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Practice Test

7R4 word meaning and choice

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Question 1 of 78

2026 Practice Test A English, question 4
Passage Snowy Mountains

Snowy Mountains

by John Gould Fletcher

Higher and still more high,
Palaces made for cloud,
Above the dingy city-roofs
Blue-white like angels with broad wings,
Pillars of the sky at rest
The mountains from the great plateau
Uprise.

But the world heeds them not;
They have been here now for too long a time.
The world makes war on them,
Tunnels their granite cliffs,
Splits down their shining sides,
Plasters their cliffs with soap-advertisements,
Destroys the lonely fragments of their peace.

Vaster and still more vast,
Peak after peak, pile after pile,
Wilderness still untamed,
To which the future is as was the past,
Barrier spread by Gods,
Sunning their shining foreheads,
Barrier broken down by those who do not need
The joy of time-resisting storm-worn stone,
The mountains swing along
The south horizon of the sky;
Welcoming with wide floors of blue-green ice
The mists that dance and drive before the sun.

“Snowy Mountains” by John Gould Fletcher—Public Domain

Question

In which two ways does the poet develop the speaker’s point of view in the second stanza (lines 8–14)?

Select the two correct answers.

Choose every answer that is correct, then check. The DOE has not published how answers with several parts are scored; this site counts one right only when every part is right.

  • Aby describing the mountains’ awe-inspiring size and strength
  • Bby comparing the various methods humans use to control nature
  • Cby criticizing the careless actions of humans that harm the natural environment
  • Dby demonstrating how the mountains and the people are able to benefit from each other
  • Eby depicting the unfortunate plight of the mountains with vivid details
Show the answer

Correct answer: C and E

The question asks for the two ways in which the poet develops the speaker’s point of view in the second stanza (lines 8–14).

A. Incorrect. The speaker’s descriptions of the mountains’ awe-inspiring size and strength mainly occur in the first and third stanzas, while in the second stanza, the speaker focuses on humanity and its negative effect on the mountains.

B. Incorrect. The wording of the second stanza—“makes war” (line 10), “Splits down their shining sides” (line 12), and “Destroys the lonely fragments” (line 14)—communicates the speaker’s position that people’s main impact on the mountains is destructive, but the stanza does not compare the various methods people use to control nature.

C. CORRECT. In the second stanza, the speaker criticizes the careless and destructive actions of society or “the world” (lines 8 and 10) that harm the natural environment. Humans are described as both heedless of the mountains (“heeds them not”) and harmfully warlike (“makes war on them”). The speaker cites the harm done to the mountains when people “[tunnel] their granite cliffs” (line 11) and “[split] down their shining sides” (line 12), thus “[destroying] the lonely fragments of their peace” (line 14).

D. Incorrect. In the second stanza, the speaker does not describe a mutually beneficial relationship between the mountains and the people. Although people clearly derive benefits from the mountains by plastering “their cliffs with soap-advertisements” (line 13), the stanza does not demonstrate that the mountains receive any benefit from the harmful actions of the people.

E. CORRECT. In the second stanza, the speaker depicts the unfortunate plight of the mountains with vivid details. Lines 11–14 feature expressive wording that sharply illustrates the mountains’ misfortune: “Tunnels their granite cliffs, / Splits down their shining sides, / Plasters their cliffs with soap-advertisements.”

Question analysis

This select-two question on John Gould Fletcher’s poem “Snowy Mountains” asks in which two ways the poet develops the speaker’s point of view in the second stanza, lines 8–14. It reworks a one-answer handbook question, now with five choices. Each choice has to be judged on its own, and a choice that fits the poem as a whole is not enough.

NYS standards
  • 7R6 point of view and author position
  • 7R4 word meaning and choice
Grade level
Grade 6 reading and task
Compared with grade 7
At grade 7 Typical grade 7 point-of-view questions ask for one answer about a longer text. This stanza is only seven short lines with one steady attitude, but students must find two right choices out of five and judge each one separately.
Estimated difficulty
Moderate: several steps, or a close reading with one strong distractor.
What makes it hard
Evidence
Answered from one paragraph or stanza
Reading level
Passage: 161 words (a poem; reading level not measured); question and choices: about grade 8, 79 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

Most students sense the anger at “the world” in lines 8–14 and find the criticism of people quickly. The point is lost on the second pick, because the other right choice names a technique, vivid details of the mountains’ suffering, and can look like plain description. The choice about comparing methods tempts students who see a list of human actions, and the awe of the first and third stanzas pulls those who drift outside the stanza, while both picks must be right to score.

  1. How, not what moderate Working it out

    The stem asks how the viewpoint is built, and both right choices are methods: a judgment of “the world” that “makes war,” and the vivid verbs “Tunnels,” “Splits” and “Plasters” in lines 11–13. (Anderson & Krathwohl, 2001)

  2. Every choice must be checked moderate Choosing the answer

    All five choices must be tested and both picks must be right, so finding the criticism of people is only half the work; the second right choice is about imagery, not message. (Embretson & Wetzel, 1987)

  3. Hard words minor Understanding the question

    One right choice turns on “plight,” a hard situation; a student who does not know the word cannot see that it names the damage done to the mountains in lines 11–14. (Perfetti, 2007; Freedle & Kostin, 1993)

Strategy: Restate in your own words what lines 8–14 say and how they say it, then test each of the five choices on its own and keep only the two that fit this stanza rather than the whole poem.

Traps

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This asks about point of view: how the speaker, the voice talking in the poem, feels about the subject. It also asks how the poet shows that feeling. Stay inside the second stanza, lines 8 to 14. You must pick two answers, so test all five choices one at a time.

  2. Read the second stanza closely

    Line 8 says “But the world heeds them not.” To heed something is to pay attention to it. Here “the world” means people in general. Line 10 says “The world makes war on them.” Lines 11 to 13 list what people do: “Tunnels their granite cliffs, / Splits down their shining sides, / Plasters their cliffs with soap-advertisements.” Line 14 ends with “Destroys the lonely fragments of their peace.”

  3. Name how the speaker feels

    The speaker is on the mountains’ side. People ignore the mountains, yet they keep attacking them. The speaker blames people for this harm. Pointing out what someone does wrong is called criticizing. The speaker also makes you feel sorry for the mountains. Strong action words like “Tunnels,” “Splits” and “Plasters” paint a sharp picture of the damage. Sharp word pictures like these are called vivid details.

  4. Check each of the five choices

    • A does not fit. The mountains’ great size fills the first and third stanzas, as in “Higher and still more high.” In lines 8 to 14 they are only being hurt.
    • B does not fit. The stanza lists several things people do, but it never compares them. They are all part of one “war.”
    • C fits. The speaker criticizes people for careless acts that damage nature.
    • D does not fit. The mountains get nothing good from people. The stanza shows only harm.
    • E fits. A plight is a bad or sad situation. The vivid verbs in lines 11 to 13 show the mountains’ plight.

    Watch out: B is tempting because the stanza names several acts. But a list is not a comparison.

  5. Choose both answers

    The speaker’s view comes through two things: blame for people, and a vivid picture of the mountains’ suffering. Select both choices on the screen. You need both to get the point. So the answers are C and E.

Why this answer and not the closest wrong one

E is the right answer that is easiest to miss, because it can look like plain description. But those vivid details are how the speaker makes you feel for the mountains. B is the closest wrong choice. The stanza does list several human acts, yet it never weighs one against another. Each act is just one more blow.

More questions like this

The original DOE question
Question 4 as shown on the DOE’s digital test, page 7 of its printable version.
As printed in the DOE’s printable version of 2026 Practice Test A English, page 7, question 4.
The passage “Snowy Mountains” as printed (page 142)The passage “Snowy Mountains” as printed on page 142 of the DOE handbook.

Question 2 of 78

2026 Practice Test A English, question 9
Passage The Best Laid Plans of Ravens

The Best Laid Plans of Ravens

In Edgar Allan Poe’s poem “The Raven,” a raven visits a lonely man’s home and responds to the man’s pleading questions with only the word “nevermore.” The poem’s narrator interprets the word as a prediction of doom for his future. A talking, prophetic raven may seem to be the wild imaginings of the poet, but a new study published in the journal Science hints that one particular idea behind the poem might not be as far-fetched as it seems. For most of human history, people assumed that animals do not understand the passage of time in the same way people do. Some people believed that animals might remember events from the past and that instinct might drive them to make preparations in order to guarantee survival, but most people did not think that animals had the ability to plan. At Lund University in Sweden, researchers argue that ravens may be able to think ahead and even plan for the future.

It can be difficult to test an animal’s ability to plan because human observers must be certain they are not mistaking instinctual behavior for intentional planning. For example, many animals hoard food so that they will not run out later, but scientists who study animals would not call hoarding a decision to plan for the future. This action is merely instinctual. Cognitive scientists argue that in order for an animal’s behavior to qualify as preparing for the future, the animal must use specific decision-making skills to solve a problem.

To avoid mistaking instinctual behavior for evidence of decision-making, the Lund University researchers designed two experiments to test ravens’ ability to plan. Ravens belong to the corvid family, a group of birds known for their intelligence. A study in 2007 showed that corvids have the tendency to save only certain types of food, which suggests that they are planning for the future rather than acting on instinct. In order to investigate that theory, the researchers had to design experiments that would achieve results that could not be explained by an instinctual behavior of food hoarding. Therefore, the ravens were taught two behaviors that they do not normally perform in the wild.

For the first experiment, the researchers showed the birds how to use a small stone to open a box and get treats. Once the ravens learned the behavior, the researchers presented the birds with four stones. Only one stone was the right size to open the box. The birds learned to select that stone and set it aside until the researchers presented the box. The second experiment involved bartering. A researcher would trade the ravens a large treat for a bottle cap. Later, the researchers presented the ravens with a group of items, including small treats and the bottle cap. The ravens chose the bottle cap over the treats and waited for the original researcher to trade with them again so that they could get more treats. In both experiments, the ravens waited patiently for up to seventeen hours for the researcher to return.

The results of these experiments are exciting, but more evidence needs to be gathered before scientists can fully conclude that ravens can plan for the future. Some scientists argue that the ravens might be choosing the stone and bottle cap because the ravens have been trained to do so, not necessarily because the ravens are thinking ahead. Regardless, like other recent advances in animal science, these experiments show that ravens could be much smarter than first believed, and scientists now believe that ravens do actually think about their own future.

Question

Read these sentences from paragraph 2.

For example, many animals hoard food so that they will not run out later, but scientists who study animals would not call hoarding a decision to plan for the future. This action is merely instinctual.

Which statement describes the effect of the phrase “merely instinctual” in the passage?

  • AIt implies that animals are skilled at finding and saving food for later consumption.
  • BIt conveys that many animals will usually prioritize gathering food over other activities.
  • CIt suggests that animals often store more food than they will be able to consume.
  • DIt emphasizes that many animals collect food automatically rather than with true intention.
Show the answer

Correct answer: D

The question asks which statement describes the effect in the passage of the phrase “merely instinctual” from paragraph 2.

A. Incorrect. The passage does not question animals’ ability to find and save food but rather whether this or other behavior involves thought and planning for the future.

B. Incorrect. While the sentence states that “many animals hoard food,” the passage does not suggest that they give priority of thought to this activity; they hoard food out of instinct.

C. Incorrect. Although the passage discusses animals’ tendency to store a great deal of food, it does not suggest that their hoarding goes beyond their needs.

D. CORRECT. The passage suggests that in order for an animal’s actions to qualify as planning for the future, “the animal must use specific decision-making skills to solve a problem” (paragraph 2). The behavior of hoarding food is based on instinct and done automatically without real thought.

Question analysis

This word-in-context question from “The Best Laid Plans of Ravens” asks about the effect of the phrase “merely instinctual,” which the article applies to food hoarding in paragraph 2. Students read two quoted sentences and decide what the phrase emphasizes about how animals behave. The choices all sound like reasonable facts about animals, so the answer has to come from how the article uses the phrase.

NYS standards
  • 7R4 word meaning and choice
  • 7L4a context clues
Grade level
Grade 7 reading and task
Compared with grade 7
Below grade 7 Grade 7 word-meaning questions often need clues gathered from a whole paragraph. Here the phrase is short and familiar, and the sentence just before it supplies a direct contrast, so one careful reading of the two quoted sentences is enough.
Estimated difficulty
Routine: one familiar step, little to misread.
What makes it hard
Evidence
Answered from one paragraph or stanza
Reading level
Passage: about grade 11, 599 words; question and choices: about grade 10, 108 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

Most students know that an instinct is something an animal does without thinking, and the sentence just before the phrase says hoarding is not “a decision to plan.” The only real pitfall is “merely”: a student who skips it can hear praise of a natural talent, and one who thinks only about hoarding may pick a choice about storing too much. Reading the phrase with its contrast makes the answer plain.

  1. Hard words minor Understanding the question

    The phrase pairs “merely,” which shrinks what follows, with “instinctual,” and the sentence before it uses “hoard”; a student unsure of any of the three has little to go on. (Perfetti, 2007; Freedle & Kostin, 1993)

  2. The right answer is reworded minor Choosing the answer

    The right choice restates the idea as acting “automatically rather than with true intention,” while the wrong ones stay with the sentence’s own subject, finding, gathering and storing food. (Freedle & Kostin, 1993; Kirsch & Mosenthal, 1990)

Strategy: Ask what the word “merely” adds to “instinctual,” then reread the sentence before the phrase and use its contrast to decide what the author is saying about hoarding.

Traps

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This asks about the effect of a phrase. What do the words “merely instinctual” add to what the passage says about animals and food? Read the phrase together with the sentence before it.

  2. Read the sentences around the phrase

    Paragraph 2 says “many animals hoard food so that they will not run out later, but scientists who study animals would not call hoarding a decision to plan for the future. This action is merely instinctual.” To hoard is to collect and store a lot of something.

  3. Work out what the phrase means

    An instinct is a natural urge an animal is born with. It acts on it without thinking it through. So instinctual behavior is automatic. Merely means “only” or “just.” Put together, the phrase says hoarding is just automatic. It is not a real decision. The next sentence agrees: to count as planning, “the animal must use specific decision-making skills to solve a problem.”

  4. Check each choice

    • A does not fit. The phrase does not praise animals’ skill. “Merely” makes the behavior sound smaller.
    • B does not fit. The passage never says animals put food ahead of other activities.
    • C does not fit. The passage never says animals store too much. They store food “so that they will not run out later.”
    • D fits. “Automatically rather than with true intention” means by instinct, not on purpose. An intention is a plan you have in mind.

  5. Choose the answer

    The phrase stresses that animals hoard food without real thought or purpose. So the answer is D.

Why this answer and not the closest wrong one

A is the closest wrong choice, because an instinct can sound like a natural talent. But “merely” turns the phrase into a put-down. The author is saying hoarding is only instinct, not a real choice. D says the same thing: animals collect food automatically, not with true intention.

More questions like this

The original DOE question
Question 9 as shown on the DOE’s digital test, page 14 of its printable version.
As printed in the DOE’s printable version of 2026 Practice Test A English, page 14, question 9.
The passage “The Best Laid Plans of Ravens” as printed (page 12)The passage “The Best Laid Plans of Ravens” as printed on page 12 of the DOE handbook.

Question 3 of 78

2026 Practice Test A English, question 32
Passage Excerpt from “The Spirit of the Herd”

Excerpt from “The Spirit of the Herd”

by Dallas Lore Sharp

In this excerpt, published in 1914, author and professor Dallas Lore Sharp describes a summer cattle roundup in Oregon. The heat and dust had been relentless for three days. The cowboys were exhausted, and the cattle were restless. The ranch boss, Wade, had led the drive to a watering place, only to find it empty.

Along with the wagon had come the fresh horses—one of them being Peroxide Jim, a supple, powerful, clean-limbed buckskin, a horse, I think, that had as fine and intelligent an animal-face as any creature I ever saw. Wade had been saving this horse for emergency work. And why should he not have been saved fresh for just such a need as this? Are there not superior horses as well as superior men—a Peroxide Jim to complement a Wade?

The horse knew the cattle business and knew his rider perfectly; and though there was nothing like sentiment about the boss of the P Ranch riders, his faith in Peroxide Jim was complete. . . .

The desert, where the herd was camped, was one of the highest of a series of tablelands, or benches; it lay as level as a floor, rimmed by sheer rock, from which there was a drop to the bench of sage below. The herd when overtaken by the dusk had been headed for a pass descending to the next lower bench, but was now halted within a mile of the rim rock on the east, where there was a perpendicular fall of about three hundred feet. . . .

In the taut silence of the stirless desert night, with the tension of the herd at the snapping-point, any quick, unwonted sight or sound would stampede them. The sneezing of a horse, the flare of a match, would be enough to send the whole four thousand headlong—blind, frenzied, trampling—till spent and scattered over the plain.

And so, as he rode, Wade began to sing. The rider ahead of him took up the air and passed it on until, above the stepping stir of the hoofs rose the faint voices of the men, and all the herd was bound about by the slow plaintive measures of some old song. It was not to soothe their savage breasts that the riders sang to the cattle, but rather to preempt the dreaded silence, to relieve the tension, and so to prevent the shock of any sudden startling noise.

So they sang and rode and the night wore on to one o’clock, when Wade, coming up on the rim-rock side, felt a cool breeze fan his face, and caught a breath of fresh, moist wind with the taste of water in it.

He checked his horse instantly, listening as the wind swept past him over the cattle. But they must already have smelled it, for they had ceased their milling, the whole herd standing motionless, the indistinct forms close to him in the dark showing their bald faces lifted to drink the sweet wet breath that came over the rim. Then they started on again, but faster, and with a rumbling now from their hoarse throats that tightened Wade’s grip on the reins.

The sound seemed to come out of the earth, a low, rumbling mumble, as dark as the night and as wide as the plain, a thick, inarticulate bellow that stood every rider stiff in his stirrups. . . .

Then the breeze caught the dust and carried it back from the gray-coated, ghostly shapes, and Wade saw that the animals were still moving in a circle. He must keep them going. He touched his horse to ride on with them, when across the black sky flashed a vivid streak of lightning.

There was a snort from the steers, a quick clap of horns and hoofs from far within the herd, a tremor of the plain, a roar, a surging mass—and Wade was riding the flank of a wild stampede. Before him, behind him, beside him, pressing hard upon his horse, galloped the frenzied steers, and beyond them a multitude borne on, and bearing him on, by the heave of the galloping herd.

Wade was riding for his life. He knew it. His horse knew it. He was riding to turn the herd, too, back from the rim, as the horse also knew. The cattle were after water—water-mad—ready to go over the precipice to get it, carrying horse and rider with them. Wade was the only rider between the herd and the rim. It was black as death. He could see nothing in the sage, could scarcely discern the pounding, panting shadows at his side. He knew that he was being borne toward the rim, how fast he could not tell, but he knew by the swish of the brush against his tapaderos and the plunging of the horse that the ground was growing stonier, that they were nearing the rocks.

To outrun the herd was his only chance for life. If he could come up with the leaders he might not only escape, but even stand a chance of heading them off upon the plain and saving the herd. There were cattle still ahead of him; how many, what part of them all, he could not make out in the dark. But the horse knew. The reins hung on his straight neck, where his rider had dropped them, as, yelling and firing over the wild herd, he had given this horse the race to win, to lose.

They were riding the rim. Close on their left bore down the flank of the herd, and on their right, under their very feet, was a precipice, so close that they felt its blackness—its three hundred feet of fall! . . .

. . . Then Wade found himself racing neck and neck with a big white steer, which the horse, with marvelous instinct, seemed to pick out from a bunch, and to cling to, forcing him gradually ahead, till, cutting him free from the bunch entirely, he bore him off into the swishing sage.

The steers coming on close behind followed their leader, and in, after them, swung others. The tide was turning from the rim. More and more were veering, and within a short time the whole herd, bearing off from the cliffs, was pounding over the open plains.

Whose race was it? It was Peroxide Jim’s, according to Wade, for not by word or by touch of hand or knee had the horse been directed in the run. From the flash of the lightning the horse had taken the bit, had covered an indescribably perilous path at top speed, had outrun the herd and turned it from the edge of the rim rock, without a false step or a tremor of fear.

From “The Spirit of the Herd” by Dallas Lore Sharp—Public Domain

tablelands: plateaus, flat areas of land sharply elevated from the surrounding area
tapaderos: leather covers for stirrups

Question

Read this sentence from paragraph 13.

Close on their left bore down the flank of the herd, and on their right, under their very feet, was a precipice, so close that they felt its blackness—its three hundred feet of fall!

The phrase “bore down the flank of the herd” conveys that Wade

  • Astruggled to see the front of the herd.
  • Bhad to ride quickly to keep up with the herd.
  • Cwas forced to ride between the edge of the cliff and the herd.
  • Dknew that the drop of the cliff would frighten the herd.
Show the answer

Correct answer: C

The question asks what the phrase “bore down the flank of the herd” (paragraph 13) conveys about Wade.

A. Incorrect. While Wade struggled to see the front of the herd, the words “bore down the flank of the herd” (paragraph 13) are meant to convey the intensity of the situation Wade was in, not the way the herd is blocking his vision.

B. Incorrect. The sentence from paragraph 13 states that the herd was “close on their left” and includes the phrase “bore down.” Both of these phrases indicate that Wade was trapped between the stampeding herd and the steep cliff. Wade and Peroxide Jim were struggling to reach the very front of the herd to turn it away from the edge.

C. CORRECT. The phrase “bore down the flank of the herd” from paragraph 13 conveys the overwhelming strength of the herd. The herd was forcing Wade toward the cliff. The wording in the quotation emphasizes the immediate danger of the situation and conveys the idea that Wade and Peroxide Jim were almost forced over the edge of the precipice by the stampeding herd.

D. Incorrect. The phrase “bore down the flank of the herd” (paragraph 13) does not indicate anything about the fear felt by the herd. The phrase is about Wade’s position between the edge of the stampeding herd and the drop-off. Wade was aware of the danger the herd was in if he and Peroxide Jim could not turn the cattle from the edge.

Question analysis

This vocabulary-in-context question quotes a sentence from paragraph 13 of “The Spirit of the Herd,” at the height of the stampede, and asks what the phrase “bore down the flank of the herd” conveys about Wade. Students need the meaning of “bore down” and “flank” as they are used here. Some choices describe real moments of the stampede, so students must stick to what this phrase shows.

NYS standards
  • 7R4 word meaning and choice
  • 7L4a context clues
Grade level
Grade 7 reading and task
Compared with grade 7
At grade 7 Working out a phrase’s meaning from its sentence is routine grade 7 work. The words “bore down” and “flank” are less common, but the full sentence is quoted with the question, so the task stays within one sentence.
Estimated difficulty
Straightforward: two steps or one careful reading.
What makes it hard
Evidence
Answered from one sentence or line
Reading level
Passage: about grade 8, 1160 words; question and choices: about grade 3, 94 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

Once the sentence is untangled, the herd pressing in on the left and the cliff on the right, the answer is a picture of Wade squeezed between them. The trouble is the word order and the phrase itself: students who read “bore down” as speed think about keeping pace, and those who recall the darkness of the paragraph before pick a detail this sentence never mentions.

  1. Complex sentences moderate Understanding the question

    The sentence is inverted: “the flank of the herd” is the subject of “bore down,” placed after its verb, so a quick reader may think Wade bore down along the herd instead. (Abedi & Lord, 2001; Freedle & Kostin, 1993; Messick, 1989)

  2. Hard words minor Understanding the question

    Both “flank,” the side of the herd, and “bore down,” pressed in hard, are uncommon in this sense, and the stem asks about exactly those words. (Perfetti, 2007; Freedle & Kostin, 1993)

Strategy: Read the whole quoted sentence rather than the phrase alone, picture the scene it describes, and pick what this sentence itself shows about Wade.

Traps

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This asks what the phrase “bore down the flank of the herd” shows about Wade. To answer, read the whole sentence, not just the phrase.

  2. Learn the hard words

    A flank is the side of an animal or of a group. To bear down, here “bore down,” means to press in hard on something. A precipice is a cliff, a very steep drop.

  3. Untangle the sentence

    The sentence puts its words in an unusual order. In everyday order it would say: The flank of the herd bore down close on their left. So the side of the herd pushed in on Wade and his horse from the left. On the right, “under their very feet, was a precipice.”

  4. Picture where Wade is

    Wade is squeezed. Thousands of running cattle press in on one side. A 300-foot drop sits on the other side. He has no room to move away from either one. He is forced to ride in the narrow space between the herd and the cliff edge.

  5. Check each choice

    • A does not fit. Paragraph 12 says he could not tell how many cattle were ahead, but this sentence is about the sides.
    • B does not fit. Here the herd does the bearing down, not Wade.
    • C fits. He rides between the herd and the cliff.
    • D does not fit. The cattle were “water-mad,” ready to go over the edge. Nothing says the cliff scared them.

  6. Choose the answer

    The phrase shows the herd pushing Wade toward the edge. So the answer is C.

Why this answer and not the closest wrong one

B is the closest wrong choice, because “bore down” can mean rushing forward fast. But in this sentence the herd does the bearing down, not Wade. The herd presses in from the left while the cliff waits on the right. That squeeze is what C describes.

More questions like this

The original DOE question
Question 32 as shown on the DOE’s digital test, page 45 of its printable version.
As printed in the DOE’s printable version of 2026 Practice Test A English, page 45, question 32.
The passage “Excerpt from “The Spirit of the Herd”” as printed (page 41)The passage “Excerpt from “The Spirit of the Herd”” as printed on page 41 of the DOE handbook.

Question 4 of 78

2026 Practice Test A English, question 35

Uses the passage above: “Excerpt from “The Spirit of the Herd””.

Question

Which sentence from the excerpt best reveals the mood on the drive before the lightning struck?

  • A“The herd when overtaken by the dusk had been headed for a pass descending to the next lower bench, but was now halted within a mile of the rim rock on the east, where there was a perpendicular fall of about three hundred feet.” (paragraph 3)
  • B“It was not to soothe their savage breasts that the riders sang to the cattle, but rather to preempt the dreaded silence, to relieve the tension, and so to prevent the shock of any sudden startling noise.” (paragraph 5)
  • C“He checked his horse instantly, listening as the wind swept past him over the cattle.” (paragraph 7)
  • D“Then the breeze caught the dust and carried it back from the gray-coated, ghostly shapes, and Wade saw that the animals were still moving in a circle.” (paragraph 9)
Show the answer

Correct answer: B

The question asks which sentence from the excerpt best reveals the mood on the drive before the lightning struck.

A. Incorrect. The sentence from paragraph 3 describes the setting but does not contain words that create a strong mood. In fact, this sentence shows that while there were dangerous surroundings, the riders and the herd were “now halted.”

B. CORRECT. The sentence from paragraph 5 describes the riders singing “to preempt the dreaded silence, to relieve the tension” and to prevent “shock” from any sudden noise. These words provide a strong sense of the tense, heavy mood in which a terrible event such as a stampede could quickly happen.

C. Incorrect. In the sentence from paragraph 7, Wade has become aware of a change in the weather (“caught a breath of fresh, moist wind with the taste of water” [paragraph 6]) and is seeking to verify it. Even though a rainstorm was one concern the riders had, the words describing Wade’s immediate reaction to his discovery do not best convey the mood of dread and foreboding that the men and horses feel just before the lightning strike.

D. Incorrect. While the words “ghostly” and “still moving in a circle” in the sentence from paragraph 9 create a strange and mysterious image, the mood before the lightning struck was not one of mystery or suspense. Instead, these descriptive words are used to indicate Wade’s faint ability to see the herd moving in the dark.

Question analysis

This mood question on “The Spirit of the Herd” asks which sentence best reveals the mood on the cattle drive before the lightning struck and set off the stampede. Students compare four long quotations from paragraphs 3, 5, 7 and 9. All four describe the night leading up to it, so students must weigh which one’s wording does the most to set a mood.

NYS standards
  • 7R4 word meaning and choice
  • 7R1 textual evidence and inferences
Grade level
Grade 7 reading and task
Compared with grade 7
At grade 7 Picking the sentence that best reveals a mood is ordinary grade 7 work on word choice. The four quotations are long, come from four different paragraphs and are written in 1914 English, so the main demand is reading them closely.
Estimated difficulty
Straightforward: two steps or one careful reading.
What makes it hard
Evidence
Answered from several paragraphs or stanzas
Reading level
Passage: about grade 8, 1160 words; question and choices: about grade 11, 143 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

Only one quotation names a feeling outright, and once students notice “dreaded silence” and “tension,” the question is easy. The losses come from mood-sounding words elsewhere: the “ghostly shapes” of paragraph 9 suggest an eerie mystery, and Wade’s sudden stop in paragraph 7 suggests alarm. Neither captures the strained waiting that hangs over the whole drive.

  1. Hard words minor Understanding the question

    The right sentence is the hardest to read: “preempt” and the old saying about soothing “savage breasts” surround the plain mood words “dreaded” and “tension.” (Perfetti, 2007; Freedle & Kostin, 1993)

  2. A lot to read minor Understanding the question

    The quotations from paragraphs 3 and 5 run 44 and 37 words, and all four describe the night before the stampede, so each must be read for words that carry feeling. (Kintsch, 1998; Gorin & Embretson, 2006; Freedle & Kostin, 1993)

Strategy: Underline the words in each quotation that carry feeling, then pick the one whose wording most directly captures the mood of the drive before the lightning.

