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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.

I. Questions 1 to 10 are based on this excerpt from a play.
In ancient Rome, the soldier Caius Martius has been given the name Coriolanus for capturing the city of Corioles. The Senate has nominated him for consul, the highest office, but he also needs the approval of the common people. In the marketplace he has just insulted the people and their elected officials, the tribunes, who now demand his death. In this scene, at his house, the nobles and his mother, Volumnia, urge him to go back and make peace.
Enter Coriolanus with Nobles.
CORIOLANUS.
Let them pull all about mine ears, present me
Death on the wheel or at wild horses’ heels,
Or pile ten hills on the Tarpeian rock,
That the precipitation might down stretch
5Below the beam of sight, yet will I still
Be thus to them.
FIRST PATRICIAN.
You do the nobler.
CORIOLANUS.
I muse my mother
Does not approve me further, who was wont
10To call them woollen vassals, things created
To buy and sell with groats, to show bare heads
In congregations, to yawn, be still, and wonder
When one but of my ordinance stood up
To speak of peace or war.
Enter Volumnia.
15I talk of you.
Why did you wish me milder? Would you have me
False to my nature? Rather say I play
The man I am.
VOLUMNIA.
O, sir, sir, sir,
20I would have had you put your power well on
Before you had worn it out.
CORIOLANUS.
Let go.
VOLUMNIA.
You might have been enough the man you are
With striving less to be so. Lesser had been
25The thwartings of your dispositions if
You had not showed them how ye were disposed
Ere 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 city
Cleave 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 anger
To better vantage.
MENENIUS.
Well said, noble woman.
40Before he should thus stoop to th’ herd—but that
The violent fit o’ th’ time craves it as physic
For 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 noble
But when extremities speak. I have heard you say
Honour and policy, like unsevered friends,
I’ th’ war do grow together. Grant that, and tell me
55In peace what each of them by th’ other lose
That they combine not there.
CORIOLANUS.
Tush, tush!
MENENIUS.
A good demand.
VOLUMNIA.
If it be honour in your wars to seem
60The same you are not, which for your best ends
You adopt your policy, how is it less or worse
That it shall hold companionship in peace
With honour as in war, since that to both
It stands in like request?
CORIOLANUS.
65Why force you this?
VOLUMNIA.
Because that now it lies you on to speak
To th’ people, not by your own instruction,
Nor by th’ matter which your heart prompts you,
But with such words that are but rooted in
70Your tongue, though but bastards and syllables
Of no allowance to your bosom’s truth.
Now, this no more dishonours you at all
Than to take in a town with gentle words,
Which else would put you to your fortune and
75The hazard of much blood.
I would dissemble with my nature where
My fortunes and my friends at stake required
I should do so in honour. I am in this
Your wife, your son, these senators, the nobles;
80And you will rather show our general louts
How you can frown than spend a fawn upon ’em
For the inheritance of their loves and safeguard
Of 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 loss
Of 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 business
Action is eloquence, and the eyes of th’ ignorant
More learned than the ears—waving thy head,
Which often thus correcting thy stout heart,
95Now humble as the ripest mulberry
That will not hold the handling. Or say to them
Thou art their soldier and, being bred in broils,
Hast not the soft way, which thou dost confess
Were fit for thee to use, as they to claim,
100In asking their good loves; but thou wilt frame
Thyself, forsooth, hereafter theirs, so far
As thou hast power and person.
MENENIUS.
This but done
Even as she speaks, why, their hearts were yours;
105For they have pardons, being asked, as free
As words to little purpose.
VOLUMNIA.
Prithee now,
Go, and be ruled; although I know thou hadst rather
Follow thine enemy in a fiery gulf
110Than flatter him in a bower.
Enter Cominius.
Here is Cominius.
COMINIUS.
I have been i’ th’ marketplace; and, sir, ’tis fit
You make strong party or defend yourself
By calmness or by absence. All’s in anger.
MENENIUS.
115Only fair speech.
COMINIUS.
I think ’twill serve, if he
Can 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 I
With my base tongue give to my noble heart
A 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 it
125And throw’t against the wind. To th’ marketplace!
You have put me now to such a part which never
I shall discharge to th’ life.
COMINIUS.
Come, come, we’ll prompt you.
VOLUMNIA.
I prithee now, sweet son, as thou hast said
130My praises made thee first a soldier, so,
To have my praise for this, perform a part
Thou hast not done before.
CORIOLANUS.
Well, I must do’t.
Away, my disposition, and possess me
135Some harlot’s spirit! My throat of war be turned,
Which choired with my drum, into a pipe
Small as an eunuch or the virgin voice
That babies lulls asleep! The smiles of knaves
Tent in my cheeks, and schoolboys’ tears take up
140The glasses of my sight! A beggar’s tongue
Make motion through my lips, and my armed knees,
Who bowed but in my stirrup, bend like his
That hath received an alms! I will not do’t,
Lest I surcease to honour mine own truth
145And, by my body’s action, teach my mind
A most inherent baseness.
VOLUMNIA.
At thy choice, then.
To beg of thee, it is my more dishonour
Than thou of them. Come all to ruin. Let
150Thy mother rather feel thy pride than fear
Thy dangerous stoutness, for I mock at death
With 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 beloved
Of 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 do
I’ th’ way of flattery further.
VOLUMNIA.
Do your will.
Exit Volumnia.
COMINIUS.
Away! The Tribunes do attend you. Arm yourself
165To answer mildly, for they are prepared
With accusations, as I hear, more strong
Than are upon you yet.
CORIOLANUS.
The word is “mildly.” Pray you, let us go.
Let them accuse me by invention, I
170Will 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.

