Nokea
This excerpt is from The Life-Story of Insects by Geo H. Carpenter.
Insects as a whole are preeminently creatures of the land and the air. This is shown not only by the possession of wings by a vast majority of the class, but by the mode of breathing to which reference has already been made, a system of branching air-tubes carrying atmospheric air with its combustion-supporting oxygen to all the insect's tissues. The air gains access to these tubes through a number of paired air-holes or spiracles, arranged segmentally in series.
It is of great interest to find that, nevertheless, a number of insects spend much of their time under water. This is true of not a few in the perfect winged state, as for example aquatic beetles and water-bugs ('boatmen' and 'scorpions') which have some way of protecting their spiracles when submerged, and, possessing usually the power of flight, can pass on occasion from pond or stream to upper air. But it is advisable in connection with our present subject to dwell especially on some insects that remain continually under water till they are ready to undergo their final molt and attain the winged state, which they pass entirely in the air.
The preparatory instars of such insects are aquatic; the adult instar is aerial. All may-flies, dragon-flies, and caddis-flies, many beetles and two-winged flies, and a few moths thus divide their life-story between the water and the air. For the present we confine attention to the Stoneflies, the May-flies, and the Dragon-flies, three well-known orders of insects respectively called by systematists the Plecopteran, the Ephemeroptera, and the Odonata.
In the case of many insects that have aquatic larvae, the latter are provided with some arrangement for enabling them to reach atmospheric air through the surface-film of the water. But the larva of a stone-fly, a dragon-fly, or a may-fly is adapted more completely than these for aquatic life; it can, by means of gills of some kind, breathe the air dissolved in water.
Which definition most closely relates to the usage of the word 'moult' in the passage?
- A. An adventure of sorts, especially underwater
- B. Mating act between two insects
- C. The act of shedding part or all of the outer shell
- D. Death of an organism that ends in a revival of life
Correct Answer: C
Rationale: 'Moult' refers to the act of shedding the outer shell, which is part of the insect's development. In the passage, it mentions insects that remain continually under water until they are ready to undergo their final moult and attain the winged state. This process of shedding the outer shell is crucial for insects transitioning from their aquatic larval stage to their aerial adult stage. Choices A, B, and D do not align with the specific context provided in the passage about the term 'moult.'
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This excerpt is an adaptation of Jonathan Swift's "Gulliver's Travels into Several Remote Nations of the World".
My gentleness and good behavior had gained so far on the emperor and his court, and indeed upon the army and people in general, that I began to conceive hopes of getting my liberty in a short time. I took all possible methods to cultivate this favorable disposition. The natives came, by degrees, to be less apprehensive of any danger from me. I would sometimes lie down, and let five or six of them dance on my hand; and at last the boys and girls would venture to come and play at hide-and-seek in my hair.
I had now made good progress in understanding and speaking the language. The emperor had a mind one day to entertain me with several of the country shows, wherein they exceed all nations I have known, both for dexterity and magnificence. I was diverted with none so much as that of the rope-dancers, performed upon a slender white thread, extended about two feet, and twelve inches from the ground, Upon which I shall desire liberty, with the reader's patience, to enlarge a little.
This diversion is only practiced by those persons who are candidates for great employments, and high favor at court. They are trained in this art from their youth, and are not always of noble birth, or liberal education. When a great office is vacant, either by death or disgrace (which often happens,) five or six of those candidates petition the emperor to entertain his majesty and the court with a dance on the rope; and whoever jumps the highest, without falling, succeeds in the office.
Very often the chief ministers themselves are commanded to show their skill, and to convince the emperor that they have not lost their faculty. FlyNap, the treasurer, is allowed to cut a caper on the straight rope, at least an inch higher than any other lord in the whole empire. I have seen him do the somersault several times together, upon a trencher fixed on a rope which is no thicker than a common packthread in England. My friend Reldresal, principal secretary for private affairs, is, in my opinion, if I am not partial, the second after the treasurer; the rest of the great officers are much upon a par.
Which of the following statements best summarizes the central purpose of this text?
- A. Gulliver details his experiences and interactions with the natives of the new land.
- B. Gulliver observes the unique customs and traditions of the society he encounters.
- C. Gulliver becomes acquainted with the people and practices of his new surroundings.
- D. Gulliver reflects on the cultural differences between his homeland and the new land.
Correct Answer: C
Rationale: The correct answer is C because the text describes how Gulliver becomes familiar with the customs and practices of the new society he finds himself in. He interacts with the natives, learns their language, and participates in their shows, indicating his growing understanding and acceptance of the new culture. Choice A is incorrect because the text goes beyond detailing his experiences to focus on his growing familiarity with the society. Choice B is incorrect because Gulliver not only observes but actively engages with the customs. Choice D is incorrect as the focus is on Gulliver's adaptation rather than reflecting on cultural differences.
This excerpt is from The Life-Story of Insects by Geo H. Carpenter.
