English 30-1 Practice Set 1
Thirty-three Part B reading questions on four readings, with answers and the reasoning behind each one. Every question was written by ScholarAB. This is not an official Alberta Education examination.
Part B of the diploma is 70 multiple-choice questions on about eight to ten readings, and the exam is designed for three hours. This set is about half that size, so 85 minutes is exam pace. Read each whole reading first, including the note before it and the glosses after it. Then answer its questions in order before you open any answers.
- Reading I, a Shakespeare scene questions 1 to 10
- Reading II, an essay questions 11 to 15
- Reading III, a poem questions 16 to 21
- Readings II and III together questions 22 to 24
- Reading IV, a fiction excerpt questions 25 to 33
- Part A writing practice two assignments
Enter Coriolanus with Nobles.CORIOLANUS.Let them pull all about mine ears, present meDeath on the wheel or at wild horses’ heels,Or pile ten hills on the Tarpeian rock,That the precipitation might down stretch5Below the beam of sight, yet will I stillBe thus to them.FIRST PATRICIAN.You do the nobler.CORIOLANUS.I muse my motherDoes not approve me further, who was wont10To call them woollen vassals, things createdTo buy and sell with groats, to show bare headsIn congregations, to yawn, be still, and wonderWhen one but of my ordinance stood upTo speak of peace or war.Enter Volumnia.15I talk of you.Why did you wish me milder? Would you have meFalse to my nature? Rather say I playThe man I am.VOLUMNIA.O, sir, sir, sir,20I would have had you put your power well onBefore you had worn it out.CORIOLANUS.Let go.VOLUMNIA.You might have been enough the man you areWith striving less to be so. Lesser had been25The thwartings of your dispositions ifYou had not showed them how ye were disposedEre they lacked power to cross you.CORIOLANUS.Let them hang!VOLUMNIA.Ay, and burn too.Enter Menenius with the Senators.MENENIUS.30Come, come, you have been too rough, something too rough.You must return and mend it.FIRST SENATOR.There’s no remedy,Unless, by not so doing, our good cityCleave in the midst and perish.VOLUMNIA.35Pray be counselled.I have a heart as little apt as yours,But yet a brain that leads my use of angerTo better vantage.MENENIUS.Well said, noble woman.40Before he should thus stoop to th’ herd—but thatThe violent fit o’ th’ time craves it as physicFor the whole state—I would put mine armour on,Which I can scarcely bear.CORIOLANUS.What must I do?MENENIUS.45Return to th’ Tribunes.CORIOLANUS.Well, what then? What then?MENENIUS.Repent what you have spoke.CORIOLANUS.For them? I cannot do it to the gods.Must I then do’t to them?VOLUMNIA.50You are too absolute,Though therein you can never be too nobleBut when extremities speak. I have heard you sayHonour and policy, like unsevered friends,I’ th’ war do grow together. Grant that, and tell me55In peace what each of them by th’ other loseThat they combine not there.CORIOLANUS.Tush, tush!MENENIUS.A good demand.VOLUMNIA.If it be honour in your wars to seem60The same you are not, which for your best endsYou adopt your policy, how is it less or worseThat it shall hold companionship in peaceWith honour as in war, since that to bothIt stands in like request?CORIOLANUS.65Why force you this?VOLUMNIA.Because that now it lies you on to speakTo th’ people, not by your own instruction,Nor by th’ matter which your heart prompts you,But with such words that are but rooted in70Your tongue, though but bastards and syllablesOf no allowance to your bosom’s truth.Now, this no more dishonours you at allThan to take in a town with gentle words,Which else would put you to your fortune and75The hazard of much blood.I would dissemble with my nature whereMy fortunes and my friends at stake requiredI should do so in honour. I am in thisYour wife, your son, these senators, the nobles;80And you will rather show our general loutsHow you can frown than spend a fawn upon ’emFor the inheritance of their loves and safeguardOf what that want might ruin.MENENIUS.Noble lady!