Traps

  • Supports only part of the claim: In a question about evidence: a line that backs one half of the claim but not the other, or a related point rather than the claim itself.
  • Wrong tone or attitude: Misjudges the tone, attitude or point of view, such as reading admiration as criticism, or taking a character's or subject's feelings for the author's.

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This asks about mood, the feeling a piece of writing gives you. Which sentence best shows the feeling on the drive before the lightning struck? Look for words that name or carry a feeling.

  2. Read the sentence from paragraph 5

    Paragraph 5 says “It was not to soothe their savage breasts that the riders sang to the cattle, but rather to preempt the dreaded silence, to relieve the tension, and so to prevent the shock of any sudden startling noise.”

  3. Work out what it means

    “Soothe their savage breasts” is an old saying about calming wild feelings with music. To preempt something is to act early to stop it. So the singing was not meant as soothing music. The riders sang to fill a silence they dreaded, or feared, and to ease the tension. They also wanted to keep any sudden noise from scaring the herd. The mood is tense and nervous.

  4. Check each choice

    • A does not fit. It tells where the herd stopped and how far the drop was. It gives facts, not feelings.
    • B fits. Words like “dreaded” and “tension” name the feeling.
    • C does not fit. Wade stops to listen. That is one quick action, not the mood of the night.
    • D does not fit. “Ghostly shapes” sounds spooky, but it describes cattle seen dimly through dust.

  5. Choose the answer

    Only one sentence names the tense feeling of the night. So the answer is B.

Why this answer and not the closest wrong one

D is the closest wrong choice, because “ghostly” sounds eerie. But that word only describes how the cattle looked in the dark and the dust. B names the feeling outright: a “dreaded silence” and “tension.” That is the mood on the drive before the lightning struck.

More questions like this

The original DOE question
Question 35 as shown on the DOE’s digital test, page 48 of its printable version.
As printed in the DOE’s printable version of 2026 Practice Test A English, page 48, question 35.

Question 5 of 78

2026 Practice Test B English, question 8
Passage A Miracle Mile

A Miracle Mile

In the 1950s people compared running one mile in four minutes to scaling Mount Everest and nicknamed the feat a “dream mile.” Although such an accomplishment was considered humanly impossible, several elite runners aimed to break that supposedly impenetrable barrier. One of them was a twenty-five-year-old medical student named Roger Bannister.

Roger Bannister had tasted failure during the 1952 Olympics. There, he was favored to win the 1,500-meter competition, a distance slightly shorter than a mile, but he finished in a dismal fourth place instead. Bannister’s performance was a disappointment for him and his country, Great Britain. Determined to redeem himself, Bannister postponed his plans to retire from racing and focused on the ultimate prize—breaking the four-minute-mile barrier.

Bannister attacked the elusive milestone with a positive attitude and logical planning. The amateur athlete decided to use intensive interval training to develop endurance and speed. For these workouts, Bannister ran an interval of ten consecutive laps on a quarter-mile track, aiming for sixty seconds each lap. In between intervals, he let his body recover for two minutes.

By early 1954, Bannister had succeeded in lowering his quarter-mile pace to sixty-one seconds, but he had to shave off at least one more second in order to reach his target. Frustrated by the plateau he had reached, Bannister took a break from training and went mountain climbing for three days. The rest from running permitted his muscles to recuperate and left him feeling refreshed. When Bannister returned to the track, he completed ten quarter-mile-long intervals at fifty-nine seconds each. He finally felt prepared to attempt to break the world record.

As a member of the Amateur Athletic Association (AAA), Bannister joined the AAA team for a track meet against Oxford University. The event took place on a cinder track in Oxford on May 6, 1954. Bannister and his two AAA teammates, Chris Chataway and Chris Brasher, were close friends and frequent running partners. Chataway and Brasher agreed to help Bannister accomplish his goal by being his “rabbits.”

In track and field, rabbits are runners who enter the race solely to pace a teammate for a segment of the course. Typically, a runner settles in behind the rabbit and allows the rabbit to set an appropriate tempo. Additionally, by running behind the rabbit, the runner conserves about 15 percent of his or her effort. When the starting pistol fired, Brasher pounced into the lead, and Bannister followed behind his first rabbit.

Propelled by the excitement, Bannister lost his instinctive feel for his pace and shouted “Faster!” at Brasher. Brasher, however, remained composed and maintained his current steady but grueling pace, completing the first two laps in a desirable one minute and fifty-eight seconds. Then Chataway surged forward, leading Bannister at this same punishing rate for another lap and a half. At the beginning of the back straightaway of the track, Bannister bolted past Chataway. Bannister said, “I felt that the moment of a lifetime had come. There was no pain, only a great unity of movement and aim.” Bannister crossed the finish line in 3 minutes 59.4 seconds. The ecstatic crowd erupted the moment the timekeeper announced the word “three.”

Soon after Bannister’s achievement, four other athletes matched his performance. A new mindset had taken root among runners. Over the years, the record continued to fall. However, the current record, 3 minutes 43.13 seconds, has stood unbroken since 1999. Some question whether this record represents the limits of human ability. But perhaps there is another Bannister, an athlete who, with willpower and dedication, will accomplish the miraculous.

Question

The words “feat,” “humanly impossible,” and “impenetrable barrier” in paragraph 1 affect the tone of the paragraph because they

  • Ahighlight the idea that only the most skilled runners would be able to run a four-minute mile.
  • Bemphasize the idea that running a mile in less than four minutes was a seemingly unattainable goal.
  • Cconvey the competitiveness among elite runners to consistently set and break speed records.
  • Dshow the intensity of the training programs athletes endure in order to achieve their goals.
Show the answer

Correct answer: B

The question asks how the words “feat,” “humanly impossible,” and “impenetrable barrier” in paragraph 1 affect the tone of the paragraph.

A. Incorrect. Although paragraph 1 states that “several elite runners aimed to break that supposedly impenetrable barrier,” the words “feat,” “humanly impossible,” and “impenetrable barrier” suggest that the goal was unattainable even for the most skilled runners.

B. CORRECT. No one had ever been able to run a mile in less than four minutes, and the words “feat,” “humanly impossible,” and “impenetrable barrier” imply that the goal seemed unattainable. These words also reinforce the comparison of running a four-minute mile to “scaling Mount Everest” (paragraph 1).

C. Incorrect. The words “feat,” “humanly impossible,” and “impenetrable barrier” describe how challenging and almost impossible running a four-minute mile seemed, and while other elite runners “aimed to break that supposedly impenetrable barrier” (paragraph 1), the paragraph focuses on Roger Bannister, not the competition among elite runners seeking to break the record.

D. Incorrect. Bannister’s training program is described in paragraphs 3 and 4, and the words “feat,” “humanly impossible,” and “impenetrable barrier” are used in paragraph 1 to describe the magnitude of Bannister’s goal to run a four-minute mile. Though his training program was intense, these words relate to the intensity of the goal itself, not to the intensity of his training.

Question analysis

This tone question on “A Miracle Mile,” an article about Roger Bannister and the four-minute mile, asks how three word choices in the opening paragraph, “feat,” “humanly impossible” and “impenetrable barrier,” affect its tone. Students must read the connotations of strong words in context and decide what they stress, while choices that echo other parts of the passage compete for attention.

NYS standards
  • 7R4 word meaning and choice
  • 7L5c connotation and denotation
Grade level
Grade 6 reading and task
Compared with grade 7
Below grade 7 Grade 7 tone questions often ask students to find the telling words themselves. Here the three words are quoted and sit in one short opening paragraph, and their shared meaning is strong and plain, so one careful reading is enough.
Estimated difficulty
Straightforward: two steps or one careful reading.
What makes it hard
Evidence
Answered from one paragraph or stanza
Reading level
Passage: about grade 10, 587 words; question and choices: about grade 11, 80 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

The three quoted words all make the same point, and the opening comparison with “scaling Mount Everest” makes it again, so the effect is easy to sense. Points are lost on degree: the sentence holding two of the three words also names “several elite runners,” which makes a choice about only the best runners look supported. Students who hold on to “humanly impossible” rule it out, and the choices about rivalry and training fall away once they check that the words describe the goal, not the runners or their preparation.

  1. A very close wrong answer minor Choosing the answer

    The choice about only the most skilled runners and the right one both stress how hard the four-minute mile was; they differ on degree, possible for the best runners or thought impossible for anyone. (Embretson & Wetzel, 1987; Gorin & Embretson, 2006; Ascalon et al., 2007)

  2. Hard words minor Understanding the question

    “Impenetrable” and “feat” carry the tone, and a student who does not know that impenetrable means impossible to break through may miss how absolute the barrier sounded. (Perfetti, 2007; Freedle & Kostin, 1993)

Strategy: Decide what feeling the three quoted words share, then reread paragraph 1 to see what they describe, and keep only a choice that fits both the feeling and the thing described.

Traps

  • Twists what the text says: Uses the text's topic and ideas but changes what it says: who did it, how much, when, or why.
  • Word match: Repeats striking words or phrases from the text, so it looks supported, but its meaning does not fit the question.
  • Wrong part of the text: A choice is true of another paragraph, stanza or speaker than the one asked about.

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This is a tone question. Tone is the feeling or attitude that a writer’s words give a passage. The question names three word choices from paragraph 1. You need to decide what feeling they share and what they describe.

  2. Find the words in paragraph 1

    Paragraph 1 says people “compared running one mile in four minutes to scaling Mount Everest.” Scaling means climbing. Mount Everest is the tallest mountain on Earth. The paragraph calls running that fast a “feat.” The next sentence says “Although such an accomplishment was considered humanly impossible, several elite runners aimed to break that supposedly impenetrable barrier.”

  3. Work out what the words mean

    A feat is an amazing deed that is very hard to do. Humanly impossible means no person could ever do it. Impenetrable means impossible to break through, and a barrier is a wall. All three say the same thing. A mile under four minutes seemed like a goal no one could reach. A word for that is unattainable.

  4. Check each choice

    • A does not fit. It says the best runners could do it. But “humanly impossible” means no one could.
    • B fits. The words make the four-minute mile sound out of reach.
    • C does not fit. The words describe the barrier, not a contest between runners.
    • D does not fit. Training comes later, in paragraphs 3 and 4. These words describe the goal itself.

    Watch out: A is tempting because the same sentence mentions “several elite runners.” Elite means the very best. But even they were not expected to succeed.

  5. Choose the answer

    The three words make the goal sound almost impossible for anyone. So the answer is B, “emphasize the idea that running a mile in less than four minutes was a seemingly unattainable goal.”

Why this answer and not the closest wrong one

A is the closest wrong choice. It also says the four-minute mile was hard. But A says that only the most skilled runners could do it. The passage says it was “considered humanly impossible.” People thought no runner at all could do it. That is why B fits better.

More questions like this

The original DOE question
Question 8 as shown on the DOE’s digital test, page 14 of its printable version.
As printed in the DOE’s printable version of 2026 Practice Test B English, page 14, question 8.
The passage “A Miracle Mile” as printed (page 13)The passage “A Miracle Mile” as printed on page 13 of the DOE handbook.

Question 6 of 78

2026 Practice Test B English, question 15
Passage Excerpt from In Search of the Unknown

Excerpt from In Search of the Unknown

by Robert W. Chambers

It was at that time the policy of the trustees and officers of the Zoological Gardens neither to employ collectors nor to send out expeditions in search of specimens. The society decided to depend upon voluntary contributions, and I was always busy, part of the day, in dictating answers to correspondents who wrote offering their services as hunters of big game, collectors of all sorts of fauna, trappers, snarers, and also to those who offered specimens for sale, usually at exorbitant rates.

To the proprietors of . . . mangy lynxes, moth-eaten coyotes, and dancing bears I returned courteous but uncompromising refusals—of course, first submitting all such letters, together with my replies, to Professor Farrago.

One day towards the end of May, however, just as I was leaving Bronx Park to return to town, Professor Lesard, of the reptilian department, called out to me that Professor Farrago wanted to see me a moment; so I . . . retraced my steps to the temporary, wooden building occupied by Professor Farrago, general superintendent of the Zoological Gardens. The professor, who was sitting at his desk before a pile of letters and replies submitted for approval by me, pushed his glasses down and looked over them at me with a whimsical smile that suggested amusement, impatience, annoyance, and perhaps a faint trace of apology.

“Now, here’s a letter,” he said, with a deliberate gesture towards a sheet of paper impaled on a file—“a letter that I suppose you remember.” He disengaged the sheet of paper and handed it to me.

“Oh yes,” I replied, with a shrug; “of course the man is mistaken—or—”

“Or what?” demanded Professor Farrago, tranquilly, wiping his glasses.

“—Or a liar,” I replied.

After a silence he leaned back in his chair and bade me read the letter to him again, and I did so with a contemptuous tolerance for the writer, who must have been either a very innocent victim or a very stupid swindler. I said as much to Professor Farrago, but, to my surprise, he appeared to waver.

“I suppose,” he said, with his near-sighted, embarrassed smile, “that nine hundred and ninety-nine men in a thousand would throw that letter aside and condemn the writer as a liar or a fool?”

“In my opinion,” said I, “he’s one or the other.”

“He isn’t—in mine,” said the professor, placidly.

“What!” I exclaimed. “Here is a man living all alone on a strip of rock and sand between the wilderness and the sea, who wants you to send somebody to take charge of a bird that doesn’t exist!”

“How do you know,” asked Professor Farrago, “that the bird in question does not exist?”

“It is generally accepted,” I replied, sarcastically, “that the great auk has been extinct for years. Therefore I may be pardoned for doubting that our correspondent possesses a pair of them alive.”

“Oh, you young fellows,” said the professor, smiling wearily, “you embark on a theory for destinations that don’t exist.”

He leaned back in his chair, his amused eyes searching space for the imagery that made him smile.

“Like swimming squirrels, you navigate with the help of Heaven and a stiff breeze, but you never land where you hope to—do you?”

Rather red in the face, I said: “Don’t you believe the great auk to be extinct?”

“Audubon saw the great auk.”

“Who has seen a single specimen since?”

“Nobody—except our correspondent here,” he replied, laughing.

I laughed, too, considering the interview at an end, but the professor went on, coolly:

“Whatever it is that our correspondent has—and I am daring to believe that it is the great auk itself—I want you to secure it for the society.”

When my astonishment subsided my first conscious sentiment was one of pity. Clearly, Professor Farrago was on the verge of dotage—ah, what a loss to the world!

I believe now that Professor Farrago perfectly interpreted my thoughts, but he betrayed neither resentment nor impatience. I drew a chair up beside his desk—there was nothing to do but to obey, and this fool’s errand was none of my conceiving.

Together we made out a list of articles necessary for me and itemized the expenses I might incur, and I set a date for my return, allowing no margin for a successful termination to the expedition.

“Never mind that,” said the professor. “What I want you to do is to get those birds here safely. Now, how many men will you take?”

“None,” I replied, bluntly; “it’s a useless expense, unless there is something to bring back. If there is I’ll wire you, you may be sure.”

“Very well,” said Professor Farrago, good-humoredly, “you shall have all the assistance you may require. Can you leave to-night?”

The old gentleman was certainly prompt. I nodded, half-sulkily, aware of his amusement.

“So,” I said, picking up my hat, “I am to start north to find a place called Black Harbor, where there is a man named Halyard who possesses, among other household utensils, two extinct great auks—”

We were both laughing by this time. I asked him why on earth he credited the assertion of a man he had never before heard of.

“I suppose,” he replied, with the same half-apologetic, half-humorous smile, “it is instinct. I feel, somehow, that this man Halyard has got an auk—perhaps two. I can’t get away from the idea that we are on the eve of acquiring the rarest of living creatures. It’s odd for a scientist to talk as I do; doubtless you’re shocked—admit it, now!”

But I was not shocked; on the contrary, I was conscious that the same strange hope that Professor Farrago cherished was beginning, in spite of me, to stir my pulses, too.

“If he has—” I began, then stopped.

The professor and I looked hard at each other in silence.

“Go on,” he said, encouragingly.

But I had nothing more to say, for the prospect of beholding with my own eyes a living specimen of the great auk produced a series of conflicting emotions within me which rendered speech profanely superfluous.

From IN SEARCH OF THE UNKNOWN by Robert W. Chambers—Public Domain

Audubon: John James Audubon, an ornithologist and artist who created scientific illustrations of birds
dotage: a loss of reasoning brought about by old age

Question

Read this sentence from paragraph 3.

The professor, who was sitting at his desk before a pile of letters and replies submitted for approval by me, pushed his glasses down and looked over them at me with a whimsical smile that suggested amusement, impatience, annoyance, and perhaps a faint trace of apology.

What does the phrase “a faint trace of apology” convey about the professor?

  • AIt indicates that the professor feels bad that he has to call the narrator to his office after work.
  • BIt shows that the professor is hesitant to share his opinions with the narrator.
  • CIt implies that the professor is uncomfortable criticizing the narrator’s work.
  • DIt suggests that the professor knows that the conversation will be frustrating for the narrator.
Show the answer

Correct answer: D

The question asks what the phrase “a faint trace of apology” in paragraph 3 conveys about the professor.

A. Incorrect. The fact that the narrator had intended to leave the office for the day is not the source of the professor’s faintly apologetic manner, which is instead caused by the professor’s understanding that their conversation about the letter and the expedition is likely to cause an argument (“with a whimsical smile that suggested amusement, impatience, annoyance” [paragraph 3]). In paragraph 29, the professor asks the narrator if he can leave on an expedition that same evening, which indicates that the professor does not feel bad about taking up the narrator’s time after work.

B. Incorrect. The paragraphs that follow the sentence from paragraph 3 show the professor sharing his opinions without pause, even when his opinion of the narrator is unflattering (“ ‘Like swimming squirrels, you navigate with the help of Heaven and a stiff breeze, but you never land where you hope to—do you?’ ” [paragraph 17]).

C. Incorrect. The professor knows that the narrator will push back regarding the letter, but the professor is not uncomfortable challenging the narrator. Professor Farrago seems perfectly at ease and comfortable as he begins the discussion with the narrator.

D. CORRECT. The professor is both amused and annoyed by the narrator’s dismissal of the possibility that great auks still exist, and the professor knows that the narrator is likely to react negatively to being sent on what the narrator considers a “fool’s errand” (paragraph 25).

Question analysis

This question focuses on a single phrase in the excerpt from Robert W. Chambers’s In Search of the Unknown: as the professor looks up from a pile of letters, his whimsical smile shows “a faint trace of apology.” Students must work out what that hint of apology says about him. The phrase is brief and old-fashioned, and several explanations for it seem natural.

NYS standards
  • 7R4 word meaning and choice
  • 7R1 textual evidence and inferences
Grade level
Grade 8 reading and task
Compared with grade 7
Above grade 7 Grade 7 students often infer a character’s feelings from a description. Here the phrase ends a 46-word sentence of early-1900s prose, follows three other moods, and has to be interpreted from the scene as a whole, beyond typical grade 7 work.
Estimated difficulty
Among the hardest on the SHSAT: a non-obvious approach, heavy reading, or a well-hidden trap.
Evidence
Answered from several paragraphs or stanzas
Reading level
Passage: about grade 9, 1066 words; question and choices: about grade 10, 123 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

The phrase comes before a word of the conversation is spoken, so the reason for the apology lies ahead in the text. Two natural guesses compete with it: the professor has called the narrator back just as he was leaving, and he is about to question one of the narrator’s replies. Only a reader who follows the scene to the narrator’s scorn for the letter and the errand sees that the professor, at ease throughout, is sorry for what he is about to put the narrator through.

  1. Reading between the lines major Working it out

    Nothing explains the apology; students must reason from the talk that follows, in which the professor sends the narrator after birds the narrator believes extinct, that the professor expects resistance. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  2. A very close wrong answer moderate Choosing the answer

    The choice about criticizing the narrator’s work and the right one both tie the apology to the coming talk about a letter; one places discomfort in the professor, the other frustration in the narrator. (Embretson & Wetzel, 1987; Gorin & Embretson, 2006; Ascalon et al., 2007)

  3. Evidence in several places moderate Working it out

    What the professor anticipates appears only later: the narrator’s scorn for the letter in paragraphs 5–14 and his view of the trip as a “fool’s errand” in paragraph 25. (Kirsch & Mosenthal, 1990; Gorin & Embretson, 2006)

  4. Complex sentences minor Understanding the question

    The phrase closes a 46-word sentence, after a clause about the pile of letters and a run of three other moods, “amusement, impatience, annoyance.” (Abedi & Lord, 2001; Freedle & Kostin, 1993; Messick, 1989)

Strategy: Read the full sentence and then the conversation it opens, and test each choice against how the professor actually speaks and acts in that conversation.

Traps

  • Reads too much in: A reasonable-sounding conclusion that goes further than the text allows.
  • Half right: One half of a two-part choice is right and the other is not.
  • Twists what the text says: Uses the text's topic and ideas but changes what it says: who did it, how much, when, or why.

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This asks what one phrase shows about the professor: “a faint trace of apology.” Faint means slight, and a trace is a small sign. So his smile looks a little bit sorry. Why would he feel sorry? You find out from the talk that follows.

  2. Read the whole sentence

    Paragraph 3 says the professor looked at the narrator “with a whimsical smile that suggested amusement, impatience, annoyance, and perhaps a faint trace of apology.” Whimsical means playful. He is amused by the narrator and a bit annoyed with him. Then he picks up a letter the narrator has already turned down.

  3. See what the professor is about to do

    The professor is about to defend that letter. Then he sends the narrator after the birds in it. The narrator thinks the birds are extinct, or all dead. In paragraph 25 he calls the trip “this fool’s errand,” a pointless job. The professor seems to know the narrator will hate this. That is why his smile looks a little sorry.

  4. Check each choice

    • A does not fit. He later asks, “Can you leave to-night?” (paragraph 29). He is not sorry about taking the narrator’s time.
    • B does not fit. He shares his opinion plainly: “He isn’t—in mine” (paragraph 11).
    • C does not fit. He does challenge the narrator, but calmly. He speaks “placidly” and “coolly,” with no sign of being uneasy.
    • D fits. He knows the talk will annoy the narrator.

    Watch out: C is tempting because the professor is about to disagree with the narrator. But nothing shows that he is uncomfortable about it.

  5. Choose the answer

    The slight apology shows that the professor expects the narrator to be frustrated. So the answer is D, “It suggests that the professor knows that the conversation will be frustrating for the narrator.”

Why this answer and not the closest wrong one

C is the closest wrong choice. Both C and D link the apology to the talk about the letter. But C puts the bad feeling in the professor, as if he were nervous. He is not. He speaks “placidly,” which means calmly. D puts the bad feeling in the narrator, and the narrator does get upset.

More questions like this

The original DOE question
Question 15 as shown on the DOE’s digital test, page 23 of its printable version.
As printed in the DOE’s printable version of 2026 Practice Test B English, page 23, question 15.
The passage “Excerpt from In Search of the Unknown” as printed (page 21)The passage “Excerpt from In Search of the Unknown” as printed on page 21 of the DOE handbook.

Question 7 of 78

2026 Practice Test B English, question 17

Uses the passage above: “Excerpt from In Search of the Unknown”.

Question

The professor’s observations in paragraphs 15–17 create tension in the excerpt by causing the narrator to feel

  • Aflustered by the professor’s criticism of his logic.
  • Bannoyed by the professor’s sarcasm about his inexperience.
  • Cconfused by the professor’s lack of respect for his opinion.
  • Dfrustrated by the professor’s lack of interest in his theory.
Show the answer

Correct answer: A

The question asks how the professor’s observations in paragraphs 15–17 create tension in the excerpt.

A. CORRECT. The professor criticizes “ ‘you young fellows’ ” (paragraph 15), suggesting that the ideas of young scientists like the narrator are unsupported (“ ‘like swimming squirrels’ ” [paragraph 17]) and inaccurate (“ ‘but you never land where you hope to—do you?’ ” [paragraph 17] and “ ‘you embark on a theory for destinations that don’t exist’ ” [paragraph 15]). The narrator then becomes “red in the face” (paragraph 18), indicating that the narrator is upset by the professor’s criticism, and asks the professor about the great auk in an attempt to defend himself.

B. Incorrect. While the narrator does experience a negative reaction to the professor’s words, the professor is being genuine, not sarcastic. In fact, the sarcasm comes from the narrator in paragraph 14 (“ ‘It is generally accepted,’ I replied, sarcastically, ‘that the great auk has been extinct for years. Therefore I may be pardoned for doubting that our correspondent possesses a pair of them alive’ ”), not from the professor.

C. Incorrect. The professor’s observations cause the narrator to blush with embarrassment (“rather red in the face” [paragraph 18]), but the narrator understands the point that the professor is making about the narrator’s acceptance of the idea that great auks do not exist. The narrator recognizes that the professor is criticizing his youthful ideas, not his opinion.

D. Incorrect. The professor shows amusement with the narrator’s perspective. The narrator is embarrassed and upset by the professor’s words, but the narrator does not display frustration with the professor’s lack of interest in a commonly held view of the existence of a certain species of bird.

Question analysis

In this question on In Search of the Unknown, Professor Farrago makes remarks about “you young fellows,” comparing them to swimming squirrels that never land where they hope. Students must decide how these remarks in paragraphs 15–17 make the narrator feel and so create tension. The comparison is odd and old-fashioned, and the four choices name similar negative feelings with different causes.

NYS standards
  • 7R3 plot elements and ideas
  • 7R4 word meaning and choice
Grade level
Grade 8 reading and task
Compared with grade 7
Above grade 7 Grade 7 students infer feelings from a character’s reactions, usually from plainly stated emotions. Here the cause is a puzzling figurative jab about “swimming squirrels,” the reaction is shown only through a physical sign, and the choices offer four close negative feelings.
Estimated difficulty
Hard: combines ideas, needs a plan, and has more than one tempting wrong answer.
Evidence
Answered from several paragraphs or stanzas
Reading level
Passage: about grade 9, 1066 words; question and choices: about grade 9, 52 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

The professor’s two images are odd, and students must decode them as a comment on how the narrator reasons before they can say why he blushes. Every choice names an unpleasant feeling, so the decision rests on its cause. “You young fellows” makes sarcasm about inexperience the natural guess, but the sarcasm in this scene is the narrator’s own, and the professor smiles “wearily” and speaks in earnest. The narrator’s pointed reply shows he followed the criticism, not that it confused him.

  1. Figurative or literary language major Understanding the question

    The criticism comes in images: young men who “embark on a theory for destinations that don’t exist” and who, like swimming squirrels, “never land where you hope to,” a picture of reasoning that goes astray. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  2. A very close wrong answer moderate Choosing the answer

    The choice about annoyance at sarcasm and the right one both name a bad reaction to the professor’s remarks; they part on the cause, sincere criticism of his logic or mockery of his youth. (Embretson & Wetzel, 1987; Gorin & Embretson, 2006; Ascalon et al., 2007)

  3. Reading between the lines moderate Working it out

    The narrator never names his feeling; it shows only in “Rather red in the face” and in the defensive question that follows about whether the great auk is extinct. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

Strategy: Paraphrase what the professor says about “you young fellows” in paragraphs 15–17, find how the narrator reacts in paragraph 18, and choose the feeling and the cause that both fit.

Traps

  • Wrong tone or attitude: Misjudges the tone, attitude or point of view, such as reading admiration as criticism, or taking a character's or subject's feelings for the author's.
  • Twists what the text says: Uses the text's topic and ideas but changes what it says: who did it, how much, when, or why.
  • Word match: Repeats striking words or phrases from the text, so it looks supported, but its meaning does not fit the question.

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This asks how the professor’s words in paragraphs 15–17 make the narrator feel. Tension is a feeling of strain between characters. Each choice names a feeling and a cause. Both parts must be right.

  2. Read what the professor says

    In paragraph 15 he says, “Oh, you young fellows,” and “you embark on a theory for destinations that don’t exist.” To embark means to set out on a trip. He means young men set out with an idea toward places that are not there. Their reasoning leads them to wrong answers. In paragraph 17 he adds, “Like swimming squirrels, you navigate with the help of Heaven and a stiff breeze, but you never land where you hope to—do you?”

  3. Understand the picture

    A swimming squirrel can’t really steer. It drifts with luck and the wind. The professor is saying the narrator’s thinking drifts the same way and misses the truth. That is a criticism of his logic, or reasoning. In paragraph 18, the narrator is “Rather red in the face.” He is flustered, which means embarrassed and upset.

  4. Check each choice

    • A fits. He turns red after the professor criticizes his reasoning.
    • B does not fit. Sarcasm is saying the opposite of what you mean in order to mock. The professor means what he says. The sarcastic one is the narrator, in paragraph 14.
    • C does not fit. He is not confused. He fires back a sharp question right away.
    • D does not fit. The professor answers the narrator’s idea closely, so he is interested in it.

    Watch out: B is tempting because “you young fellows” points to the narrator’s youth. But the professor is sincere, not sarcastic.

  5. Choose the answer

    The professor says the narrator’s reasoning goes astray, and the narrator turns red. So the answer is A, “flustered by the professor’s criticism of his logic.”

Why this answer and not the closest wrong one

B is the closest wrong choice. Both A and B say the narrator feels bad. But B blames sarcasm. Paragraph 14 says the narrator “replied, sarcastically,” so the sarcasm is his own. The professor means his words seriously. A names the real cause: criticism of the narrator’s thinking.

