2018-19 AP Exam Instructions

AP English Literature and Composition Exam  

SECTION I: Multiple Choice
› Do not begin the exam instructions below until you have completed the
appropriate General Instructions for your group.

Make sure you begin the exam at the designated time. Remember, you must complete a
seating chart for this exam. See pages 295–296 for a seating chart template and instructions.
See the 2018-19 AP Coordinator’s Manual for exam seating requirements (pages 56–59).

If you are giving the regularly scheduled exam, say:

It is Wednesday morning, May 8, and you will be taking the AP English Literature
and Composition Exam. Look at your exam packet and confirm that the exam
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Raise your hand if your exam packet contains any title other than “AP English
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and Composition Exam. Look at your exam packet and confirm that the exam
title is “AP English Literature and Composition” and is printed in blue on the
Section I booklet cover. [For large-type exams: If you are taking a large-type
exam, the exam title “AP English Literature and Composition” is printed in black.]
Raise your hand if your exam packet contains any title other than “AP English
Literature and Composition,” and I will help you.

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Sign your name and write today’s date. . . .

AP English Literature and Composition Exam 89

 2018-19 AP Exam Instructions

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90 AP English Literature and Composition Exam

2018-19 AP Exam Instructions

AP English Literature and Composition Exam  

phone calls, send text messages, check email, use a social networking site,
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SECTION II: Free Response

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AP English Literature and Composition Exam 91

 Name:____________________________________

Answer Sheet for AP English Literature and Composition

Practice Exam, Section I

No. Answer No. Answer

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12 40
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 ®
AP English Literature and
Composition Exam
SECTION I: Multiple Choice 2019
DO NOT OPEN THIS BOOKLET UNTIL YOU ARE TOLD TO DO SO.

Instructions
At a Glance
Section I of this exam contains 55 multiple-choice questions. Fill in only the circles for
Total Time numbers 1 through 55 on your answer sheet.
1 hour
Number of Questions Indicate all of your answers to the multiple-choice questions on the answer sheet. No
55 credit will be given for anything written in this exam booklet, but you may use the booklet
Percent of Total Score for notes or scratch work. After you have decided which of the suggested answers is best,
45% completely fill in the corresponding circle on the answer sheet. Give only one answer to
Writing Instrument each question. If you change an answer, be sure that the previous mark is erased
Pencil required completely. Here is a sample question and answer.
Dictionaries
None allowed

Use your time effectively, working as quickly as you can without losing accuracy. Do not
spend too much time on any one question. Go on to other questions and come back to
the ones you have not answered if you have time. It is not expected that everyone will
know the answers to all of the multiple-choice questions.
Your total score on the multiple-choice section is based only on the number of questions
answered correctly. Points are not deducted for incorrect answers or unanswered
questions.

Form I
Form Code 4PBP4-S

37
 The exam begins on page 4.

The inclusion of source material in this exam is not intended as an

endorsement by the College Board or ETS of the content, ideas, or
values expressed in the material. The material has been selected by
the English Literature faculty who serve on the AP English Literature
Development Committee. In their judgment, the material printed here
reflects various aspects of the course of study on which this exam is
based and is therefore appropriate to use to measure the skills and
knowledge of this course.

-3-
 ENGLISH LITERATURE AND COMPOSITION
SECTION I
Time—1 hour

Directions: This section consists of selections from literary works and questions on their content, form, and style.
After reading each passage or poem, choose the best answer to each question and then fill in the corresponding circle
on the answer sheet.

Note: Pay particular attention to the requirements of questions that contain the words NOT, LEAST, or EXCEPT.

Questions 1-10. Read the following poem carefully 2. In lines 5-8 (“Why write . . . proceed?”), the
before you choose your answers. speaker most clearly implies that his poems
(A) have largely been published anonymously
Why is my verse so barren of new pride? (B) are notable for their imaginative use of nature
So far from variation or quick change? imagery
Why with the time do I not glance aside (C) explore themes that are timeless and
Line To new-found methods and to compounds strange? universal
5 Why write I still all one, ever the same, (D) have changed very gradually over the years
And keep invention in a noted weed, (E) are easily recognizable as his because of their
That every word doth almost tell my name, literary features
Showing their birth, and where they did proceed?
O know, sweet love, I always write of you, 3. “Their” and “they” (line 8) refer to which of the
10 And you and love are still my argument; following?
So all my best is dressing old words new,
Spending again what is already spent: (A) “methods” (line 4)
For as the sun is daily new and old, (B) “invention” (line 6)
So is my love, still telling what is told. (C) “noted weed” (line 6)
(D) “every word” (line 7)
(1609) (E) “my name” (line 7)

