Passage 1

⁽¹⁾ I see by your eagerness, and the wonder and hope which your eyes express, my friend, that you expect to be informed of the secret with which I am acquainted; that cannot be: listen patiently until the end of my story, and you will easily perceive why I am reserved upon that

⁽⁵⁾ subject. I will not lead you on, unguarded and ardent as I then was, to your destruction and infallible misery. Learn from me, if not by my precepts, at least by my example, how dangerous is the acquirement of knowledge, and how much happier that man is who believes his native town to be the world, than he who aspires to become greater than his

⁽¹⁰⁾ nature will allow.

When I found so astonishing a power placed within my hands, I hesitated a long time concerning the manner in which I should employ it. Although I possessed the capacity of bestowing animation, yet to prepare a frame for the reception of it, with all its intricacies of fibers,

⁽¹⁵⁾ muscles, and veins, still remained a work of inconceivable difficulty and labour. I doubted at first whether I should attempt the creation of

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a being like myself, or one of simpler organization; but my imagina­tion was too much exalted by my first success to permit me to doubt of my ability to give life to an animal as complex and wonderful as

⁽²⁰⁾ man. The materials at present within my command hardly appeared adequate to so arduous an undertaking; but I doubted not that I should ultimately succeed. I prepared myself for a multitude of reverses; my operations might be incessantly baffled, and at last my work be imper­fect: yet, when I considered the improvement which every day takes

⁽²⁵⁾ place in science and mechanics, I was encouraged to hope my present attempts would at least lay the foundations of future success. Nor could I consider the magnitude and complexity of my plan as any argument of its impracticability. It was with these feelings that I began the creation of my human being. As the minuteness of the parts

⁽³⁰⁾ formed a great hindrance to my speed, I resolved, contrary to my first intention, to make the being of a gigantic stature; that is to say, about eight feet in height, and proportionably large. After having formed this determination, and having spent some months in successfully col­lecting and arranging my materials, I began.

⁽³⁵⁾ No one can conceive the variety of feelings which bore me onwards, like a hurricane, in the first enthusiasm of success. Life and death appeared to me ideal bounds, which I should first break through, and pour a torrent of light into our dark world. A new species would bless me as its creator and source; many happy and excellent natures would

⁽⁴⁰⁾ owe their being to me. No father could claim the gratitude of his child so completely as I should deserve theirs. Pursuing these reflections, I thought, that if I could bestow animation upon lifeless matter, I might in process of time (although I now found it impossible) renew life where death had apparently devoted the body to corruption.

⁽⁴⁵⁾ These thoughts supported my spirits, while I pursued my under­taking with unremitting ardour. My cheek had grown pale with study, and my person had become emaciated with confinement. Sometimes, on the very brink of certainty, I failed; yet still I clung to the hope which the next day or the next hour might realize. One secret which

⁽⁵⁰⁾ I alone possessed was the hope to which I had dedicated myself; and the moon gazed on my midnight labors, while, with unrelaxed and breathless eagerness, I pursued nature to her hiding-places. Who shall conceive the horrors of my secret toil, as I dabbled among the unhal­lowed damps of the grave, or tortured the living animal to animate the

⁽⁵⁵⁾ lifeless clay? My limbs now tremble, and my eyes swim with the remembrance; but then a resistless, and almost frantic, impulse urged me forward; I seemed to have lost all soul or sensation but for this one pursuit.

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⁽¹⁾ “Yes. These creatures you have seen are animals carven and wrought into new shapes. To that—to the study of the plasticity of living forms—my life has been devoted. I have studied for years, gaining in knowledge as I go. I see you look horrified, and yet I am telling you

⁽⁵⁾ nothing new. It all lay in the surface of practical anatomy years ago, but no one had the temerity to touch it. It’s not simply the outward form of an animal I can change. The physiology, the chemical rhythm of the creature, may also be made to undergo an enduring modifica­tion, of which vaccination and other methods of inoculation with liv-⁽¹⁰⁾ ing or dead matter are examples that will, no doubt, be familiar to you. “A similar operation is the transfusion of blood, with which subject indeed I began. These are all familiar cases. Less so, and probably far more extensive, were the operations of those medieval practitioners who made dwarfs and beggar cripples and show-monsters; some vestiges of

⁽¹⁵⁾ whose art still remain in the preliminary manipulation of the young mountebank or contortionist. Victor Hugo gives an account of them in L’Homme qui Rit. . . . But perhaps my meaning grows plain now. You begin to see that it is a possible thing to transplant tissue from one part of an animal to another, or from one animal to another, to alter its

⁽²⁰⁾ chemical reactions and methods of growth, to modify the articulations of its limbs, and indeed to change it in its most intimate structure?