More questions like this

The original DOE question
Question 17 as shown on the DOE’s digital test, page 25 of its printable version.
As printed in the DOE’s printable version of 2026 Practice Test B English, page 25, question 17.

Question 8 of 78

2026 Practice Test B English, question 24
Passage Looking for the Smallest Spark of Everything

Looking for the Smallest Spark of Everything

Located underground near Geneva, Switzerland, the Large Hadron Collider (LHC) helps scientists study and understand how the smallest particles of matter interact with one another. The LHC propels atomic particle beams along a 17-mile-long ring.

There are the things the world is made of,
things we can see and feel, and then
there are the things even smaller, things that seem
to exist only when we are looking right at them.

So beneath the level of molecules are atoms,
and beneath the level of atoms, we find
protons, electrons, neutrons; and beneath that—
what, exactly? Because we are talking about
everything here: your fingernail,
the candy at the back of your mouth,
the coffee your teacher drank this morning,
your little sister, and the stuffed dog
she used to carry around with her everywhere.
And everywhere.

Everything and everywhere
are made up of the same stuff, whatever
it is. How do we find it? We can listen for it
in the wavelengths from deep space,
talking back to us from unimaginable
distances. Or we can build long,
deep circular tunnels beneath the surface
of this Earth and race particles
(like racing cars, only very tiny cars
flashing along at close to the speed of light)
until everything we think we know
bangs against everything else we know.

And there, in the explosion, in the darkness,
briefly incandescent, they appear:
the quarks, the leptons, and the bosons;
the baryons and the mesons. Their names
sound like dinosaurs or maybe bands
playing terrible music in someone’s garage.

The one thing we know for sure
is that they spin. This is how gravity
enters our world, how our world is held
both together and apart, what keeps
together the pencil in your hand right now
as well as separate from, say,
Jupiter. They spin, and it is only down there
in the darkness—in the vast garage
where physicists jot down
what they can, whatever seems most real—
that they let us perceive their wild dancing,
combusting to the music they make.

Question

The main purpose of the comparison in lines 23–24 of the poem is to show

  • Athat the particles’ size makes them difficult to see.
  • Bhow the particles move within the tunnel.
  • Cthat the particles have a familiar shape.
  • Dhow the particles can be seen only in darkness.
Show the answer

Correct answer: B

The question asks what the comparison in lines 23–24 of the poem is mainly meant to show.

A. Incorrect. While the particles are moving “close to the speed of light” (line 24), which would make them difficult to see, the comparison in lines 23–24 focuses on the movement of the particles, not how visible they are.

B. CORRECT. Lines 23–24 describe “tiny cars / flashing along at close to the speed of light,” which describes how the particles move.

C. Incorrect. Lines 23–24 do not describe the shape of the particles but rather their movement, which is “flashing along at close to the speed of light” (line 24).

D. Incorrect. The word “flashing” in line 24 does not refer to light in darkness but rather to speed, and the word “light” is used to reference a measurement of speed, not brightness in darkness.

Question analysis

This figurative language question asks for the main purpose of a comparison in lines 23–24 of the poem “Looking for the Smallest Spark of Everything,” where particles in an underground tunnel are likened to tiny racing cars. Students must work out what the image is mainly meant to show about the particles, judging the comparison as a whole rather than word by word.

NYS standards
  • 7L5a interpreting allusions
  • 7R4 word meaning and choice
Grade level
Grade 6 reading and task
Compared with grade 7
Below grade 7 Explaining what a simple comparison shows is grade 6 work, and this one likens particles to racing cars in two short lines of familiar words, so a single step of interpretation is enough.
Estimated difficulty
Routine: one familiar step, little to misread.
What makes it hard
Evidence
Answered from one sentence or line
Reading level
Passage: 346 words (a poem; reading level not measured); question and choices: about grade 5, 46 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

The image is built from words about motion, racing cars “flashing along at close to the speed of light,” so most students see its purpose quickly. Each wrong choice seizes one piece of the picture, the cars’ tininess, their shape or the word “light,” and makes it the point. Students who ask what the whole comparison makes them picture, rather than what one word suggests, avoid all three.

  1. Figurative or literary language minor Understanding the question

    The comparison sits in parentheses, “like racing cars, only very tiny cars / flashing along at close to the speed of light,” and students must see that racing cars stand for speed. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

Strategy: Name the two things being compared in lines 23–24 and ask what a reader is meant to picture, then choose the purpose that the comparison’s own words support.

Traps

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This asks why the poet makes a comparison in lines 23–24. A comparison shows how two different things are alike. First find the two things. Then ask what the reader is meant to picture.

  2. Read the lines around it

    Lines 20–22 describe building “deep circular tunnels beneath the surface / of this Earth” to race particles. Then lines 23–24 add “(like racing cars, only very tiny cars / flashing along at close to the speed of light)”. The speed of light is the fastest speed there is.

  3. Work out the comparison

    The particles are compared to racing cars. Racing cars zoom around a track, lap after lap, very fast. The particles zoom around the round tunnel the same way. “Flashing along” means moving so fast they are a blur. So the comparison helps you picture how the particles move.

  4. Check each choice

    • A does not fit. The cars are “very tiny,” but the point is racing, not being hard to see.
    • B fits. Like racing cars, the particles speed around the tunnel.
    • C does not fit. The particles do not look like cars. The comparison is about motion, not shape.
    • D does not fit. “Light” here measures speed. It is not about glowing in the dark.

    Watch out: A is tempting because of the word “tiny.” But a poet picks racing cars to show speed, not size.

  5. Choose the answer

    The racing cars help you picture particles speeding around the tunnel. So the answer is B, “how the particles move within the tunnel.”

Why this answer and not the closest wrong one

A is the closest wrong choice, since the poem does call them “very tiny cars.” But the comparison is to racing cars “flashing along at close to the speed of light.” Every word there is about speed and motion. So B, how the particles move, fits better.

More questions like this

The original DOE question
Question 24 as shown on the DOE’s digital test, page 35 of its printable version.
As printed in the DOE’s printable version of 2026 Practice Test B English, page 35, question 24.
The passage “Looking for the Smallest Spark of Everything” as printed (pages 32–33)The passage “Looking for the Smallest Spark of Everything” as printed on page 32 of the DOE handbook.The passage “Looking for the Smallest Spark of Everything” as printed on page 33 of the DOE handbook.

Question 9 of 78

2026 Practice Test B English, question 25

Uses the passage above: “Looking for the Smallest Spark of Everything”.

Question

Read lines 27–28 from the poem.

And there, in the explosion, in the darkness,
briefly incandescent, they appear:

The imagery in the lines reveals that the speaker

  • Aenvies the physicists who research colliding particles.
  • Bhas personally observed colliding particles.
  • Cadmires the powerful reactions that occur when particles collide.
  • Dhas a simplistic understanding of how particles collide.
Show the answer

Correct answer: C

The question asks what the imagery in lines 27–28 reveals about the speaker.

A. Incorrect. The physicists mentioned in the fifth stanza (lines 33–44) are described as mere observers: they “jot down / what they can” (lines 41–42). In lines 27–28, the speaker is focused on the reaction between the colliding particles, not on the physicists who study them.

B. Incorrect. The speaker describes the particle collision in detail, but the text does not imply that the speaker has personally witnessed a collision. The speaker implies that his or her understanding of the collision is based on the experiences of the physicists observing the phenomenon (“They spin, and it is only down there / in the darkness—in the vast garage / where physicists jot down / what they can, whatever seems most real— / that they let us perceive their wild dancing” [lines 39–43]).

C. CORRECT. The word “explosion” and the phrase “briefly incandescent” create a picture of rapid changes and short bursts of bright light, revealing how powerful the new particles are. The language the speaker uses is positive, revealing that the speaker admires the power of the reaction and stands in awe of the new particles.

D. Incorrect. The poem reveals the speaker’s deep knowledge about subatomic particles. For example, the speaker is able to name the new particles discovered—“the quarks, the leptons, and the bosons; / the baryons and the mesons” (lines 29–30)—and is able to use imagery to create a powerful picture that reveals the complexity of a scientific process that humans have never been able to see.

Question analysis

This imagery question asks what lines 27–28 of “Looking for the Smallest Spark of Everything” reveal about the poem’s speaker, as particles appear “briefly incandescent” in an explosion inside a particle collider. Students must infer what a vivid image says about the person describing it. The word “incandescent” may be unfamiliar, and the choices are about very different things.

NYS standards
  • 7R4 word meaning and choice
  • 7R6 point of view and author position
Grade level
Grade 8 reading and task
Compared with grade 7
Above grade 7 Grade 7 students infer a speaker’s attitude from imagery, but these two lines turn on the uncommon word “incandescent,” state nothing about the speaker outright, and the choices range over the speaker’s knowledge, experience and feelings, which is harder than typical grade 7 work.
Estimated difficulty
Hard: combines ideas, needs a plan, and has more than one tempting wrong answer.
Evidence
Answered from one paragraph or stanza
Reading level
Passage: 346 words (a poem; reading level not measured); question and choices: about grade 9, 55 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

Nothing in the two lines names a feeling, so students must judge the speaker’s attitude from the image alone, and its key word is uncommon. The vividness is itself a trap: a scene described this sharply can seem to be one the speaker watched, though the poem says the particles are perceived only through the physicists’ work. The choices range over envy, experience, admiration and understanding, so each must be tested against the lines rather than against an overall impression.

  1. Reading between the lines major Working it out

    The lines describe particles, not the speaker, and contain no word of feeling; admiration has to be inferred from the drama of “the explosion” and the glow of “briefly incandescent.” (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  2. Hard words moderate Understanding the question

    “Incandescent,” glowing with heat and light, is the word that makes the image dazzling, and a student who does not know it sees only an explosion in the dark. (Perfetti, 2007; Freedle & Kostin, 1993)

  3. Figurative or literary language minor Understanding the question

    The two lines are pure imagery, a burst of light in darkness as the particles “appear,” and the question asks what that picture reveals about the person painting it. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

Strategy: Picture the scene in lines 27–28, including what “incandescent” means, decide what the description suggests about the speaker, and test each choice against these two lines.

Traps

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This asks what the imagery in lines 27–28 shows about the speaker. Imagery is language that helps you see, hear or feel a scene. The lines describe particles, not the speaker. So you must infer, or figure out from clues, how the speaker feels.

  2. Read lines 27–28

    The lines say “And there, in the explosion, in the darkness, / briefly incandescent, they appear:” Briefly means for a short time. Incandescent means glowing with heat and light. So picture a burst of bright light flashing in the dark. The particles have just crashed into each other, or collided. In that flash, the tiny particles appear.

  3. Decide how the speaker feels

    The words are bold and bright: “explosion,” “incandescent,” “appear.” The speaker makes the moment sound dramatic and amazing. People describe something this way when they are in awe of it. So the speaker admires, or looks up to, the power of the crash.

  4. Check each choice

    • A does not fit. Physicists come up only later, in line 41. Nothing shows envy, or wanting what they have.
    • B does not fit. Nothing says the speaker was there. Lines 39–42 place the sight “down there,” where “physicists jot down / what they can.”
    • C fits. The glowing burst in the dark shows the speaker’s wonder.
    • D does not fit. Right after, the speaker names quarks, leptons, bosons, baryons and mesons. That is not a simple understanding.

    Watch out: B is tempting because the scene is so vivid. But a writer can picture something without seeing it in person.

  5. Choose the answer

    The bright, explosive picture shows a speaker who is amazed by the crash. So the answer is C, “admires the powerful reactions that occur when particles collide.”

Why this answer and not the closest wrong one

B is the closest wrong choice, because the scene feels like an eyewitness report. But the lines never say the speaker was in the tunnel. What they do show is a feeling. Words like “explosion” and “briefly incandescent” make the moment thrilling. That is admiration, so C fits.

More questions like this

The original DOE question
Question 25 as shown on the DOE’s digital test, page 36 of its printable version.
As printed in the DOE’s printable version of 2026 Practice Test B English, page 36, question 25.

Question 10 of 78

2026 Practice Test B English, question 26

Uses the passage above: “Looking for the Smallest Spark of Everything”.

Question

Read lines 30–32 from the poem.

Their names
sound like dinosaurs or maybe bands
playing terrible music in someone’s garage.

The speaker refers to familiar objects and events in the lines most likely to

  • Aexplain confusing information in simple terms to help the reader understand more about the topic.
  • Bdemonstrate how scientific ideas can be explained by describing situations that many people are familiar with.
  • Cemphasize that the process being used to research particles is still in the early stages of development.
  • Dsuggest that the scientific language used to describe particles seems silly by making a humorous comparison.
Show the answer

Correct answer: D

The question asks why the speaker refers to familiar objects and events in lines 30–32.

A. Incorrect. In lines 30–32, the speaker only gives an opinion about what the names sound like and does not simplify confusing information about how these newly discovered particles function or exist.

B. Incorrect. In lines 30–32, the speaker is only describing what the names of the particles sound like: “dinosaurs or maybe bands” (line 31). These descriptions illustrate the speaker’s opinion but do not explain specific scientific ideas.

C. Incorrect. In lines 30–32, the mention of the names of the particles sounding like “dinosaurs or maybe bands” (line 31) reveals the speaker’s opinion about the names but does not explain the process of researching the particles.

D. CORRECT. The phrase “their names” (line 30) refers to the scientific names of the particles: “the quarks, the leptons, and the bosons; / the baryons and the mesons” (lines 29–30). In lines 30–32, the speaker expresses the opinion that these scientific terms sound nonsensical, much like the strange scientific names of dinosaurs or silly band names.

Question analysis

In “Looking for the Smallest Spark of Everything,” the speaker says the names of particles sound like dinosaurs or bands playing in someone’s garage. This question asks why the speaker refers to such familiar things in lines 30–32. Students must read the comparison’s tone and purpose, and the choices offer several reasons poets compare science with everyday life.

NYS standards
  • 7R5 structure and genre features
  • 7R4 word meaning and choice
Grade level
Grade 7 reading and task
Compared with grade 7
At grade 7 Explaining why a speaker includes a comparison is typical grade 7 work on word choice and tone. The three lines are quoted and their images are everyday ones, but the choices state purposes that differ in subtle ways.
Estimated difficulty
Moderate: several steps, or a close reading with one strong distractor.
Evidence
Answered from one paragraph or stanza
Reading level
Passage: 346 words (a poem; reading level not measured); question and choices: about grade 10, 97 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

Two choices give the textbook reason for an everyday comparison, to make hard science easier, and they draw students who answer from what comparisons usually do. These lines explain nothing; they say how the particles’ names sound, and “terrible music in someone’s garage” is a joke at the expense of the jargon. Students who trace “Their names” back to the list before it and hear the teasing tone reach the right purpose.

  1. How, not what moderate Working it out

    The question asks why the speaker makes the comparison, and two choices offer the usual reason for likening science to everyday things, making it easier to grasp, which these lines do not do. (Anderson & Krathwohl, 2001)

  2. Figurative or literary language moderate Understanding the question

    The humor has to be heard: names that sound like dinosaurs or like bands “playing terrible music in someone’s garage” are being teased, which signals a joke, not an explanation. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  3. Reading between the lines minor Working it out

    “Their names” points back to the list in lines 29–30, quarks, leptons, bosons, baryons and mesons, and students must see that the lines judge those words, not the particles. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

Strategy: Find what “Their names” refers to in the lines just before, then ask what the comparison says about those names and in what tone, and match the purpose to both.

Traps

  • Wrong purpose or structure: Names a purpose, structure or effect that the part does not serve, or describes what a part says when the question asks what it does.
  • Too broad or too strong: A choice overstates, generalizes, or uses absolute words the text does not support.
  • Reads too much in: A reasonable-sounding conclusion that goes further than the text allows.

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This asks why the speaker compares the particles’ names to familiar things. Familiar means well known from everyday life. First find what “Their names” points to. Then decide what the comparison says about those names, and in what tone.

  2. Find what their names means

    Lines 29–30 list the particles: “the quarks, the leptons, and the bosons; / the baryons and the mesons.” Then the speaker says “Their names / sound like dinosaurs or maybe bands / playing terrible music in someone’s garage.” So “their names” means these science words.

  3. Hear the joke

    Dinosaurs have long, strange names. A garage band is a group of beginners who practice in a garage. Their music is often loud and bad. The speaker is teasing the science words. They sound odd and a little silly. This is a humorous, or funny, comparison.

  4. Check each choice

    • A does not fit. The lines explain nothing about particles. They only say how the names sound.
    • B does not fit. No science idea is explained here.
    • C does not fit. “Garage” is part of the band joke. It does not say the research is new.
    • D fits. The joke makes the science names sound silly.

    Watch out: A is tempting because comparisons to everyday things often make science easier. But these lines make fun of names. They do not explain anything.

  5. Choose the answer

    The speaker compares the particle names to dinosaurs and bad garage bands to poke fun at them. So the answer is D, “suggest that the scientific language used to describe particles seems silly by making a humorous comparison.”

Why this answer and not the closest wrong one

A is the closest wrong choice. Writers often compare science to everyday things to make it simpler. But ask what these lines explain. Nothing about how particles work is made clearer. The lines only say the names sound like “bands / playing terrible music.” That is a joke about the words, so D fits.

More questions like this

The original DOE question
Question 26 as shown on the DOE’s digital test, page 37 of its printable version.
As printed in the DOE’s printable version of 2026 Practice Test B English, page 37, question 26.

Question 11 of 78

2026 Practice Test B English, question 28

Uses the passage above: “Looking for the Smallest Spark of Everything”.

Question

Read lines 39–44 from the poem.

They spin, and it is only down there
in the darkness—in the vast garage
where physicists jot down
what they can, whatever seems most real—
that they let us perceive their wild dancing,
combusting to the music they make.

The lines reveal the speaker’s

  • Afrustration with the research facilities physicists use.
  • Bbelief that physicists are frantically working toward a new discovery.
  • Cinterest in physicists and their study of particles.
  • Dcertainty that physicists are working in secrecy.
Show the answer

Correct answer: C

The question asks what lines 39–44 reveal about the speaker.

A. Incorrect. While the discoveries are made “in the darkness” (line 40), the imagery conveys the speaker’s positive tone through descriptions like “perceive their wild dancing” (line 43) and “combusting to the music they make” (line 44), not frustration.

B. Incorrect. In lines 39–44, the imagery of energetic movement (“They spin,” “their wild dancing,” and “combusting to the music they make”) is used to describe the particles, not the physicists.

C. CORRECT. The speaker uses the phrases “only down there” (line 39), “physicists jot down … whatever seems most real” (lines 41–42), and “they let us perceive” (line 43) to convey that the physicists have a rare role in studying the mysteries of the universe and that the speaker appreciates and is interested in their work.

D. Incorrect. While the description of the experiments occurring “in the darkness” (line 40) may create a sense of secrecy, the secrets that the darkness refers to are the mysteries of subatomic particles, not the work processes that the physicists use.

Question analysis

The final six lines of “Looking for the Smallest Spark of Everything” describe particles spinning in the darkness of a “vast garage” where physicists work. This question asks what those lines reveal about the speaker. The long sentence is broken by dashes and mixes images of the particles with images of the scientists, so students must sort out which words describe which.

NYS standards
  • 7R6 point of view and author position
  • 7R4 word meaning and choice
Grade level
Grade 8 reading and task
Compared with grade 7
Above grade 7 Grade 7 students infer a speaker’s attitude, usually from a clear statement. These six lines form one sentence broken by dashes, students must keep track of who does what, and the attitude is never stated, so the task is above typical grade 7 work.
Estimated difficulty
Hard: combines ideas, needs a plan, and has more than one tempting wrong answer.
Evidence
Answered from one paragraph or stanza
Reading level
Passage: 346 words (a poem; reading level not measured); question and choices: about grade 8, 82 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

The sentence is the hardest part: the physicists appear in a clause set off by dashes, and the two uses of “they” around them refer to different subjects. Students who attach “wild dancing” to the physicists see frantic work, and those who stop at “in the darkness” see secrecy. The right choice is mild and general, so it is easy to pass over, yet it fits because the speaker lingers on the scene with evident fascination and nothing in the lines expresses frustration or certainty.

  1. Complex sentences major Understanding the question

    Lines 39–44 are one sentence broken by a dash clause, and its two uses of “they” point different ways: “what they can” means the physicists, “they let us perceive” the spinning particles. (Abedi & Lord, 2001; Freedle & Kostin, 1993; Messick, 1989)

  2. Figurative or literary language moderate Understanding the question

    The particles’ “wild dancing,” “combusting to the music they make,” and the lab as “the vast garage” are images whose tone, delight rather than complaint, students must judge. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  3. Reading between the lines moderate Working it out

    No line states the speaker’s attitude; interest has to be read from how closely the speaker follows the work of physicists who “jot down / what they can, whatever seems most real.” (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

Strategy: Untangle the sentence in lines 39–44 by finding who spins, who jots things down and who lets us perceive, then decide what the description reveals about how the speaker regards the scene.

Traps

  • Twists what the text says: Uses the text's topic and ideas but changes what it says: who did it, how much, when, or why.
  • Wrong tone or attitude: Misjudges the tone, attitude or point of view, such as reading admiration as criticism, or taking a character's or subject's feelings for the author's.
  • Reads too much in: A reasonable-sounding conclusion that goes further than the text allows.

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This asks what lines 39–44 show about the speaker. The lines are one long sentence. It uses the word “they” for two different groups. So first sort out who is doing what.

  2. Sort out who does what

    • “They spin” means the particles spin.
    • “physicists jot down / what they can” means the physicists write down what they can. Here “they” is the physicists.
    • “they let us perceive their wild dancing” means the particles let us see their dance. Perceive means notice or see. Here “they” is the particles again.

  3. Put the sentence in plain words

    The part between the dashes describes the place. It is the huge tunnel, “the vast garage,” where physicists take notes. Without that part, the sentence says this: only down there do the particles let us see their wild dance. Combusting means bursting into flame. It is a lively, joyful picture.

  4. Decide what it shows about the speaker

    The speaker brings the physicists into the scene and shows their careful work. They write down “whatever seems most real.” The speaker also shows that all of us see the particles only through this research. The speaker cares about the physicists and what they study. That is interest.

  5. Check each choice

    • A does not fit. “The vast garage” is playful, and the lines end in delight. There is no complaint.
    • B does not fit. The wild motion belongs to the particles. The physicists only “jot down / what they can.”
    • C fits. The speaker follows the physicists’ work and the particles they study.
    • D does not fit. It is dark because the tunnel is underground. Nothing suggests the work is secret.

    Watch out: B is tempting because the lines sound frantic, or wild and rushed. But “they let us perceive” means the particles, so the dancing is theirs, not the physicists’.

  6. Choose the answer

    The lines show the speaker paying close attention to physicists and the particles they study. So the answer is C, “interest in physicists and their study of particles.”

Why this answer and not the closest wrong one

B is the closest wrong choice. The words “wild dancing” and “combusting” do sound frantic. But they describe the particles. In “they let us perceive,” “they” means the particles. The physicists just “jot down / what they can.” So the lines do not show physicists rushing. They show the speaker’s interest, which is C.

More questions like this

The original DOE question
Question 28 as shown on the DOE’s digital test, page 39 of its printable version.
As printed in the DOE’s printable version of 2026 Practice Test B English, page 39, question 28.

Question 12 of 78

2026 Practice Test B English, question 33
Passage Using Fire to Keep a Prairie Healthy

Using Fire to Keep a Prairie Healthy

Inside the 40,000-acre Joseph H. Williams Tallgrass Prairie Preserve in northern Oklahoma, herds of bison roam on the scenic land that is home to hundreds of different species of plants and animals. While one of the greatest threats to the prairie is wildfire, the use of controlled fires is actually an effective way to protect this idyllic landscape.

Fires that are started by lightning or other natural circumstances are inevitable, and the results can be disastrous. However, hundreds of years ago the American Indian people who inhabited the Great Plains area between Minnesota and Texas realized that these fires could also be helpful. The bison in the area seemed to prefer grazing on tender new grass on the recently burned land rather than on grass in the unburned areas. The American Indian people began to deliberately burn areas of land for bison to graze on, which enticed the herds away from the people’s crops.

Today conservationists at the Tallgrass Prairie Preserve and farmers in the Great Plains continue to use controlled burns for land management. Intentionally burning a portion of land can dramatically improve the quality of the vegetation that regrows there. The fires burn away weedy undergrowth and help limit the overcrowding of shrubs and trees in the burn area, creating less competition for water and nutrients. Additionally, the process of burning excess plant matter adds nitrogen, an essential element for plant growth, to the soil.

One common target of controlled burns at the preserve and the surrounding area is the invasive red cedar tree. A single red cedar tree can consume up to 40 gallons of water per day, taking this vital resource away from other plant life. These tall trees also cast shade that prevents sunlight from reaching the plants beneath them. The fast-growing red cedar trees tend to crowd out prairie grasses, the primary food source for wild and domestic animals that make the prairie their home. An imbalance in one component of the prairie’s ecosystem affects the entire web of life. Controlled burns help maintain this ecosystem’s delicate balance.

Of course, these controlled fires are intended to burn only a portion of an area. A total burn, which is a risk with an uncontrolled wildfire, would destroy all wildlife as well as the crops farmers plant for income. The key to using controlled fires is knowing which areas of land to burn and when. Conservation experts at the preserve employ the “patch-burn” approach, meaning they rotate which portion of land is burned each year. They study the land to find out which areas would most benefit from being burned, and then they arrange about a dozen burns over one-third of the land. This patch burning contains the fire within a specific area and allows animals in the burn area to safely relocate. The following year, conservationists will burn a different section of the preserve, while the land burned the previous year regrows healthier than before.

Researchers have tracked and studied the variety of plant species and animals that live on the preserve, and their studies show that the patch-burn approach has restored biodiversity to the area by promoting the growth of species that were at risk of being crowded out. The patch-burn system is so successful that the conservationists at the preserve provide training to prairie farmers about conducting controlled burns on their own land. Burning land to make it healthy may seem counterintuitive, but strategic controlled fires have helped the prairie sustain life for hundreds of years and, with careful management, will continue to do so.

Boxed diagram titled “OVERVIEW OF THE PATCH-BURN METHOD,” introduced by the text “By using a patch-burn method, conservationists and farmers can reduce the risk of unintentional fires and control where grazing animals, such as bison, roam.” Below it, a map of one stretch of land is divided by a branching stream, labeled Stream, into three shaded areas: a dark Unburned Area across the top, a medium gray Previously Burned Area on the left, and a light gray Recently Burned Area on the lower right, where eight bison stand. Three captions under the map read “The unburned area is overrun with weeds and has the greatest risk of catching fire,” “The previously burned area is cleared of weeds, and young trees and crops grow freely and thrive,” and “The recently burned area has been cleared of all plants. Bison prefer to eat the fresh grass that will begin to grow in the recently burned area, and they will generally remain in that area until newer, fresher grass is available elsewhere.”

Question

Read this sentence from paragraph 6.

Burning land to make it healthy may seem counterintuitive, but strategic controlled fires have helped the prairie sustain life for hundreds of years and, with careful management, will continue to do so.

The words “counterintuitive” and “strategic” in the sentence convey the idea that

  • Athe safest methods are sometimes the least effective at solving complex challenges.
  • Bthorough investigation of uncommon methodologies can lead to beneficial results.
  • Cdetailed planning can ensure that a potentially destructive action has a positive impact.
  • Dplans that entail a certain amount of risk almost always result in success.
Show the answer

Correct answer: C

The question asks which idea the words “counterintuitive” and “strategic” convey in the last sentence in paragraph 6 in the passage.

A. Incorrect. Though the author states in paragraph 6 that conservationists have used safe and “strategic” methods, those methods have not been ineffective, since “the patch-burn system is so successful that the conservationists at the preserve provide training to prairie farmers about conducting controlled burns on their own land” (paragraph 6). Therefore, the words “counterintuitive” and “strategic” in the last sentence of paragraph 6 do not convey the idea that the safest methods are sometimes the least effective at solving complex challenges.

B. Incorrect. Although the author points out in paragraph 6 that researchers’ studies have shown “that the patch-burn approach has restored biodiversity to the area by promoting the growth of species that were at risk of being crowded out,” the author does not suggest that the methodologies conservationists used to conduct the patch burns are uncommon, since the methods were used by “the American Indian people [who] began to deliberately burn areas of land for bison to graze on” (paragraph 2). Therefore, the words “counterintuitive” and “strategic” in the last sentence of paragraph 6 do not convey the idea that thorough investigation of uncommon methodologies can lead to beneficial results.

C. CORRECT. In paragraph 1, the author states that “one of the greatest threats to the prairie is wildfire,” so the idea of conducting controlled burns suggests risk and runs “counter,” or contrary, to people’s common expectations, or “intuition,” about the dangers of fires. Thus, the words “counterintuitive” and “strategic” in the last sentence of paragraph 6 convey the idea that detailed planning can ensure that a potentially destructive action has a positive impact.

D. Incorrect. The author states in paragraph 6 that “the patch-burn system is so successful that the conservationists at the preserve provide training to prairie farmers.” This statement supports the idea of the action being “strategic” in order to achieve success. However, the statement does not suggest that because the process is “counterintuitive,” or unexpected, it involves a certain amount of risk to achieve that success. Therefore, the words “counterintuitive” and “strategic” in the last sentence of paragraph 6 do not convey the idea that plans that entail a certain amount of risk almost always result in success.