—85Come, go with us; speak fair. You may salve so,Not what is dangerous present, but the lossOf what is past.VOLUMNIA.I prithee now, my son,Go to them with this bonnet in thy hand,90And thus far having stretched it—here be with them—Thy knee bussing the stones—for in such businessAction is eloquence, and the eyes of th’ ignorantMore learned than the ears—waving thy head,Which often thus correcting thy stout heart,95Now humble as the ripest mulberryThat will not hold the handling. Or say to themThou art their soldier and, being bred in broils,Hast not the soft way, which thou dost confessWere fit for thee to use, as they to claim,100In asking their good loves; but thou wilt frameThyself, forsooth, hereafter theirs, so farAs thou hast power and person.MENENIUS.This but doneEven as she speaks, why, their hearts were yours;105For they have pardons, being asked, as freeAs words to little purpose.VOLUMNIA.Prithee now,Go, and be ruled; although I know thou hadst ratherFollow thine enemy in a fiery gulf110Than flatter him in a bower.Enter Cominius.Here is Cominius.COMINIUS.I have been i’ th’ marketplace; and, sir, ’tis fitYou make strong party or defend yourselfBy calmness or by absence. All’s in anger.MENENIUS.115Only fair speech.COMINIUS.I think ’twill serve, if heCan thereto frame his spirit.VOLUMNIA.He must, and will.—Prithee, now, say you will, and go about it.CORIOLANUS.120Must I go show them my unbarbed sconce? Must IWith my base tongue give to my noble heartA lie that it must bear? Well, I will do’t.Yet, were there but this single plot to lose,This mould of Martius, they to dust should grind it125And throw’t against the wind. To th’ marketplace!You have put me now to such a part which neverI shall discharge to th’ life.COMINIUS.Come, come, we’ll prompt you.VOLUMNIA.I prithee now, sweet son, as thou hast said130My praises made thee first a soldier, so,To have my praise for this, perform a partThou hast not done before.CORIOLANUS.Well, I must do’t.Away, my disposition, and possess me135Some harlot’s spirit! My throat of war be turned,Which choired with my drum, into a pipeSmall as an eunuch or the virgin voiceThat babies lulls asleep! The smiles of knavesTent in my cheeks, and schoolboys’ tears take up140The glasses of my sight! A beggar’s tongueMake motion through my lips, and my armed knees,Who bowed but in my stirrup, bend like hisThat hath received an alms! I will not do’t,Lest I surcease to honour mine own truth145And, by my body’s action, teach my mindA most inherent baseness.VOLUMNIA.At thy choice, then.To beg of thee, it is my more dishonourThan thou of them. Come all to ruin. Let150Thy mother rather feel thy pride than fearThy dangerous stoutness, for I mock at deathWith as big heart as thou. Do as thou list.Thy valiantness was mine; thou suck’dst it from me,But owe thy pride thyself.CORIOLANUS.155Pray, be content.Mother, I am going to the marketplace.Chide me no more. I’ll mountebank their loves,Cog their hearts from them, and come home belovedOf all the trades in Rome. Look, I am going.160Commend me to my wife. I’ll return consul,Or never trust to what my tongue can doI’ th’ way of flattery further.VOLUMNIA.Do your will.Exit Volumnia.COMINIUS.Away! The Tribunes do attend you. Arm yourself165To answer mildly, for they are preparedWith accusations, as I hear, more strongThan are upon you yet.CORIOLANUS.The word is “mildly.” Pray you, let us go.Let them accuse me by invention, I170Will answer in mine honour.MENENIUS.Ay, but mildly.CORIOLANUS.Well, mildly be it, then. Mildly.
William Shakespeare, Coriolanus, Act III, scene ii. First printed in 1623. Public domain.
