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NEW QUESTION: 1
Mathew ascended three flights of stairs--passed half-way down a long arched gallery--and knocked at
another old-fashioned oak door. This time the signal was answered. A low, clear, sweet voice, inside the
room, inquired who was waiting without? In a few hasty words Mathew told his errand. Before he had
done speaking the door was quietly and quickly opened, and Sarah Leeson confronted him on the
threshold, with her candle in her hand.
Not tall, not handsome, not in her first youth--shy and irresolute in manner--simple in dress to the utmost
limits of plainness--the lady's-maid, in spite of all these disadvantages, was a woman whom it was
impossible to look at without a feeling of curiosity, if not of interest. Few men, at first sight of her, could
have resisted the desire to find out who she was; few would have been satisfied with receiving for answer,
She is Mrs. Treverton's maid; few would have refrained from the attempt to extract some secret
information for themselves from her face and manner; and none, not even the most patient and practiced
of observers, could have succeeded in discovering more than that she must have passed through the
ordeal of some great suffering at some former period of her life. Much in her manner, and more in her face,
said plainly and sadly: I am the wreck of something that you might once have liked to see; a wreck that
can never be repaired--that must drift on through life unnoticed, unguided, unpitied--drift till the fatal shore
is touched, and the waves of Time have swallowed up these broken relics of me forever.
This was the story that was told in Sarah Leeson's face--this, and no more. No two men interpreting that
story for themselves, would probably have agreed on the nature of the suffering which this woman had
undergone. It was hard to say, at the outset, whether the past pain that had set its ineffaceable mark on
her had been pain of the body or pain of the mind. But whatever the nature of the affliction she had
suffered, the traces it had left were deeply and strikingly visible in every part of her face.
Her cheeks had lost their roundness and their natural color; her lips, singularly flexible in movement and
delicate in form, had faded to an unhealthy paleness; her eyes, large and black and overshadowed by
unusually thick lashes, had contracted an anxious startled look, which never left them and which piteously
expressed the painful acuteness of her sensibility, the inherent timidity of her disposition. So far, the
marks which sorrow or sickness had set on her were the marks common to most victims of mental or
physical suffering. The one extraordinary personal deterioration which she had undergone consisted in
the unnatural change that had passed over the color of her hair.
It was as thick and soft, it grew as gracefully, as the hair of a young girl; but it was as gray as the hair of an
old woman. It seemed to contradict, in the most startling manner, every personal assertion of youth that
still existed in her face. With all its haggardness and paleness, no one could have looked at it and
supposed for a moment that it was the face of an elderly woman. Wan as they might be, there was not a
wrinkle in her cheeks. Her eyes, viewed apart from their prevailing expression of uneasiness and timidity,
still preserved that bright, clear moisture which is never seen in the eyes of the old. The skin about her
temples was as delicately smooth as the skin of a child. These and other physical signs which never
mislead, showed that she was still, as to years, in the very prime of her life.
Sickly and sorrow-stricken as she was, she looked, from the eyes downward, a woman who had barely
reached thirty years of age. From the eyes upward, the effect of her abundant gray hair, seen in
connection with her face, was not simply incongruous--it was absolutely startling; so startling as to make it
no paradox to say that she would have looked most natural, most like herself if her hair had been dyed. In
her case, Art would have seemed to be the truth, because Nature looked like falsehood. What shock had
stricken her hair, in the very maturity of its luxuriance, with the hue of an unnatural old age? Was it a
serious illness, or a dreadful grief that had turned her gray in the prime of her womanhood? That question
had often been agitated among her fellow-servants, who were all struck by the peculiarities of her
personal appearance, and rendered a little suspicious of her, as well, by an inveterate habit that she had
of talking to herself. Inquire as they might, however, their curiosity was always baffled. Nothing more
could be discovered than that Sarah Leeson was, in the common phrase, touchy on the subject of her
gray hair and her habit of talking to herself, and that Sarah Leeson's mistress had long since forbidden
every one, from her husband downward, to ruffle her maid's tranquility by inquisitive questions.
What can the reader infer about the setting from the limited information in paragraph one?
A. It is a large, old house.
B. It is a rather small house with ornate architecture.
C. The house is in the country.
D. The house is located in a city.
E. It is a large house with up-to-date modifications.
Answer: A
Explanation:
The house is large as Mathew had to ascend three flights of stairs and pass down a long arched gallery. It
is also old as he knocked on another old-fashioned oak door and was met with someone lighting the way
with a candle.
NEW QUESTION: 2
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B. 01402
C. 01638
D. 01630
Answer: C
NEW QUESTION: 3
The fossil remain of the first flying vertebrates, the pterosaurs, have intrigued paleontologists for more
than two centuries. How such large creatures, which weighed in some cases as much as a piloted
hangglider and had wingspans from 8 to 12 meters, solved the problems of powered flight, and exactly
what these creatures were-reptiles or birds-are among the questions scientist have puzzled over.
Perhaps the least controversial assertion about the pterosaurs is that they were reptiles. Their skulls,
pelvises, and hind feet are reptilian. The anatomy of their wings suggests that they did not evolve into the
class of birds. In pterosaurs a greatly elongated fourth finger of each forelimb supported a wing like
membrane. The other fingers were short and reptilian, with sharp claws, in birds the second finger is the
principle strut of the wing, which consists primarily of features. If the pterosaur walked or remained
stationary, the fourth finger, and with it the wing, could only turn upward in an extended inverted V-shape
along side of the animal's body.
The pterosaurs resembled both birds and bats in their overall structure and proportions. This is not
surprising because the design of any flying vertebrate is subject to aerodynamic constraints. Both the
pterosaurs and the birds have hollow bones, a feature that represents a saving in weight. In the birds,
however, these bones are reinforced more massively by internal struts.
Although scales typically cover reptiles, the pterosaurs probably had hairy coats. T.H. Huxley reasoned
that flying vertebrates must have been warm blooded because flying implies a high internal temperature.
Huxley speculated that a coat of hair would insulate against loss of body heat and might streamline the
body to reduce drag in flight. The recent discovery of a pterosaur specimen covered in long, dense, and
relatively thick hairlike fossil material was the first clear evidenced that his reasoning was correct.
Efforts to explain how the pterosaurs became air-borne have led to suggestions that they launched
themselves by jumping from cliffs, by dropping from trees, or even by rising into light winds from the crests
of waves. Each hypothesis has its difficulties. The first wrongly assumes that the pterosaur's hind feet
resembled a bat's and could served as hooks by which the animal could bang in preparation for flight. The
second hypothesis seems unlikely because large pterosaurs could not have landed in trees without
damaging their wings. The birds calls for high waves to channels updrafts. The wind that made such
waves however, might have been too strong for the pterosaurs to control their flight once airborne.
The author's discussion of Emerson, Thoreau, Hawthorne, Melville, and Whitman Is primarily concerned
with explaining.
A. some of their beliefs about the difficulties involved in self-realization
B. The way some of their beliefs are shaped by differences in temperament and literary outlook.
C. some of their beliefs concerning the world and the place that humanity occupies in the universal order
D. the effects of some of their beliefs on their writings
E. some of their beliefs concerning the relationship between humanism and democracy
Answer: C
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