Question analysis

This vocabulary question takes the last sentence of the prairie article, which says burning land to make it healthy may seem counterintuitive, and asks what the words “counterintuitive” and “strategic” convey together. Students need the meaning of a hard word built from a prefix, then must match the pair to a general statement, and the choices are worded abstractly.

NYS standards
  • 7R4 word meaning and choice
  • 7L4b Greek and Latin affixes and roots
Grade level
Grade 8 reading and task
Compared with grade 7
Above grade 7 A typical grade 7 vocabulary question asks what one word means in context. This one pairs a hard word, “counterintuitive,” with “strategic” and asks for the idea they express together, with four abstract general statements to weigh.
Estimated difficulty
Hard: combines ideas, needs a plan, and has more than one tempting wrong answer.
What makes it hard
Evidence
Answered from one sentence or line
Reading level
Passage: about grade 11, 598 words; question and choices: about grade 11, 97 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

Students first need the meaning of “counterintuitive,” then must see what it says here: that burning land to heal it seems backward because fire destroys. “Strategic” supplies the other half, careful planning. The most tempting wrong answer gets the planning right but misreads the first word as “uncommon,” and others turn the pair into a rule about risk or a warning about safe methods. The question rewards translating each word before reading the abstract choices.

  1. A very close wrong answer moderate Choosing the answer

    The choice about “thorough investigation of uncommon methodologies” follows the key’s pattern, planning that leads to a good result, and differs only in calling the method uncommon instead of potentially destructive. (Embretson & Wetzel, 1987; Gorin & Embretson, 2006; Ascalon et al., 2007)

  2. Hard words moderate Understanding the question

    “Counterintuitive,” contrary to what one would expect, is an uncommon word, and the choices add “methodologies” and “entail,” so the options are as hard to read as the sentence. (Perfetti, 2007; Freedle & Kostin, 1993)

  3. Combines ideas minor Working it out

    The two words point different ways, one to burning that seems harmful and one to careful planning, and the answer must join both into a single general statement. (Embretson, 1998; Daniel & Embretson, 2010)

Strategy: Break “counterintuitive” into its parts, counter and intuitive, decide what each of the two words says about burning land, then find the statement that joins both meanings without adding claims of its own.

Traps

  • Half right: One half of a two-part choice is right and the other is not.
  • Too broad or too strong: A choice overstates, generalizes, or uses absolute words the text does not support.
  • Twists what the text says: Uses the text's topic and ideas but changes what it says: who did it, how much, when, or why.

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This question asks about two words in the last sentence: “counterintuitive” and “strategic.” You need the idea the two words give together. So first figure out what each word means here.

  2. Break down “counterintuitive”

    Counter means against. Intuitive means what you would naturally expect. So counterintuitive means the opposite of what you would expect. The sentence says “Burning land to make it healthy may seem counterintuitive.” Fire usually destroys things. So burning land to help it seems backward. Paragraph 1 even calls wildfire “one of the greatest threats to the prairie.”

  3. Figure out “strategic”

    Strategic means carefully planned to reach a goal. Paragraph 5 shows that planning. The experts “study the land to find out which areas would most benefit from being burned.” Then they burn only part of the land each year. Put the two words together. Fire seems harmful, but careful planning makes it helpful.

  4. Check each choice

    • A is wrong. The sentence doesn’t say safe methods fail. It praises a method that works.
    • B is wrong. It treats counterintuitive as if it meant uncommon. But burning isn’t new. Paragraph 2 says people did it “hundreds of years ago.”
    • C is right. Strategic matches detailed planning. Counterintuitive matches an action that could destroy, fire, which turns out to help.
    • D is wrong. “Almost always” is far too strong. The sentence is about prairie fires, not all risky plans.

    Watch out: B gets strategic right, since the experts study the land. But counterintuitive doesn’t mean uncommon. It means against what you would expect.

  5. Choose the answer

    Fire seems destructive, but a careful plan makes it helpful. So the answer is C: “detailed planning can ensure that a potentially destructive action has a positive impact.”

Why this answer and not the closest wrong one

B is the closest wrong answer, because its first part, careful study, fits strategic. But its second part calls the method uncommon, and people have burned the prairie for hundreds of years. C fits both words: careful planning, and an action that seems harmful but helps.

More questions like this

The original DOE question
Question 33 as shown on the DOE’s digital test, page 46 of its printable version.
As printed in the DOE’s printable version of 2026 Practice Test B English, page 46, question 33.
The passage “Using Fire to Keep a Prairie Healthy” as printed (page 41)The passage “Using Fire to Keep a Prairie Healthy” as printed on page 41 of the DOE handbook.

Question 13 of 78

2026 Practice Test B English, question 37
Passage Letter from Brooklyn

Letter from Brooklyn

by Jacob Scheier

I can already see how this will end.
How I will grow tired of the bridge’s
steep incline, and the absent-minded tourists
wandering into the bicycle path.
The weather will turn cold.
But that all happens later.
For now it is the early edge of fall,
leaves green still while the air narrows,
is slightly crisp, almost grazing
the hair of my arm like a passing stranger,
as though the air has been forced into intimacy
by the brevity of daylight.
But when it starts darkening at 4,
this closeness, I know, will be a felt distance,
like someone drawing your attention
to their lack of intimacy.
These days I am still walking at a cathedral pace
beneath the branches bending across avenues,
brownstones like rows of lived-in chapels,
like a pop-up picture book I could have had as a child,
but didn’t. How Brooklyn makes me nostalgic
for the moment I am walking inside of.
These late afternoons filled
with a loneliness that makes me feel
distinctly myself, and an awareness
of how rare that is.

“Letter from Brooklyn” from LETTER FROM BROOKLYN: POEMS by Jacob Scheier, published by ECW Press. Copyright © 2013 by Jacob Scheier All rights reserved.

brevity: briefness
cathedral: meditative
chapels: private places of prayer or worship
nostalgic: yearning for the past

Question

Which lines support the idea that a change in the weather will lessen the speaker’s appreciation for the city?

  • A“as though the air has been forced into intimacy / by the brevity of daylight.” (lines 11–12)
  • B“But when it starts darkening at 4, / this closeness, I know, will be a felt distance,” (lines 13–14)
  • C“like someone drawing your attention / to their lack of intimacy.” (lines 15–16)
  • D“These days I am still walking . . . / beneath the branches bending across avenues,” (lines 17–18)
Show the answer

Correct answer: B

The question asks which lines from the poem support the idea that a change in the weather will lessen the speaker’s appreciation for the city.

A. Incorrect. These lines focus on the positive way the air feels to the speaker during “the early edge of fall” (line 7). They suggest that the speaker appreciates this experience currently, while being aware that the feeling might not last.

B. CORRECT. In these lines, the speaker describes the shift in the “closeness” of the air as the weather changes and “it starts darkening at 4.” The speaker clearly indicates that the positive emotions surrounding this closeness, with “leaves green still” and the air “slightly crisp” (lines 8–9), will soon be “a felt distance,” suggesting that the turn in the weather will make the city less appealing.

C. Incorrect. Although these lines compare the darkening, changing weather to a person revealing a “lack of intimacy,” that specific comparison does not focus on a diminishing appreciation for the city.

D. Incorrect. These lines describe the “cathedral pace” (line 17) at which the speaker walks, emphasizing a meditative or thoughtful experience. Such a description suggests the speaker still appreciates the city, not that the speaker’s appreciation will lessen.

Question analysis

This evidence question asks which lines from “Letter from Brooklyn” support the idea that a change in the weather will lessen the speaker's appreciation for the city. All four choices come from the middle of the poem, where the speaker describes the feel of the early-fall air through figurative comparisons, so students must read each pair of lines closely for both parts of the idea.

NYS standards
  • 7R1 textual evidence and inferences
  • 7R4 word meaning and choice
Grade level
Grade 8 reading and task
Compared with grade 7
Above grade 7 Choosing lines that support an idea is standard grade 7 evidence work. Here the idea is carried by figurative comparisons about the air, and the four choices sit within a few lines of one another, so separating them takes closer reading than is typical.
Estimated difficulty
Hard: combines ideas, needs a plan, and has more than one tempting wrong answer.
Evidence
Answered from one sentence or line
Reading level
Passage: 217 words (a poem; reading level not measured); question and choices: about grade 6, 74 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

All four choices come from lines 11–18, and three speak of closeness, distance or intimacy, so the vocabulary of the claim is everywhere. The idea has two parts, a change in the weather and a weaker feeling for the city, and only one pair of lines holds both. The strongest pull is the second half of the same sentence, which puts the loss of intimacy most vividly but leaves the darkening behind in the lines before.

  1. A very close wrong answer moderate Choosing the answer

    Lines 13–14 and 15–16 are one sentence split in two: the first half names the darkening at 4 and the coming distance, the second only describes what that distance feels like. (Embretson & Wetzel, 1987; Gorin & Embretson, 2006; Ascalon et al., 2007)

  2. Figurative or literary language moderate Understanding the question

    The weaker feeling for the city is never stated; it comes through images, the air’s “closeness” turning into “a felt distance,” like a person pointing out their “lack of intimacy.” (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  3. Reading between the lines minor Working it out

    Students must accept “when it starts darkening at 4” as the change in the weather the stem names, since the lines speak of daylight, not of cold or rain. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

Strategy: Split the idea into its two parts, a change in the weather and a weaker feeling for the city, and choose the lines that hold both on their own, without help from the lines around them.

Traps

  • Supports only part of the claim: In a question about evidence: a line that backs one half of the claim but not the other, or a related point rather than the claim itself.

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This is an evidence question. The idea has two parts. First, the weather will change. Second, the speaker will enjoy the city less. You need the lines that hold both parts by themselves.

  2. Read the lines around the choices

    Lines 9–12 describe the early-fall air now. It is “almost grazing / the hair of my arm like a passing stranger.” Grazing here means lightly touching. The speaker says the air feels close, like “intimacy.” Intimacy means a warm, close feeling between people. Lines 13–16 then look ahead to shorter days.

  3. Find both parts in lines 13–14

    Lines 13–14 say: “But when it starts darkening at 4, / this closeness, I know, will be a felt distance”. Darkening at 4 means the sun setting at 4 o’clock, as days get shorter. That is the change in the weather. “This closeness” is the warm feeling the speaker has now. It will turn into distance. So the good feeling will fade.

  4. Check each choice

    • A is wrong. Lines 11–12 describe the closeness the speaker enjoys now. Nothing has faded yet.
    • B is right. It names the change, the early dark, and the loss, closeness turning into “a felt distance.”
    • C is wrong. Lines 15–16 finish the comparison: the distance feels like a person pointing out their “lack of intimacy.” But these lines never mention the weather.
    • D is wrong. Lines 17–18 show the speaker enjoying a slow walk now. They say nothing about the weather turning.

    Watch out: C is tempting because “lack of intimacy” sounds like a lost feeling. But the change in weather is back in lines 13–14.

  5. Choose the answer

    Only one pair of lines holds both the change and the fading feeling. So the answer is B, lines 13–14, which begin “But when it starts darkening at 4”.

Why this answer and not the closest wrong one

C is the closest wrong answer, because it shows the good feeling slipping away. But lines 15–16 only describe what that distance feels like. They don’t say what causes it. Lines 13–14 give both parts: the early dark and the fading closeness.

More questions like this

The original DOE question
Question 37 as shown on the DOE’s digital test, page 52 of its printable version.
As printed in the DOE’s printable version of 2026 Practice Test B English, page 52, question 37.
The passage “Letter from Brooklyn” as printed (page 50)The passage “Letter from Brooklyn” as printed on page 50 of the DOE handbook.

Question 14 of 78

2026 Practice Test B English, question 39

Uses the passage above: “Letter from Brooklyn”.

Question

Read lines 7–9 from the poem.

For now it is the early edge of fall,
leaves green still while the air narrows,
is slightly crisp,

The word choice in the lines helps convey the speaker’s belief that

  • Athe beauty of the current season should still be appreciated.
  • Bthe changes in the weather signify the end of the most pleasant season.
  • Cthe transition from one season to another happens swiftly and without warning.
  • Dthe change in the weather is so subtle that people rarely observe or feel it.
Show the answer

Correct answer: A

The question asks what belief of the speaker is conveyed by the word choice in lines 7–9 of the poem.

A. CORRECT. Words and phrases in these lines, such as “leaves green still” and “slightly crisp,” have a positive connotation, indicating that the speaker believes in appreciating this season while it still lasts.

B. Incorrect. Although imagery such as “leaves green still” and “slightly crisp” in these lines suggests that the speaker enjoys the season, the speaker never indicates that the present season is the most pleasant of all seasons.

C. Incorrect. The phrases “the early edge of fall” and “the air narrows” in these lines imply that the season is just beginning to change, but there is no indication from these phrases that the changes will be swift and without warning. In fact, the narrowing of the air could be a warning of a greater, more gradual change in weather.

D. Incorrect. The speaker experiences the change in weather as subtle: “the air narrows, / is slightly crisp.” However, the speaker does not refer to the viewpoints of others. The entire viewpoint in the poem is personal and introspective, as represented by the use of the pronoun “I” throughout.

Question analysis

This word-choice question quotes three lines from “Letter from Brooklyn” describing the early edge of fall, when the leaves are still green and the air is slightly crisp. Students must work out what the connotations of these words reveal about the speaker's belief, and several choices mix an accurate reading of the lines with a claim they do not support.

NYS standards
  • 7R4 word meaning and choice
  • 7L5c connotation and denotation
Grade level
Grade 7 reading and task
Compared with grade 7
At grade 7 Explaining how word choice conveys a speaker's feelings is everyday grade 7 work. These three lines are short and concrete, but their meaning rests on the connotations of a few small words, which matches a typical grade 7 task.
Estimated difficulty
Moderate: several steps, or a close reading with one strong distractor.
Evidence
Answered from one sentence or line
Reading level
Passage: 217 words (a poem; reading level not measured); question and choices: about grade 5, 86 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

The three lines are short, and every choice builds on something real in them: a change in the weather, a season ending, subtlety. What separates the answer is the time words, “For now,” “early edge” and “still,” which say that something good is present and passing. Students lose the point by stretching a reasonable sense of loss into a claim about the best season, or by turning the speaker’s private notice into what other people miss.

  1. Figurative or literary language moderate Understanding the question

    The belief lies in connotation: “early edge of fall” and “leaves green still” mark a season only starting to turn, and “the air narrows” describes the change through an image. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  2. Reading between the lines minor Working it out

    “For now” at the start of line 7 signals that the moment will pass, and students must infer that the speaker values it for that reason, since no line states the belief. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

Strategy: Mark the words in lines 7–9 that describe time and the feel of the air, decide whether each sounds positive, negative or neutral, then choose the belief that fits those connotations and nothing more.

Traps

  • Half right: One half of a two-part choice is right and the other is not.
  • Reads too much in: A reasonable-sounding conclusion that goes further than the text allows.
  • Twists what the text says: Uses the text's topic and ideas but changes what it says: who did it, how much, when, or why.

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This question is about word choice. The exact words a poet picks can show feelings. You need the belief that lines 7–9 show. So look at what each word suggests, not only what it means.

  2. Mark the time words

    The lines say “For now it is the early edge of fall, / leaves green still while the air narrows, / is slightly crisp.” Notice the time words. “For now” means this won’t last. “Early edge” means fall has just begun. “Still” means the leaves have not changed color yet.

  3. Hear what the words suggest

    “Slightly crisp” means a little cool and fresh. It sounds pleasant, not harsh. When the air “narrows,” it seems to tighten and grow cooler. So the speaker enjoys this moment. The time words show the speaker knows it will pass. Put together, they say: this lovely early fall is still here, so enjoy it now.

  4. Check each choice

    • A is right. “Still” and “For now” show the season is still here to enjoy.
    • B is wrong. The speaker never calls this the most pleasant season. Nothing ranks the seasons.
    • C is wrong. “Early edge” and “slightly” describe a slow, gentle change, not a sudden one.
    • D is wrong. The change is subtle, or hard to notice. But the speaker feels it on “the hair of my arm.” The lines say nothing about other people.

    Watch out: D starts out right, because the change is gentle. But it adds a claim about other people that the lines never make.

  5. Choose the answer

    The words show a pleasant season that is still here, for now. So the answer is A: “the beauty of the current season should still be appreciated.”

Why this answer and not the closest wrong one

B is the closest wrong answer, because the poem does hint that something good is ending. But the lines never call fall the best season. They say only that this pleasant time is here “for now.” That fits A: enjoy the season while it lasts.

More questions like this

The original DOE question
Question 39 as shown on the DOE’s digital test, page 54 of its printable version.
As printed in the DOE’s printable version of 2026 Practice Test B English, page 54, question 39.

Question 15 of 78

2026 Practice Test B English, question 40

Uses the passage above: “Letter from Brooklyn”.

Question

Which idea does the comparison of the brownstone houses to “a pop-up picture book I could have had as a child, / but didn’t” in lines 20–21 convey?

  • AIt reveals that some people are still influenced by powerful images from childhood.
  • BIt indicates that the neighborhood the speaker is walking through is charming and appealing.
  • CIt suggests that the speaker has wanted to live in the neighborhood since childhood.
  • DIt suggests that people often experience lingering regret from their past.
Show the answer

Correct answer: B

The question asks what the comparison of the brownstone houses to “a pop-up picture book I could have had as a child, / but didn’t” (lines 20–21) conveys.

A. Incorrect. While the lines explain that the neighborhood reminds the speaker of images from childhood pop-up books, those images are not described as very powerful or influential.

B. CORRECT. Pop-up picture books are likely to delight a child with their unique, often beautiful representations of buildings that pop up out of the page. The comparison in these lines helps explain how the speaker views these brownstones with a childlike wonder and appreciation.

C. Incorrect. Though in these lines the speaker compares this neighborhood to scenes in children’s pop-up picture books, there is no clear evidence that the speaker wants to live there, only that the speaker appreciates its appeal.

D. Incorrect. The lines state that the speaker did not have a “pop-up picture book” of the neighborhood’s brownstones as a child, but not in a way that emphasizes regret. Rather, the speaker compares the neighborhood to images from pop-up books in general to suggest that the neighborhood looks beautiful and delightful.

Question analysis

This figurative-language question asks what idea the poem conveys by comparing Brooklyn's brownstone houses to “a pop-up picture book I could have had as a child, / but didn't.” Students must interpret a simile in context, deciding how the closing words “but didn't” fit with the rest of the comparison and with the speaker's mood during the walk.

NYS standards
  • 7R4 word meaning and choice
  • 7L5a interpreting allusions
Grade level
Grade 7 reading and task
Compared with grade 7
At grade 7 Interpreting a simile in a poem is routine grade 7 work. This comparison uses a familiar childhood object, and the only complication is the added “but didn't,” which invites a reading that the rest of the lines must confirm or rule out.
Estimated difficulty
Straightforward: two steps or one careful reading.
Evidence
Answered from one sentence or line
Reading level
Passage: 217 words (a poem; reading level not measured); question and choices: about grade 8, 78 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

The core of the simile is easy: a row of brownstones looks like a pop-up picture book, something charming. The difficulty is the closing “but didn’t,” which tempts students toward regret or toward a story about the speaker’s childhood. Students who ask what the comparison says about the houses, rather than about the speaker’s past, see that the lines praise the neighborhood.

  1. Figurative or literary language moderate Understanding the question

    The simile likens brownstones to a pop-up picture book, and its point, that the street looks as delightful as a child’s book, has to be drawn from what such books are like. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  2. Reading between the lines minor Working it out

    The tag “but didn’t” invites a reading of regret, so students must decide from the walk at a “cathedral pace” around it that the comparison is about delight, not loss. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

Strategy: Work out what the brownstones and a pop-up picture book have in common, decide what part “but didn't” plays in the comparison, and test each choice against what the lines actually say.

Traps

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This question asks about a simile. A simile compares two things using like or as. Here the speaker compares brownstones to a pop-up picture book. Brownstones are old row houses built of reddish-brown stone. You need the idea this comparison gives.

  2. Read the comparison

    Lines 19–21 say “brownstones like rows of lived-in chapels, / like a pop-up picture book I could have had as a child, / but didn’t.” A pop-up book has pictures that stand up off the page when you open it. These books often show houses and streets. Children love them.

  3. Put it in your own words

    So the street looks charming and magical, like a page in a child’s favorite book. The words “but didn’t” just mean the speaker never owned such a book. Around these lines the speaker walks at a “cathedral pace.” The glossary says cathedral means “meditative,” or calm and thoughtful. The mood is peaceful and happy, not sad.

  4. Check each choice

    • A is wrong. The lines describe how the houses look. They don’t claim childhood pictures stay powerful for people.
    • B is right. Comparing the houses to a pop-up book shows they look charming, or delightful.
    • C is wrong. The speaker never says they wanted to live there as a child.
    • D is wrong. “But didn’t” is said in passing. The speaker is enjoying the walk, not full of regret, or sorrow over the past.

    Watch out: “But didn’t” can sound sad, so D is tempting. Ask what the comparison says about the houses, not about the speaker’s past.

  5. Choose the answer

    The comparison praises how the houses look. So the answer is B: “It indicates that the neighborhood the speaker is walking through is charming and appealing.”

Why this answer and not the closest wrong one

D is the closest wrong answer, because “but didn’t” hints at something missed. But the speaker is enjoying a slow walk under the branches. The simile’s job is to show how lovely the brownstones look. That points to B, not to regret.

More questions like this

The original DOE question
Question 40 as shown on the DOE’s digital test, page 55 of its printable version.
As printed in the DOE’s printable version of 2026 Practice Test B English, page 55, question 40.

Question 16 of 78

2026 Practice Test C English, question 21
Passage Bird Talk

Bird Talk

by Carl Sandburg

And now when the branches were beginning to be heavy,
It was the time when they once had said, “This is the
  beginning of summer.”
The shrilling of the frogs was not so shrill as in the
  first weeks after the broken winter;
The birds took their hops and zigzags a little more
  anxious; a home is a home; worms are worms.
The yellow spreads of the dandelions and buttercups
  reached across the green pastures.
Tee whee and tee whee came on the breezes, and the grackles
  chuzzled their syllables.
And it was the leaves with a strong soft wind over them
  that talked most of all and said more than any others
  though speaking the fewest words.
It was the green leaves trickling out the gaunt nowhere
  of winter, out on the gray hungry branches—
It was the leaves on the branches, beginning to be heavy,
  who said as they said one time before, “This is the be-
  ginning of summer.”

We shall never blame the birds who come
  where the river and the road make the Grand Crossing
  and talk there, sitting in circles talking bird talk.
If they ask in their circles as to who is here
  and as to who is not here and who used to be here,
Or if instead of counting up last year as against
  this year, they count up this year as against next
  year, and have their bird chatter about who is here
  this year who won’t be here next year,
We shall never blame the birds.

If I have put your face among leaf faces, child,
Or if I have put your voice among bird voices,
Blame me no more than the bluejays.

“Bird Talk” by Carl Sandburg—Public domain.

Question

Read lines 12–14 from the poem.

And it was the leaves with a strong soft wind over them
  that talked most of all and said more than any others
  though speaking the fewest words.

What does the phrase “talked most of all” in line 13 convey?

  • AIt establishes that the speaker thinks the sound of wind in the leaves is the best indication that the season is changing.
  • BIt introduces the idea that the sound of the wind in the leaves remains constant throughout the seasons.
  • CIt suggests that the speaker is overwhelmed by the sounds of nature that emerge as the season changes.
  • DIt emphasizes that the sounds of nature enable the speaker to appreciate each season of the year.
Show the answer

Correct answer: A

This question asks for what a phrase reveals about the speaker’s perspective on the change in seasons.

A. CORRECT. The first stanza of the poem establishes the way different parts of the natural world, including both plants and animals, respond to the change in season. These lines reflect the way the wind in the leaves is the best indication of the seasonal change because it is the wind in the leaves that “talked most of all and said more than any others / though speaking the fewest words” (lines 13–14).

B. Incorrect. Although the sound of the wind is the most obvious sign of the seasonal change per the speaker, it is in response to the “ ‘beginning of summer’ ” (line 3) that the wind speaks through the leaves. The poem does not reveal that this figurative speech occurs throughout the seasons, only that it occurs during the transition to summer.

C. Incorrect. While the language used by the speaker indicates a deep appreciation for the natural phenomenon being witnessed, the language used does not indicate a feeling of being overwhelmed but rather a feeling of awareness.

D. Incorrect. Using the personification of the wind “speaking” (line 14) indicates an appreciation by the speaker for the power and volume of the wind’s voice, but only one instance of the wind’s speech, that which occurs at the “ ‘beginning of summer’ ” (line 3), is chronicled by the speaker in the poem.

Question analysis

Students interpret the personification in lines 12–14 of “Bird Talk,” where the leaves under a strong soft wind “talked most of all,” and decide what that phrase conveys. Because the leaves also speak “the fewest words,” the line seems to contradict itself, and its meaning depends on how it fits Sandburg’s first stanza about the start of summer.

NYS standards
  • 7R4 word meaning and choice
  • 7R6 point of view and author position
Grade level
Grade 7 reading and task
Compared with grade 7
At grade 7 Explaining what a figurative phrase conveys about a speaker’s view is standard grade 7 work. The three lines are printed with the question, though the phrase still has to be read against the rest of the first stanza.
Estimated difficulty
Moderate: several steps, or a close reading with one strong distractor.
Evidence
Answered from one paragraph or stanza
Reading level
Passage: 296 words (a poem; reading level not measured); question and choices: about grade 6, 119 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

The phrase ranks the leaves above the shrilling frogs and chattering birds as voices of the season, but it never says what they are best at, so students must supply the idea of a sign. The tempting wrong readings take the speaker’s pleasure in nature and stretch it to every season, or hear “talked most of all” as noise. The quiet words around the phrase, “strong soft wind” and “fewest words,” point to a calm sound that tells the most.

  1. Figurative or literary language moderate Understanding the question

    The leaves are personified, and the line seems to contradict itself: they “talked most of all and said more than any others / though speaking the fewest words.” (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  2. Reading between the lines moderate Working it out

    Students must turn “said more than any others” into a judgment, that the leaves are the surest sign of summer, which lines 17–19 confirm when the leaves themselves announce “the beginning of summer.” (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

Strategy: Restate lines 12–14 in plain words, especially the contrast between saying more and speaking fewer words, then test each choice against the whole first stanza.

Traps

  • Too broad or too strong: A choice overstates, generalizes, or uses absolute words the text does not support.
  • Wrong tone or attitude: Misjudges the tone, attitude or point of view, such as reading admiration as criticism, or taking a character's or subject's feelings for the author's.
  • Twists what the text says: Uses the text's topic and ideas but changes what it says: who did it, how much, when, or why.

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This asks what a phrase conveys, or gets across. The phrase is “talked most of all” in line 13. Leaves can’t really talk. Giving a thing human actions, like talking, is called personification. You need to work out what the speaker means by saying the leaves talked the most.

  2. Read lines 12–14

    Lines 12–14 say “And it was the leaves with a strong soft wind over them / that talked most of all and said more than any others / though speaking the fewest words.” The others are the frogs and birds from earlier lines. The leaves “said more than any others,” yet they used “the fewest words.” So the quiet rustle of the leaves tells you more than all the frog and bird calls.

  3. Find what the leaves say

    The stanza ends with the leaves speaking. Lines 17–19 say it was “the leaves on the branches, beginning to be heavy,” who said “This is the beginning of summer.” So the leaves’ message is that the season has changed. The new leaves, rustling in the wind, are the clearest sign that summer has come.

  4. Check each choice

    • A fits. The leaves say the most about the season, so they are the best sign that it is changing.
    • B does not fit. The leaves have just come out of “the gaunt nowhere / of winter.” Gaunt means thin and bare. The leaves do not rustle the same way all year.
    • C does not fit. A “strong soft wind” and “the fewest words” describe a quiet sound. Nothing shows the speaker is overwhelmed, or swamped.
    • D does not fit. The poem watches only one change, the start of summer, not each season.

    Watch out: D is tempting because the speaker clearly enjoys nature’s sounds. But it stretches that to “each season of the year,” which the poem never covers.

  5. Choose the answer

    “Talked most of all” shows that the leaves tell the most about the change of season. So the answer is A, “It establishes that the speaker thinks the sound of wind in the leaves is the best indication that the season is changing.”

Why this answer and not the closest wrong one

D is the closest wrong choice. The speaker does seem to enjoy the sounds of nature. But the poem covers just one change, the turn to summer. And the phrase does more than show enjoyment. It ranks the leaves above the frogs and birds. They say the most about the change, so they are the best sign of it.

More questions like this

The original DOE question
Question 21 as shown on the DOE’s digital test, page 34 of its printable version.
As printed in the DOE’s printable version of 2026 Practice Test C English, page 34, question 21.
The passage “Bird Talk” as printed (page 32)The passage “Bird Talk” as printed on page 32 of the DOE handbook.

Question 17 of 78

2026 Practice Test C English, question 22

Uses the passage above: “Bird Talk”.

Question

How does the repetition of “ ‘This is the beginning of summer’ ” in lines 2–3 and lines 18–19 contribute to the meaning of the poem?