Glosses
  • 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
1.
In lines 1 to 6, Coriolanus's description of the deaths the people might give him reveals chiefly his
A.fear that the nobles will abandon himB.determination not to change his conduct whatever it costsC.doubt about whether he has acted wiselyD.wish to be remembered as a martyr
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.

2.
In lines 8 to 14, Coriolanus is puzzled by his mother's attitude because she
A.warned him not to stand for consulB.has never shown interest in politicsC.once urged him to make peace with Rome's enemiesD.used to speak of the common people with contempt
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.

3.
Volumnia's words "I would have had you put your power well on / Before you had worn it out" (lines 20 to 21) suggest that Coriolanus should have
A.secured his office before showing how harshly he would use itB.used his power more often while he still had the people's supportC.handed his power to someone more patientD.refused the consulship until the people offered it freely
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.

4.
In the context of lines 50 to 52, the word "absolute" most nearly means
A.completeB.certainC.unbendingD.tyrannical
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.

5.
Volumnia's argument in lines 53 to 64 depends chiefly on
A.an appeal to his fear of the people's violenceB.a reminder of the honours he has already wonC.an analogy between deception in war and deception in peaceD.a threat to withdraw her love
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.

6.
Which of the following quotations most clearly shows that Volumnia sees the gestures of humility as a performance aimed at an audience?
A."I have a heart as little apt as yours, / But yet a brain that leads my use of anger / To better vantage" (lines 36 to 38)B."for in such business / Action is eloquence, and the eyes of th' ignorant / More learned than the ears" (lines 91 to 93)C."I mock at death / With as big heart as thou" (lines 151 to 152)D."But owe thy pride thyself" (line 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.

7.
Coriolanus's speech in lines 133 to 146 reveals his fear that
A.the people will see through his pretenceB.acting humble will in time make him base in factC.he lacks the skill to speak persuasivelyD.his mother will be shamed by his failure
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.

8.
Volumnia's words in lines 147 to 154 succeed in moving Coriolanus most likely because she
A.proves that the people will forgive himB.threatens to report his pride to the SenateC.agrees at last that his honour matters more than RomeD.withdraws the approval on which his sense of himself depends
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.

9.
The repetition of "mildly" in lines 168 to 172 most strongly suggests that Coriolanus
A.has been fully persuaded that gentleness is wiseB.is repeating the word as a rule imposed on him, not a change in his natureC.is calming himself out of fear of the tribunesD.no longer remembers the reasons his mother gave
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.

10.
The central conflict in this excerpt is best described as a conflict between
A.loyalty to family and loyalty to the godsB.military courage and physical cowardiceC.personal integrity and political necessityD.the rights of the people and the rights of the Senate
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.