1. In context, the question in line 5 (“Why write . . .

ever the same”) conveys the speaker’s 4. The questions in the first eight lines of the poem
primarily serve to
(A) apparent self-reproach for using poetic
diction he has used before (A) express genuine concern about a loss of
(B) ambition to earn fame by being in the poetic skill
vanguard of poetic movements (B) illustrate a generalization about the
(C) yearning for a wider range of themes in order ephemeral nature of romantic love
to develop his poetic skill (C) express frustration with the demands of
(D) reluctant acknowledgement that he is no conventional poetry
longer as prolific as he once was (D) lament the use of artifice in most poetic
(E) disgust with his inability to write in a more writing
polished, conventional poetic form (E) set up an assertion about the nature of the
poet’s love

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5. Line 10 (“And you . . . argument”) identifies 8. The poem’s final two lines do which of the
which of the following about the speaker? following?
(A) The abiding theme of his personal and (A) Reinforce the mood established in the
literary focus opening lines
(B) The jealousy he feels as a result of his (B) Compare the speaker’s beloved to a natural
devotion to his beloved phenomenon
(C) The degree to which his love is requited (C) Undercut the argument of the poem by
(D) His determination to convince others of his pointing out a logical inconsistency
sentiments (D) Present a simile that resolves a contradiction
(E) His tendency to question the depth and described in the preceding lines
sincerity of his own feelings (E) Interrupt a regular metric pattern to indicate a
change in subject matter
6. The image presented in line 11 (“So all . . . new”)
most significantly implies the speaker’s 9. The overall tone of the poem is best described as
(A) skill in presenting the same thoughts in (A) angry and combative
numerous poems (B) purposeful and heartfelt
(B) conviction that poetry is defined more by (C) whimsical and nonchalant
technique than substance (D) apprehensive and ambivalent
(C) ongoing concern that he has not found a (E) subdued and melancholic
successful medium
(D) sense of being stifled by idioms that appear 10. Which of the following best characterizes the
redundant development of the poem as a whole?
(E) celebration of the most traditional
(A) The speaker acknowledges a weakness in his
poetic forms
writing, only to turn this weakness into a
means of affirming his devotion to his
7. In line 12, the speaker compares the expression of
beloved.
romantic love to
(B) The speaker flaunts his familiarity with a rich
(A) political diplomacy array of literary resources, only to assert
(B) financial transactions that none of them can do justice to his
(C) legal negotiations beloved.
(D) an athletic competition (C) The speaker laments a flaw in his character,
(E) a spiritual awakening then seeks to gain his beloved’s sympathy
by emphasizing his wretchedness.
(D) The speaker asserts his indifference to
literary fashions, then argues that his
independence of mind makes him a more
faithful lover.
(E) The speaker expresses doubts about his
poetic talents, then reassures himself by
recalling the steadfast devotion of his
beloved.

