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SAT Section One : Critical Reading Sample Questions:

1. He was a un-common small man, he really was. Certainly not so small as he was made out to be, but
where IS your Dwarf as is? He was a most uncommon small man, with a most uncommon large Ed; and
what he had inside that Ed, nobody ever knowed but himself: even supposin himself to have ever took
stock of it, which it would have been a stiff job for even him to do.
The kindest little man as never growed! Spirited, but not proud. When he travelled with the Spotted Baby
though he knowed himself to be a nat'ral Dwarf, and knowed the Baby's spots to be put upon him artificial,
he nursed that Baby like a mother. You never heerd him give a ill-name to a Giant. He DID allow himself
to break out into strong language respectin the Fat Lady from Norfolk; but that was an affair of the 'art; and
when a man's 'art has been trifled with by a lady, and the preference giv to a Indian, he ain't master of his
actions.
He was always in love, of course; every human nat'ral phenomenon is. And he was always in love with a
large woman; I never knowed the Dwarf as could be got to love a small one. Which helps to keep 'em the
Curiosities they are.
One sing'ler idea he had in that Ed of his, which must have meant something, or it wouldn't have been
there. It was always his opinion that he was entitled to property. He never would put his name to anything.
He had been taught to write, by the young man without arms, who got his living with his toes (quite a
writing master HE was, and taught scores in the line), but Chops would have starved to death, afore he'd
have gained a bit of bread by putting his hand to a paper. This is the more curious to bear in mind,
because HE had no property, nor hope of property, except his house and a sarser. When I say his house,
I mean the box, painted and got up outside like a reg'lar six-roomer, that he used to creep into, with a
diamond ring (or quite as good to look at) on his forefinger, and ring a little bell out of what the Public
believed to be the Drawing-room winder. And when I say a sarser, I mean a Chaney sarser in which he
made a collection for himself at the end of every Entertainment. His cue for that, he took from me: "Ladies
and gentlemen, the little man will now walk three times round the Cairawan, and retire behind the curtain."
When he said anything important, in private life, he mostly wound it up with this form of words, and they
was generally the last thing he said to me at night afore he went to bed.
He had what I consider a fine mind--a poetic mind. His ideas respectin his property never come upon him
so strong as when he sat upon a barrel-organ and had the handle turned. Arter the wibration had run
through him a little time, he would screech out, "Toby, I feel my property coming--grind away! I'm counting
my guineas by thousands, Toby--grind away! Toby, I shall be a man of fortun! I feel the Mint a jingling in
me, Toby, and I'm swelling out into the Bank of England!" Such is the influence of music on a poetic mind.
Not that he was partial to any other music but a barrel-organ; on the contrary, hated it.
He had a kind of a everlasting grudge agin the Public: which is a thing you may notice in many
phenomenons that get their living out of it. What riled him most in the nater of his occupation was, that it
kep him out of Society. He was continiwally saying, "Toby, my ambition is, to go into Society. The curse of
my position towards the Public is, that it keeps me hout of Society. This don't signify to a low beast of a
Indian; he an't formed for Society. This don't signify to a Spotted Baby; HE an't formed for Society. I am."
Which selection best represents the device displayed in the overall excerpts but especially summated in
the last paragraph in last paragraph?

A) epic
B) paradox
C) allegory
D) choral
E) allusion

2. This passage discusses the work of Abe Kobo, a Japanese novelist of the twentieth century.
Abe Kobo is one of the great writers of postwar Japan. His literature is richer, less predictable, and wider-
ranging than that of his famed contemporaries, Mishima Yukio and Nobel laureate Oe Kenzaburo. It is
infused with the passion and strangeness of his experiences in Manchuria, which was a Japanese colony
on mainland China before World War II.
Abe spent his childhood and much of his youth in Manchuria, and, as a result, the orbit of his work would
be far less controlled by the oppressive gravitational pull of the themes of furusato (hometown) and the
emperor than his contemporaries'.
Abe, like most of the sons of Japanese families living in Manchuria, did return to Japan for schooling. He
entered medical school in Tokyo in 1944--just in time to forge himself a medical certificate claiming ill
health; this allowed him to avoid fighting in the war that Japan was already losing and return to Manchuria.
When Japan lost the war, however, it also lost its Manchurian colony. The Japanese living there were
attacked by the Soviet Army and various guerrilla bands. They suddenly found themselves refugees,
desperate for food. Many unfit men were abandoned in the Manchurian desert. At this apocalyptic time,
Abe lost his father to cholera.
He returned to mainland Japan once more, where the young were turning to Marxism as a rejection of the
militarism of the war. After a brief, unsuccessful stint at medical school, he became part of a Marxist group
of avant-garde artists. His work at this time was passionate and outspoken on political matters, adopting
black humor as its mode of critique.
During this time, Abe worked in the genres of theater, music, and photography. Eventually, he
mimeographed fifty copies of his first "published" literary work, entitled Anonymous Poems, in 1947. It
was a politically charged set of poems dedicated to the memory of his father and friends who had died in
Manchuria. Shortly thereafter, he published his first novel, For a Signpost at the End of a Road, which
imagined another life for his best friend who had died in the Manchurian desert. Abe was also active in the
Communist Party, organizing literary groups for workingmen.
Unfortunately, most of this radical early work is unknown outside Japan and underappreciated even in
Japan. In early 1962, Abe was dismissed from the Japanese Liberalist Party. Four months later, he
published the work that would blind us to his earlier oeuvre, Woman in the Dunes. It was director
Teshigahara Hiroshi's film adaptation of Woman in the Dunes that brought Abe's work to the international
stage. The movie's fame has wrongly led readers to view the novel as Abe's masterpiece. It would be
more accurate to say that the novel simply marked a turning point in his career, when Abe turned away
from the experimental and heavily political work of his earlier career. Fortunately, he did not then turn to
furusato and the emperor after all, but rather began a somewhat more realistic exploration of his
continuing obsession with homelessness and alienation. Not completely a stranger to his earlier
commitment to Marxism, Abe turned his attention, beginning in the sixties, to the effects on the individual
of Japan's rapidly urbanizing, growth driven, increasingly corporate society.
The author refers to "the orbit" of Abe's work (2nd paragraph) to emphasize that