II. Questions 11 to 15 are based on this essay. Questions 22 to 24 ask you to consider it together with Reading III.
The Clerk in the Furnace

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.

11.
In paragraph 1, the sentences "The work paid for his rent and his family. It did not pay for his attention" rely mainly on
A.a word used first literally and then figurativelyB.an exaggeration that mocks Lampman's employerC.a comparison between Lampman and other clerksD.a contradiction that the writer leaves unresolved
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.

12.
The writer's comparison of Lampman's poems to "postcards" (paragraph 2) conveys the view of earlier readers that the poems were
A.too short to be taken seriouslyB.written mainly for visitors to CanadaC.faithful to the scene but shallowD.sentimental about the past
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.

13.
In paragraph 3, the writer's main purpose is to
A.present the reasoning behind a view the writer goes on to disputeB.prove that Lampman opposed the railwayC.show that Ottawa was the centre of Canadian industryD.explain why Lampman left his job
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.

14.
The rhetorical question "Is that escape?" (paragraph 5) and the answer that follows suggest that the writer believes
A.Lampman should have written about citiesB.close attention to nature is a form of engagement, not withdrawalC.every poet must escape the demands of workD.readers cannot judge a poet's motives
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.

15.
The phrase "less a hammock than a lens" (paragraph 5) contrasts
A.the countryside and the cityB.the poet's private life and his public careerC.youthful hope and adult disappointmentD.idle comfort and focused seeing
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.

III. Questions 16 to 21 are based on this poem. Questions 22 to 24 ask you to consider it together with Reading II.
Heat
From plains that reel to southward, dim,
The road runs by me white and bare;
Up the steep hill it seems to swim
Beyond, and melt into the glare.
5Upward half way, or it may be
Nearer the summit, slowly steals
A hay-cart, moving dustily
With idly clacking wheels.
By his cart's side the wagoner
10Is slouching slowly at his ease,
Half-hidden in the windless blur
Of 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 move
In all the heat-held land.
Beyond me in the fields the sun
Soaks 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 breath
Disturbs the spider or the midge.
The water-bugs draw close beneath
The cool gloom of the bridge.
25Where the far elm-tree shadows flood
Dark 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 by
30Into the pale depth of the noon
A wandering thrush slides leisurely
His thin revolving tune.
In intervals of dreams I hear
The cricket from the droughty ground;
35The grass-hoppers spin into mine ear
A 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 that
Is always sharp or always sweet;
In the sloped shadow of my hat
I lean at rest, and drain the heat;
45Nay more, I think some blessèd power
Hath brought me wandering idly here:
In the full furnace of this hour
My thoughts grow keen and clear.

Archibald Lampman (1861 to 1899), from Among the Millet (1888). Public domain.

Glosses
  • Line 19marguerites, daisies
  • Line 22midge, a small fly
  • Line 34droughty, dry
16.
The details of the hay-cart "moving dustily / With idly clacking wheels" (lines 7 to 8) mainly establish
A.the poverty of the farmerB.the danger of the steep roadC.the noise that disturbs the speakerD.the slowness and drowsiness of the scene
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.

17.
The phrase "the heat-held land" (line 16) most strongly suggests that the heat
A.grips the land and stops its motionB.warms and comforts the landC.shows that the harvest is completeD.will soon be resisted by the land
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.

18.
In lines 17 to 18, the sun "Soaks in the grass and hath his will". The personification presents the sun as
A.cruel and destructiveB.powerful and unopposedC.tired and slowD.playful and teasing
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.

19.
The phrase "A small innumerable sound" (line 36) combines
A.the speaker's boredom and his delightB.the faintness of each sound and the countless number of its sourcesC.the quiet of the field and the noise of the cityD.the sound of the insects and the song of the thrush
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).

20.
The final stanza (lines 41 to 48) differs from the earlier stanzas mainly in that it
A.introduces a new settingB.abandons the regular rhyme schemeC.turns from the scene to the speaker's inner stateD.addresses a listener directly
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.