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 Questions 11-21. Read the following passage a rhythm on his thigh. The humming appeared to
carefully before you choose your answers. come from low down in his chest and melded with
the general tune of the bus, vibrating on the bass
Thirty or so years after he arrived in London, notes.
Chanu decided that it was time to see the sights. “All 55 Nazneen decided she would make this day
I saw was the Houses of Parliament. And that was in unlike any other. She would not allow this day
Line 1979.” It was a project. Much equipment was needed. to disappoint him.
5 Preparations were made. Chanu bought a pair of The conductor came to collect fares. He had
shorts which hung just below his knees. He tried them a slack-jawed expression: nothing could interest him.
on and filled the numerous pockets with a compass, 60 “Two at one pound, and two children please,” said
guidebook, binoculars, bottled water, maps, and two Chanu. He received his tickets. “Sightseeing,” he
types of disposable camera. Thus loaded, the shorts announced, and flourished his guidebook. “Family
10 hung at mid-calf. He bought a baseball cap and wore holiday.”
it around the flat with the visor variously angled up “Right,” said the conductor. He jingled his bag,
and down and turned around to the back of his head. 65 looking for change. He was squashed by his job.
A money belt secured the shorts around his waist and The ceiling forced him to stoop.
prevented them from reaching his ankles. He made “Can you tell me something? To your mind,
15 a list of tourist attractions and devised a star rating does the British Museum rate more highly than the
system that encompassed historical significance, National Gallery? Or would you recommend gallery
something he termed “entertainment factor,” and 70 over museum?”
value for money. The girls would enjoy themselves. The conductor pushed his lower lip out with his
They were forewarned of this requirement. tongue. He stared hard at Chanu, as if considering
20 On a hot Saturday morning towards the end of July whether to eject him from the bus.
the planning came to fruition. “I’ve spent more than “In my rating system,” explained Chanu, “they are
half my life here,” said Chanu, “but I hardly left these 75 neck and neck. It would be good to take an opinion
few streets.” He stared out of the bus window at the from a local.”
grimy colors of Bethnal Green Road. “All this time “Where’ve you come from, mate?”
25 I have been struggling and struggling, and I barely “Oh, just two blocks behind,” said Chanu. “But
had time to lift my head and look around.” this is the first holiday for twenty or thirty years.”
They sat at the front of the bus, on the top deck. 80 The conductor swayed. It was still early but the
Chanu shared a seat with Nazneen and Shahana, and bus was hot and Nazneen could smell his sweat.
Bibi sat across the aisle. Nazneen crossed her ankles He looked at Chanu’s guidebook. He twisted around
30 and tucked her feet beneath the seat to make way for and looked at the girls. At a half-glance he knew
the two plastic carrier bags that contained their picnic. everything about Nazneen, and then he shook his head
“You’ll stink the bus out,” Shahana had said. “I’m not 85 and walked away.
sitting with you.” But she had not moved away.
“It’s like this,” said Chanu. “When you have all the Reprinted with the permission of Scribner, a Division of Simon &
Schuster, Inc., from BRICK LANE by Monica Ali. Copyright ©2003 by
35 time in the world to see something, you don’t bother Monica Ali. All rights reserved.
to see it. Now that we are going home, I have become
a tourist.” He pulled his sunglasses from his forehead 11. The description in lines 5-12 (“Chanu . . . head”)
onto his nose. They were part of the new equipment. implies that Chanu
Nazneen looked down at his sandals, which were
40 also new. She regarded the thick yellow nails of his (A) seeks to impress his new acquaintances in
big toes. The spongy head of a corn poked from the city
beneath the strap. She had neglected them, these feet. (B) does not normally wear such items
She brushed an imaginary hair from her husband’s (C) has no idea what tourists actually wear
shoulder. (D) would prefer to stay home rather than leave
45 He turned to the girls. “How do you like your the house
holiday so far?” Bibi said that she liked it very well, (E) prefers inexpensive to expensive clothing
and Shahana squinted and shuffled and leaned her
head against the window.
Chanu began to hum. He danced with his head,
50 which wobbled from side to side, and drummed out

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12. In line 17, the quotation marks around the phrase 17. Nazneen’s gesture in lines 43-44
“entertainment factor” imply that (“She . . . shoulder”) is one of
(A) none of the places Chanu wants to visit are (A) desperation
entertaining (B) affection
(B) the measurement is largely personal and (C) exasperation
idiosyncratic (D) determination
(C) the measurement is not as important as other (E) hopefulness
elements of the rating system
(D) Chanu has little faith that his rating system 18. The interaction between Chanu and his daughters
is actually worthwhile in lines 45-48 serves to
(E) Chanu’s primary wish is to entertain his
(A) show Chanu’s impatience for exciting events
daughters
to happen
(B) suggest that Chanu is more affectionate
13. In the first and the second paragraphs
toward his daughters than toward Nazneen
respectively, Chanu’s mood shifts from
(C) illustrate a contrast between Chanu’s two
(A) purposeful to reflective daughters
(B) idealistic to realistic (D) indicate Chanu’s regrets about his life
(C) practical to fantastical (E) foreshadow Chanu’s encounter with the
(D) self-confident to self-pitying conductor
(E) hopeful to disillusioned
19. Chanu’s attempt to converse with the conductor
14. The first sentence of the passage (lines 1-2) and in lines 67-76 indicates his
the words spoken by Chanu in lines 21-26
(A) insistence upon making decisions
indicate that he
systematically
(A) is largely apprehensive about the (B) preference for avoiding serious topics with
outside world strangers
(B) has had priorities other than pleasure (C) desire to befriend everyone he meets
for much of his life (D) indifference about the city in which he lives
(C) prefers avoiding the company of others (E) anxiety about social interactions
(D) secretly dislikes the city in which he lives
(E) finds it challenging to navigate city streets 20. During the exchange between Chanu and the
conductor in lines 77-79 (“Where’ve . . . years”),
15. Shahana’s complaints in lines 32-33 (“You’ll . . . Chanu most likely assumes that the conductor
you”) primarily suggest that she
(A) is taken aback by the clothes he is wearing
(A) wants to ruin her father’s project (B) has previously seen him traveling on this
(B) had wanted to eat at a restaurant instead bus route
(C) feels embarrassed by her family’s ways (C) incorrectly assumes he is a visiting tourist
(D) is jealous of Bibi (D) thinks the answers to his questions are
(E) is angered by her father’s passivity obvious
(E) shrewdly assesses the dynamic of his family
16. “She had neglected them, these feet” (line 42)
indicates that Nazneen’s attitude toward her 21. In its characterization of Chanu, the passage
husband is marked by all of the following conveys the
EXCEPT
(A) pathetic nature of his inability to see the
(A) deference and duty world as it really is
(B) tenderness and love (B) orderliness underlying his enthusiasm
(C) care and attentiveness (C) cruelty that motivates his seeming
(D) responsibility and guilt benevolence
(E) indifference and contempt (D) difficulty he has communicating with others
(E) necessity of his seeming extravagances

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 Questions 22-33. Read the following poem carefully before
you choose your answers.

Walking in Paris
I come back to your youth, my Nana,
as if I might clean off
the mad woman you became,
Line withered and constipated,
5 howling into your own earphone.
I come, in middle age,
to find you at twenty in high hair and long Victorian skirts
trudging shanks’ mare* fifteen miles a day in Paris
because you could not afford a carriage.
10 I have walked sixteen miles today.
I have kept up.
I read your Paris letters of 1890.
Each night I take them to my thin bed
and learn them as an actress learns her lines.
15 “Dear homefolks” you wrote,
not knowing I would be your last home,
not knowing that I’d peel your life back to its start.
What is so real as walking your streets!
I too have the sore toe you tend with cotton.
20 In Paris 1890 was yesterday
and 1940 never happened—
the soiled uniform of the Nazi
has been unravelled and reknit and resold.
To be occupied or conquered is nothing—
25 to remain is all!
Having come this far
I will go farther.
You are my history (that stealer of children)
and I have entered you.
30 I have deserted my husband and my children,
the Negro issue, the late news and the hot baths.
My room in Paris, no more than a cell,
is crammed with 58 lbs. of books.
They are all that is American and forgotten.
35 I read your letters instead,
putting your words into my life.
Come, old woman,
we will be sisters!
We will price the menus in the small cafés, count francs,
40 observe the tower where Marie Antoinette awaited her beheading,
kneel by the rose window of Notre Dame,
and let cloudy weather bear us home early
to huddle by the weak stove in Madame’s kitchen.
We will set out tomorrow in stout shoes

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-8-
 45 to buy a fur muff for our blue fingers.
I take your arms boldly,
each day a new excursion.
Come, my sister,
we are two virgins,
50 our lives once more perfected
and unused.

(1963)
*on one’s own legs

“Walking in Paris” from Live Or Die by Anne Sexton. Copyright © 1966 by Anne Sexton,
renewed 1994 by Linda G. Sexton. Reprinted by permission of Houghton Mifflin Harcourt
Publishing Company. All rights reserved.