“And yet this extraordinary branch of knowledge has never been sought as an end, and systematically, by modern investigators, until I took it up! Some such things have been hit upon in the last resort of

⁽²⁵⁾ surgery; most of the kindred evidence that will recur to your mind has been demonstrated, as it were, by accident—by tyrants, by criminals, by the breeders of horses and dogs, by all kinds of untrained clumsy-handed men working for their own immediate ends. I was the first man to take up this question armed with antiseptic surgery, and with

⁽³⁰⁾ a really scientific knowledge of the laws of growth.

“Yet one would imagine it must have been practiced in secret before. Such creatures as Siamese Twins . . . . And in the vaults of the Inquisi­tion. No doubt their chief aim was artistic torture, but some, at least, of the inquisitors must have had a touch of scientific curiosity . . . .”

⁽³⁵⁾ “But,” said I. “These things—these animals talk!”

He said that was so, and proceeded to point out that the possibili­ties of vivisection do not stop at a mere physical metamorphosis. A pig may be educated. The mental structure is even less determinate than the bodily. In our growing science of hypnotism we find the promise

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⁽⁴⁰⁾ of a possibility of replacing old inherent instincts by new suggestions, grafting upon or replacing the inherited fixed ideas. [ . . . ]

But I asked him why he had taken the human form as a model. There seemed to me then, and there still seems to me now, a strange wickedness in that choice. ⁽⁴⁵⁾ He confessed that he had chosen that form by chance.

“I might just as well have worked to form sheep into llamas, and llamas into sheep. I suppose there is something in the human form that appeals to the artistic turn of mind more powerfully than any ani­mal shape can. But I’ve not confined myself to man-making. Once or ⁽⁵⁰⁾ twice . . . .” He was silent, for a minute perhaps. “These years! How they have slipped by! And here I have wasted a day saving your life, and am now wasting an hour explaining myself!”

“But,” said I, “I still do not understand. Where is your justification for inflicting all this pain? The only thing that could excuse vivisection ⁽⁵⁵⁾ to me would be some application—”

“Precisely,” said he. “But you see I am differently constituted. We are on different platforms. Yo u are a materialist.” “I am not a materialist,” I began hotly.

“In my view—in my view. For it is just this question of pain that ⁽⁶⁰⁾ parts us. So long as visible or audible pain turns you sick, so long as your own pain drives you, so long as pain underlies your propositions about sin, so long, I tell you, you are an animal, thinking a little less obscurely what an animal feels. This pain—” I gave an impatient shrug at such sophistry. ⁽⁶⁵⁾ “Oh! But it is such a little thing. A mind truly open to what science has to teach must see that it is a little thing.”

290. In the first paragraph of Passage 1 (lines 1–10), Frankenstein reveals that the purpose of his tale is to

a. entertain the reader.

b. explain a scientific principle.

c. teach a moral lesson.

d. share the secret of his research. c. reveal his true nature.

291. The word baffled in line 23 means

a. hindered.

b. confused.

c. puzzled.

d. eluded.

e. regulated.

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292. During the creation process, Frankenstein could best be described as

a. calm.

b. horrified.

c. evil.

d. indifferent.

e. obsessed.

293. From Passage 2, it can be inferred that Dr. Moreau is what sort of scientist?

a. artistic

b. calculating and systematic

c. careless, haphazard

d. famous, renowned

e. materialist

294. These things that the narrator refers to in Passage 2, line 35 are

a. Siamese twins.

b. inquisitors.

c. pigs.

d. creatures Moreau created.

e. tyrants and criminals.

295. From the passage, it can be inferred that Dr. Moreau

a. does not inflict pain upon animals when he experiments on them.

b. has caused great pain to the creatures he has experimented on.

c. is unable to experience physical pain.

d. is searching for a way to eliminate physical pain.

e. has learned to feel what an animal feels.

296. Based on the information in the passages, Dr. Moreau is like Victor Frankenstein in that he also

a. used dead bodies in his experiments.

b. wanted his creations to worship him.

c. made remarkable discoveries.

d. kept his experiment a secret from everyone.

e. had a specific justification for his pursuit of knowledge.

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297. Frankenstein would be most upset by Dr. Moreau’s

a. indifference to suffering.

b. arrogance.

c. great achievements.

d. education of animals.

e. choice of the human form.

298. Which of the following best expresses Frankenstein’s and Moreau’s attitudes toward science?

a. Both believe science can be dangerous.

b. Frankenstein believes science should have a tangible applica­ tion; Moreau believes scientific knowledge should be sought for its own sake.

c. Frankenstein believes scientists should not harm living crea­ tures in an experiment; Moreau believes it is acceptable to inflict pain on other creatures.

d. Both men believe scientists should justify their work.

e. Both men believe the greatest discoveries often take place in secrecy.