  • AIt suggests that the shift to summer occurs in the same way each year.
  • BIt emphasizes the idea that living things are prepared for the change of season.
  • CIt highlights the idea that the first signs of summer are surprising each year.
  • DIt builds expectations about what the natural world looks like during a change of season.
Show the answer

Correct answer: A

The question asks how the repetition of a phrase contributes to the meaning of the poem in terms of conveying information about a cyclical event.

A. CORRECT. This phrase is used twice verbatim, in both cases to show the figurative words spoken by the branches (lines 2–3) and the leaves on the branches (lines 18–19). Repetition of this phrase conveys the idea that the transition to summer occurs in the same manner each subsequent year and thus evokes the same response from nature.

B. Incorrect. While living things—branches and leaves—both make identical figurative utterances, they do so not because they have prepared for such an event. Rather, these living things take the change in stride because of the sameness and expectedness of the seasonal shifts, which occur in the same way each time.

C. Incorrect. Even though the branches and leaves have been imbued by the speaker with some degree of consciousness in their figurative ability to speak, they are not surprised by the change in seasons. They say the same thing each year because the same thing occurs each year in the same way.

D. Incorrect. Certain lines of the poem do describe the natural world during the change of seasons, such as lines 8–9: “The yellow spreads of the dandelions and buttercups / reached across the green pastures.” However, this repeated phrase serves to evoke a sense of sameness and inevitability; it is not a phrase related to the physical appearance of the natural world, only the way the natural world responds to the seasonal change with simple acceptance for its sameness. The repeated lines do not hold any sort of expectation or anticipation for the coming of summer; they help relay observations made about the state of the season.

Question analysis

This poetry question asks how the repetition of “This is the beginning of summer,” said by the branches in lines 2–3 and by the leaves in lines 18–19 of Sandburg’s “Bird Talk,” contributes to the poem’s meaning. Students must judge what the repetition does, not only what the words say, and the four choices read the repeated line in quite different ways.

NYS standards
  • 7R5 structure and genre features
  • 7R4 word meaning and choice
Grade level
Grade 7 reading and task
Compared with grade 7
At grade 7 Explaining what a repeated phrase adds to a poem is familiar grade 7 work. Both passages are pointed out by line number, so the task is to judge the effect of the repetition rather than to find it.
Estimated difficulty
Straightforward: two steps or one careful reading.
What makes it hard
Evidence
Answered from one paragraph or stanza
Reading level
Passage: 296 words (a poem; reading level not measured); question and choices: about grade 7, 79 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

Both quotations are pointed out, so the work is deciding what the echo adds. Students who know that repetition emphasizes may grab a choice that begins “emphasizes,” and those who hear the quoted words as a cry of discovery may pick surprise, even though that choice shares the key’s “each year.” Reading the lead-ins, “once had said” and “one time before,” settles it: the line is an old, expected announcement.

  1. How, not what moderate Working it out

    The question asks what repeating the line does for the poem, not what the line says, so students must judge an effect of structure: the same words open the first stanza and close it. (Anderson & Krathwohl, 2001)

  2. Reading between the lines minor Working it out

    The clue is in the lead-ins, “they once had said” in line 2 and “as they said one time before” in line 18, which present the announcement as words said at this point in earlier years. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

Strategy: Reread each quoted passage together with the line that leads into it, then decide what the poet gains by having the branches and the leaves say the same words.

Traps

  • Reads too much in: A reasonable-sounding conclusion that goes further than the text allows.
  • Wrong tone or attitude: Misjudges the tone, attitude or point of view, such as reading admiration as criticism, or taking a character's or subject's feelings for the author's.
  • Wrong purpose or structure: Names a purpose, structure or effect that the part does not serve, or describes what a part says when the question asks what it does.

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This asks about repetition, which means using the same words more than once. The words “This is the beginning of summer” appear in lines 2–3. They come back in lines 18–19. You need to work out what saying them twice adds to the poem’s meaning.

  2. Read the words that lead in

    Look at the words just before each quotation. Line 2 says “It was the time when they once had said.” Line 18 says the leaves “said as they said one time before.” Both lead-ins point to the past. The branches and leaves have said these words before, at this same time in other years.

  3. Work out what the repetition shows

    The same words come back, just as summer itself comes back. Each year the branches get heavy, the leaves come out, and it is summer again. The change happens the same way every time. So the repeated line works like a yearly announcement that nobody finds strange. It shows that the shift to summer follows a familiar pattern.

  4. Check each choice

    • A fits. The repeated words show summer arriving the same way each year.
    • B does not fit. Saying the words again shows that summer returns. It does not show that living things got ready for it.
    • C does not fit. Something said “one time before” is familiar, not surprising.
    • D does not fit. The line only names a time. Pictures like the yellow dandelions show how the land looks.

    Watch out: C also says “each year,” so it can look right. But the quoted words are calm, like an old saying, not a cry of surprise.

  5. Choose the answer

    The repeated line is an old announcement, made again because summer comes again. So the answer is A, “It suggests that the shift to summer occurs in the same way each year.”

Why this answer and not the closest wrong one

C is the closest wrong choice, because it also points to something that happens each year. But C says the first signs of summer are a surprise. The lead-ins say the opposite. The branches “once had said” these words, and the leaves said them “one time before.” Words said many times before are expected. They show a pattern, not a surprise.

More questions like this

The original DOE question
Question 22 as shown on the DOE’s digital test, page 35 of its printable version.
As printed in the DOE’s printable version of 2026 Practice Test C English, page 35, question 22.

Question 18 of 78

2026 Practice Test C English, question 23

Uses the passage above: “Bird Talk”.

Question

Which lines from the poem best contrast with the idea of winter’s scarcity and bleakness?

  • A“The shrilling of the frogs was not so shrill as in the / first weeks after the broken winter;” (lines 4–5)
  • B“The yellow spreads of the dandelions and buttercups / reached across the green pastures.” (lines 8–9)
  • C“Tee whee and tee whee came on the breezes, and the grackles / chuzzled their syllables.” (lines 10–11)
  • D“Or if instead of counting up last year as against / this year, they count up this year as against next” (lines 25–26)
Show the answer

Correct answer: B

The question asks for the identification of a description that contrasts with the scarcity and bleakness of winter.

A. Incorrect. These lines indicate that the frogs are first very excited about the shift from winter to spring, which causes them to make a loud “shrilling,” yet their sounds lessen after a time and grow weaker. As such, these lines contrast two periods of spring (early vs. later) and the response of the frogs to these two periods; the lines do not contrast the bleakness of winter with the abundance of spring or summer.

B. CORRECT. During winter, there is scarcity of plant life and a bleak landscape: trees lose their leaves, snow covers the ground, and nature appears dark and shuttered. In contrast, these lines reveal the bright “yellow spreads” of flowers and the verdant “green pastures” that are signs that winter has abated.

C. Incorrect. This description contrasts the sounds of “the breezes” of warmer air and the sounds made by grackles—a type of bird—rather than the bleakness and scarcity of winter and the abundance of the “ ‘beginning of summer’ ” (line 3).

D. Incorrect. These lines show the contrast between the two ways of looking at things in terms of past vs. present or present vs. future; in this instance, the lines reveal the way birds naturally expect and adapt to the passing of time and the change of seasons. The lines do not present a contrast between winter and spring.

Question analysis

This textual evidence question on Carl Sandburg’s poem “Bird Talk” asks which lines best contrast with the idea of winter’s scarcity and bleakness. Students compare four quotations about frogs, flowers, birdsong and the birds’ yearly counting, and the challenge is finding the one whose images most fully show the opposite of a bare, bleak season.

NYS standards
  • 7R1 textual evidence and inferences
  • 7R4 word meaning and choice
Grade level
Grade 7 reading and task
Compared with grade 7
At grade 7 Choosing lines that fit an idea is routine grade 7 evidence work. The twist is that students look for the opposite of an idea, winter’s scarcity and bleakness, rather than support for it, though the quoted images are concrete.
Estimated difficulty
Straightforward: two steps or one careful reading.
What makes it hard
Evidence
Answered from one sentence or line
Reading level
Passage: 296 words (a poem; reading level not measured); question and choices: about grade 6, 85 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

The question turns the usual evidence task around: students picture a scarce, bleak winter and then look for its opposite. The line that names winter outright is a trap, since it only compares the frogs’ noise in two stretches of spring, and the grackles’ calls show life without plenty. The flowers spreading “across the green pastures” are the one image of abundance and color.

  1. Every choice must be checked minor Choosing the answer

    Every quotation carries some sign of the season, frogs, flowers, birdsong and the birds’ yearly count, so each must be tested for images of plenty and color set against a bare winter. (Embretson & Wetzel, 1987)

  2. Hard words minor Understanding the question

    The stem’s “scarcity” and “bleakness” define what to look for; a student unsure of them cannot tell that yellow and green spreading across pastures is their opposite. (Perfetti, 2007; Freedle & Kostin, 1993)

Strategy: First picture what a scarce, bleak winter looks like, then read each quotation for images that show the plain opposite of that picture.

Traps

  • Word match: Repeats striking words or phrases from the text, so it looks supported, but its meaning does not fit the question.
  • Supports only part of the claim: In a question about evidence: a line that backs one half of the claim but not the other, or a related point rather than the claim itself.

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This asks you to find lines that show the opposite of winter. Scarcity means not having enough of something. Bleakness means looking bare, cold and gloomy. So picture winter: bare branches, no flowers, gray and brown fields. Then look for the lines that show plenty and bright color instead.

  2. Read lines 8–9

    Lines 8–9 say “The yellow spreads of the dandelions and buttercups / reached across the green pastures.” Dandelions and buttercups are small yellow flowers. Pastures are grassy fields. A spread is a wide area covered with something. Here, yellow flowers stretch across green fields. That is a picture of color everywhere and plenty of growth. It is the exact opposite of a bare, gray winter.

  3. Check each choice

    • A does not fit. It mentions “the broken winter,” but it only compares how shrill, or sharp and high, the frogs sounded at two times. Nothing in it shows plenty.
    • B fits. Yellow flowers spread over green fields, full of color and life.
    • C does not fit. The birdsong shows that life is back. But it gives no picture of plenty or color to set against a bare winter.
    • D does not fit. These lines compare one year with another in the birds’ talk. There is no winter and no growth in them.

    Watch out: A is the only choice that names winter, so it can seem to fit. But mentioning winter is not the same as contrasting with it.

  4. Choose the answer

    Only lines 8–9 show plenty and bright color, the opposite of a scarce, bleak winter. So the answer is B, lines 8–9: “The yellow spreads of the dandelions and buttercups / reached across the green pastures.”

Why this answer and not the closest wrong one

C is a close wrong choice, since birdsong is a sign that life is back. But the question asks for a contrast with scarcity, or not having enough. Sounds alone do not show plenty. Lines 8–9 show flowers spreading wide across green fields. That picture of color and plenty is the clearest opposite of a bare, gray winter.

More questions like this

The original DOE question
Question 23 as shown on the DOE’s digital test, page 36 of its printable version.
As printed in the DOE’s printable version of 2026 Practice Test C English, page 36, question 23.

Question 19 of 78

2026 Practice Test C English, question 30
Passage Serpent Mound

Serpent Mound

The Great Serpent Mound, located in Adams County, Ohio, is a human-made mound of earth that researchers believe was created between 300 B.C. and A.D. 1100 by an indigenous culture.

Ohio, 1846

Brush Creek stood low when the museum men came
with their measuring tapes and sketchbooks.
 It was winter. Fringed with ice,
 the creek doubled back on itself
as if it had forgotten something.
 Pa was in Cincinnati, or else on his way home,
  so Ma told me to lead the men
  into the marshy low grounds. It being winter,
    there was little underbrush to speak of—
    in the summer there would have been
  briars, poison ivy, biting flies. I listened
for the swish of a beaver’s heavy tail,
 the chitter of a chickadee, or the cry of a hawk,
 but the winter silence of the creek pressed
 down on all of us like a weight.
The humps in the ground were all but
invisible until you were right up on them. The figure
was even less obvious: the sinuous body,
 the tail coiled three times around,
 and at the other end, the mouth wide open.
  In the summer the creek bottom was crowded
  with so much life that you could trip over
    the ridges of earth before you saw
    anything at all. In winter you could climb
    a tree and get some idea of the whole thing:
  the serpent’s body undulating, slithering
silently across the ancient
 earth. At the mouth end, there was an oval mound
 as if the snake were about to swallow an egg—
as snakes sometimes did in our rickety
henhouse—my Pa always said, or
as if swallowing the sun, one of the museum
 men suggested, taking notes with his quill pen,
 an old-style inkhorn slung at his side.
 I liked that: swallowing the sun,
  just the sort of thing a snake might do,
  might want to do. When, later, I told my sister Ruth,
    she disagreed. It is singing to the sun,
    she insisted. That is why its mouth
  is wide open. She said, “Sometimes I think
I hear it on summer nights. Not swallowing, singing.”

Question

What impact do the phrases “all but / invisible” and “even less obvious” in lines 16–18 have on the meaning of the poem?

  • AThey indicate that viewing the full size and shape of the mound is difficult.
  • BThey suggest that the location of the mound is unknown to most people.
  • CThey imply that the speaker wants the location of the mound to remain a secret.
  • DThey reveal that the speaker is unfamiliar with the significance of the mound.
Show the answer

Correct answer: A

The question asks what impact the phrases “all but / invisible” and “even less obvious” in lines 16–18 have on the meaning of the poem.

A. CORRECT. The words “all but / invisible” indicate that a person must be close to see the humps in the ground, while the phrase “even less obvious” indicates that a person must be far away to see the overall snake shape of the mound.

B. Incorrect. While the speaker has to lead the museum men to the mound because they did not know the exact location, the words in lines 16–18 are related to the difficulty in viewing the mound from the immediate surrounding area.

C. Incorrect. The speaker is willing to take the museum men out to study the mound, so there is no indication in the poem that the speaker wants the location of the mound to remain a secret. The words in lines 16–18 convey the idea that the mound is difficult to see.

D. Incorrect. While the speaker contemplates the significance of certain elements of the mound, the phrases in lines 16–18 relate to a viewer’s ability to see the physical shape of the mound, not its deeper meaning.

Question analysis

This word-meaning question asks what impact the phrases “all but / invisible” and “even less obvious” in lines 16–18 of “Serpent Mound” have on the poem’s meaning. Students must understand the idiom “all but” and then judge which of four claims about the mound and the speaker the two phrases actually support.

NYS standards
  • 7R4 word meaning and choice
  • 7L4a context clues
Grade level
Grade 6 reading and task
Compared with grade 7
Below grade 7 Below typical grade 7 demand: both phrases are quoted with their line numbers, in plain modern language, and one careful reading settles the question. The one hurdle is the idiom “all but,” which some readers take literally.
Estimated difficulty
Straightforward: two steps or one careful reading.
What makes it hard
Evidence
Answered from one paragraph or stanza
Reading level
Passage: 354 words (a poem; reading level not measured); question and choices: about grade 7, 76 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

Both phrases are quoted with their lines, and the sentence that holds them goes on to list the body, the coiled tail and the open mouth, so its subject is what can be seen. The wrong choices slide from seeing to knowing: who knows where the mound is, who wants it hidden, and what it means. “Less obvious” is the slippery phrase, since obvious can also mean easy to understand.

  1. Hard words moderate Understanding the question

    “All but” is an idiom meaning almost, so “all but / invisible” means nearly unseen; a student who takes it as the opposite, plainly visible, loses the sense that the humps are hard to see. (Perfetti, 2007; Freedle & Kostin, 1993)

  2. Reading between the lines minor Working it out

    Students must keep both phrases about sight and connect them to lines 24–25, where only climbing a tree gives “some idea of the whole thing.” (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

Strategy: Put both phrases into plain words, starting with the idiom “all but,” then test each choice against what lines 16–25 actually describe.

Traps

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This asks what two phrases add to the poem’s meaning. They are “all but / invisible” and “even less obvious,” in lines 16–18. Put each phrase in plain words first. Then see what they tell you about the mound.

  2. Read lines 16–18

    Lines 16–18 say “The humps in the ground were all but / invisible until you were right up on them. The figure / was even less obvious.” “All but” means almost. So the humps were almost invisible until you got very close. The figure is the whole snake shape. It was even harder to see than the humps. Here, obvious means easy to see.

  3. Connect the phrases to later lines

    The same sentence goes on to list what you would see: “the sinuous body, / the tail coiled three times around, / and at the other end, the mouth wide open.” So the phrases are about seeing the shape. Later, lines 24–25 say “In winter you could climb / a tree and get some idea of the whole thing.” Only from up high could you begin to see it. The mound is huge, low and hard to take in all at once.

  4. Check each choice

    • A fits. Both phrases show that seeing the whole mound is hard.
    • B does not fit. The phrases are about how hard the mound is to see, not about who knows where it is.
    • C does not fit. The speaker leads the museum men right to the mound. There is no wish to keep it secret.
    • D does not fit. Here “less obvious” is about sight, not about understanding what the mound means.

    Watch out: Obvious can also mean easy to understand. That reading leads to D. But the sentence goes straight on to list parts of the snake you can see.

  5. Choose the answer

    The phrases show how hard it is to see the mound’s full size and shape. So the answer is A, “They indicate that viewing the full size and shape of the mound is difficult.”

Why this answer and not the closest wrong one

B is a close wrong choice, because “invisible” can make you think nobody knows the mound is there. But the phrases describe looking, not knowing. The speaker knows exactly where the mound is. The problem is seeing it. The humps vanish until “you were right up on them,” and the whole shape shows only from a tree.

More questions like this

The original DOE question
Question 30 as shown on the DOE’s digital test, page 45 of its printable version.
As printed in the DOE’s printable version of 2026 Practice Test C English, page 45, question 30.
The passage “Serpent Mound” as printed (page 40)The passage “Serpent Mound” as printed on page 40 of the DOE handbook.

Question 20 of 78

2026 Practice Test C English, question 31

Uses the passage above: “Serpent Mound”.

Question

What impact do the words “swish,” “chitter,” and “cry” in lines 12–13 have in the poem?

  • AThey illustrate how lively the mound’s surroundings are during the summer.
  • BThey show how the mound disrupts natural life in the marsh.
  • CThey indicate the variety of wildlife found in the area around the mound.
  • DThey suggest that the speaker prefers the mound’s appearance in winter.
Show the answer

Correct answer: A

The question asks what impact the words “swish,” “chitter,” and “cry” in lines 12–13 have in the poem.

A. CORRECT. The words highlight the sounds of the animals that visit the mound in the summer: the “swish of a beaver’s heavy tail” (line 12), the “chitter of a chickadee” (line 13), and the “cry of a hawk” (line 13). These words help contrast the quiet stillness of the setting around the mound in the winter.

B. Incorrect. While the words in lines 12–13 convey the sounds certain animals make in the summer, the sounds of the animals that live near the mound are a natural part of life in the area, not a disruption.

C. Incorrect. The speaker is contrasting the sounds of the animals around the mound during the rest of the year with the silence of the winter months, not merely indicating the variety of wildlife.

D. Incorrect. The speaker expresses the idea that the mound is more visible in the winter because of the lack of brush (“It being winter, / there was little underbrush to speak of” [lines 8–9]). Then lines 12–13 describe sounds, not the appearance of the mound in winter.

Question analysis

This question about word choice asks what impact the sound words “swish,” “chitter” and “cry” in lines 12–13 of “Serpent Mound” have in the poem. They belong to a beaver, a chickadee and a hawk near the creek, and more than one choice sounds like a fair account of them, so students must read the surrounding lines closely.

NYS standards
  • 7R4 word meaning and choice
  • 7L5 figurative language and word relationships
Grade level
Grade 8 reading and task
Compared with grade 7
Above grade 7 Grade 7 students often explain what sensory words add to a description. These three words sit inside a long sentence that runs across several lines, so their effect has to be worked out from the lines around them, beyond typical grade 7 work.
Estimated difficulty
Hard: combines ideas, needs a plan, and has more than one tempting wrong answer.
Evidence
Answered from one paragraph or stanza
Reading level
Passage: 354 words (a poem; reading level not measured); question and choices: about grade 6, 61 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

Three vivid animal sounds invite the easy reading that the poem is showing off the creek’s wildlife, and that choice is true as far as it goes. The words matter because they are missing: the speaker listens for them, and “the winter silence” answers. Students must also accept that the key’s “during the summer” comes from the poem’s later picture of a crowded summer creek, not from lines 12–13 themselves.

  1. A very close wrong answer major Choosing the answer

    The variety choice is literally true, since a beaver, a chickadee and a hawk are three kinds of animal; it differs from the key in missing why the sounds are named, as a contrast with winter. (Embretson & Wetzel, 1987; Gorin & Embretson, 2006; Ascalon et al., 2007)

  2. Reading between the lines moderate Working it out

    The speaker listens for these sounds and does not hear them, so students must infer that they stand for the creek’s life in warmer months, which lines 21–22 call “crowded / with so much life.” (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  3. Complex sentences minor Understanding the question

    The three words sit in one sentence that runs from “I listened” in line 11 to “like a weight” in line 15 and turns on “but,” so their point arrives only at its end. (Abedi & Lord, 2001; Freedle & Kostin, 1993; Messick, 1989)

Strategy: Read the full sentence that holds these words, from “I listened” in line 11 to the end of line 15, then decide what the three sound words add to the scene.

Traps

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This asks what three sound words do in the poem. They are “swish,” “chitter” and “cry,” in lines 12–13. Read the whole sentence they sit in. It starts at “I listened” in line 11 and ends with “like a weight” in line 15.

  2. Read the full sentence

    Lines 11–15 say “I listened / for the swish of a beaver’s heavy tail, / the chitter of a chickadee, or the cry of a hawk, / but the winter silence of the creek pressed / down on all of us like a weight.” A chickadee is a small bird, and a chitter is its quick, chirping sound. The speaker listens for these sounds. But the word “but” tells you they never come. Only silence answers.

  3. Work out why the sounds are named

    A beaver, a chickadee and a hawk are signs of a creek full of life. The speaker hears none of them in winter. Later lines tell you when the creek is lively. Lines 21–22 say “In the summer the creek bottom was crowded / with so much life.” So the missing sounds remind you how lively the place is in summer. They also make the winter silence feel even emptier.

  4. Check each choice

    • A fits. The sounds stand for the busy life around the mound in the warm months.
    • B does not fit. The quiet comes from the season: “the winter silence of the creek.” The mound does not cause it.
    • C does not fit. There are three kinds of animals, but the point is that their sounds are missing.
    • D does not fit. These lines are about sounds. The speaker says nothing about liking how the mound looks in winter.

    Watch out: C is true as far as it goes. But it misses why the speaker names the sounds at all: to set them against the silence.

  5. Choose the answer

    The sounds the speaker listens for, and doesn’t hear, show how lively the creek is in summer. So the answer is A, “They illustrate how lively the mound’s surroundings are during the summer.”

Why this answer and not the closest wrong one

C is the closest wrong choice, because a beaver, a chickadee and a hawk really are three kinds of wildlife. But the speaker listens for them and hears nothing. The word “but” turns the sentence to “the winter silence.” The sounds matter because they are missing. They show the creek in its lively season, which line 21 names as summer.

More questions like this

The original DOE question
Question 31 as shown on the DOE’s digital test, page 46 of its printable version.
As printed in the DOE’s printable version of 2026 Practice Test C English, page 46, question 31.

Question 21 of 78

2026 Practice Test C English, question 33

Uses the passage above: “Serpent Mound”.

Question

The poet contrasts the speaker’s and Ruth’s points of view regarding the mound by using dialogue to

  • Aimply that Ruth is worried that her interpretation of the mound will be seen as too abstract.
  • Bindicate that Ruth hopes her interpretation of the mound will be shared by the men from the museum.
  • Csuggest that Ruth wants the speaker to agree with her interpretation of the mound.
  • Dshow that Ruth has already decided on her interpretation of the mound.
Show the answer

Correct answer: D

The question asks how the poet uses dialogue to contrast the points of view of the speaker and Ruth regarding the mound.

A. Incorrect. The interpretation Ruth offers of the mound as a snake singing is abstract, but Ruth does not seem concerned that it is an overly metaphorical or figurative interpretation. The dialogue serves to highlight that Ruth is firm in her belief.

B. Incorrect. There is no indication that the museum men are considering Ruth’s interpretation of the mound or that Ruth wants them to share her interpretation. Ruth’s interpretation is meant to convey an abstract idea, while the museum men would be looking for a firm academic explanation of the mound. Ruth is persistent in her belief, and the dialogue does not suggest that she is concerned with the museum men’s interpretation or findings.

C. Incorrect. Ruth merely states her interpretation and says that she thinks she hears the Serpent Mound singing sometimes. She does not seek to make the speaker agree with her.

D. CORRECT. Beginning in line 37, after the speaker suggests the mound is swallowing the sun, Ruth disagrees. The poet uses the word “insisted” in line 39 to show that Ruth firmly believes in her own interpretation of the mound.

Question analysis

This point-of-view question asks how the poet of “Serpent Mound” uses dialogue to contrast the speaker’s and Ruth’s views of the mound in the poem’s closing lines. Students must read Ruth’s few words closely, since each choice credits her with a different attitude toward her own interpretation.

NYS standards
  • 7R6 point of view and author position
  • 7R4 word meaning and choice
Grade level
Grade 7 reading and task
Compared with grade 7
At grade 7 Analyzing how a writer contrasts two characters’ points of view is exactly what the grade 7 standard describes. The dialogue is only a few lines long, but each choice describes Ruth’s attitude in a different way.
Estimated difficulty
Moderate: several steps, or a close reading with one strong distractor.
What makes it hard
Evidence
Answered from one paragraph or stanza
Reading level
Passage: 354 words (a poem; reading level not measured); question and choices: about grade 8, 78 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

The dialogue is only a few lines, and every choice is about Ruth’s attitude toward her own reading. “Insisted” is the hinge: it can sound like pressing someone to agree, but nothing follows that asks the speaker anything. The hedge “Sometimes I think” can also be misread as worry, though it introduces what she hears, not doubt about her view.

  1. A very close wrong answer moderate Choosing the answer

    The choice about Ruth wanting agreement and the key both rest on “she insisted”; they differ in whether insisting aims to win the speaker over or shows her mind is already made up. (Embretson & Wetzel, 1987; Gorin & Embretson, 2006; Ascalon et al., 2007)

  2. Reading between the lines moderate Working it out

    Ruth’s attitude is never named, so students must read it from “she disagreed,” “she insisted” and the clipped “Not swallowing, singing,” and from what she does not do: ask for agreement. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

Strategy: Reread lines 37–41 and describe Ruth’s attitude in a few words of your own before looking at the choices, then pick the one the lines themselves show.

Traps

  • Reads too much in: A reasonable-sounding conclusion that goes further than the text allows.
  • Wrong tone or attitude: Misjudges the tone, attitude or point of view, such as reading admiration as criticism, or taking a character's or subject's feelings for the author's.

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This asks what the poet shows by using dialogue, the words people say to each other. The speaker and Ruth have different points of view about the mound. You need to decide what Ruth’s words show about her attitude, or how she feels about her own idea.

  2. Read the dialogue in lines 37–41

    The speaker tells Ruth the idea of “swallowing the sun.” The poem says “she disagreed. It is singing to the sun, / she insisted. That is why its mouth / is wide open.” Then she says, “Sometimes I think / I hear it on summer nights. Not swallowing, singing.”

  3. Look closely at the word insisted

    To insist is to say something firmly and refuse to back down. Ruth doesn’t say “maybe.” She doesn’t ask what the speaker thinks. She ends with three short words: “Not swallowing, singing.” That sounds final. She has her own reason, too: what she hears on summer nights. Her mind was made up before this talk began.

  4. Check each choice

    • A does not fit. “Sometimes I think” is about a sound she hears. It is not worry that her idea is too abstract, or too far from real things.
    • B does not fit. Ruth talks only to the speaker, later. She never mentions the museum men.
    • C does not fit. Ruth states her view, but she never asks the speaker to agree.
    • D fits. “Insisted” and her firm last words show that her mind is made up.

    Watch out: “Insisted” can sound like pushing someone to agree, which leads to C. But nothing in her words asks for agreement.

  5. Choose the answer

    Ruth’s firm words show she is sure of her own idea. So the answer is D, “show that Ruth has already decided on her interpretation of the mound.”

Why this answer and not the closest wrong one

C is the closest wrong choice. Both C and D rest on the word “insisted.” But insisting can show that you are sure without trying to win anyone over. Ruth never asks whether the speaker agrees. She just states her view and what she hears. That shows her mind is already made up, which is what D says.

More questions like this

The original DOE question
Question 33 as shown on the DOE’s digital test, page 48 of its printable version.
As printed in the DOE’s printable version of 2026 Practice Test C English, page 48, question 33.

Question 22 of 78

2026 Practice Test D English, question 17
Passage Wolves of the Sea

Wolves of the Sea

The cool and misty landscape of the Great Bear Rainforest can be found along the coast of British Columbia, Canada, and its nearby islands, from Vancouver Island to the Alaskan border. Within this protected area, wolves roam the forests, islands, and beaches. When biologist Chris Darimont began to study these wolves, he wanted to confer with local First Nations groups, as aboriginal Canadians are known, in order to learn what they knew about these wolves. He spoke with Chester Starr, an elder of the Heiltsuk Nation that has occupied the Great Bear Rainforest for thousands of years. What Starr had to say about the wolves changed Darimont’s perception of the animals.