Insects as a whole are preeminently creatures of the land and the air. This is shown not only by the possession of wings by a vast majority of the class, but by the mode of breathing to which reference has already been made, a system of branching air-tubes carrying atmospheric air with its combustion-supporting oxygen to all the insect's tissues. The air gains access to these tubes through a number of paired air-holes or spiracles, arranged segmentally in series.
It is of great interest to find that, nevertheless, a number of insects spend much of their time under water. This is true of not a few in the perfect winged state, as for example aquatic beetles and water-bugs ('boatmen' and 'scorpions') which have some way of protecting their spiracles when submerged, and, possessing usually the power of flight, can pass on occasion from pond or stream to upper air. But it is advisable in connection with our present subject to dwell especially on some insects that remain continually under water till they are ready to undergo their final molt and attain the winged state, which they pass entirely in the air.
The preparatory instars of such insects are aquatic; the adult instar is aerial. All may-flies, dragon-flies, and caddis-flies, many beetles and two-winged flies, and a few moths thus divide their life-story between the water and the air. For the present we confine attention to the Stoneflies, the May-flies, and the Dragon-flies, three well-known orders of insects respectively called by systematists the Plecopteran, the Ephemeroptera, and the Odonata.
In the case of many insects that have aquatic larvae, the latter are provided with some arrangement for enabling them to reach atmospheric air through the surface-film of the water. But the larva of a stone-fly, a dragon-fly, or a may-fly is adapted more completely than these for aquatic life; it can, by means of gills of some kind, breathe the air dissolved in water.
Which literary device is primarily used in the passage when discussing the transition from water to air?
- A. Metaphor
- B. Simile
- C. Alliteration
- D. Hyperbole
Correct Answer: A
Rationale: The correct answer is A: Metaphor. The transition from water to air is described metaphorically in the passage, highlighting the significant change in the insects' environment. The passage discusses how certain insects start their life underwater and then transition to the air, symbolizing a transformation. This metaphorical description enhances the reader's understanding of the insects' life cycle.
Choice B, Simile, is incorrect because a simile involves comparing two unlike things using 'like' or 'as,' which is not evident in the passage. Choices C and D, Alliteration and Hyperbole, are incorrect as they are not used in the passage to describe the transition from water to air. Therefore, the best literary device used in this context is a metaphor.
This excerpt is an adaptation of Jonathan Swift's "Gulliver's Travels into Several Remote Nations of the World".
My gentleness and good behavior had gained so far on the emperor and his court, and indeed upon the army and people in general, that I began to conceive hopes of getting my liberty in a short time. I took all possible methods to cultivate this favorable disposition. The natives came, by degrees, to be less apprehensive of any danger from me. I would sometimes lie down, and let five or six of them dance on my hand; and at last the boys and girls would venture to come and play at hide-and-seek in my hair.
I had now made good progress in understanding and speaking the language. The emperor had a mind one day to entertain me with several of the country shows, wherein they exceed all nations I have known, both for dexterity and magnificence. I was diverted with none so much as that of the rope-dancers, performed upon a slender white thread, extended about two feet, and twelve inches from the ground, Upon which I shall desire liberty, with the reader's patience, to enlarge a little.
This diversion is only practiced by those persons who are candidates for great employments, and high favor at court. They are trained in this art from their youth, and are not always of noble birth, or liberal education. When a great office is vacant, either by death or disgrace (which often happens,) five or six of those candidates petition the emperor to entertain his majesty and the court with a dance on the rope; and whoever jumps the highest, without falling, succeeds in the office.
Very often the chief ministers themselves are commanded to show their skill, and to convince the emperor that they have not lost their faculty. FlyNap, the treasurer, is allowed to cut a caper on the straight rope, at least an inch higher than any other lord in the whole empire. I have seen him do the somersault several times together, upon a trencher fixed on a rope which is no thicker than a common packthread in England. My friend Reldresal, principal secretary for private affairs, is, in my opinion, if I am not partial, the second after the treasurer; the rest of the great officers are much upon a par.
When students use inference, what are they able to do?
- A. Make logical assumptions based on contextual clues
- B. Independently navigate various types of text
- C. Summarize a text's main idea
- D. Paraphrase a text's main idea
Correct Answer: A
Rationale: When students use inference, they are able to make logical assumptions based on contextual clues found in the text. This involves reading between the lines and drawing conclusions that are not explicitly stated. Choice B is incorrect because it refers to the skill of navigating through different types of text independently, which is not specifically related to inference. Choices C and D are also incorrect as they refer to summarizing and paraphrasing a text's main idea, which are different skills from making inferences.
This excerpt is an adaptation of Robert Louis Stevenson's The Strange Case of Dr. Jekyll and Mr. Hyde.
"Did you ever come across a prot of his one Hyde?" He asked. "Hyde?" repeated Lanyon. "No. Never heard of him. Since my time." That was the amount of information that the lawyer carried back with him to the great, dark bed on which he tossed to and from until the small hours of the morning began to grow large. It was a night of little ease to his toiling mind, toiling in mere darkness and besieged by questions. Six o'clock struck on the bells of the church that was so conveniently near to Mr. Utterson's dwelling, and still he was digging at the problem.