22. The speaker begins the poem by stating “I come 25. In line 14 (“and learn . . . lines”), the speaker uses
back to your youth, my Nana” (line 1), but the a simile to
primary transformation sought overall is
(A) display her need for attention
(A) an escape from her own immaturity (B) reminisce about childhood dreams
(B) a release from her memories of Nana (C) describe Nana as a young woman
(C) a recapturing of a sense of life’s possibilities (D) emphasize the importance of hard work
(D) a reconciliation with her aging Nana (E) evoke a sense of deep passion and
(E) a reengagement with her present commitment
circumstances
26. Which of the following best paraphrases the
23. In line 6, the phrase “middle age” describes the meaning of line 16, “not knowing I would be
your last home”?
(A) speaker’s age in the poem
(B) age the speaker imagines Nana to be (A) Nana’s letters were intended for her family
(C) age of the speaker when she last saw Nana at home.
(D) age the speaker remembers most clearly (B) Nana’s letters were unappreciated until the
(E) speaker’s age when Nana returned from Paris speaker read them.
(C) The speaker now provides a figurative home
24. Line 11 (“I have kept up”) is in reference to both for Nana’s memories.
(D) Neither Nana nor the speaker has
(A) feeling “mad” (line 3) and being in a state of
a real home.
“not knowing” (lines 16 and 17)
(E) The speaker now lives in a home like Nana’s.
(B) “howling” (line 5) and spending “Each night”
(line 13) awake
(C) having “high hair” (line 7) and being an
“actress” (line 14)
(D) the “miles” (line 8) walked and the “letters”
(line 12) read
(E) riding in a “carriage” (line 9) and tending
a “sore toe” (line 19)

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The passage is reprinted for your use in answering the remaining questions.

Walking in Paris
I come back to your youth, my Nana,
as if I might clean off
the mad woman you became,
Line withered and constipated,
5 howling into your own earphone.
I come, in middle age,
to find you at twenty in high hair and long Victorian skirts
trudging shanks’ mare* fifteen miles a day in Paris
because you could not afford a carriage.
10 I have walked sixteen miles today.
I have kept up.
I read your Paris letters of 1890.
Each night I take them to my thin bed
and learn them as an actress learns her lines.
15 “Dear homefolks” you wrote,
not knowing I would be your last home,
not knowing that I’d peel your life back to its start.
What is so real as walking your streets!
I too have the sore toe you tend with cotton.
20 In Paris 1890 was yesterday
and 1940 never happened—
the soiled uniform of the Nazi
has been unravelled and reknit and resold.
To be occupied or conquered is nothing—
25 to remain is all!
Having come this far
I will go farther.
You are my history (that stealer of children)
and I have entered you.
30 I have deserted my husband and my children,
the Negro issue, the late news and the hot baths.
My room in Paris, no more than a cell,
is crammed with 58 lbs. of books.
They are all that is American and forgotten.
35 I read your letters instead,
putting your words into my life.
Come, old woman,
we will be sisters!
We will price the menus in the small cafés, count francs,
40 observe the tower where Marie Antoinette awaited her beheading,
kneel by the rose window of Notre Dame,
and let cloudy weather bear us home early
to huddle by the weak stove in Madame’s kitchen.
We will set out tomorrow in stout shoes

Unauthorized copying or reuse of

any part of this page is illegal.
GO ON TO THE NEXT PAGE.
-10-
 45 to buy a fur muff for our blue fingers.
I take your arms boldly,
each day a new excursion.
Come, my sister,
we are two virgins,
50 our lives once more perfected
and unused.

(1963)
*on one’s own legs

“Walking in Paris” from Live Or Die by Anne Sexton. Copyright © 1966 by Anne Sexton,
renewed 1994 by Linda G. Sexton. Reprinted by permission of Houghton Mifflin Harcourt
Publishing Company. All rights reserved.