A) conventional themes can limit an author's individuality.
B) Abe's work is so different from his contemporaries' that it is like another solar system.
C) his work covers a wide range of themes.
D) the emperor is often compared to a sun.
E) Abe's travels were the primary themes in his work.

3. Margaret Walker, who would become one of the most important twentieth century African-American poets,
was born in Birmingham, Alabama, in 1915. Her parents, a minister and a music teacher, encouraged her
to read poetry and philosophy even as a child. Walker completed her high school education at Gilbert
Academy in New Orleans and went on to attend New Orleans University for two years. It was then that the
important Harlem Renaissance poet Langston Hughes recognized her talent and persuaded her to
continue her education in the North. She transferred to Northwestern University in Illinois, where she
received a degree in English in 1935. Her poem, "For My People," which would remain one of her most
important works, was also her first publication, appearing in Poetry magazine in 1937.
The passage cites Walker's interaction with Langston Hughes as

A) a great encouragement for Walker's confidence as a poet.
B) instrumental in her early work being published.
C) important to her choice to study at New Orleans University.
D) influential in her decision to study at Northwestern University.
E) not as important at the time it happened as it is now, due to Hughes' fame.

4. In the year 1860, the reputation of Doctor Wybrow as a London physician reached its highest point. It was
re ported on good authority that he was in receipt of one of the largest incomes derived from the practice
of medicine in modern times.
One afternoon, towards the close of the London season, the doctor had just taken his luncheon after a
specially hard morning's work in his consulting-room, and with a formidable list of visits to patients at their
own houses to fill up the rest of his day--when the servant announced that a lady wished to speak to him.
"Who is she?" the Doctor asked. "A stranger?" "Yes, sir."
"I see no strangers out of consulting-hours. Tell her what the hours are, and send her away." "I have told
her, sir."
"Well?"
"And she won't go."
"Won't go?" The doctor smiled as he repeated the words. He was a humorist in his way; and there was an
absurd side to the situation which rather amused him. "Has this obstinate lady given you her name?" he
inquired.
"No, sir. She refused to give any name--she said she wouldn't keep you five minutes, and the matter was
too important to wait till to-morrow. There she is in the consulting-room; and how to get her out again is
more than I know."
Doctor Wybrow considered for a moment. His knowledge of women (professionally speaking) rested on
the ripe experience of more than thirty years; he had met with them in all their varieties--especially the
variety which knows nothing of the value of time, and never hesitates at sheltering itself behind the
privileges of its sex. A glance at his watch informed him that he must soon begin his rounds among the
patients who were waiting for him at their own houses. He decided forthwith on taking the only wise
course that was open under the circumstances. In other words, he decided on taking to flight.
"Is the carriage at the door?" he asked. "Yes, sir."
"Very well. Open the house-door for me without making any noise, and leave the lady in undisturbed
possession of the consulting-room. When she gets tired of waiting, you know what to tell her. If she asks
when I am expected to return, say that I dine at my club, and spend the evening at the theatre. Now then,
softly, Thomas! If your shoes creak, I am a lost man."
Correlating irony, what type of humor is found in 3rd paragraph

A) verbal
B) blatant
C) dramatic
D) situational
E) raucous

5. The spring is fairly with us now. Outside my laboratory window the great chestnut-tree is all covered with
the big, glutinous, gummy buds, some of which have already begun to break into little green shuttlecocks.
As you walk down the lanes you are conscious of the rich, silent forces of nature working all around you.
The wet earth smells fruitful and luscious. Green shoots are peeping out everywhere. The twigs are stiff
with their sap; and the moist, heavy English air is laden with a faintly resinous perfume. Buds in the
hedges, lambs beneath them--everywhere the work of reproduction going forward!
I can see it without, and I can feel it within. We also have our spring when the little arterioles dilate, the
lymph flows in a brisker stream, the glands work harder, winnowing and straining. Every year nature
readjusts the whole machine. I can feel the ferment in my blood at this very moment, and as the cool
sunshine pours through my window I could dance about in it like a gnat. So I should, only that Charles
Sadler would rush upstairs to know what the matter was. Besides, I must remember that I am Professor
Gilroy. An old professor may afford to be natural, but when fortune has given one of the first chairs in the
university to a man of four-and-thirty he must try and act the part consistently.
What can be inferred by the narrator's choice of words, "gnat" 2nd paragraph to describe his dance?

A) He feels new as a gnat that has just been born in the spring.
B) He is a man small in stature representing the size of a gnat.
C) His dance would replicate the giddy, erratic flight pattern of the gnat.
D) He is agile as are the physical characteristics of a gnat.
E) As a gnat is drawn to light, so is he drawn to the sunlight pouring through his window.

Solutions: