the theater, and electricity, were new. Their gentle brilliance picked out restored architectural features in warm gilt and umber.
    We have never had greater technical means or expertise to make our landmarks bloom. The question is no longer whether we can bring old theaters back to new brilliance, but whether we can fill them when they're done. As with the new centers, that will be the acid cultural test.

    ...view full instructions

    In lines 27-30, the author uses the word conventional several times in order to

  • Question 8
    1 / -0

    Directions For Questions

    This passage is taken from a novel set in early twentieth-
    century England. Mrs. Deverell is the widow of a shop-
    keeper who lived and worked in Volunteer Street; their
    daughter Angel has become a best-selling novelist. Here,
    Mrs. Deverell finds herself in a new home that she and
    Angel share in the prosperous village of Alderhurst.

    I never thought I would live in such a beautiful place,
    Mrs. Deverell told Angel when they first moved in. But
    nowadays she often suffered from the lowering pain of
    believing herself happy when she was not. Who could
    be miserable in such a place? she asked. Yet, on misty
    October evenings or on Sundays, when the church bells
    began, sensations she had never known before came
    over her.
    She sometimes felt better when she went back to see
    her friends on Volunteer Street; but it was a long way to
    go. Angel discouraged the visits, and her friends seemed
    to have changed. Either they put out their best china and
    thought twice before they said anything, or they were
    defiantly informal Youll have to take us as you find
    us and would persist in making remarks like Pardon
    the apron, but theres no servants here to polish the grate.
    In each case, they were watching her for signs of grandeur
    or condescension. She fell into little traps they laid and
    then they were able to report to the neighbors. It hasnt
    taken her long to start putting on airs. She had to be
    especially careful to recognize everyone she met, and
    walked up the street with an expression of anxiety which
    was misinterpreted as disdain.
    The name Deverell Family Grocer stayed for a long
    time over the shop, and she was pleased that it should,
    although Angel frowned with annoyance when she heard
    of it. Then one day the faded name was scraped and burnt
    away, and on her next visit to Volunteer Street, she saw
    that Cubbages Stores was painted there instead. She felt
    an unaccountable panic and dismay at the sight of this and
    at the strange idea of other people and furniture in those
    familiar rooms. Very nice folk, she was told. Shes
    so friendly. Always the same. And such lovely kiddies.
    Mrs. Deverell felt slighted and wounded; going home
    she was so preoccupied that she passed the wife of the
    landlord of The Volunteer without seeing her. I wouldnt
    expect Alderhurst people to speak to a barkeeps wife,
    the woman told everyone in the saloon bar. Even though
    it was our Gran who laid her husband out when he died.
    All of their kindnesses were remembered and brooded
    over; any past kindness Mrs. Deverell had done and
    they were many only served to underline the change
    which had come over her.
    At a time of her life when she needed the security of
    familiar things, these were put beyond her reach. It seemed
    to her that she had wasted her years acquiring skills which
    in the end were to be of no use to her:  her weather-eye for
    a good drying day; her careful ear for judging the gentle
    singing sound of meat roasting in the oven; her touch for
    the freshness of meat; and how, by smelling a cake, she
    could tell if it were baked. These arts, which had taken
    so long to perfect, fell now into disuse. She would never
    again, she grieved, gather up a great fragrant line of
    washing in her arms to carry indoors. One day when they
    had first come to the new house, she had passed through
    the courtyard where sheets were hanging out:  she had
    taken them in her hands and, finding them just at the right
    stage of drying, had begun to unpeg them. They were
    looped all about her shoulders when Angel caught her.
    Please leave work to the people who should do it, she
    had said. You will only give offense. She tried hard
    not to give offense; but it was difficult. The smell of
    ironing being done or the sound of eggs being whisked
    set up a restlessness which she could scarcely control.
    The relationship of mother and daughter seemed to
    have been reversed, and Angel, now in her early twenties,
    was the authoritative one; since girlhood she had been
    taking on one responsibility after another, until she had
    left her mother with nothing to perplex her but how to
    while away the hours when the servants were busy and
    her daughter was at work. Fretfully, she would wander
    around the house, bored, but afraid to interrupt; she was
    like an intimidated child.