Starr asked Darimont which wolves he and his team were going to study—the timber wolves (mainland wolves) or the coastal wolves on the islands. The question took Darimont by surprise. Biologists had always believed that the wolves that are sometimes spotted swimming between islands and eating salmon are the same wolves that live on the mainland. Darimont was intrigued by Starr’s classification of the wolves as two different groups. At first, he was hesitant to accept the idea. The distances between the mainland and the islands are small, less than a mile. Why would the wolves on the islands be any different from the wolves on the mainland? To find out, Darimont and his research team studied the wolves on the islands and in the densely forested territory of the Great Bear Rainforest for ten years.

Throughout the study, Darimont recorded several significant, observable differences between the “sea wolves,” as they are nicknamed, and the mainland wolves. Compared with the mainland wolves, the sea wolves are smaller in size and are strong swimmers. In 1996 sea wolves were spotted on an island nearly eight miles from any other land formation. While mainland wolves almost exclusively eat meat, such as deer and elk, and teach their young to hunt for land animals, sea wolves get as much as 90 percent of their nutrition from the sea and teach their young to dig for clams and to catch fish. Sea wolves regularly swim between islands and have been known to sneak up on a seal sunning itself on a rock and make a leaping attack from the water. Some salmon-eating mainland wolves come and go from the islands with the fish-spawning season, but the sea wolves are full-time island residents. Darimont suspects that some sea wolves live their entire life on the islands.

The sea wolves displayed not only physical and behavioral differences but also genetic variations from the mainland wolves. After collecting and analyzing the DNA in 800 samples of gray fur and wolf waste, researchers could produce hard biological evidence that sea wolves had genetic markers that made them distinct from the mainland wolves. A genetic marker is a variation in a DNA sequence that can be used to identify individuals or a species because it is passed down to offspring. Darimont hypothesizes that a change in habitat led to the eventual genetic differences between sea wolves and mainland wolves. Many years ago, loss of habitat and food sources forced some mainland wolves out to the islands. They learned to eat everything from kelp and fish eggs to the remains of sea creatures that washed up on the beach. Wolves living on the islands and mainland wolves became more isolated and rarely mated with each other. Over time the two types of wolves became more distinct.

It turned out that Chester Starr was right all along. “It sounded totally bizarre at first,” admits Darimont, “that there could be two versions of the species.” But he now realizes that this skepticism “definitely reflected my ignorance of indigenous knowledge at the time.” Learning to trust the wisdom of the Heiltsuk people opened Darimont up to knowledge accumulated over millennia and positioned him so that he could gather new scientific evidence about one of British Columbia’s most elusive species, the sea wolf.

Question

Read this sentence from paragraph 4.

After collecting and analyzing the DNA in 800 samples of gray fur and wolf waste, researchers could produce hard biological evidence that sea wolves had genetic markers that made them distinct from the mainland wolves.

The phrase “hard biological evidence” conveys that the goal of the research team was to

  • Adevelop a procedure in order to ensure their study yielded plentiful data about the wolves.
  • Bseek definitive scientific proof of the number of wolf species present in the area of the study.
  • Cconduct a study to evaluate multiple theories about the diets of different wolf species.
  • Ddiscover if the new data would provide information different from that of previous studies.
Show the answer

Correct answer: B

The question asks what the phrase “hard biological evidence” in the sentence from paragraph 4 conveys about the goal of the research team.

A. Incorrect. Although the research team followed a labor-intensive procedure, the phrase “hard biological evidence” refers to the product of their scientific research (the genetic markers revealed within the DNA samples), not the process by which they collected it. Their goal was not to develop a procedure for data collection but to determine precisely how many species of wolf were present in the area.

B. CORRECT. The research team wanted to prove or disprove the theory that two separate groups of wolves were present in the area, an idea that was already supported by the observations of scientists and local indigenous people. The phrase “hard biological evidence” conveys that the scientists wanted to bolster their observations of the wolves with concrete scientific data about the wolves’ biological makeup. The goal of the researchers was to use the data to prove how many species of wolf were present in the area of the study.

C. Incorrect. The research team gathered extensive data during their study (“After collecting and analyzing the DNA in 800 samples of gray fur and wolf waste” [paragraph 4]), and their goal in doing so was to evaluate a single theory about the wolves: that the wolves had evolved into two separate and genetically distinct species. The research team did not conduct the study in order to evaluate multiple theories about the diets of the wolves.

D. Incorrect. The phrase “hard biological evidence” does not suggest that the research team was hoping to discover if the new data would provide information that was different from previous studies. In fact, the goal of the research team was to use the genetic data to supplement their initial sources of information about the wolves and their own observations from the field.

Question analysis

This word-in-context question quotes a sentence from paragraph 4 of “Wolves of the Sea” about DNA taken from 800 samples of gray fur and wolf waste, and asks what the phrase “hard biological evidence” shows about the research team’s goal. Students must work out what the phrase says about the evidence and then turn that into a statement of purpose, choosing among four plausible aims for a study.

NYS standards
  • 7R4 word meaning and choice
  • 7L4a context clues
Grade level
Grade 8 reading and task
Compared with grade 7
Above grade 7 Grade 7 students regularly interpret a phrase in context. Here the phrase must be turned into a claim about the team’s purpose, which the passage never states outright, and the four choices are abstract research goals that each sound reasonable.
Estimated difficulty
Hard: combines ideas, needs a plan, and has more than one tempting wrong answer.
What makes it hard
Evidence
Answered from several paragraphs or stanzas
Reading level
Passage: about grade 10, 662 words; question and choices: about grade 10, 114 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

The question asks for a purpose, but the phrase it quotes describes a result, so students have to reason from the kind of evidence produced to what the team wanted it for. Readers who take “hard” as difficult drift toward a goal about procedure, and those who remember that biologists had long thought the wolves were one group are drawn to a goal of overturning earlier studies. The key’s “number of wolf species” is looser than the passage’s “two versions of the species,” which can make careful readers hesitate.

  1. Reading between the lines moderate Working it out

    The passage never states the team’s goal, so students must work back from “hard biological evidence” to the question paragraph 2 set up: whether island and mainland wolves are really two groups. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  2. Hard words moderate Understanding the question

    “Hard” here means solid and conclusive, as in hard evidence, not difficult; students who know only the everyday sense connect it to the labor of analyzing 800 samples of fur and waste. (Perfetti, 2007; Freedle & Kostin, 1993)

  3. Evidence in several places minor Working it out

    The goal the phrase points to lies two paragraphs back, in Starr’s two-group question and Darimont’s ten-year study “to find out,” not in the sentence the stem quotes. (Kirsch & Mosenthal, 1990; Gorin & Embretson, 2006)

Strategy: Replace “hard” with a word that fits evidence produced by DNA analysis, then ask what the team wanted that kind of evidence for, recalling the question Darimont set out to answer.

Traps

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This asks what a phrase shows about the team’s goal. A goal is what you are trying to get. The phrase names the kind of evidence the team got. Work back from that to what they wanted it for.

  2. Read the sentence with the phrase

    In paragraph 4, the team studied “800 samples of gray fur and wolf waste.” Then they “could produce hard biological evidence that sea wolves had genetic markers that made them distinct from the mainland wolves.” A genetic marker is a small difference in the DNA that parents pass to their young. Distinct means clearly different.

  3. Work out what “hard” means

    Here “hard” does not mean difficult. Hard evidence is solid proof that is tough to argue with. Biological means it comes from living things and their bodies. So the team wanted firm proof from the wolves’ own bodies.

  4. Connect the proof to the question

    What did they want to prove? Go back to paragraph 2. Starr said there were two groups of wolves. Darimont was unsure. “To find out,” his team studied the wolves. The DNA gave a firm answer: the sea wolves really are a separate group. So the goal was solid proof of how many groups of wolves live there.

  5. Check each choice

    • A is wrong. It reads “hard” as hard work. The phrase is about how firm the proof is, not about a procedure.
    • B is right. Definitive means final and settled. The team wanted settled proof of how many groups of wolves live there. B says “species,” which goes further than the passage. Darimont speaks only of “two versions of the species.”
    • C is wrong. Diets come up in paragraph 3. The DNA work tested whether there were two groups.
    • D is wrong. The phrase says nothing about earlier studies.

    Watch out: D is tempting because biologists “had always believed” the wolves were one group. But “hard” evidence is about firm proof, not about beating old studies.

  6. Choose the answer

    “Hard biological evidence” shows the team wanted firm, scientific proof. So the answer is B, “seek definitive scientific proof of the number of wolf species present in the area of the study.”

Why this answer and not the closest wrong one

D is the closest wrong answer. Biologists had thought the wolves were one group, so D can seem to fit. But the phrase “hard biological evidence” is about how firm the proof is. It says nothing about earlier studies. B matches that: the team wanted settled proof of how many groups there were.

More questions like this

The original DOE question
Question 17 as shown on the DOE’s digital test, page 27 of its printable version.
As printed in the DOE’s printable version of 2026 Practice Test D English, page 27, question 17.
The passage “Wolves of the Sea” as printed (pages 23–24)The passage “Wolves of the Sea” as printed on page 23 of the DOE handbook.The passage “Wolves of the Sea” as printed on page 24 of the DOE handbook.

Question 23 of 78

2026 Practice Test D English, question 18

Uses the passage above: “Wolves of the Sea”.

Question

The author uses the word “admits” in paragraph 5 most likely to

  • Anote that Darimont’s genetic research verified a theory based solely on field observations.
  • Bimply that Darimont’s study was disappointing because the conclusion that he reached was not original.
  • Cemphasize that Darimont’s study ultimately confirmed an idea that he had initially doubted.
  • Dhighlight that Darimont’s results led him to draw a conclusion from his research that his team did not agree with.
Show the answer

Correct answer: C

The question asks for the most likely reason why the author uses the word “admits” in paragraph 5.

A. Incorrect. The word “admits” highlights the surprising difference between Darimont’s initial idea and the conclusion he ultimately drew from the results of the study. Though Darimont’s genetic research did, in fact, verify the field observations of the wolves, this does not explain the author’s use of the word “admits” in paragraph 5.

B. Incorrect. The conclusion that Darimont reached was actually quite original, since biologists widely believed the two separate groups of wolves to be one (“Biologists had always believed that the wolves that are sometimes spotted swimming between islands and eating salmon are the same wolves that live on the mainland” [paragraph 2]). The author uses the word “admits” in paragraph 5 to emphasize how unexpected Darimont found the conclusion to be (“The distances between the mainland and the islands are small, less than a mile. Why would the wolves on the islands be any different from the wolves on the mainland?” [paragraph 2]), not to indicate that the study was a disappointment.

C. CORRECT. The use of “admits” emphasizes that Darimont found the idea of two species of wolves “ ‘totally bizarre at first’ ” (paragraph 5) but ultimately proved it to be correct. Paragraph 2 suggests that Darimont, like other scientists, “had always believed that the wolves that are sometimes spotted swimming between islands and eating salmon are the same wolves that live on the mainland.” Therefore, the results of the study were likely to strike biologists as bizarre, and the use of the word “admits” in paragraph 5 highlights Darimont’s shift from doubt to confirmation.

D. Incorrect. Darimont’s team conducted the research that helped him confirm Starr’s idea and draw the conclusion that the wolves were separate species (“After collecting and analyzing the DNA in 800 samples of gray fur and wolf waste, researchers could produce hard biological evidence that sea wolves had genetic markers that made them distinct from the mainland wolves” [paragraph 4]). However, the opinions of Darimont’s research team are not described in the passage, and the word “admits” does not indicate that they disagreed with his conclusion.

Question analysis

This word-choice question asks why the author of “Wolves of the Sea” uses the verb “admits” to introduce Darimont’s own comment in paragraph 5, the passage’s last paragraph. Students must weigh what this one verb adds to the quotation, beyond simply reporting speech, and test four explanations that each make a claim about Darimont’s study.

NYS standards
  • 7R4 word meaning and choice
  • 7R5 structure and genre features
Grade level
Grade 7 reading and task
Compared with grade 7
At grade 7 Explaining why an author picked one word is typical grade 7 work. “Admits” is a familiar verb and the quotation it introduces is short, though students must look beyond that one sentence to judge what the verb conveys.
Estimated difficulty
Moderate: several steps, or a close reading with one strong distractor.
What makes it hard
Evidence
Answered from several paragraphs or stanzas
Reading level
Passage: about grade 10, 662 words; question and choices: about grade 11, 72 words.
Corrected from the DOE handbook
  • A stray comma in the explanation was removed.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

Two choices describe what the study did, and both are accurate, so truth alone does not settle the question; the stem asks what one verb adds. Students who remember that the DNA backed up what had been observed can stop there without asking why Darimont would need to admit anything. The other two choices read the concession in “admits” as disappointment or as a dispute with the team, neither of which the passage describes.

  1. How, not what moderate Working it out

    The stem asks why the author chose “admits” over a neutral verb like “says,” so students must hear the verb’s sense of conceding an earlier mistake and link it to Darimont’s “totally bizarre” first reaction. (Anderson & Krathwohl, 2001)

  2. A very close wrong answer moderate Choosing the answer

    The verification choice and the key both say the study confirmed an earlier idea; only the key adds that Darimont had doubted it, which is the part “admits” actually conveys. (Embretson & Wetzel, 1987; Gorin & Embretson, 2006; Ascalon et al., 2007)

Strategy: Compare “admits” with a neutral verb such as “says,” decide what extra meaning it carries, and then check which choice that meaning explains, rather than which choice is simply true of the study.

Traps

  • True but not the answer: A choice says something accurate about the text that does not answer this question.
  • Wrong tone or attitude: Misjudges the tone, attitude or point of view, such as reading admiration as criticism, or taking a character's or subject's feelings for the author's.
  • Reads too much in: A reasonable-sounding conclusion that goes further than the text allows.

The wrong answers, classified

What was corrected from the DOE handbook, and why

  • Explanation: In its explanation of Option B, the DOE ends the quotation from paragraph 2 with a comma before the citation: “…the same wolves that live on the mainland,” [paragraph 2]. Nothing follows in the sentence, and the passage has a period there, so the site drops the comma.

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This asks why the author chose one word, “admits.” The author could have written says. So ask what extra meaning “admits” adds.

  2. Find the word in paragraph 5

    Paragraph 5 opens, “It turned out that Chester Starr was right all along.” Next comes “It sounded totally bizarre at first,” admits Darimont, “that there could be two versions of the species.” Bizarre means very strange. He now sees that this “skepticism” showed his “ignorance of indigenous knowledge at the time.” Skepticism means doubt. Indigenous means belonging to the people who first lived in a place.

  3. Work out what “admits” means

    To admit something is to say it is true, even if you would rather not. People often admit a mistake. So “admits” tells you Darimont first doubted Starr’s idea and now owns up to it. Back in paragraph 2, he “was hesitant to accept the idea.” Then his study proved that same idea right.

  4. Check each choice

    • A is wrong. The DNA work did back up what people had seen. But that fact does not explain why Darimont has to admit anything.
    • B is wrong. Nothing says Darimont was let down. He sounds thankful for what he learned.
    • C is right. “Admits” shows a change from doubt to agreement. His study confirmed, or proved true, an idea he once found strange.
    • D is wrong. The passage never says what his team thought. No one argues with him.

    Watch out: A is true about the study, so it is tempting. But the question asks what the word “admits” does, not what the study found.

  5. Choose the answer

    “Admits” stresses that Darimont once doubted Starr’s idea but came to see it was right. So the answer is C, “emphasize that Darimont’s study ultimately confirmed an idea that he had initially doubted.”

Why this answer and not the closest wrong one

A is the closest wrong answer. Like C, it says the study confirmed an earlier idea. But A leaves out the doubt. You only admit something you once got wrong or pushed away. C includes that change, from finding the idea “totally bizarre” to accepting it. That change is what “admits” adds.

More questions like this

The original DOE question
Question 18 as shown on the DOE’s digital test, page 28 of its printable version.
As printed in the DOE’s printable version of 2026 Practice Test D English, page 28, question 18. This is the DOE’s version, before the corrections listed in the analysis.

Question 24 of 78

2026 Practice Test D English, question 21
Passage Ode to Fireworks

Ode to Fireworks

In autumn my mother drove us to the edge of the field
where the fair was set up year after year:
the carousel, the bumper cars, the long, low sheds
filled with prizewinning animals.
We—my sister, my cousin, and I—were ready for bed,
already in our pajamas. This was a treat we waited
all year for. We waited in the darkness
for the first low, dull thwumps, like someone
beating an old, filthy rug hung on a wash line.
Then we counted the seconds between the lightning
and thunder, as we also used to do, until the sky
lit up: red, blue, green, gold. In my mind’s eye
I can still see the straggly, ancient oak whose branches
reached up past the exhibition halls, silhouetted
against the spectrum of stars that cascaded behind it.

It was one thing to look up into the sky
and imagine yourself in it or to make out pictures
among the clouds, which my sister liked to do.
No, I would tell her, that cloud
does not look like an elephant, a hat, an umbrella.
But it was another thing to see
the sky at night written upon
with those jewels. (We lived in the country:
night was night.) All around us, crickets
stridulated in the stubble of what had been
somebody’s cornfield, their song rising and falling.
You could smell winter on the air’s edge.

Now, in the city, when the sky dips into shadow
at New Year’s or on the Fourth of July, I find myself
craning my neck upward at odd moments.
The city sky is always lit up. This is where we live now,
and it is how we live now, awash in light
of every hue. Everything is a constant celebration:
picking up washing at the cleaner’s or stopping by
the corner market for a loaf of heavy bread.
And the music around me is the music of people,
their voices rising and falling in a hundred languages.
But beneath the yellowish glow deep in the sky
of all our city lights pelting out into the universe,
I remember the feel of the pickup truck bumping
across the ridged field, as I kept waiting for those
childhood bursts, watching as they escorted us home.

Question

The comparison in lines 8–9 of the poem is used to convey

  • Athe muffled pounding of explosions in the distance.
  • Bthe way lightning streaks through the clouds.
  • Cthe echoes of thunder on an autumn night.
  • Dthe glow of sparks falling from the sky.
Show the answer

Correct answer: A

The question asks what the comparison in lines 8–9 of the poem is used to convey.

A. CORRECT. In lines 8–9 the speaker compares the deep thumping noises at the start of a fireworks show to the muffled thumping sound made when beating a rug to clean it. The imagery of “low, dull thwumps” (line 8) (onomatopoeia) describes a sound that is not clear or powerful. To the speaker, these low, distant explosions are the signal that the fireworks display is starting and that the loud, cracking sound of fireworks will be heard soon (“Then we counted the seconds between the lightning / and thunder” [lines 10–11]).

B. Incorrect. The comparison in lines 8–9 deals with the low sound of the first fireworks shooting off rather than the streaks of light they emit. To the speaker, the low thwumps (onomatopoeia) are the signal that fireworks are about to explode overhead, much like the way a streak of lightning during a storm indicates that a crash of thunder will follow in a few seconds.

C. Incorrect. The thwump (onomatopoeia) sounds are the start of the fireworks show, not thunder. As a comparison, the speaker says the initial thwumps of the fireworks signal anticipation for the full explosion that will come, much like the way the speaker would watch for lightning and count the seconds before an impending thunderclap (lines 10–11).

D. Incorrect. The muffled thwump (onomatopoeia) sounds occur before the dazzling explosion of lights and before sparks start to fall from the sky. The comparison focuses on the sounds of the experience, not the sight of the experience.

Question analysis

This figurative language question asks what the comparison in lines 8–9 of “Ode to Fireworks” conveys. In the poem an adult speaker remembers waiting with family, already in pajamas, for the fireworks at a country fair. Students must interpret an old-fashioned household image and decide what part of the show it describes, since the nearby lines mention sights as well as sounds.

NYS standards
  • 7R4 word meaning and choice
  • 7L5a interpreting allusions
Grade level
Grade 6 reading and task
Compared with grade 7
Below grade 7 Interpreting a simile is taught from grade 6, and this one takes up two lines of concrete words. The household chore it pictures may be unfamiliar, but the task is a single step, lighter than typical grade 7 poetry work.
Estimated difficulty
Straightforward: two steps or one careful reading.
Evidence
Answered from one sentence or line
Reading level
Passage: 379 words (a poem; reading level not measured); question and choices: about grade 3, 42 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

The comparison is about sound, and once students notice that, the sight-based choices about lightning and sparks fall away. The pull comes from the next lines, where the children count “the seconds between the lightning / and thunder,” a storm game that makes thunder seem like the thing being described. The question rewards staying inside lines 8–9, where “low, dull” and the beaten rug describe the first faint booms of the show.

  1. Figurative or literary language moderate Understanding the question

    Lines 8–9 pair the made-up sound word “thwumps” with a simile, someone beating an old rug on a wash line, so students must hear a dull, distant thud in an image about housework. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  2. Something you must already know minor Working it out

    The simile works only for readers who can imagine the flat whack of a rug being beaten clean on a line, a chore many students have never seen or heard. (Anderson & Krathwohl, 2001)

Strategy: Reread lines 8–9 slowly and ask which sense the comparison appeals to, sight, sound or touch, then pick the choice that describes that same experience.

Traps

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This asks what a comparison helps you picture. Lines 8–9 compare one thing to another using “like.” That kind of comparison is called a simile. First ask which sense it describes: sight, sound or touch.

  2. Find the comparison

    The family waits in the dark. Lines 8–9 say they wait “for the first low, dull thwumps, like someone / beating an old, filthy rug hung on a wash line.” Thwumps is a made-up word that sounds like the noise it names. So the comparison is about a sound. It comes before the sky lights up.

  3. Picture the rug

    People used to hang a dusty rug on a line and hit it with a stick. Each hit makes a flat, soft thud, not a sharp bang. The words “low” and “dull” say the same thing. So the first fireworks sound like soft booms far away. Muffled means soft, as if wrapped in cloth.

  4. Check each choice

    • A is right. Dull thuds heard in the dark are the muffled pounding of explosions far off.
    • B is wrong. Lightning is something you see. Lines 8–9 describe a sound heard before anything lights up.
    • C is wrong. The thunder in lines 10–11 is part of a counting game. It compares the show to a storm. The rug image is about the fireworks.
    • D is wrong. Sparks are something you see. The colors don’t come until line 12.

    Watch out: Lines 10–11 mention “lightning” and “thunder.” That can make C look right. But the rug comparison comes first and is about the fireworks.

  5. Choose the answer

    The rug-beating simile makes the first fireworks sound like soft, faraway thuds. So the answer is A, “the muffled pounding of explosions in the distance.”

Why this answer and not the closest wrong one

C is the closest wrong answer, because thunder is a low boom too. But lines 10–11 only compare the show to a storm in a counting game. The rug image in lines 8–9 describes the fireworks themselves: dull, muffled thuds from far away. That is A.

More questions like this

The original DOE question
Question 21 as shown on the DOE’s digital test, page 33 of its printable version.
As printed in the DOE’s printable version of 2026 Practice Test D English, page 33, question 21.
The passage “Ode to Fireworks” as printed (page 32)The passage “Ode to Fireworks” as printed on page 32 of the DOE handbook.

Question 25 of 78

2026 Practice Test D English, question 22

Uses the passage above: “Ode to Fireworks”.

Question

Read lines 22–23 from the poem.

the sky at night written upon
with those jewels.

What does the word choice in these lines convey about the speaker?

  • AThe speaker values material possessions.
  • BThe speaker imagines that the fireworks are magical.
  • CThe speaker believes that the country setting is distinctive.
  • DThe speaker cherishes the memory of seeing fireworks as a child.
Show the answer

Correct answer: D

The question asks what the word choice in lines 22–23 of the poem conveys about the speaker.

A. Incorrect. The word “jewels” is used figuratively to indicate the sentimental value that the experience of watching the fireworks holds for the speaker. There is no indication in the poem that the speaker values material possessions.

B. Incorrect. The use of the word “jewels” highlights the importance of the memory in the speaker’s mind. The imagery in the words “written upon” expresses the way the bright streaks of light curve and fly across the night sky, not that the speaker views the fireworks display as magical.

C. Incorrect. The speaker describes the elements of the fireworks display that stand out most clearly. The view of the bright, colorful fireworks streaking across the sky is distinct, but it is not unique to the country setting.

D. CORRECT. The word “jewels” creates a picture of watching shining and sparkling explosions in the night sky and suggests that this experience holds sentimental and emotional value for the speaker. The speaker cherishes the memory of the experience.

Question analysis

This question quotes lines 22–23 of “Ode to Fireworks,” in which the night sky is “written upon / with those jewels,” and asks what this word choice conveys about the speaker. Students must move from a striking metaphor for fireworks to what it reveals about the person describing them, and every choice names a different value or belief.

NYS standards
  • 7R4 word meaning and choice
  • 7L5c connotation and denotation
Grade level
Grade 7 reading and task
Compared with grade 7
At grade 7 Reading a speaker’s feelings through connotation is standard grade 7 work. The two lines are short and quoted, but the metaphor is compressed and the choices name abstract attitudes, so one careful inference is needed, as in typical grade 7 poetry.
Estimated difficulty
Moderate: several steps, or a close reading with one strong distractor.
Evidence
Answered from several paragraphs or stanzas
Reading level
Passage: 379 words (a poem; reading level not measured); question and choices: about grade 6, 59 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

The quoted lines are short, but the answer depends on what “jewels” suggests about the speaker, so students must move from an image to an attitude. The strongest pull comes from the words right after, where the speaker stresses that night in the country was truly dark, a real point but one about the setting, not about the jewel image. Students who take the gems literally or as magic stop at the surface of the metaphor instead of asking why someone would call a memory precious.

  1. Figurative or literary language moderate Understanding the question

    Lines 22–23 turn fireworks into “jewels” and the sky into a page “written upon,” a metaphor whose meaning lies in what jewels are worth to a person, not in what they are. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  2. Reading between the lines moderate Working it out

    The lines name no feeling; that the speaker cherishes the memory must be inferred from calling the fireworks “jewels” and from the speaker still craning upward for them years later in the city. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

Strategy: Ask what “jewels” suggests beyond its literal meaning, picture the sky “written upon,” and then pick the attitude that fits both these lines and the poem as a whole.

Traps

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This asks what a word choice shows about the speaker. The speaker is the “I” who tells the poem. Look past what the words say. Ask what feeling they show.

  2. Find the lines

    In stanza 2, the speaker says “it was another thing to see / the sky at night written upon / with those jewels.” A stanza is a group of lines in a poem, like a paragraph. The jewels are the fireworks. The sky is like a page they write on.

  3. Think about what jewels mean

    Calling fireworks jewels is a metaphor: a comparison without “like” or “as.” Jewels are rare, bright and precious. People keep them safe and treasure them. So the word shows how much the sight meant to the speaker. Even now, in the city, the speaker says “I find myself / craning my neck upward at odd moments.” Craning means stretching your neck to look.

  4. Check each choice

    • A is wrong. The jewels are fireworks, not things the speaker owns.
    • B is wrong. The speaker watched real fireworks from a field with family. Nothing calls them magic.
    • C is wrong. The next words, “We lived in the country,” do stress the setting. But the jewel image itself is about how precious the sight was.
    • D is right. To cherish is to treasure and hold dear. Jewels are treasures.

    Watch out: C is tempting because the country comes up right after the jewels. Keep your eyes on lines 22–23 themselves.

  5. Choose the answer

    Calling the fireworks jewels shows a treasured childhood memory. So the answer is D, “The speaker cherishes the memory of seeing fireworks as a child.”

Why this answer and not the closest wrong one

C is the closest wrong answer. The poem does say they lived in the country, where night was truly dark. But that is the next thought, not the jewel image. Jewels are treasures. They show how much the speaker valued the sight. D says just that: the speaker treasures the memory.

More questions like this

The original DOE question
Question 22 as shown on the DOE’s digital test, page 34 of its printable version.
As printed in the DOE’s printable version of 2026 Practice Test D English, page 34, question 22.

Question 26 of 78

2026 Practice Test D English, question 23

Uses the passage above: “Ode to Fireworks”.

Question

The use of italics on the word “night” in line 24 is most likely intended to emphasize the

  • Asense of mystery in the darkness.
  • Bsense of absolute darkness.
  • Cspeaker’s fear of night.
  • Dspeaker’s certainty about that night.
Show the answer

Correct answer: B

The question asks what the use of italics on the word “night” in line 24 is most likely intended to emphasize.

A. Incorrect. The purpose of italicizing the word “night” is not to convey mystery. While the speaker refers to not knowing the exact location where the firework viewing took place (“in the stubble of what had been / somebody’s cornfield” [lines 25–26]), the emphasis on “night” is meant to highlight the darkness and contrast the bright light from the fireworks soaring across the sky.

B. CORRECT. The italics are intended to place emphasis on one key aspect of nighttime—total darkness. The speaker is making a point that night in the country was truly dark, unlike the night the speaker currently experiences in a city, where light emitted from buildings and vehicles prevents complete darkness.

C. Incorrect. The tone in the second stanza is positive, showing admiration for the beauty visible in true darkness rather than fear: “But it was another thing to see / the sky at night written upon / with those jewels” (lines 21–23).

D. Incorrect. The speaker is talking about the general experience of watching fireworks on several occasions, not focusing on the events of a specific night. The use of italics on the word “night” emphasizes the speaker’s memory of the persistent darkness.

Question analysis

In “Ode to Fireworks,” the word “night” is printed in italics in line 24, inside the speaker’s aside about living in the country. This craft question asks what the italics are most likely meant to emphasize, so students must think about what stressing one ordinary word does and choose among moods and meanings the word could carry.