21.
The paradox in "In the full furnace of this hour / My thoughts grow keen and clear" (lines 47 to 48) is that
A.the hour feels long although it is shortB.conditions expected to dull the mind instead sharpen itC.the speaker is resting and working at the same timeD.the furnace gives off light but no warmth
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.

Questions 22 to 24 are based on Reading II and Reading III together.
22.
Which line from the poem most challenges the essay's claim that the speaker "does not doze" (paragraph 4)?
A."I count the marguerites one by one" (line 19)B."I lift mine eyes sometimes to gaze" (line 37)C."My thoughts grow keen and clear" (line 48)D."In intervals of dreams I hear" (line 33)
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.

23.
Both the essay and the poem suggest that
A.city work destroys the imaginationB.the Canadian landscape is best seen in summerC.stillness can be a condition for clear thoughtD.poets must withdraw from society to write well
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.

24.
The essay's account of Lampman's job most likely affects a reader's understanding of the poem's last line by suggesting that the "keen and clear" thoughts are
A.a freedom that the poet's working life did not allow himB.proof that the poem was written during office hoursC.a sign that he resented the farmers he describedD.a disguised complaint about his pay
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.

IV. Questions 25 to 33 are based on this excerpt from a book of linked stories.
Stephen Leacock (1869 to 1944) taught economics at McGill University in Montreal and was one of the best-known humorists writing in English. Sunshine Sketches of a Little Town (1912) describes Mariposa, an imaginary Ontario town usually taken to be modelled on Orillia, where Leacock spent his summers. This excerpt is the opening of the book.

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.

Glosses
  • 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
25.
In paragraph 1, the narrator's remark that it is "of no consequence" whether the reader knows Mariposa suggests that the town is
A.too small to appear on mapsB.unwelcoming to strangersC.typical of many Canadian townsD.about to disappear
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.

26.
The comparison of the steamer's ropes to those used on the Lusitania (paragraph 2) creates humour mainly through
A.the contrast between a great ocean liner and a boat that "goes nowhere in particular"B.the narrator's ignorance of shipsC.a hint of the disaster that later struck the LusitaniaD.criticism of wasteful spending in small towns
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.

27.
In paragraph 3, the narrator's comment that the official names "do not really matter. Nobody uses them" suggests that the people of Mariposa
A.have failed to name their streetsB.prefer familiar, personal names to official onesC.are ashamed of their townD.often get lost in their own town
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.

28.
The narrator's claim that Mariposa was laid out without the "shortsightedness" of Wall Street and Piccadilly (paragraph 4) is ironic because
A.Wall Street is in fact narrower than Missinaba StreetB.the narrator has never visited New York or LondonC.Mariposa's planners later regretted the width of the streetD.the width of Missinaba Street reflects empty space, not foresight
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.

29.
The phrase "to the eye of discernment a perfect jostle of public institutions" (paragraph 5) implies that
A.Mariposa's buildings are crowded too close togetherB.only a trained architect could appreciate the townC.only a loyal, generous eye sees a crowded centre where a stranger sees a few modest buildingsD.the town's institutions compete with one another for business
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.

30.
The sentence "But this quiet is mere appearance" (paragraph 7) marks a shift from
A.praise of the town to open criticism of itB.the town's past to its presentC.the narrator's voice to a resident's voiceD.the town's visible calm to the narrator's insistence that it is busy
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.

31.
Which detail most clearly undercuts the narrator's claim that Mariposa is "a perfect hive of activity" (paragraph 7)?
A."four men working on the sausage machines in the basement"B."as many more job-printing"C."dentists and lawyers with their coats off, ready to work at any moment"D."the long-drawn music of the running saw"
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.

32.
The narrator's attitude toward Mariposa throughout the excerpt is best described as
A.affectionate mockeryB.bitter contemptC.nostalgic sorrowD.detached neutrality
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.

33.
In paragraph 9, a visitor "fresh from New York" is "deceived", while after six months in Mariposa "the buildings get higher and higher". This suggests that
A.a place's importance depends largely on the outlook of the person living in itB.Mariposa grew rapidly after the narrator arrivedC.visitors from cities notice more than residents doD.New York's buildings are less impressive than they seem
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.

ScholarAB practice, original itemsEnglish 30-1

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.