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^Music

Questions 299–303 are based on the following passage.

The following passage describes the transition from the swing era to bebop in the history of jazz music.

⁽¹⁾ Jazz, from its early roots in slave spirituals and the marching bands of New Orleans, had developed into the predominant American musical style by the 1930s. In this era, jazz musicians played a lush, orchestrated style known as swing. Played in large ensembles, also called big bands,

⁽⁵⁾ swing filled the dance halls and nightclubs. Jazz, once considered risqué, was made more accessible to the masses with the vibrant, swinging sounds of these big bands. Then came bebop. In the mid-1940s, jazz musicians strayed from the swing style and developed a more improvi-sational method of playing known as bebop. Jazz was transformed from

⁽¹⁰⁾ popular music to an elite art form.

The soloists in the big bands improvised from the melody. The young musicians who ushered in bebop, notably trumpeter Dizzy Gille-spie and saxophonist Charlie Parker, expanded on the improvisational elements of the big bands. They played with advanced harmonies,

⁽¹⁵⁾ changed chord structures, and made chord substitutions. These young musicians got their starts with the leading big bands of the day, but dur­ing World War II—as older musicians were drafted and dance halls made cutbacks—they started to play together in smaller groups.

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These pared-down bands helped foster the bebop style. Rhythm is ⁽²⁰⁾ the distinguishing feature of bebop, and in small groups the drums became more prominent. Setting a driving beat, the drummer inter­acted with the bass, piano, and the soloists, and together the musicians created fast, complex melodies. Jazz aficionados flocked to such clubs as Minton’s Playhouse in Harlem to soak in the new style. For the young ⁽²⁵⁾ musicians and their fans this was a thrilling turning point in jazz history. However, for the majority of Americans, who just wanted some swing­ing music to dance to, the advent of bebop was the end of jazz as main­stream music.

299. The swing style can be most accurately characterized as

a. complex and inaccessible.

b. appealing to an elite audience.

c. lively and melodic.

d. lacking in improvisation.

e. played in small groups.

300. According to the passage, in the 1940s you would most likely find bebop being played where?

a. church

b. a large concert hall

c. in music schools

d. small clubs

e. parades

301. According to the passage, one of the most significant innovations of the bebop musicians was

a. to shun older musicians.

b. to emphasize rhythm.

c. to use melodic improvisation.

d. to play in small clubs.

e. to ban dancing.

302. In the context of this passage, aficionados (line 23) can most accurately be described as

a. fans of bebop.

b. residents of Harlem.

c. innovative musicians.

d. awkward dancers.

e. fickle audience members.

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303. The main purpose of the passage is to

a. mourn the passing of an era.

b. condemn bebop for making jazz inaccessible.

c. explain the development of the bebop style.

d. celebrate the end of the conventional swing style of jazz.

e. instruct in the method of playing bebop.

Questions 304–309 are based on the following passage.

This passage details the rise and fall of the Seattle grunge-music sound in American pop culture of the 1990s.

(1) The late 1980s found the landscape of popular music in America dom­inated by a distinctive style of rock and roll known as Glam Rock or Hair Metal—so called because of the over-styled hair, makeup, and wardrobe worn by the genre’s ostentatious rockers. Bands like Poison,

⁽⁵⁾ White Snake, and Mötley Crüe popularized glam rock with their power ballads and flashy style, but the product had worn thin by the early 1990s. The mainstream public, tired of an act they perceived as symbolic of the superficial 1980s, was ready for something with a bit of substance.

(10) In 1991, a Seattle-based band named Nirvana shocked the corporate music industry with the release of its debut single, “Smells Like Teen Spirit,” which quickly became a huge hit all over the world. Nirvana’s distorted, guitar-laden sound and thought-provoking lyrics were the antithesis of glam rock, and the youth of America were quick to pledge

(15) their allegiance to the brand new movement known as grunge.

Grunge actually got its start in the Pacific Northwest during the mid 1980s, the offspring of the metal-guitar driven rock of the 1970s and the hardcore, punk music of the early 1980s. Nirvana had simply brought into the mainstream a sound and culture that got its start

⁽²⁰⁾ years before with bands like Mudhoney, Soundgarden, and Green River. Grunge rockers derived their fashion sense from the youth cul­ture of the Pacific Northwest: a melding of punk rock style and out­doors clothing like flannels, heavy boots, worn out jeans, and corduroys. At the height of the movement’s popularity, when other

(25) Seattle bands like Pearl Jam and Alice in Chains were all the rage, the trappings of grunge were working their way to the height of Ameri­can fashion. Like the music, teenagers were fast to embrace the grunge fashion because it represented defiance against corporate America and shallow pop culture.