NYS standards
  • 7R5 structure and genre features
  • 7R4 word meaning and choice
Grade level
Grade 7 reading and task
Compared with grade 7
At grade 7 Grade 7 students explain how word choice shapes meaning; here the device is italics on one everyday word, which is studied less often. The surrounding lines are plain, so a single careful inference settles it, a typical grade 7 demand.
Estimated difficulty
Moderate: several steps, or a close reading with one strong distractor.
Evidence
Answered from one paragraph or stanza
Reading level
Passage: 379 words (a poem; reading level not measured); question and choices: about grade 5, 36 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

One plain word in a parenthesis carries the question, and its meaning comes from the stress, not the dictionary. Darkness is easy to see; the harder step is choosing what the italics add to it, and mystery is a familiar partner for darkness that the stanza never develops. Students who read on to the brightly lit city of the third stanza see that the speaker is insisting on how complete the country dark was.

  1. How, not what moderate Working it out

    The stem asks what italics do, not what a word means, so students must hear the stress in “night was night” as insisting that the country night was fully dark, as night should be. (Anderson & Krathwohl, 2001)

  2. A very close wrong answer moderate Choosing the answer

    The mystery choice and the key both tie the italics to darkness; they differ only in what the darkness carries, a sense of mystery or its sheer completeness. (Embretson & Wetzel, 1987; Gorin & Embretson, 2006; Ascalon et al., 2007)

  3. Evidence in several places minor Working it out

    The point of the stress becomes clear from the third stanza, where “The city sky is always lit up” and the speaker now lives “awash in light / of every hue.” (Kirsch & Mosenthal, 1990; Gorin & Embretson, 2006)

Strategy: Read line 24 aloud, stressing “night” as the italics do, and ask what the speaker insists on about nights in the country; then check whether the rest of the poem backs that reading.

Traps

  • Reads too much in: A reasonable-sounding conclusion that goes further than the text allows.
  • Wrong tone or attitude: Misjudges the tone, attitude or point of view, such as reading admiration as criticism, or taking a character's or subject's feelings for the author's.
  • Wrong purpose or structure: Names a purpose, structure or effect that the part does not serve, or describes what a part says when the question asks what it does.

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This asks why one word is in italics. Italics are slanted letters. Writers use them to stress a word, the way you would say it louder. So ask what the speaker insists on.

  2. Read the line aloud

    Lines 23–24 say “(We lived in the country: / night was night.)” Read it aloud and lean on the second “night.” It means night was really night. It was as dark as night should be, with no city lights.

  3. Use the rest of the poem

    Stanza 3 shows the opposite. “The city sky is always lit up.” The speaker now lives “awash in light / of every hue.” Awash means flooded. A hue is a color. So the italics stress how completely dark the country night was. That darkness made the fireworks stand out.

  4. Check each choice

    • A is wrong. Darkness can feel mysterious. But nothing in the stanza is hidden or puzzling.
    • B is right. Absolute means total. The italics stress that the dark was total.
    • C is wrong. The speaker shows wonder, not fear. The sky is full of “jewels.”
    • D is wrong. “That night” would mean one evening. The speaker means country nights in general, at a fair held “year after year.”

    Watch out: A pairs darkness with mystery, which feels natural. But the speaker stresses how dark it was, not that it felt strange.

  5. Choose the answer

    The italics insist that country nights were fully dark. So the answer is B, “sense of absolute darkness.”

Why this answer and not the closest wrong one

A is the closest wrong answer, since both A and B link the italics to darkness. But the stanza never treats the night as strange or secret. The bright city sky in stanza 3 shows what the stress is for: country nights were completely dark. That is B.

More questions like this

The original DOE question
Question 23 as shown on the DOE’s digital test, page 35 of its printable version.
As printed in the DOE’s printable version of 2026 Practice Test D English, page 35, question 23.

Question 27 of 78

2026 Practice Test D English, question 24

Uses the passage above: “Ode to Fireworks”.

Question

What is the purpose of the repeated words “rising and falling” in lines 26 and 37?

  • Ato create a distinction between solitude and meaningful interaction
  • Bto demonstrate a connection between the speaker’s past and present
  • Cto emphasize the speaker’s attention to the surrounding sounds
  • Dto compare the fireworks to common sights and sounds
Show the answer

Correct answer: B

The question asks what the purpose is of the repeated words “rising and falling” in lines 26 and 37.

A. Incorrect. These lines do not provide insight into the speaker’s interactions or feelings of solitude. The speaker mentions the emptiness of the country and the crowds in the city, but these repeated words are meant to draw a connection between the locations rather than show differences between them.

B. CORRECT. The first mention of these words occurs during a recollection of the speaker’s past, and the second takes place during a description of the speaker’s present. The speaker looks to the connections between the country setting (“All around us, crickets / stridulated in the stubble of what had been / somebody’s cornfield, their song rising and falling” [lines 24–26]) and the city setting (“And the music around me is the music of people, / their voices rising and falling in a hundred languages” [lines 36–37]) as a source of comfort.

C. Incorrect. Even though the lines call out specific sounds, the purpose of the repetition of the words in the two parts of the poem is to show how the speaker connects the two settings. The “rising and falling” of the sounds is one detail the speaker highlights.

D. Incorrect. The repetition of the words “rising and falling” is used to compare the different locations in the speaker’s life, not to compare fireworks to the sounds of crickets in the country or to the sounds of people moving and talking in the city.

Question analysis

The phrase “rising and falling” appears twice in “Ode to Fireworks,” in line 26 for the crickets’ song and in line 37 for people’s voices. This question asks for the purpose of repeating it, so students must compare the two places where it appears and decide what the echo does for the poem as a whole.

NYS standards
  • 7R5 structure and genre features
  • 7R4 word meaning and choice
Grade level
Grade 7 reading and task
Compared with grade 7
At grade 7 Grade 7 students analyze how a poem’s structure develops its meaning. The repeated words are easy to spot, but they sit eleven lines apart in different stanzas, and the four purposes offered each sound possible, a typical grade 7 structure task.
Estimated difficulty
Moderate: several steps, or a close reading with one strong distractor.
What makes it hard
Evidence
Answered from several paragraphs or stanzas
Reading level
Passage: 379 words (a poem; reading level not measured); question and choices: about grade 8, 51 words.
Corrected from the DOE handbook
  • The DOE printed this question’s explanation after a different question; the site matches the question with its own explanation.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

The repeated words are easy to find; the work is seeing that they sit on either side of the poem’s turn from childhood memory to city life. The strongest pull is the accurate observation that both lines describe sounds, which tells what the lines say rather than why the poet repeats them. The country and city are contrasted elsewhere in the poem, so a choice built on a contrast also tempts, though repeating the same words joins the two scenes instead of separating them.

  1. How, not what moderate Working it out

    The stem asks for the purpose of a repetition, so it is not enough to see that both lines describe sounds; students must say what echoing “rising and falling” does for the poem. (Anderson & Krathwohl, 2001)

  2. Evidence in several places moderate Working it out

    The two uses sit eleven lines apart in different stanzas, the crickets’ song in the remembered country field and city voices “in a hundred languages” in the present, and must be read together. (Kirsch & Mosenthal, 1990; Gorin & Embretson, 2006)

Strategy: Reread the lines around each use of “rising and falling,” describe each scene in a phrase, and ask what echoing the same words in both scenes accomplishes for the poem.

Traps

  • Wrong purpose or structure: Names a purpose, structure or effect that the part does not serve, or describes what a part says when the question asks what it does.
  • Reads too much in: A reasonable-sounding conclusion that goes further than the text allows.
  • Twists what the text says: Uses the text's topic and ideas but changes what it says: who did it, how much, when, or why.

The wrong answers, classified

What was corrected from the DOE handbook, and why

  • Explanation: In the DOE’s explanations appendix, the explanation printed after this question belongs to question 25 (“how the memory in lines 41–42 affects the speaker”) and marks D correct, and this question’s explanation (“what the purpose is of the repeated words ‘rising and falling’ in lines 26 and 37”) is printed after question 25, marking B correct. Read page by page, the appendix gives this question the answer D. The site gives the question the explanation that restates it, and the answer follows that explanation: B, because the words join the crickets’ song of the speaker’s country childhood (line 26) to the voices of the city in the present (line 37).

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This asks about purpose: why the poet repeats the words “rising and falling.” Don’t just say what the lines describe. Ask what repeating the same words does for the poem.

  2. Find both uses

    The first is in line 26, in the country of the speaker’s childhood. Crickets “stridulated in the stubble of what had been / somebody’s cornfield, their song rising and falling.” To stridulate is to chirp by rubbing body parts together. The second is in line 37, in the city today: “their voices rising and falling in a hundred languages.”

  3. See what the repeat does

    The two uses sit on either side of the poem’s big turn. Stanza 2 is the past in the country. Stanza 3 is the present in the city. The crickets’ song then and people’s voices now rise and fall alike. Using the same words in both places links the two times. So the repeat ties the speaker’s past to the present.

  4. Check each choice

    • A is wrong. Solitude means being alone. But the speaker was with family in the country. And the repeat joins the scenes. It does not set them apart.
    • B is right. The same words join a childhood scene to a scene from now.
    • C is wrong. Both lines do describe sounds. But that is what the lines say, not why the words repeat.
    • D is wrong. The words describe crickets and voices. Neither is compared to fireworks.

    Watch out: C is true, which makes it tempting. But a purpose question asks why, not what.

  5. Choose the answer

    The repeated words link the country past to the city present. So the answer is B, “to demonstrate a connection between the speaker’s past and present.”

Why this answer and not the closest wrong one

C is the closest wrong answer. It is true that both lines describe sounds the speaker hears. But the question asks for the purpose. The crickets belong to the speaker’s past, and the voices to the present. Repeating “rising and falling” joins the two times. That connection is B.

More questions like this

The original DOE question
Question 24 as shown on the DOE’s digital test, page 36 of its printable version.
As printed in the DOE’s printable version of 2026 Practice Test D English, page 36, question 24. This is the DOE’s version, before the corrections listed in the analysis.

Question 28 of 78

2026 Practice Test D English, question 25

Uses the passage above: “Ode to Fireworks”.

Question

Read lines 41–42 from the poem.

I kept waiting for those
childhood bursts, watching as they escorted us home.

How does this memory affect the speaker?

  • AThe speaker believes it is impossible to ever return to a place in the past.
  • BThe speaker is still amused by the impatience felt during fireworks displays.
  • CThe speaker now regrets abandoning the rural way of life.
  • DThe speaker feels a sense of comfort when reflecting on the past.
Show the answer

Correct answer: D

The question asks how the memory in lines 41–42 affects the speaker.

A. Incorrect. The speaker does not express concern in these lines about the impossibility of returning to childhood or the past. For the speaker, the past and the memories associated with it are a source of comfort and a way to remember simpler times (“I remember the feel of the pickup truck bumping / across the ridged field” [lines 40–41]).

B. Incorrect. While the speaker recalls anticipation before the start of a fireworks display, there is no hint that the speaker is impatient. Particularly in lines 41–42, the speaker is reminded of the expectation of hearing and seeing fireworks and the sense of simple contentment felt in the experience (“I find myself / craning my neck upward at odd moments” [lines 29–30]).

C. Incorrect. The speaker is reflecting on past experiences and pointing out the elements of the city that remind the speaker of these past experiences. The speaker acknowledges the differences between the country and city settings but does not convey regret for leaving the rural area (“This is where we live now, / and it is how we live now, awash in light / of every hue” [lines 31–33]).

D. CORRECT. The memory of watching the fireworks on the way home creates a sense of comfort that stays with the speaker (“escorted us home”). The speaker looks forward to moments when the youthful experience (“childhood bursts”) of being excited by something like a fireworks display can be a source of happiness.

Question analysis

This question quotes the last lines of “Ode to Fireworks,” where the adult speaker, now living in the city, recalls waiting for the “childhood bursts” that “escorted us home,” and asks how this memory affects the speaker. Students must read the feeling in a brief closing image and check each choice against the whole final stanza about city life.

NYS standards
  • 7R3 plot elements and ideas
  • 7R4 word meaning and choice
Grade level
Grade 7 reading and task
Compared with grade 7
At grade 7 Inferring how an experience affects a speaker is regular grade 7 work. The two quoted lines are plain, but the feeling behind them is implied rather than named, and the choices offer four believable reactions to a memory.
Estimated difficulty
Moderate: several steps, or a close reading with one strong distractor.
Evidence
Answered from one paragraph or stanza
Reading level
Passage: 379 words (a poem; reading level not measured); question and choices: about grade 6, 74 words.
Corrected from the DOE handbook
  • The DOE printed this question’s explanation after a different question; the site matches the question with its own explanation.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

The memory is warm, but warm memories of a lost place are easy to read as sadness, and the choice about regretting the move to the city draws students who hear nostalgia as complaint. The other wrong choices turn the anticipation of “kept waiting” into impatience or make the past impossible to reach, both stronger than anything the lines say. Students who read the whole sentence from “But beneath the yellowish glow” see a speaker carried home by the memory, not mourning it.

  1. Reading between the lines moderate Working it out

    Lines 41–42 name no feeling, so the comfort must be read from fireworks that “escorted us home” and from the grown speaker still waiting for “those / childhood bursts” in the city. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  2. Evidence in several places minor Working it out

    Ruling out regret takes the rest of the third stanza, where city life is “a constant celebration” and “This is where we live now” is said without complaint. (Kirsch & Mosenthal, 1990; Gorin & Embretson, 2006)

  3. Figurative or literary language minor Understanding the question

    “Escorted us home” makes the fireworks companions guarding the family’s drive across the field, a personification that carries the sense of safety the question asks about. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

Strategy: Read lines 38–42 as one sentence, starting from “But beneath the yellowish glow,” and ask how the speaker feels about the city and about the memory, using the whole third stanza, before choosing.

Traps

  • Wrong tone or attitude: Misjudges the tone, attitude or point of view, such as reading admiration as criticism, or taking a character's or subject's feelings for the author's.
  • Too broad or too strong: A choice overstates, generalizes, or uses absolute words the text does not support.
  • Twists what the text says: Uses the text's topic and ideas but changes what it says: who did it, how much, when, or why.

The wrong answers, classified

What was corrected from the DOE handbook, and why

  • Explanation: In the DOE’s explanations appendix, the explanation printed after this question belongs to question 24 (“what the purpose is of the repeated words ‘rising and falling’ in lines 26 and 37”) and marks B correct, and this question’s explanation (“how the memory in lines 41–42 affects the speaker”) is printed after question 24, marking D correct. Read page by page, the appendix gives this question the answer B. The site gives the question the explanation that restates it, and the answer follows that explanation: D, because the memory of the fireworks that “escorted us home” is a source of comfort to the speaker.

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This asks how a memory makes the speaker feel. The lines don’t name a feeling. So you have to infer it, which means figure it out from clues.

  2. Read the whole sentence

    The sentence starts in line 38: “But beneath the yellowish glow deep in the sky / of all our city lights pelting out into the universe, / I remember the feel of the pickup truck bumping / across the ridged field, as I kept waiting for those / childhood bursts, watching as they escorted us home.” The bursts are the fireworks.

  3. Work out the feeling

    To escort is to go along with someone to guide or protect them. So the speaker pictures the fireworks keeping the family company on the way home. That is a safe, warm picture. The memory comes back even under the bright city sky. It works like a favorite old song that still makes you feel good.

  4. Check each choice

    • A is wrong. The speaker never says it is “impossible to ever return.” The memory is still alive.
    • B is wrong. The waiting was eager, not impatient. Nothing is treated as funny.
    • C is wrong. Regret means wishing you had done something else. The speaker never wishes the move undone. The city is “a constant celebration.”
    • D is right. The fireworks that “escorted us home” give the speaker a sense of comfort.

    Watch out: Missing the past is not the same as regret. C reads a complaint into the poem that is not there.

  5. Choose the answer

    The memory of the fireworks bringing the family home warms the speaker. So the answer is D, “The speaker feels a sense of comfort when reflecting on the past.”

Why this answer and not the closest wrong one

C is the closest wrong answer, because the speaker clearly misses the country. But stanza 3 says “This is where we live now” with no complaint. It even calls city life “a constant celebration.” The memory warms the speaker. It does not make the speaker wish to undo the move. That is comfort, choice D.

More questions like this

The original DOE question
Question 25 as shown on the DOE’s digital test, page 37 of its printable version.
As printed in the DOE’s printable version of 2026 Practice Test D English, page 37, question 25. This is the DOE’s version, before the corrections listed in the analysis.

Question 29 of 78

2026 Practice Test D English, question 26

Uses the passage above: “Ode to Fireworks”.

Question

The fireworks in the poem represent the speaker’s

  • Awish to return to a simpler way of living.
  • Bbittersweet feelings about leaving the past behind.
  • Chigh expectations for everyday life.
  • Dreflections on past interactions with relatives.
Show the answer

Correct answer: B

The question asks what the fireworks in the poem represent about the speaker.

A. Incorrect. While the speaker misses elements of the past, the speaker is also positive about the present, with comparisons to a “constant celebration” (line 33) and descriptions of “the music of people” (line 36). The speaker does not indicate a desire to return to a simpler way of living.

B. CORRECT. The speaker misses the experience of watching the fireworks display with family and friends but understands that time has progressed and that life is now different. The lines “This was a treat we waited / all year for” (lines 6–7) highlight the significance of the memory of waiting for and watching the fireworks. In the speaker’s present, the lines “I remember the feel of the pickup truck bumping / across the ridged field” (lines 40–41) emphasize the key details from the experience that stand out in the speaker’s mind when something in the current environment reminds the speaker of the past.

C. Incorrect. While the speaker does share details about the present and the tone is generally positive, the fireworks do not suggest that the speaker has high expectations for how everyday life should be. The third stanza (lines 28–42) describes the speaker’s daily life in the city, but the speaker does not form expectations from these everyday moments.

D. Incorrect. While the speaker does mention discussing cloud shapes with a family member in lines 19–20, the fireworks serve as a more general reminder of the speaker’s past life. Viewing the bright lights of the city makes the speaker recall memories of the speaker’s past and the feelings of anticipation before the fireworks show.

Question analysis

This question about symbolism asks what the fireworks represent in “Ode to Fireworks,” a 42-line poem in which an adult speaker remembers watching fireworks at a country fair as a child. Students must weigh all three stanzas to decide what the central image stands for, and the choices name abstract feelings and wishes that are close to one another.

NYS standards
  • 7R4 word meaning and choice
  • 7R2 theme or central idea
Grade level
Grade 8 reading and task
Compared with grade 7
Above grade 7 Grade 7 students interpret symbols, usually where the text makes their meaning fairly clear. Here they must hold a 42-line poem in mind and choose among four abstract feelings, two of them very close, which goes beyond typical grade 7 work.
Estimated difficulty
Hard: combines ideas, needs a plan, and has more than one tempting wrong answer.
Evidence
Answered from the whole text
Reading level
Passage: 379 words (a poem; reading level not measured); question and choices: about grade 8, 35 words.
Corrected from the DOE handbook
  • The explanation of C misdescribed the third stanza; one sentence was corrected.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

This symbol question asks students to hold the whole 42-line poem in mind and weigh two feelings at once: the speaker misses the fireworks of childhood but speaks warmly of city life. Readers who notice only the longing choose a wish to go back, and readers who fix on one detail choose the relatives or the city’s “constant celebration.” The key’s “bittersweet” is the one word that holds both halves, which is why it is easy to pass over for a choice that states only one.

  1. Figurative or literary language moderate Understanding the question

    The fireworks are never explained; they are “jewels” in stanza 2 and the “childhood bursts” that “escorted us home” in stanza 3, so their meaning as a symbol must be built from images. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  2. A very close wrong answer moderate Choosing the answer

    The wish-to-return choice and the key both read the fireworks as feelings about the past; they differ in whether the speaker wants that past back or has accepted leaving it. (Embretson & Wetzel, 1987; Gorin & Embretson, 2006; Ascalon et al., 2007)

  3. Evidence in several places moderate Working it out

    The answer needs all three stanzas: the treat “we waited / all year for,” the dark country night, and the city stanza’s “This is where we live now,” which shows acceptance beside longing. (Kirsch & Mosenthal, 1990; Gorin & Embretson, 2006)

Strategy: Note how the speaker describes the fireworks in each stanza and how the speaker feels about the present in the last one, then choose the feeling that fits all three stanzas, not only the first.

Traps

  • Reads too much in: A reasonable-sounding conclusion that goes further than the text allows.
  • Word match: Repeats striking words or phrases from the text, so it looks supported, but its meaning does not fit the question.
  • Too narrow: A single detail offered as the central idea or a summary, or a summary that keeps minor details and leaves out an essential part.

The wrong answers, classified

What was corrected from the DOE handbook, and why

  • Explanation: Rejecting C, the handbook's explanation calls the third stanza (lines 28–42) “the speaker’s imaginings” and “fantasies”. The stanza describes the speaker's real life in the city now: “This is where we live now”, picking up washing at the cleaner's, stopping by the corner market. It now says the stanza describes the speaker's daily life in the city. The answer, B, is unchanged.

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This asks what the fireworks represent, or stand for. A thing in a poem that stands for a bigger idea is called a symbol. Look at the fireworks in all three stanzas. Then see how the speaker feels about the past and the present.

  2. Look at the past

    Stanza 1 shows how special the fireworks were: “This was a treat we waited / all year for.” Stanza 2 calls them “jewels.” In stanza 3 the speaker still remembers them: “I remember the feel of the pickup truck bumping / across the ridged field.” So the speaker misses that time.

  3. Look at the present

    The speaker also accepts city life: “This is where we live now, / and it is how we live now.” The city is “a constant celebration,” full of “the music of people.” So the speaker is not unhappy now. The speaker misses the past but has moved on. That feeling is bittersweet: happy and sad at the same time.

  4. Check each choice

    • A is wrong. The speaker never says they want to go back to the country.
    • B is right. The fireworks stand for a loved past the speaker has left behind. The feeling is both warm and sad.
    • C is wrong. The “constant celebration” describes city life. Nothing shows high expectations.
    • D is wrong. Relatives appear in stanza 1. But the fireworks stand for a whole time of life, not just time with family.

    Watch out: A notices only the longing. It misses that the speaker accepts “where we live now.”

  5. Choose the answer

    The fireworks hold both the joy of the past and the sadness of leaving it. So the answer is B, “bittersweet feelings about leaving the past behind.”

Why this answer and not the closest wrong one

A is the closest wrong answer. Both A and B are about feelings for the past. But A says the speaker wants to return, and the poem never says that. The speaker calls the city “a constant celebration” and accepts “where we live now.” Missing the past while accepting the present is bittersweet. That is B.

More questions like this

The original DOE question
Question 26 as shown on the DOE’s digital test, page 38 of its printable version.
As printed in the DOE’s printable version of 2026 Practice Test D English, page 38, question 26. This is the DOE’s version, before the corrections listed in the analysis.

Question 30 of 78

2025 Practice Test A English, question 19
Passage Excerpt from Winter Wheat

Excerpt from Winter Wheat

by Mildred Walker

Ellen, the narrator, is preparing to leave her parents and the family farm for college the next day.

I love Dad’s way of talking that makes him seem different from other ranchers. He’s lived here twenty-three years, but he still says “back East where I come from.” He’s the one who gets excited when I do about spring coming or a serial running in the magazine we’re both reading, but it’s what Mom says that I depend on. When Mom used to say “Don’t worry” about my pet chicken or dog or new calf, it always got well. Dad is always talking of going some place, not now, but next year, maybe. Mom seems to think of nothing farther away than today or perhaps yesterday or tomorrow morning.

Mom folded the ironing board and put it inside their bedroom that was just off the kitchen. She carried in the freshly ironed clothes. Dad went back to his paper. When Mom came back she took beans from the cupboard to soak for tomorrow. Dad always said Mom could make all the dishes he’d had back in Vermont as well as though she were a New Englander herself, instead of a Russian. All of a sudden, I realized that tomorrow when those beans would be ready to eat I’d be going away. It gave me a funny feeling.

“I’ll be taking the train tomorrow night,” I said aloud, more to hear it myself.

“We can drive you into town in the afternoon,” Dad said, dropping his paper on the floor.

“There’s no need to go to town; she can catch the train at Gotham just as well. We haven’t nothing to take us into town for,” Mom said.

“Well, we don’t have to decide tonight,” Dad said, but I knew he wanted to go into Clark City. It wouldn’t be so flat as just seeing me go off on the train from Gotham. My going away was hard on both of them; they were so different—and I was part of them both. It made me uncomfortable to think of leaving them.

While I was getting ready for bed in my room that’s off the front room, I saw how it would be if I left from town. We’d go in right after dinner and go around to the stores, Dad going one way and Mom and I another. Dad would probably have his hair cut at the barbershop and stop in the bank and meet someone he knew to talk to. Then we’d meet at the big store on the corner and go to the cafeteria for supper. The train stops ten minutes or so at the station in town and there are other people and excitement and you have time to wave from the platform and then again from your window by your seat. We went to the station in Clark City to see the Goodals off when they went back to Iowa.

If I left from Gotham, we’d just drive down in the truck and wait till the train came. It only stops long enough for you to get on and you hardly have time to taste the flavor of going away.

I sat on the bed in my pyjamas with my arms around my knees. I couldn’t keep from thinking of that time Dad went back East. I tried to, and then I just sat still and looked straight at it. Sometimes that’s better than working so hard to keep from looking at what’s in your mind.

Dad went all the way back to Vermont. . . . It was in November and it was already dark when the train came through Gotham. Even now, I could feel how cold and dark it was. I held Mom’s hand. Dad was so dressed-up he seemed strange. . . . We stood there without saying anything until Dad told Mom to remember to call Mr. Bardich, our neighbor, if the cow didn’t calve tomorrow.

“I’ll manage,” Mom snapped back.

“I wish you could go, Anna,” Dad said to Mom, “and we could take Ellen.” . . .

“Good-by, Anna Petrovna,” he said, looking at Mom. I had never heard him call her by two names before.

“Good-by,” Mom said, standing still, without smiling.

Then he was gone and the crossroads were darker than ever. The train light shone on the high window in the top of the grain elevator for a moment and then that too was dark. We got into our old Ford and Mom drove back to the house. My throat ached all the way. The name Dad had called Mom kept saying itself in my ears: “Anna Petrovna, Anna Petrovna.” . . .

Our house seemed lonely when we came back to it. It seemed to be hiding under the coulee. I went with Mom to put the truck in the barn that was bigger than the house. I think Mom was prouder of our barn than the house, anyway. We walked back to look at the cow that was going to calve. She was just a big light blob in the dark, waiting. I had thought she was exciting this morning, but now she seemed sad, too.

The wind blew when we walked across the open space to the house and I couldn’t help shivering with the cold. Inside the house it was warm, but empty.

“Bring your nightgown in here and I heat you some milk,” Mom said.

I drank the milk sitting on a stool in front of the stove. It tasted good, but the lonely ache in my throat was still there. I picked up my clothes and hung them neatly behind the stove and put my cup on the sink board. Mom was fixing oatmeal for tomorrow morning.

“Good night, Mom,” I said almost timidly, standing beside her. She seemed wrapped around in a kind of strangeness. Then she turned around and drew me to her. The front of her dress was warm from the stove. I felt the comfortable heat through my gown. She laid her hand against my face and it felt rough and hard but firm. I dared ask her something I wanted to know.

“Mom, was that really your name—what Dad called you?”

Her voice sounded surprised. “Why, Yeléna, you know that; Anna Petrovna. You know I am born in Russia, in Seletskoe.”

“Yes, but I didn’t know your other name,” I said.

“Anna Petrovna Webb.” She pronounced it slowly. “Once I think what a funny name Ben Webb is!” She laughed. Her laugh was warm and low like our kitchen, and comfortable. The house seemed natural and right again. . . .

But now that I am grown, I feel the wall of strangeness between them, more than when I was a child. I wondered how they would get along without me.

From WINTER WHEAT by Mildred Walker, published by University of Nebraska Press. Copyright © 1944 by Harcourt, Brace and Company, Inc. Copyright renewed 1971 by Mildred Walker. All rights reserved.

serial: story published in short segments at regular intervals
coulee: small gulch or ravine

Question

Read this sentence from paragraph 9.

I tried to, and then I just sat still and looked straight at it.

How does the phrase “looked straight at it” contribute to the meaning of the excerpt?

  • AIt shows that Ellen is willing to deal with a problem directly instead of ignoring it.
  • BIt suggests that Ellen studies all parts of an issue and not just its surface.
  • CIt illustrates that Ellen examines both sides of an argument.
  • DIt implies that Ellen is eager to seek wisdom from past experiences.
Show the answer

Correct answer: A

The question asks how the phrase “looked straight at it” in paragraph 9 contributes to the meaning of the excerpt.

A. CORRECT. The phrase shows Ellen deciding to directly confront the memory even though she initially wanted to ignore it (“I couldn’t keep from thinking of that time Dad went back East. I tried to” [paragraph 9]). Though the memory is emotionally fraught for Ellen, the phrase “looked straight at it” shows that she is willing to face problems—such as a painful family memory—head-on.

B. Incorrect. The phrase in paragraph 9 does not show Ellen studying all parts of an issue but rather forcing herself to focus on something she would have preferred not to think about.