- Line 3Tarpeian rock, a cliff in Rome from which traitors were thrown
- Line 4precipitation, fall
- Line 5beam of sight, range of vision
- Line 8muse, wonder
- Line 10woollen vassals, servants dressed in coarse wool
- Line 11groats, coins of little value
- Line 13ordinance, rank
- Line 25thwartings of your dispositions, opposition to what you wanted
- Line 41physic, medicine
- Line 53policy, cunning, strategy
- Line 66it lies you on, it is your duty
- Line 70 to 71bastards and syllables of no allowance, words that your heart does not accept as its own
- Line 73take in, capture
- Line 80general louts, common people
- Line 81fawn, flattering gesture
- Line 89bonnet, cap
- Line 91bussing, kissing
- Line 94stout, proud
- Line 97broils, battles
- Line 120unbarbed sconce, bare head
- Line 124mould of Martius, his body
- Line 127discharge to th’ life, perform convincingly
- Line 135harlot, one who sells affection
- Line 136choired, sang in harmony
- Line 139tent, lodge
- Line 140glasses of my sight, eyes
- Line 144surcease, cease
- Line 151stoutness, stubbornness
- Line 157mountebank, win by trickery, as a travelling quack sells false cures
- Line 158cog, cheat
Show the answer to question 1
The answer is B
The list of tortures ends "yet will I still / Be thus to them" (lines 5 to 6). The point of the list is that no punishment will change him. Nothing in the lines suggests fear, doubt or a wish to be remembered. The nobles in fact agree with him in line 7.
Show the answer to question 2
The answer is D
He recalls that she called the people "woollen vassals" fit only to buy and sell and gape at their betters (lines 10 to 14). Her new advice to be milder contradicts that. A and C are invented. B is contradicted by her role in the scene.
Show the answer to question 3
The answer is A
Power is treated as a garment to be settled into before it is worn hard. Lines 23 to 27 make the meaning explicit. He would have met less opposition if he had not shown the people his nature before they lost the power to block him. B reverses her advice. C and D have no support.
Show the answer to question 4
The answer is C
Volumnia grants that his firmness is noble but says it goes too far "when extremities speak", that is, in a crisis that calls for flexibility. "Unbending" fits. "Complete" and "certain" are common meanings that do not fit the context. "Tyrannical" borrows from "absolute monarch" and is too strong, since she calls the quality noble.
Show the answer to question 5
The answer is C
He has said that honour and policy (strategy) work together in war. She asks why they should not work together in peace too. If it is honourable to seem what you are not in war, it is no worse in peace. B and D are not part of this speech. D comes later, in lines 147 to 154.
Show the answer to question 6
The answer is B
She says the people judge by what they see rather than what they hear, so the bowed head and the bent knee will speak for him. That is performance for an audience. A shows that she controls her own anger, but it says nothing about gestures. C and D are about courage and pride.
Show the answer to question 7
The answer is B
The speech ends with the fear that "by my body's action" he will "teach my mind / A most inherent baseness" (lines 145 to 146). The outward act will become the inner self. C is a tempting echo of line 127, where he doubts that he can play the part convincingly, but that is a different speech. A and D are not in the passage.
Show the answer to question 8
The answer is D
In lines 129 to 132 she reminds him that her praise first made him a soldier. Now she refuses to beg, tells him to do as he likes, and claims his courage as hers while leaving him his pride. Within two lines he agrees to go (lines 155 to 156). C misreads her tone, which is scornful, not agreeing. A and B are not in the text.
Show the answer to question 9
The answer is B
"The word is 'mildly'" treats mildness as a password handed to him. In the same speech he says he will answer "in mine honour" (line 170). Menenius has to repeat "but mildly" (line 171). The clipped final line sounds like a man reminding himself of an order. A is contradicted by line 170. C ignores his contempt for the tribunes.
Show the answer to question 10
The answer is C
Coriolanus's sense of himself ("Would you have me / False to my nature?", lines 16 to 17) is set against the city's need for him to submit (lines 32 to 34, "our good city / Cleave in the midst and perish"). D is the play's wider political background, not the scene's conflict. A and B are not present.
1For sixteen years Archibald Lampman went to a desk in the Post Office Department in Ottawa and copied out the paperwork of a young country. The job was routine and the salary small. The work paid for his rent and his family. It did not pay for his attention, which he saved for weekends and holidays, when he walked out into the farms and woods beyond the city.