    ...view full instructions

    In line 69, perplex most nearly means

  • Question 9
    1 / -0

    Directions For Questions

    This passage is taken from a novel set in early twentieth-
    century England. Mrs. Deverell is the widow of a shop-
    keeper who lived and worked in Volunteer Street; their
    daughter Angel has become a best-selling novelist. Here,
    Mrs. Deverell finds herself in a new home that she and
    Angel share in the prosperous village of Alderhurst.

    I never thought I would live in such a beautiful place,
    Mrs. Deverell told Angel when they first moved in. But
    nowadays she often suffered from the lowering pain of
    believing herself happy when she was not. Who could
    be miserable in such a place? she asked. Yet, on misty
    October evenings or on Sundays, when the church bells
    began, sensations she had never known before came
    over her.
    She sometimes felt better when she went back to see
    her friends on Volunteer Street; but it was a long way to
    go. Angel discouraged the visits, and her friends seemed
    to have changed. Either they put out their best china and
    thought twice before they said anything, or they were
    defiantly informal Youll have to take us as you find
    us and would persist in making remarks like Pardon
    the apron, but theres no servants here to polish the grate.
    In each case, they were watching her for signs of grandeur
    or condescension. She fell into little traps they laid and
    then they were able to report to the neighbors. It hasnt
    taken her long to start putting on airs. She had to be
    especially careful to recognize everyone she met, and
    walked up the street with an expression of anxiety which
    was misinterpreted as disdain.
    The name Deverell Family Grocer stayed for a long
    time over the shop, and she was pleased that it should,
    although Angel frowned with annoyance when she heard
    of it. Then one day the faded name was scraped and burnt
    away, and on her next visit to Volunteer Street, she saw
    that Cubbages Stores was painted there instead. She felt
    an unaccountable panic and dismay at the sight of this and
    at the strange idea of other people and furniture in those
    familiar rooms. Very nice folk, she was told. Shes
    so friendly. Always the same. And such lovely kiddies.
    Mrs. Deverell felt slighted and wounded; going home
    she was so preoccupied that she passed the wife of the
    landlord of The Volunteer without seeing her. I wouldnt
    expect Alderhurst people to speak to a barkeeps wife,
    the woman told everyone in the saloon bar. Even though
    it was our Gran who laid her husband out when he died.
    All of their kindnesses were remembered and brooded
    over; any past kindness Mrs. Deverell had done and
    they were many only served to underline the change
    which had come over her.
    At a time of her life when she needed the security of
    familiar things, these were put beyond her reach. It seemed
    to her that she had wasted her years acquiring skills which
    in the end were to be of no use to her:  her weather-eye for
    a good drying day; her careful ear for judging the gentle
    singing sound of meat roasting in the oven; her touch for
    the freshness of meat; and how, by smelling a cake, she
    could tell if it were baked. These arts, which had taken
    so long to perfect, fell now into disuse. She would never
    again, she grieved, gather up a great fragrant line of
    washing in her arms to carry indoors. One day when they
    had first come to the new house, she had passed through
    the courtyard where sheets were hanging out:  she had
    taken them in her hands and, finding them just at the right
    stage of drying, had begun to unpeg them. They were
    looped all about her shoulders when Angel caught her.
    Please leave work to the people who should do it, she
    had said. You will only give offense. She tried hard
    not to give offense; but it was difficult. The smell of
    ironing being done or the sound of eggs being whisked
    set up a restlessness which she could scarcely control.
    The relationship of mother and daughter seemed to
    have been reversed, and Angel, now in her early twenties,
    was the authoritative one; since girlhood she had been
    taking on one responsibility after another, until she had
    left her mother with nothing to perplex her but how to
    while away the hours when the servants were busy and
    her daughter was at work. Fretfully, she would wander
    around the house, bored, but afraid to interrupt; she was
    like an intimidated child.