27. In lines 30-31 (“my husband . . . hot baths”), the 30. The difference between “we will be sisters!”
primary effect of using a list is to (line 38) and “Come, my sister” (line 48)
indicates that
(A) establish the speaker’s inability to support
her family (A) a desire has been fulfilled
(B) show that the speaker has no reliance on (B) the speaker is desperate
material goods (C) the speaker deceives herself
(C) demonstrate how the speaker’s routine has (D) the original Nana has disappeared
been organized (E) a request has been ignored
(D) emphasize the speaker’s detachment from
her daily life 31. The claim that “we are two virgins” (line 49) is
(E) highlight the speaker’s aversion to daily meant figuratively to emphasize the speaker’s
customs pursuit of
(A) femininity and purity
28. The fourth stanza (lines 37-51) makes
(B) restoration and renewal
particular use of
(C) devotion and asceticism
(A) third-person point of view (D) caution and reserve
(B) an unreliable speaker (E) romance and elation
(C) stream of consciousness
(D) direct address 32. The speaker’s claim in lines 50-51 (“our lives
(E) epiphany once more perfected / and unused”) suggests that
the speaker and Nana have achieved
29. The images of “I too have the sore toe you tend
(A) a better understanding of history
with cotton” (line 19) and “our blue fingers”
(B) repentance for their misdeeds
(line 45) serve primarily to
(C) an escape from their later selves
(A) comment on the effects of Paris’s harsh (D) a new companionship
climate (E) a return to a quiet life
(B) imply that living in Paris is especially
dangerous for the speaker 33. The speaker’s primary motivation in addressing
(C) signify a bond between the speaker and Nana Nana is to
(D) suggest that the speaker is delusional
(A) vindicate Nana’s life choices
(E) invoke a perception of Nana as a doting
(B) seek Nana’s advice
caretaker
(C) understand Nana’s suffering
(D) share in Nana’s vitality
(E) celebrate Nana’s courage

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 Questions 34-44. Read the following passage I confess, I was somewhat troubled at this change:
carefully before you choose your answers. 50 I feared the consequences of her displeasure, and even
made some efforts to recover the ground I had lost—
The senior Mrs. Bloomfield had been very attentive and with better apparent success than I could have
and civil to me; and, till now, I had thought her a nice, anticipated. At one time, I, merely in common
kind-hearted, chatty old body. She would often come civility, asked after her cough—immediately her long
Line to me and talk in a confidential strain, nodding, and 55 visage relaxed into a smile, and she favoured me with
5 shaking her head, and gesticulating with hands and a particular history of that and her other infirmities,
eyes, as a certain class of old ladies are wont to do, followed by an account of her pious resignation,
though I never knew one that carried the peculiarity to delivered in the usual emphatic, declamatory style,
so great an extent: she would even sympathise with which no writing can pourtray.
me for the trouble I had with the children, and express 60 ‘But there’s one remedy for all, my dear, and that’s
10 at times, by half sentences, interspersed with nods and resignation’ (a toss of the head) ‘resignation to the
knowing winks, her sense of the injudicious conduct will of Heaven!’ (an uplifting of the hands and eyes).
of their mamma in so restricting my power, and ‘It has always supported me through all my trials, and
neglecting to support me with her authority. Such always will do’ (a succession of nods). ‘But then, it
a mode of testifying disapprobation was not much 65 isn’t everybody that can say that’ (a shake of the
15 to my taste; and I generally refused to take it in, or head) ‘but I’m one of the pious ones, Miss Grey!’
understand anything more than was openly spoken; (a very significant nod and toss). ‘And, thank Heaven,
at least, I never went farther than an implied I always was’ (another nod) ‘and I glory in it!’
acknowledgement that, if matters were otherwise (an emphatic clasping of the hands and shaking of the
ordered, my task would be a less difficult one, and 70 head), and with several texts of Scripture, misquoted,
20 I should be better able to guide and instruct my or misapplied, and religious exclamations so redolent
charge; but now I must be doubly cautious. Hitherto, of the ludicrous in the style of delivery and manner of
though I saw the old lady had her defects (of which bringing in, if not in the expressions themselves, that
one was a proneness to proclaim her perfections), I decline repeating them, she withdrew, tossing her
I had always been wishful to excuse them, and to give 75 large head in high good humour—with herself at
25 her credit for all the virtues she professed, and even least—and left me hoping that, after all, she was
imagine others yet untold. Kindness, which had been rather weak than wicked.
the food of my life through so many years, had lately
been so entirely denied me, that I welcomed with (1847)
grateful joy the slightest semblance of it. No wonder
30 then that my heart warmed to the old lady, and 34. The passage as a whole is best described as which
always gladdened at her approach, and regretted her of the following?
departure.
(A) A dramatic monologue regarding a personal
But now, the few words, luckily, or unluckily, dilemma
heard in passing had wholly revolutionized my ideas (B) A detailed description of an argument
35 respecting her; now I looked upon her as hypocritical (C) A character sketch conveyed through
and insincere, a flatterer, and a spy upon my words anecdote
and deeds. Doubtless it would have been my interest
(D) A critique of traditional gender roles
still to meet her with the same cheerful smile and tone (E) A poignant epiphany regarding friendship
of respectful cordiality as before; but I could not, if
40 I would; my manner altered with my feelings, and 35. The first sentence of the passage (lines 1-3)
became so cold and shy that she could not fail to suggests that the narrator’s view of
notice it. She soon did notice it, and her manner
Mrs. Bloomfield
altered too: the familiar nod was changed to a stiff
bow, the gracious smile gave place to a glare of (A) was formed through long familiarity
45 Gorgon ferocity, her vivacious loquacity was entirely (B) is based in certain moral principles
transferred from me to ‘the darling boy and girls’ (C) is influenced by the children
whom she flattered and indulged more absurdly than (D) has shifted on multiple occasions
ever their mother had done. (E) has recently changed