Hitherto it had touched him on the intellectual side alone; but now his imagination also was engaged, or rather enslaved; and as he lay and tossed in the gross darkness of the night in the curtained room, Mr. Enfield's tale went by before his mind in a scroll of lighted pictures. He would be aware of the great field of lamps in a nocturnal city; then of the figure of a man walking swiftly; then of a child running from the doctor's; and then these met, and that human Juggernaut trod the child down and passed on regardless of her screams. Or else he would see a room in a rich house, where his friend lay asleep, dreaming and smiling at his dreams; and then the door of that room would be opened, the curtains of the bed plucked apart, the sleeper recalled, and, lo! There would stand by his side a figure to whom power was given, and even at that dead hour he must rise and do its bidding.
The figure in these two phases haunted the lawyer all night; and if at any time he dozed over, it was but to see it glide more stealthily through sleeping houses, or move the more swiftly, and still the more smoothly, even to dizziness, through wider labyrinths of lamp lighted city, and at every street corner crush a child and leave her screaming. And still the figure had no face by which he might know it; even in his dreams it had no face, or one that baffled him and melted before his eyes; and thus there it was that there sprung up and grew apace in the lawyer's mind a singularly strong, almost an inordinate, curiosity to behold the features of the real Mr. Hyde.
If he could but once set eyes on him, he thought the mystery would lighten and perhaps roll altogether away, as was the habit of mysterious things when well examined. He might see a reason for his friend's strange preference or bondage, and even for the startling clauses of the will. And at least it would be a face worth seeing: the face of a man who was without bowels of mercy: a face which had but to show itself to raise up, in the mind of the unimpressionable Enfield, a spirit of enduring hatred.
What is the setting of the story in this passage?
- A. In the city
- B. In the countryside
- C. In a jail
- D. In a mental health facility
Correct Answer: A
Rationale: The correct setting of the story in the passage is in the city. The passage describes urban elements such as street shops, a nocturnal city with lamps, and scenes of a man walking swiftly and a child being trodden down in the city streets. These details clearly point to an urban setting, making choice A 'In the city' the correct answer. Choices B, C, and D are incorrect because there is no mention or indication of a countryside, jail, or mental health facility setting in the passage.
This excerpt is an adaptation of Robert Louis Stevenson's The Strange Case of Dr. Jekyll and Mr. Hyde.
"Did you ever come across a prot of his one Hyde?" He asked. "Hyde?" repeated Lanyon. "No. Never heard of him. Since my time." That was the amount of information that the lawyer carried back with him to the great, dark bed on which he tossed to and from until the small hours of the morning began to grow large. It was a night of little ease to his toiling mind, toiling in mere darkness and besieged by questions. Six o'clock struck on the bells of the church that was so conveniently near to Mr. Utterson's dwelling, and still he was digging at the problem.
Hitherto it had touched him on the intellectual side alone; but now his imagination also was engaged, or rather enslaved; and as he lay and tossed in the gross darkness of the night in the curtained room, Mr. Enfield's tale went by before his mind in a scroll of lighted pictures. He would be aware of the great field of lamps in a nocturnal city; then of the figure of a man walking swiftly; then of a child running from the doctor's; and then these met, and that human Juggernaut trod the child down and passed on regardless of her screams. Or else he would see a room in a rich house, where his friend lay asleep, dreaming and smiling at his dreams; and then the door of that room would be opened, the curtains of the bed plucked apart, the sleeper recalled, and, lo! There would stand by his side a figure to whom power was given, and even at that dead hour he must rise and do its bidding.
The figure in these two phases haunted the lawyer all night; and if at any time he dozed over, it was but to see it glide more stealthily through sleeping houses, or move the more swiftly, and still the more smoothly, even to dizziness, through wider labyrinths of lamp lighted city, and at every street corner crush a child and leave her screaming. And still the figure had no face by which he might know it; even in his dreams it had no face, or one that baffled him and melted before his eyes; and thus there it was that there sprung up and grew apace in the lawyer's mind a singularly strong, almost an inordinate, curiosity to behold the features of the real Mr. Hyde.
If he could but once set eyes on him, he thought the mystery would lighten and perhaps roll altogether away, as was the habit of mysterious things when well examined. He might see a reason for his friend's strange preference or bondage, and even for the startling clauses of the will. And at least it would be a face worth seeing: the face of a man who was without bowels of mercy: a face which had but to show itself to raise up, in the mind of the unimpressionable Enfield, a spirit of enduring hatred.
What is the definition of the word 'haunt' in the following passage? 'From that time forward, Mr. Utterson began to haunt the door in the by street of shops.'
- A. To levitate
- B. To constantly visit
- C. To terrorize
- D. To daunt
Correct Answer: B
Rationale: 'Haunt' in this context means to visit a place frequently or persistently, which aligns with Mr. Utterson's actions of regularly going to the door in the by street of shops. The other choices are incorrect because 'levitate' means to rise or float in the air, 'terrorize' means to cause extreme fear, and 'daunt' means to make someone feel intimidated or apprehensive, none of which accurately reflect the meaning of 'haunt' in this context.