    ...view full instructions

    In line 73, the author compares Mrs. Deverell to an intimidated child primarily in order to

  • Question 10
    1 / -0

    Directions For Questions

    In the following passage from a newspaper commentary written in 1968, an architecture critic discusses old theaters and concert halls. 
    After 50 years of life and 20 years of death, the great Adler and Sullivan Auditorium in Chicago is back in business again. Orchestra Hall, also in Chicago, was beautifully spruced up for its sixty-eighth birthday. In St. Louis, a 1925 movie palace has been successfully transformed into Powell Symphony Hall, complete with handsome bar from New York's demolished Metropolitan Opera House. 
    Sentimentalism? Hardly. This is no more than a practical coming of cultural age, a belated recognition that fine old buildings frequently offer the most for the money in an assortment of values, including cost, and above all, that new cultural centers do not. It indicates the dawning of certain sensibilities, perspectives, and standards without which arts programs are mockeries of everything the arts stand for.
    The last decade has seen city after city rush pell-mell into the promotion of great gobs of cultural real estate. It has seen a few good new theaters and a lot of bad ones, temples to bourgeois muses with all the panache of suburban shopping centers. The practice has been to treat the arts in chamber-of-commerce, rather than in creative terms. That is just as tragic as it sounds.
    31897The trend toward preservation is significant not only because it is saving and restoring some superior buildings that are testimonials to the creative achievements of other times, but also because it is bucking the conventional wisdom of the conventional power structure that provides the backing for conventional cultural centers to house the arts.82646 That wisdom, as it comes true-blue from the hearts and minds of real estate dealers and investment bankers, is that you don't keep old buildings; they are obsolete. Anything new is better than anything old and anything big is better than anything small, and if a few cultural values are lost along the way, it is not too large a price to pay. In addition, the new, big buildings must be all in one place so they will show. They'll not only serve the arts, they'll improve the surrounding property values. Build now, and fill them later.
    At the same time, tear down the past, rip out cultural roots, erase tradition, rub out the architectural evidence that the arts flowered earlier in our cities and enriched them and that this enrichment is culture. Substitute a safe and sanitary status symbol for the loss. Put up the shiny mediocrities of the present and demolish the shabby masterpieces of the past. That is the ironic other side of the cultural explosion coin. In drama, and in life, irony and tragedy go hand in hand. 
    Chicago's Auditorium is such a masterpiece. With its glowing, golden ambiance, its soaring arches and super-stage from which whispers can be heard in the far reaches of the theater, it became a legend in its own time. One of the great nineteenth-century works of Louis Sullivan and Dankmar Adler and an anchor point of modern architectural history, it has been an acknowledged model of acoustical and aesthetic excellence. (Interestingly, the Auditorium is a hard theater in which to install microphones today, and many modern performers, untrained in balance and projection and reliant on technical mixing of sound, find it hard to function in a near-perfect house.)
    Until October 1967, the last performance at the Auditorium was of Hellzapoppin in 1941, and the last use of the great stage was for bowling alleys during the Second World War. Closed after that, it settled into decay for the next 20 years. Falling plaster filled the hall, and the golden ceiling was partly ruined by broken roof drains. Last fall the Auditorium reopened, not quite in its old glory, but close to it. The splendors of the house were traced in the eight-candlepower glory of carbon-filament light bulbs of the same kind used in 1889 when the theater, and electricity, were new. Their gentle brilliance picked out restored architectural features in warm gilt and umber.
    We have never had greater technical means or expertise to make our landmarks bloom. The question is no longer whether we can bring old theaters back to new brilliance, but whether we can fill them when they're done. As with the new centers, that will be the acid cultural test.

    ...view full instructions

    In lines 13-14, the phrase new . . . make most directly suggests that

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