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⁽³⁰⁾ Many assume that grunge got its name from the unkempt appear-

ance of its musicians and their dirty, often distorted guitar sounds. However, rock writers and critics have used the word “grunge” since the 1970s. While no one can say for sure who was the first to charac­terize a Seattle band as “grunge,” the most popular theory is that it

⁽³⁵⁾ originated with the lead singer of Mudhoney, Mark Arm. In a practi­cal joke against a local music magazine, he placed advertisements all over Seattle for a band that did not exist. He then wrote a letter to the magazine complaining about the quality of the fake band’s music. The magazine published his critique, one part of which stated, “I hate Mr.

⁽⁴⁰⁾ Epp and the Calculations! Pure grunge!”

The popularity of grunge music was ephemeral; by the mid- to late-1990s its influence upon American culture had all but disappeared, and most of its recognizable bands were nowhere to be seen on the charts. The heavy sound and themes of grunge were replaced on the radio

⁽⁴⁵⁾ waves by bands like NSYNC, the Backstreet Boys, and the bubblegum pop of Britney Spears and Christina Aguilera.

There are many reasons why the Seattle sound faded out of the mainstream as quickly as it rocketed to prominence, but the most glaring reason lies at the defiant, anti-establishment heart of the

⁽⁵⁰⁾ grunge movement itself. It is very hard to buck the trend when you are the one setting it, and many of the grunge bands were never com­fortable with the celebrity that was thrust upon them. One the most successful Seattle groups of the 1990s, Pearl Jam, filmed only one music video, and refused to play large venues. Ultimately, the simple

⁽⁵⁵⁾ fact that many grunge bands were so against mainstream rock stardom eventually took the movement back to where it started: underground. The American mainstream public, as quick as they were to hop onto the grunge bandwagon, were just as quick to hop off, and move onto something else.

304. The author’s description of glam rockers (lines 2–7) indicates that they

a. cared more about the quality of their music than money.

b. were mainly style over substance.

c. were unassuming and humble.

d. were songwriters first, and performers second.

e. were innovators in rock and roll.

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305. The word ostentatious in line 4 most nearly means

a. stubborn.

b. youthful.

c. showy.

d. unadorned.

e. popular.

306. In lines 25–26, the phrase the trappings of grunge refers to

a. the distorted sound of grunge music.

b. what the grunge movement symbolized.

c. the unattractiveness of grunge fashion.

d. the clothing typical of the grunge movement.

e. the popularity of grunge music.

307. Which of the following is not associated with the grunge movement?

a. Mr. Epps and the Calculations

b. Pearl Jam

c. Nirvana

d. Green River

e. White Snake

308. Which of the following words best describes the relationship between grunge music and its mainstream popularity?

a. solid

b. contrary

c. enduring

d. acquiescent

e. unprofitable

309. In line 41, the word ephemeral most nearly means

a. enduring.

b. unbelievable.

c. a fluke.

d. fleeting.

e. improbable.

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Questions 310–316 are based on the following passage.

The selection that follows is based on an excerpt from the biography of a music legend.

⁽¹⁾ Although Dick Dale is best known for his contributions to surf music, and has been called “King of the Surf Guitar,” he has also been referred to as the “Father of Heavy Metal.” While this title is more often associ­ated with Ozzy Osbourne or Tony Iossa, Dale earned it from Guitar

⁽⁵⁾ Player Magazine for his unique playing style and pioneering use of Fender guitars and amplifiers.

In the mid-1950s, Dale was playing guitar at a club in California, where his one-of-a-kind music turned it from a jazz club into a rock nightspot. After a 1956 concert there, guitar and amplifier maker Leo Fender

⁽¹⁰⁾ approached the guitarist and gave him the first Fender Stratocaster to try before the guitar was mass marketed. Fender thought that Dale’s way of playing, a virtual assault on the instrument, would be a good test of its durability. However, the guitar was right-handed and Dale played left-handed. Unfazed, Dale held and played it upside down and backwards (a

⁽¹⁵⁾ feat that later strongly influenced Jimi Hendrix).

The test proved too much for Fender’s equipment. Dale loved the gui­tar, but blew out the amplifier that came with it. It had worked well for most other musicians, who at that time were playing country and blues. Rock didn’t exist, and no one played the guitar as fiercely as Dale. Fender

⁽²⁰⁾ improved the amplifier, and Dale blew it out again. Before Fender came up with a winner, legend has it that Dale blew up between 40 and 60 amplifiers. Finally, Fender created a special amp just for Dale, known as the “Showman.” It had more than 100 watts of power. The two men then made an agreement that Dale would “road test” prototypes of Fender’s

⁽²⁵⁾ new amplification equipment before they would be manufactured for the

general public. But they still had problems with the speakers—every

speaker Dale used it with blew up (some even caught fire) because of the