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36. In lines 9-13 (“and express . . . authority”), the 40. Unlike the rest of the paragraph, the last sentence
manner in which Mrs. Bloomfield conveys her of the first paragraph (lines 29-32) does which of
opinion of the children’s mother is best the following?
described as
(A) Describes positive attributes
(A) systematic (B) Expresses uncomplicated emotions
(B) self-deprecatory (C) Portrays the narrator’s difficulties in the
(C) indirect household
(D) apologetic (D) Focuses on the narrator’s own attitude
(E) matter-of-fact (E) Provides insight about Mrs. Bloomfield’s
flaws
37. In lines 21-26 (“Hitherto . . . untold”), the narrator
presents which of the following contrasts 41. The shift between the first and second paragraphs
regarding Mrs. Bloomfield’s qualities? concerns
(A) What Mrs. Bloomfield reveals of herself to (A) Mrs. Bloomfield’s motives
the narrator versus what she reveals to the (B) the narrator’s view of herself
children’s mother (C) Mrs. Bloomfield’s view of the narrator’s
(B) What the narrator observes of those qualities importance
versus what the narrator is willing to (D) the narrator’s regrets
assume (E) the narrator’s opinion of Mrs. Bloomfield
(C) What Mrs. Bloomfield knows about those
qualities versus what she is unaware of 42. By “luckily, or unluckily” (line 33), the narrator
(D) What the narrator conceals about those implies that the comments she overheard have
qualities versus what the narrator discloses made her
about them
(A) hurt but amused
(E) What the narrator values of those qualities
(B) mistrustful but flattered
versus what Mrs. Bloomfield values
(C) disillusioned but alerted
about them
(D) alarmed but resigned
(E) frightened but vengeful
38. The parenthetical statement in lines 22-23
(“of which . . . perfections”) makes use of
43. In lines 76-77, the narrator hopes that Mrs.
(A) personification Bloomfield is “rather weak than wicked” because
(B) repetition the narrator wants to
(C) metaphor
(A) think of Mrs. Bloomfield’s behavior as
(D) irony
unconscious rather than deliberate
(E) hyperbole
(B) retain her good opinion of Mrs. Bloomfield
rather than forfeit it
39. Lines 26-29 (“Kindness . . . of it”) indicate that
(C) return to her belief in the sincerity of
the narrator has recently
Mrs. Bloomfield’s regard for her
(A) chosen to end a romantic relationship (D) curry Mrs. Bloomfield’s favor rather than
(B) become receptive to the appearance of lose it
affection (E) view Mrs. Bloomfield as concerned with
(C) become willing to express emotions and others rather than self-absorbed
opinions
(D) decided to act on impulse rather than on 44. Throughout the passage, the narrator views
reason Mrs. Bloomfield primarily with
(E) adopted a carefree attitude toward life’s
(A) ambivalence
challenges
(B) detachment
(C) wistfulness
(D) antipathy
(E) awe

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 Questions 45-55. Read the following poem So all desire and all regret,
carefully before you choose your answers. And fear and memory, were naught;
One to remember or forget
Low Tide on Grand-Pré The keen delight our hands had caught;
45 Morrow and yesterday were naught!
The sun goes down, and over all
These barren reaches by the tide The night has fallen, and the tide . . .
Such unelusive glories fall, Now and again comes drifting home,
Line I almost dream they yet will bide Across these aching barrens wide,
5 Until the coming of the tide. A sigh like driven wind or foam:
50 In grief the flood is bursting home!
And yet I know that not for us,
By any ecstasy of dream, (1887)
He lingers to keep luminous
A little while the grievous stream, 1 Acadie, Canada, is a coastal region with exceptionally low (ebb) and
10 Which frets, uncomforted of dream,— high (flood) tides.
2 a canoe made of birch bark

A grievous stream, that to and fro

Athrough the fields of Acadie1 45. Which of the following best describes the
Goes wandering, as if to know structure of the poem?
Why one beloved face should be (A) It begins with the expression of a desire, then
15 So long from home and Acadie! imagines the fulfillment of that desire, and
finally describes disillusionment with that
Was it a year or lives ago desire.
We took the grasses in our hands, (B) It begins with an evening in the present,
And caught the summer flying low examines the significance of a memory, and
Over the waving meadow lands, returns to a somewhat later moment the
20 And held it there between our hands? same evening.
(C) The first half describes a dream, and the
The while the river at our feet— second half describes awakening from the
A drowsy inland meadow stream— dream.
At set of sun the after-heat (D) The first half evokes companionship, and the
Made running gold, and in the gleam second half celebrates solitude.
25 We freed our birch2 upon the stream. (E) Alternating stanzas depict the speaker’s
internal and external worlds.
There down along the elms at dusk
We lifted dripping blade to drift, 46. The first stanza (lines 1-5) reveals the speaker’s
Through twilight scented fine like musk, wish that the
Where night and gloom awhile uplift,
30 Nor sunder soul and soul adrift. (A) waves would become more powerful
(B) tide would delay coming in
And that we took into our hands— (C) sun would rise again in the sky
Spirit of life or subtler thing— (D) sunset colors would be more subtle
Breathed on us there, and loosed the bands (E) light of the sunset would remain longer
Of death, and taught us, whispering,
35 The secret of some wonder-thing.

Then all your face grew light, and seemed

To hold the shadow of the sun;
The evening faltered, and I deemed
That time was ripe, and years had done
40 Their wheeling underneath the sun.

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47. Lines 6-9 (“And yet . . . stream”) suggest which 52. Lines 41-45 (“So all . . . were naught”)
of the following about nature and humanity? indicate that the revelation strikes those who
experience it as
(A) Humanity is unable to understand nature.
(B) Humanity needs nature to experience ecstasy. (A) permitting them to see into the future
(C) Only in dreams can nature and humanity (B) transgressing social mores and practices
be one. (C) transcending feelings, thoughts, and
(D) Nature lacks any intention of comforting categories
humanity. (D) not measuring up to their expectations
(E) Nature dreams more richly than humanity. (E) preventing them from progressing beyond it

48. In line 8, “He” refers to 53. The final stanza (lines 46-50) is characterized by
(A) “sun” (line 1) (A) a growing resurgence of a powerful emotion
(B) “tide” (line 2) (B) a frightening loss of identity and memory
(C) “coming” (line 5) (C) a welcome return to the familiar
(D) “ecstasy” (line 7) (D) an alienation from the natural world
(E) “dream” (line 7) (E) an awestruck acceptance of the divine

49. All of the following shifts are introduced in the 54. In the context of the final stanza, the change
first four stanzas (lines 1-20) EXCEPT from “drifting” (line 47) to “bursting” (line 50)
suggests a change in the
(A) present to past
(B) barrenness to abundance (A) pace of the speaker’s meditation
(C) sickness to health (B) intensity of the speaker’s distress
(D) reflecting to remembering (C) focus of the speaker’s longing
(E) sorrow to contentment (D) impetuosity of the speaker’s actions
(E) direction of the speaker’s future
50. The image of drifting in lines 26-30
(“There . . . adrift”) conveys the 55. The poem as a whole presents a contrast between
(A) irresoluteness of the speaker (A) fact and fiction
(B) impression of a pause in time (B) faith and faithlessness
(C) emptiness of human endeavor (C) time and timelessness
(D) hazards of romantic love (D) optimism and pessimism
(E) endless cycles of nature (E) bravery and cowardice

51. In line 38, “faltered” most directly suggests that

the evening seemed to
(A) become obscured by clouds
(B) shrink from daytime concerns
(C) abandon an initial hope
(D) show signs of fear
(E) lose its forward momentum

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