2Lampman published his first collection, Among the Millet, in 1888. He died in 1899 at the age of thirty-seven. In between, he wrote some of the most closely observed poems about the Canadian landscape that anyone had yet produced, and some readers have treated them as postcards, pleasant and accurate and a little dull. A poet who spends forty-eight lines on cows, crickets and a hay-cart, the argument went, is a poet hiding from his own century.
3It is easy to see why the charge stuck. Lampman’s Canada was changing fast. The railway had crossed the country in 1885. Cities were growing, factories were filling them, and the clerks of Ottawa were counting it all. Against that noise, a poem in which “the sole thing that seems to move” is a slow wagon on a far hill can look like a man pulling a blanket over his head.
4But read “Heat” to the end. The speaker does not doze. He counts. He counts the marguerites one by one, he hears the grasshoppers’ “small innumerable sound,” and he notices which insects shelter under the bridge. Stillness, in this poem, is not an absence of activity. It is the condition that makes a different kind of activity possible. By the last lines the heat that has flattened everything else has sharpened the speaker’s mind, and his thoughts “grow keen and clear.”
5Is that escape? Only if attention is escape. The clerk at his desk was asked to process, sort and forget. The walker in the field was free to look until he understood. Lampman did not run from his century so much as refuse its pace. He went out into the noon to practise the one skill his office had no use for, and the poem is the record of that practice, less a hammock than a lens.
6Most of us now carry the clerk’s desk in a pocket. Lampman’s poem suggests that the remedy is not distance from the world but slower, closer looking at whatever part of it is in front of us.
Written by ScholarAB for this practice set.
Show the answer to question 11
The answer is A
"Paid" means wages in the first sentence and something like "earned" or "claimed" in the second. The shift sets up the essay's contrast between work and attention. No other clerks are mentioned, the employer is not mocked, and the essay goes on to resolve the contrast.
Show the answer to question 12
The answer is C
The writer glosses the image at once, "pleasant and accurate and a little dull". A postcard shows a scene correctly and says nothing more. B takes the image too literally. A and D are not in the paragraph.
Show the answer to question 13
The answer is A
"It is easy to see why the charge stuck" is a concession. The writer sets out the case for calling Lampman an escapist, then answers it with "But read 'Heat' to the end" in paragraph 4. B and C overread the details. D is false, since paragraph 1 says he kept the job.
Show the answer to question 14
The answer is B
"Only if attention is escape" turns the charge around. Looking closely is an activity, so the poem is not a retreat. A is the critics' view, which the writer rejects. C and D overgeneralize.
Show the answer to question 15
The answer is D
A hammock is for drowsing and a lens is for seeing sharply. The image restates the essay's claim that the poem is about attention, not escape. A is the essay's background, not the contrast in this image.
HeatFrom plains that reel to southward, dim,The road runs by me white and bare;Up the steep hill it seems to swimBeyond, and melt into the glare.5Upward half way, or it may beNearer the summit, slowly stealsA hay-cart, moving dustilyWith idly clacking wheels.By his cart's side the wagoner10Is slouching slowly at his ease,Half-hidden in the windless blurOf white dust puffing to his knees.This wagon on the height above,From sky to sky on either hand,15Is the sole thing that seems to moveIn all the heat-held land.Beyond me in the fields the sunSoaks in the grass and hath his will;I count the marguerites one by one;20Even the buttercups are still.On the brook yonder not a breathDisturbs the spider or the midge.The water-bugs draw close beneathThe cool gloom of the bridge.25Where the far elm-tree shadows floodDark patches in the burning grass,The cows, each with her peaceful cud,Lie waiting for the heat to pass.From somewhere on the slope near by30Into the pale depth of the noonA wandering thrush slides leisurelyHis thin revolving tune.In intervals of dreams I hearThe cricket from the droughty ground;35The grass-hoppers spin into mine earA small innumerable sound.I lift mine eyes sometimes to gaze:The burning sky-line blinds my sight:The woods far off are blue with haze;40The hills are drenched in light.And yet to me not this or thatIs always sharp or always sweet;In the sloped shadow of my hatI lean at rest, and drain the heat;45Nay more, I think some blessèd powerHath brought me wandering idly here:In the full furnace of this hourMy thoughts grow keen and clear.
Archibald Lampman (1861 to 1899), from Among the Millet (1888). Public domain.
- Line 19marguerites, daisies
- Line 22midge, a small fly
- Line 34droughty, dry
Show the answer to question 16
The answer is D
"Slowly steals" (line 6), "idly" and the dust all slow the scene down, and line 10 adds the wagoner "slouching slowly at his ease". The clacking is idle, not disturbing. Poverty and danger are not suggested.
Show the answer to question 17
The answer is A
"Held" makes the heat a force that holds the land still, and lines 15 to 16 say the wagon is the only thing that seems to move. B is too gentle for a heat that blurs and burns elsewhere in the poem. C and D have no support.
Show the answer to question 18
The answer is B
"Hath his will" means the sun does as it pleases, and nothing resists it, since "Even the buttercups are still" (line 20). The poem never treats the heat as cruel or destructive, which is the tempting reading of a title like "Heat". C belongs to the cart, not the sun.
Show the answer to question 19
The answer is B
Each grasshopper is small, and there are too many to count. The two adjectives pull against each other to describe one blended sound. The city is never mentioned. The thrush is in an earlier stanza (lines 29 to 32).
Show the answer to question 20
The answer is C
"And yet" (line 41) marks the turn. The first five stanzas describe the road, fields, brook, cows and sounds. The last describes what the hour does to the speaker. The rhyme scheme stays the same, the setting is the same, and no listener is addressed.
Show the answer to question 21
The answer is B
A furnace melts and softens things, and a heat that has stilled the whole landscape would be expected to make the speaker drowsy. Instead his thoughts grow "keen", a word for sharp edges. C is close but treats thinking as work, which the poem does not do. A and D are not in the lines.
Show the answer to question 22
The answer is D
"Intervals of dreams" admits that the speaker drifts in and out of sleep. The other three lines support the essay's claim. Linked questions on the exam can ask for contradictory evidence as well as supporting evidence.
Show the answer to question 23
The answer is C
The poem ends with keen thoughts in a still hour. The essay says stillness "is the condition that makes a different kind of activity possible". A overstates the essay, which calls the work routine, not destructive. D is the view the essay argues against.
Show the answer to question 24
The answer is A
Paragraph 5 sets the clerk who must "process, sort and forget" against the walker who is free to look. Read with that context, the clarity at the end is something the office did not give him. B and D take the context too literally. C has no support.
1I don't know whether you know Mariposa. If not, it is of no consequence, for if you know Canada at all, you are probably well acquainted with a dozen towns just like it.
2There it lies in the sunlight, sloping up from the little lake that spreads out at the foot of the hillside on which the town is built. There is a wharf beside the lake, and lying alongside of it a steamer that is tied to the wharf with two ropes of about the same size as they use on the Lusitania. The steamer goes nowhere in particular, for the lake is landlocked and there is no navigation for the Mariposa Belle except to "run trips" on the first of July and the Queen's Birthday, and to take excursions of the Knights of Pythias and the Sons of Temperance to and from the Local Option Townships.
3In point of geography the lake is called Lake Wissanotti and the river running out of it the Ossawippi, just as the main street of Mariposa is called Missinaba Street and the county Missinaba County. But these names do not really matter. Nobody uses them. People simply speak of the "lake" and the "river" and the "main street," much in the same way as they always call the Continental Hotel, "Pete Robinson's" and the Pharmaceutical Hall, "Eliot's Drug Store." But I suppose this is just the same in every one else's town as in mine, so I need lay no stress on it.
4The town, I say, has one broad street that runs up from the lake, commonly called the Main Street. There is no doubt about its width. When Mariposa was laid out there was none of that shortsightedness which is seen in the cramped dimensions of Wall Street and Piccadilly. Missinaba Street is so wide that if you were to roll Jeff Thorpe's barber shop over on its face it wouldn't reach half way across. Up and down the Main Street are telegraph poles of cedar of colossal thickness, standing at a variety of angles and carrying rather more wires than are commonly seen at a transatlantic cable station.
5On the Main Street itself are a number of buildings of extraordinary importance,—Smith's Hotel and the Continental and the Mariposa House, and the two banks (the Commercial and the Exchange), to say nothing of McCarthy's Block (erected in 1878), and Glover's Hardware Store with the Oddfellows' Hall above it. Then on the "cross" street that intersects Missinaba Street at the main corner there is the Post Office and the Fire Hall and the Young Men's Christian Association and the office of the Mariposa Newspacket,—in fact, to the eye of discernment a perfect jostle of public institutions comparable only to Threadneedle Street or Lower Broadway. On all the side streets there are maple trees and broad sidewalks, trim gardens with upright calla lilies, houses with verandahs, which are here and there being replaced by residences with piazzas.
6To the careless eye the scene on the Main Street of a summer afternoon is one of deep and unbroken peace. The empty street sleeps in the sunshine. There is a horse and buggy tied to the hitching post in front of Glover's hardware store. There is, usually and commonly, the burly figure of Mr. Smith, proprietor of Smith's Hotel, standing in his chequered waistcoat on the steps of his hostelry, and perhaps, further up the street, Lawyer Macartney going for his afternoon mail, or the Rev. Mr. Drone, the Rural Dean of the Church of England Church, going home to get his fishing rod after a mothers' auxiliary meeting.
7But this quiet is mere appearance. In reality, and to those who know it, the place is a perfect hive of activity. Why, at Netley's butcher shop (established in 1882) there are no less than four men working on the sausage machines in the basement; at the Newspacket office there are as many more job-printing; there is a long distance telephone with four distracting girls on high stools wearing steel caps and talking incessantly; in the offices in McCarthy's block are dentists and lawyers with their coats off, ready to work at any moment; and from the big planing factory down beside the lake where the railroad siding is, you may hear all through the hours of the summer afternoon the long-drawn music of the running saw.
8Busy—well, I should think so! Ask any of its inhabitants if Mariposa isn't a busy, hustling, thriving town. Ask Mullins, the manager of the Exchange Bank, who comes hustling over to his office from the Mariposa House every day at 10.30 and has scarcely time all morning to go out and take a drink with the manager of the Commercial; or ask—well, for the matter of that, ask any of them if they ever knew a more rushing go-a-head town than Mariposa.
9Of course if you come to the place fresh from New York, you are deceived. Your standard of vision is all astray, You do think the place is quiet. You do imagine that Mr. Smith is asleep merely because he closes his eyes as he stands. But live in Mariposa for six months or a year and then you will begin to understand it better; the buildings get higher and higher; the Mariposa House grows more and more luxurious; McCarthy's block towers to the sky; the 'buses roar and hum to the station; the trains shriek; the traffic multiplies; the people move faster and faster; a dense crowd swirls to and fro in the post-office and the five and ten cent store—and amusements! well, now! lacrosse, baseball, excursions, dances, the Fireman's Ball every winter and the Catholic picnic every summer; and music—the town band in the park every Wednesday evening, and the Oddfellows' brass band on the street every other Friday; the Mariposa Quartette, the Salvation Army—why, after a few months' residence you begin to realize that the place is a mere mad round of gaiety.
Stephen Leacock, from “The Hostelry of Mr. Smith,” chapter 1 of Sunshine Sketches of a Little Town (1912). Public domain.
- Paragraph 2Lusitania, a famous British ocean liner of the time
- Paragraph 2Knights of Pythias, Sons of Temperance, social and temperance clubs
- Paragraph 2Local Option Townships, places that had voted to ban the sale of alcohol
- Paragraph 4 and 5Wall Street, Piccadilly, Threadneedle Street, Lower Broadway, busy business streets of New York and London
- Paragraph 5piazzas, a grander word for verandahs
- Paragraph 7job-printing, printing small orders such as posters and tickets
Show the answer to question 25
The answer is C
The sentence goes on, "you are probably well acquainted with a dozen towns just like it". A, B and D have no support.
Show the answer to question 26
The answer is A
The ropes are fit for the most famous ship afloat, and the boat they hold runs holiday trips on a landlocked lake. The mismatch is the joke. C reads a later event into the text, since the book appeared in 1912 and the Lusitania sank in 1915. Checking when a text was written is part of reading it in context. B and D misread the narrator's affectionate tone.
Show the answer to question 27
The answer is B
The narrator's examples are "the lake", "the main street", "Pete Robinson's" for the Continental Hotel and "Eliot's Drug Store" for the Pharmaceutical Hall. Places are known by habit and by the people who run them. The streets do have names, so A is wrong. C and D have no support.
Show the answer to question 28
The answer is D
The narrator praises the planners as if they had prepared for heavy traffic. The street's width is measured by rolling a barber shop across it, and the town has nothing to fill it. A may well be literally true, but it is not where the irony lies. B and C are invented.
Show the answer to question 29
The answer is C
"Eye of discernment" flatters the reader who sees things the Mariposa way. The list itself is a post office, a fire hall, a YMCA and a newspaper office, which hardly rival Threadneedle Street. A takes "jostle" literally. B and D are not suggested.
Show the answer to question 30
The answer is D
Paragraph 6 shows the sleeping street, the tied horse and Mr. Smith on his steps. Paragraph 7 claims "a perfect hive of activity". The narrator's voice continues throughout, and the praise continues too, only more comically.
Show the answer to question 31
The answer is C
The professionals are only "ready" to work. Nobody is working, so the evidence for bustle shows idleness. A, B and D describe real, if modest, work. In paragraph 8, Mullins, who "has scarcely time all morning to go out and take a drink", is the same joke.
Show the answer to question 32
The answer is A
The narrator exaggerates the town's importance in order to laugh at it, but the details are warm (the gardens, the band in the park, the Fireman's Ball), and in paragraph 3 he claims it as his own town ("as in mine"). Nothing is bitter or sad, and the narrator is plainly not neutral. Tone questions like this are among the hardest on the real exam. Weigh every word of each option.
Show the answer to question 33
The answer is A
The buildings do not grow. The resident's sense of scale shrinks to fit the town, so the same street becomes "a mere mad round of gaiety". B takes the joke literally. C reverses the narrator's claim. D is not discussed.
Part A writing practice
Part A is the written half of the exam, with two assignments on one theme. The real prompts always include a visual text and come in their own booklet. For practice, use Reading I and Reading II above as your prompting texts.
Assignment I, Personal Response to Texts
Suggested 600 to 1,200 words, about 45 to 60 minutes
What do you think about the idea that the person others expect us to be can differ from the person we are? Support your ideas with reference to one or both readings and to your own experiences and observations. Choose any prose form.
Assignment II, Critical/Analytical Response to Literary Texts
Suggested 800 to 1,600 words, about 1.5 to 2 hours
In a literary text you studied in English 30-1, what ideas does the writer develop about how people respond when the role they are expected to play conflicts with their sense of who they are? Do not write about Reading I or Reading II.
Planning, by scoring category
- Ideas and Impressions. State a view that qualifies the topic. “It depends on who is doing the expecting” goes further than “Yes, people wear masks.”
- Presentation. Choose the form first. If you write a story, use the planning space to say how it links to the readings.
- Thought and Understanding. Unpack “role,” “expected” and “sense of who they are” before you choose a text.
- Supporting Evidence. Choose three moments that prove a claim and explain each one. Do not retell the plot.
- Form and Structure. Keep one controlling idea that every paragraph moves forward.
- Matters of Choice and Correctness. Leave ten minutes at the end to reread for sentence errors.
Official practice from Alberta Education
Real released diploma questions, the exam blueprint and marked student writing are free on alberta.ca. Your school can also sign you in to the practice tests on the digital exam platform.