C. Incorrect. In looking “straight at” the memory, Ellen is not considering both sides of an argument. Instead, she is making herself think about an uncomfortable memory that she had been trying to avoid revisiting. The phrase indicates that she is finally willing to directly confront an unsettling recollection.

D. Incorrect. Given the detail in paragraph 9 that Ellen initially attempted to keep from thinking about her father’s trip to Vermont, the phrase “looked straight at it” indicates a willingness, but not an eagerness, to seek wisdom from reflecting on past experiences.

Question analysis

This word-meaning question quotes a sentence from paragraph 9 of the Winter Wheat excerpt, where Ellen sits on her bed the night before she leaves home, and asks how the phrase “looked straight at it” contributes to the excerpt’s meaning. Students must work out what “it” refers to and read the phrase figuratively, using the sentences around it.

NYS standards
  • 7R4 word meaning and choice
  • 7L5a interpreting allusions
Grade level
Grade 7 reading and task
Compared with grade 7
At grade 7 Interpreting a figurative phrase in context is routine grade 7 work. The phrase is short and quoted with its sentence, but its meaning depends on the sentence before it, so students cannot judge it from the quotation alone.
Estimated difficulty
Straightforward: two steps or one careful reading.
Evidence
Answered from one paragraph or stanza
Reading level
Passage: about grade 4, 1179 words; question and choices: about grade 6, 87 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

Once “it” is traced to the memory of Dad’s leaving, the phrase reads naturally as facing something hard, and the sentence that follows it in paragraph 9 says as much. The wrong choices make the act more intellectual than it is, studying every part or weighing two sides, or make Ellen eager when she has just tried not to think about it. Students who read the phrase only by itself are likeliest to slip.

  1. Figurative or literary language moderate Understanding the question

    Nothing is literally looked at: “it” is a memory, so “looked straight at it” means facing the painful thought of Dad’s trip back East instead of pushing it away. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  2. Reading between the lines minor Working it out

    What “it” refers to, and what “I tried to” leaves out, both sit in the sentence before, “I couldn’t keep from thinking of that time Dad went back East.” (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

Strategy: Reread the sentence before the quoted one to find what “it” is, picture what looking straight at that would mean, and test each choice against the whole of paragraph 9.

Traps

  • Reads too much in: A reasonable-sounding conclusion that goes further than the text allows.
  • Half right: One half of a two-part choice is right and the other is not.
  • Twists what the text says: Uses the text's topic and ideas but changes what it says: who did it, how much, when, or why.

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This asks what the phrase “looked straight at it” adds to the meaning of the excerpt. First you need to know what “it” is. Then picture what looking straight at that thing would mean.

  2. Find what “it” means

    Paragraph 9 says “I couldn’t keep from thinking of that time Dad went back East. I tried to.” So “it” is a memory of the night Dad left on a trip. “I tried to” means Ellen tried not to think about it. The memory is painful, so she tried to push it away.

  3. Picture the phrase

    Ellen can’t look at a memory with her eyes. So “looked straight at it” is a figure of speech, words that mean more than they literally say. It means she stopped running from the memory and faced it. The next sentence in paragraph 9 agrees. It says facing a thought is sometimes better than working hard to avoid it.

  4. Check each choice

    • A fits. Ellen faces a hard memory instead of ignoring it.
    • B does not fit. She is not studying every part of an issue. She is making herself think about one painful memory.
    • C does not fit. No one is arguing, so there are no two sides to weigh.
    • D does not fit. Ellen first tried hard not to think about the memory, so she isn’t eager.

    Watch out: D is half right, since Ellen does turn to the past. But eager means wanting to do something, and at first she didn’t want to.

  5. Choose the answer

    The phrase shows Ellen choosing to face a painful memory head-on. So the answer is A.

Why this answer and not the closest wrong one

D is the closest wrong choice, because Ellen does think about a past experience. But paragraph 9 says she first tried to keep from thinking about it. Only then did she sit still and face it. She is willing, not eager. That makes A the better fit: she deals with the problem directly.

More questions like this

The original DOE question
Question 19 as shown on the screen of the DOE’s digital test.
As shown on the screen of the DOE’s digital test: 2025 Practice Test A English, question 19.
The passage “Excerpt from Winter Wheat” as shown on the testThe passage “Excerpt from Winter Wheat” as shown on the DOE’s digital test, screen 1 of 7.The passage “Excerpt from Winter Wheat” as shown on the DOE’s digital test, screen 2 of 7.The passage “Excerpt from Winter Wheat” as shown on the DOE’s digital test, screen 3 of 7.The passage “Excerpt from Winter Wheat” as shown on the DOE’s digital test, screen 4 of 7.The passage “Excerpt from Winter Wheat” as shown on the DOE’s digital test, screen 5 of 7.The passage “Excerpt from Winter Wheat” as shown on the DOE’s digital test, screen 6 of 7.The passage “Excerpt from Winter Wheat” as shown on the DOE’s digital test, screen 7 of 7.

Question 31 of 78

2025 Practice Test A English, question 20

Uses the passage above: “Excerpt from Winter Wheat”.

Question

The words “cold” and “dark” affect the tone in paragraph 10 by

  • Ahighlighting the feeling of unpredictability among the family members.
  • Bshowing the feelings of anger and resentment Ellen directs toward her parents.
  • Cexaggerating the feeling of regret Dad experiences when leaving his family.
  • Demphasizing the feelings of separation and loss that Ellen feels.
Show the answer

Correct answer: D

The question asks how the words “cold” and “dark” affect the tone in paragraph 10.

A. Incorrect. The mood of paragraph 10 is primarily one of sadness as Ellen says goodbye to her father at the train station. The words “cold” and “dark” do not convey unpredictability but rather emphasize Ellen’s feeling of loss over the departure of her father.

B. Incorrect. Although the father’s departure causes tension with his wife (“ ‘I’ll manage,’ Mom snapped back” [paragraph 11]), Ellen does not display anger or resentment toward her parents.

C. Incorrect. Although Ellen’s father states that he wishes his family could come with him on the trip to Vermont (“ ‘I wish you could go, Anna,’ Dad said to Mom, ‘and we could take Ellen’ ” [paragraph 12]), the words “cold” and “dark” describe Ellen’s perspective on her father’s departure. They create a tone of sadness from Ellen at being left behind rather than a tone of regret from her father because he has to leave.

D. CORRECT. In paragraph 10, Ellen states, “I could feel how cold and dark it was.” The words “cold” and “dark” highlight her emotional response to the departure of her father, emphasizing the almost physical sense of grief she feels at being separated from someone so precious to her.

Question analysis

This tone question asks how the words “cold” and “dark” affect the tone of paragraph 10 of the Winter Wheat excerpt, where Ellen remembers waiting for the train one November night as her father set off for Vermont. Students must decide what the two words add beyond describing the night itself.

NYS standards
  • 7R4 word meaning and choice
  • 7L5c connotation and denotation
Grade level
Grade 7 reading and task
Compared with grade 7
At grade 7 Explaining how word choice shapes tone is regular grade 7 work. The two words are named in the question and sit in one short paragraph, so the main step is seeing that they carry feeling as well as describing a November night.
Estimated difficulty
Straightforward: two steps or one careful reading.
Evidence
Answered from one paragraph or stanza
Reading level
Passage: about grade 4, 1179 words; question and choices: about grade 10, 53 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

The two words are named in the stem and appear together in a single sentence of paragraph 10, so the main step is seeing that they describe a feeling as well as the weather. The wrong choices shift the feeling to someone else or swap it for another, borrowing Mom’s sharp reply and Dad’s wish from the paragraphs just after. Students who keep their attention on Ellen waiting for the train in paragraph 10 have little trouble.

  1. Figurative or literary language moderate Understanding the question

    “Cold” and “dark” describe a November night, yet the grown narrator says she “could feel how cold and dark it was,” so the weather words carry her sense of loss as Dad leaves. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  2. Reading between the lines minor Working it out

    Paragraph 10 never names a feeling; the sadness comes from details such as Ellen holding Mom’s hand and Dad seeming strange in his good clothes. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

Strategy: Reread paragraph 10 and ask what Ellen is going through at that moment, then choose the option that names the feeling the two words strengthen and the person who has it.

Traps

  • Wrong tone or attitude: Misjudges the tone, attitude or point of view, such as reading admiration as criticism, or taking a character's or subject's feelings for the author's.
  • Wrong part of the text: A choice is true of another paragraph, stanza or speaker than the one asked about.

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This asks how two words, “cold” and “dark,” affect the tone of paragraph 10. Tone is the feeling the writing gives off. Ask whose feeling it is and what that feeling is.

  2. Find the words in paragraph 10

    Paragraph 10 begins Ellen’s memory of the night Dad left for Vermont. It was November, and dark when the train came. Ellen says that even now, years later, “I could feel how cold and dark it was.” She held Mom’s hand. Dad looked strange in his good clothes. They stood there without talking.

  3. Work out the feeling

    Cold and dark describe a November night. But Ellen can still feel them years later, so the words carry her feelings too. Cold and dark are lonely, sad words. Her father is leaving, and she feels cut off from him. The words stress her sense of separation and loss.

  4. Check each choice

    • A does not fit. Nothing is uncertain. Dad’s trip is planned, and the words make the scene sad, not unpredictable.
    • B does not fit. Ellen holds Mom’s hand. She blames no one, so there is no anger.
    • C does not fit. Dad says in paragraph 12 that he wishes they could come. But the cold and dark are what Ellen feels, not Dad.
    • D fits. The words deepen Ellen’s sadness at being separated from her father.

    Watch out: C borrows Dad’s wish from a later paragraph and gives him the feeling.

  5. Choose the answer

    “Cold” and “dark” show how lonely and sad Ellen felt as her father left. So the answer is D.

Why this answer and not the closest wrong one

C is the closest wrong choice, because Dad does wish his family could come with him. But that wish is in paragraph 12. In paragraph 10, Ellen says “I could feel how cold and dark it was.” The feeling belongs to her. The words stress her sense of being separated from her father, which is D.

More questions like this

The original DOE question
Question 20 as shown on the screen of the DOE’s digital test.
As shown on the screen of the DOE’s digital test: 2025 Practice Test A English, question 20.

Question 32 of 78

2025 Practice Test A English, question 24

Uses the passage above: “Excerpt from Winter Wheat”.

Question

What is Ellen’s primary mood at key points in the excerpt?

Move the correct answer to each box in the table.

Paragraphs Ellen’s Primary Mood
1–2
7–8
9–10

On the test you drag tiles into the boxes; here, choose each box’s tile from its menu. Each tile can be used once. The DOE has not published how answers with several parts are scored; this site counts one right only when every part is right.

Show the answer

Correct answer: blank 1: Affectionate; blank 2: Wishful; blank 3: Worried

The question asks for identification of Ellen’s primary mood in key points in the excerpt—paragraphs 1–2, paragraphs 7–8, and paragraphs 9–10.

B. Affectionate: CORRECT. Ellen’s primary mood in paragraphs 1–2 is affectionate. She states in the first sentence of paragraph 1 that she loves her father’s way of talking and then describes with affection her mother’s reassuring certainty and her father’s appreciation of her mother’s cooking.

E. Wishful: CORRECT. Ellen’s primary mood in paragraphs 7–8 is wishful as she pictures the two departure scenarios available to her. She expresses in detail her longing for the “other people and excitement” at the train station in town, along with her wish to have plenty of “time to wave from the platform and then again from your window by your seat,” and her dislike of the idea of leaving from Gotham, where the train “only stops long enough for you to get on and you hardly have time to taste the flavor of going away.”

C. Worried: CORRECT. Ellen’s primary mood in paragraphs 9–10 is worried. Her worry is suggested by the description of her posture in the first sentence of paragraph 9 (“I sat . . . with my arms around my knees”). In the next sentence, she reveals that she “couldn’t keep from thinking,” or worrying, about her concern that her departure will be as tense as the time her father left for a trip to Vermont.

A. Calm: Incorrect. Ellen’s mood is not primarily calm in any of the paragraphs in the table. In paragraphs 1–2, her reflections might seem to focus on calm times, but any mood of calm is shattered by her sudden realization that she’d “be going away” the next day. Similarly, although paragraph 7 describes what might be a calm or routine day of shopping in town, she is imagining the scene in great detail as a way of making a difficult decision about where she would prefer to catch the train. Finally, in paragraphs 9–10, Ellen is far from calm as she forces herself to look “straight at” an upsetting childhood memory of seeing her father off on a long train trip.

D. Jealous: Incorrect. Ellen’s mood is not primarily jealous in any of the paragraphs in the table. In paragraphs 1–2, she admires and enjoys the positive atmosphere created by her father’s praise of her mother, rather than expressing jealousy. The contrast in paragraphs 7–8 between her narration of the two possible departure plans might seem to suggest that Ellen is jealous of the family whom she and her parents once watched depart from the town, but instead, her narration reflects Ellen’s wishful desire to recreate that pleasurable town visit as part of her own departure. In paragraphs 9–10, her flashback memory is focused on the stiffness of her parents’ behavior and includes no indications that she feels jealousy of either parent.

Question analysis

This question on the Winter Wheat excerpt asks students to identify Ellen’s primary mood at three points in the story: paragraphs 1–2, 7–8 and 9–10. On the test students drag mood words from five tiles into a table, and each stretch of the story mixes more than one feeling, so they must judge which feeling dominates each one.

NYS standards
  • 7R3 plot elements and ideas
  • 7R4 word meaning and choice
Grade level
Grade 7 reading and task
Compared with grade 7
At grade 7 Tracking how a narrator’s feelings change across a story is grade 7 work, and the writing is plain. Placing three tiles with all-or-nothing credit, where each stretch holds mixed feelings, raises the demand only somewhat.
Estimated difficulty
Moderate: several steps, or a close reading with one strong distractor.
What makes it hard
Evidence
Answered from several paragraphs or stanzas
Reading level
Passage: about grade 4, 1179 words; question and choices: about grade 6, 24 words.
Corrected from the DOE handbook
  • The punctuation of an ellipsis in a quotation was corrected.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

Each stretch of the story holds more than one feeling, so the word “primary” does the work. The quiet evening of paragraphs 1–2 and Ellen sitting still in paragraph 9 both invite Calm, though the first is full of her fondness for her parents and the second shows her forcing herself to face a painful memory. With three placements that must all be right, a student who settles for the setting’s mood in either row loses the question.

  1. Reading between the lines moderate Working it out

    No mood is named: affection must be read from “I love Dad’s way of talking,” wishfulness from Ellen picturing waving from the platform, and worry from her arms around her knees. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  2. Much to keep track of moderate Working it out

    Three rows, five tiles that cannot be reused, and credit only when all three are right: each stretch must be judged on its own while the two leftover moods are kept out. (Sweller, 1988; Carpenter, Just & Shell, 1990)

Strategy: Reread each stretch of paragraphs by itself and name Ellen’s main feeling in your own words before looking at the tiles, then place the closest tile; two tiles will be left over.

Traps

  • Wrong tone or attitude: Misjudges the tone, attitude or point of view, such as reading admiration as criticism, or taking a character's or subject's feelings for the author's.

The wrong answers, classified

What was corrected from the DOE handbook, and why

  • Explanation: The DOE’s explanation of “Worried” quotes the first sentence of paragraph 9 as “I sat. . . with my arms around my knees,” with the first dot set against “sat,” as if a sentence ended there. The words are left out from the middle of the sentence, so the site spaces the ellipsis as the DOE’s explanations do elsewhere: “I sat . . . with my arms around my knees.”

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This table asks for Ellen’s primary mood, her main feeling, in three parts of the story. Each part may hold more than one feeling, so pick the strongest. On the test you drag a tile into each box. On this site you pick from a menu in each row. Each tile is used once, so two are left over.

  2. Read paragraphs 1–2

    Ellen begins by saying she loves the way Dad talks. She likes that he gets excited about the same things she does. She admires how sure Mom is that things will turn out well. She tells how Dad praises Mom’s cooking. These details are warm and loving. Affectionate means showing love and fondness. So the mood is Affectionate.

  3. Read paragraphs 7–8

    Ellen pictures leaving from Clark City. The family would shop and eat supper in town. At the station there would be “other people and excitement.” She would have “time to wave from the platform and then again from your window by your seat.” At Gotham, the train “only stops long enough for you to get on.” She longs for the big send-off. So the mood is Wishful.

  4. Read paragraphs 9–10

    Paragraph 9 begins “I sat . . . with my arms around my knees.” People often curl up like that when they feel uneasy. Ellen “couldn’t keep from thinking” of the night Dad left on a trip. That parting was sad and tense. She fears her own leaving may be like it. So the mood is Worried.

  5. Rule out the two extra tiles

    • Calm does not fit any row. In paragraph 9, Ellen sits still. But she is bracing herself to face a painful memory, not resting. And the quiet evening of paragraphs 1–2 is full of warm feeling for her parents.
    • Jealous does not fit any row. Ellen remembers seeing another family off at the town station. She wants a send-off like theirs, but she doesn’t resent them.

    Watch out: Sitting still is not the same as feeling calm.

  6. Fill in the table

    • Paragraphs 1–2: Affectionate
    • Paragraphs 7–8: Wishful
    • Paragraphs 9–10: Worried

    All three rows must be right to get the point.

Why this answer and not the closest wrong one

Calm is the closest wrong tile, for paragraphs 9–10. Ellen sits still, and that can look calm. But she has just tried and failed to stop thinking about Dad’s leaving. Her arms are wrapped around her knees. She is facing a memory that upsets her, so Worried fits better.

More questions like this

The original DOE question
Question 24 as shown on the screen of the DOE’s digital test.
As shown on the screen of the DOE’s digital test: 2025 Practice Test A English, question 24. This is the DOE’s version, before the corrections listed in the analysis.

Question 33 of 78

2025 Practice Test B English, question 3
Passage Excerpt from “It’s Time to Stop Thinking That All Non-Native Species Are Evil”

Excerpt from “It’s Time to Stop Thinking That All Non-Native Species Are Evil”

by Emma Marris

The author of this opinion article attended a symposium, or conference, in Missoula, Montana, at which biologists and other scientists discussed species of plants and animals that are not native to the areas in which they live.

Invasive species are scary. It was ecologist Charles Elton, back in the 1950s, who introduced the militaristic “invasion” metaphor to describe exotic plants and animals—but there’s no question some can be extremely destructive.

The brown tree snake has eaten a dozen kinds of forest birds in Guam to extinction; zebra mussels clog pipes around the Great Lakes; the common house cat turns out to be, in Australia, a mercilessly effective killer of cute, fluffy marsupials like the bilby and the numbat.

As scientists have sounded the alarm about these pests, the public has gotten the message. Citizen groups rip out non-native plants. Native gardens have become increasingly popular, both as ways to celebrate the unique flora of each region and as tiny hot spots of diversity. Native trees provide food for native bugs, which feed native birds. Food chains developed over thousands of years of co-evolution unfold in our backyards. . . .

So we’ve learned, scientists and laypeople alike, that native species are good and non-natives are bad.

Julian Olden, a biologist at the University of Washington, Seattle, who co-organized the symposium, recently polled nearly 2,000 ecologists. Among his findings: a substantial number of them said they would immediately eradicate a hypothetical non-native forest plant, even if it were shown to have no effect on the forest. Olden calls this the “guilty even when proven innocent” approach.

That kind of approach is not very useful on a rapidly changing planet.

Exotics Are Everywhere

Climate change is making it harder even to decide who the invaders are.

How, scientists at the symposium wondered, do you define “native” on a warming planet, when plants and animals are already moving toward the poles or up mountainsides in search of climate conditions they can tolerate? Should we consider them “invasive” in their new homes? Regardless of what we label them, conservationists will be reluctant to remove them from their new environs—to do so would stymie1 their chances of adapting to the warmer future we’re creating.

And then there are the non-natives that we actually like. Most domestic crops are exotic in most of the places they’re grown, but there are even wild exotics that “do good,” forming useful relationships with native species.

Edwin Grosholz of the University of California, Davis, told the recent symposium about one such relationship. On beaches in his state, non-native spartina grass has become important habitat for the endangered California clapper rail, a plump shorebird with a downward curving bill more at home on land than in the air. A project to rip out and poison the spartina—which grows in dense swaths that exclude many other shorebirds—saw clapper rail numbers go tumbling downward.

There are other examples like that. The endangered southwestern willow flycatcher nests in “invasive” tamarisk shrubs. Many native (and beautiful) Hawaiian flowers are now pollinated by the Japanese white-eye bird—because the native pollinators have been driven extinct by other non-native species.

Should we impose further risk on already endangered natives by severing these relationships? Or should we admire the resilience of nature and let such “well-behaved” exotics stay? . . .

Leave them alone, more and more conservationists are arguing, and stop focusing obsessively on categorizing species as native or non-native. Mark Davis, an ecologist at Macalester College in St. Paul, Minnesota, once considered himself an “invasion biologist”—but not anymore. “I am actively trying to get the field to retire the invader narrative,” he said in Missoula.

A Good Thing, Not the Only Thing

After all, nativeness is just one environmental value, and arguably not as important as preventing extinctions and preserving biodiversity. In some cases we can best serve biodiversity by leaving the non-natives alone or even—brace yourself, now—introducing them on purpose.

This is the thinking behind, for example, installing the Aldabra tortoise on the islands of Mauritius. The islands lost their own large tortoises, and the fruiting plants that formerly had their seeds moved around by these fruit-loving reptiles have been on the decline. A tortoise that’s related to the island’s large tortoises—a non-native from the Seychelles in the Indian Ocean that was intentionally introduced in 2004—is now handling some of that work.

Most of the time, for the time being, conserving species still means focusing on supporting them in their historical habitats, planting natives and removing non-natives. We can and should do that in places where it is feasible and important to us.

From “It’s Time to Stop Thinking That All Non-Native Species Are Evil” by Emma Marris from NATIONAL GEOGRAPHIC MAGAZINE, July 24, 2014. Copyright © 2014 by National Geographic Society.

Chart titled “Possible Management of Non-Native Species, Based on Extent of Invasion,” plotting Area Affected by Non-Native Species (vertical axis) against Time (horizontal axis) as an S-shaped curve that stays low, then rises steeply and levels off high, where it is labeled “Widespread and abundant throughout range.” The time line is divided into four shaded stages, left to right: Prevention, “Species absent”; Eradication, “Few, localized populations”; Containment, “Rapid increase in populations”; and Local Control and Management Only, “Eradication no longer feasible; can only protect small areas based on economic and ecological need.” Markers on the curve show “Species introduced” at the end of Prevention, “Detection” within Eradication and “Public awareness begins” near the end of Containment, and two large arrows read “Management = simple; eradication likely” across Prevention and Eradication and “Management = difficult and costly; eradication unlikely or impossible” across Containment and Local Control and Management Only.

1stymie: hinder or interfere with

Question

Which two phrases from paragraph 3 most affect the tone of the excerpt?

Move the two correct answers to the box.

Phrases That Most Affect the Tone of the Excerpt

On the test you drag tiles into the box; here, choose them below. The DOE has not published how answers with several parts are scored; this site counts one right only when every part is right.

  • A“sounded the alarm”
  • B“gotten the message”
  • C“rip out”
  • D“become increasingly popular”
  • E“provide food”
Show the answer

Correct answer: A and C

The question asks for the two phrases from paragraph 3 that most affect the tone of the excerpt.

A. “sounded the alarm”: CORRECT. This phrase affects the tone of the excerpt by conveying the stark sense of urgency surrounding the debate over the ecological impact of non-native species. The reference to an alarm sounding evokes the feeling of being on high alert.

B. “gotten the message”: Incorrect. This phrase does not most affect the tone of the excerpt.

C. “rip out”: CORRECT. This phrase affects the tone of the excerpt by vividly depicting the effect of widespread misunderstanding of non-native species.

D. “become increasingly popular”: Incorrect. This phrase does not most affect the tone of the excerpt.

E. “provide food”: Incorrect. This phrase does not most affect the tone of the excerpt.

Question analysis

This select-two tone question on Emma Marris’s opinion article about non-native species lists five short phrases from paragraph 3 and asks which two most affect the tone of the excerpt. On the test students move two tiles into a box, and both must be right. All five are common, everyday expressions, so students must weigh how strongly each one colors the excerpt.

NYS standards
  • 7R4 word meaning and choice
  • 7L5c connotation and denotation
Grade level
Grade 7 reading and task
Compared with grade 7
At grade 7 Typical grade 7 tone questions quote the words and ask what effect they have. Here students pick the two phrases themselves from five in one short paragraph and compare how much feeling each carries, which keeps the demand at grade level.
Estimated difficulty
Moderate: several steps, or a close reading with one strong distractor.
Evidence
Answered from one paragraph or stanza
Reading level
Passage: about grade 11, 815 words; question and choices: about grade 3, 42 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

Most students hear the urgency of “sounded the alarm” at once, and the point is lost on the second pick. The idiom that ends the same sentence sounds just as colorful, while “rip out” is a short, everyday verb whose force is easy to read past as plain weeding. Swapping each phrase for a neutral word and asking how much feeling is lost separates them, and credit comes only when both tiles are right.

  1. A very close wrong answer moderate Choosing the answer

    “Sounded the alarm” and “gotten the message” are paired idioms in the first sentence of paragraph 3, both about the warning passing from scientists to the public, and only the first carries urgency. (Embretson & Wetzel, 1987; Gorin & Embretson, 2006; Ascalon et al., 2007)

  2. Figurative or literary language moderate Understanding the question

    The tone lives in connotation: “sounded the alarm” borrows the picture of a siren or bell, and “rip out” shows plants torn up by force where “remove” would sound flat. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  3. Much to keep track of minor Working it out

    Five tiles compete for one box and both picks must be right, so each phrase’s charge has to be weighed against the other four, since the stem asks which affect the tone “most.” (Sweller, 1988; Carpenter, Just & Shell, 1990)

Strategy: Swap each phrase for a plain word with the same meaning, reread its sentence, and keep the two whose replacement changes the feeling of the passage the most.

Traps

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This is a tone question. Tone is the feeling or attitude that a writer’s words give a passage. You need the two phrases from paragraph 3 that carry the most feeling. Words can carry feeling beyond their plain meaning. On the test you drag two tiles into the box. On this site, you choose two of the five. Both must be right.

  2. Read paragraph 3 in its place

    The excerpt opens with “Invasive species are scary.” Paragraph 2 lists the harm some invaders do. Then paragraph 3 says “As scientists have sounded the alarm about these pests, the public has gotten the message. Citizen groups rip out non-native plants.” The rest of the paragraph is calm. It says native gardens are popular, and native trees feed bugs that feed birds.

  3. Swap each phrase for plain words

    A good test is to swap each phrase for plain words with the same meaning. Then ask how much feeling is lost.

    • “sounded the alarm” becomes warned. An alarm is a loud bell for danger, like a fire alarm. The sense of danger is lost.
    • “gotten the message” becomes understood. Little changes.
    • “rip out” becomes remove. To rip is to tear roughly and fast. The force is lost.
    • “become increasingly popular” becomes grown more common. Little changes.
    • “provide food” becomes feed. Nothing changes.

  4. See what the two phrases do

    Urgency is the feeling that something must be done right now. “Sounded the alarm” makes non-native species sound like an emergency. “Rip out” shows people tearing up plants with force. Together they make the fight against non-natives sound urgent and harsh. That matches paragraph 1, which calls the word “invasion” militaristic, or warlike. The author goes on to question treating every non-native as bad.

  5. Check each of the five tiles

    • A fits. It adds urgency.
    • B does not fit. It is an idiom, a saying whose meaning differs from its words. It only means the public understood.
    • C fits. It adds force.
    • D does not fit. It calmly reports a trend in gardening.
    • E does not fit. It is plain, factual wording.

    Watch out: B sits in the same sentence as A, and it sounds just as colorful. But it adds no danger and no force.

  6. Choose both answers

    So the answers are A and C. On the test, move the tiles “sounded the alarm” and “rip out” into the box Phrases That Most Affect the Tone of the Excerpt. You need both to get the point.

Why this answer and not the closest wrong one

B is the closest wrong choice. It is an idiom in the same sentence as A, so it seems just as strong. But swap in understood, and the feeling barely changes. C is easier to miss because it is short. Swap in remove, and the force is gone.

More questions like this

The original DOE question
Question 3 as shown on the screen of the DOE’s digital test.
As shown on the screen of the DOE’s digital test: 2025 Practice Test B English, question 3.
The passage “Excerpt from “It’s Time to Stop Thinking That All Non-Native Species Are Evil”” as printed (pages 68–70)The passage “Excerpt from “It’s Time to Stop Thinking That All Non-Native Species Are Evil”” as printed on page 68 of the DOE handbook.The passage “Excerpt from “It’s Time to Stop Thinking That All Non-Native Species Are Evil”” as printed on page 69 of the DOE handbook.The passage “Excerpt from “It’s Time to Stop Thinking That All Non-Native Species Are Evil”” as printed on page 70 of the DOE handbook.

Question 34 of 78

2025 Practice Test B English, question 44
Passage Letter from Brooklyn

Letter from Brooklyn

by Jacob Scheier

I can already see how this will end.
How I will grow tired of the bridge’s
steep incline, and the absent-minded tourists
wandering into the bicycle path.
The weather will turn cold.
But that all happens later.
For now it is the early edge of fall,
leaves green still while the air narrows,
is slightly crisp, almost grazing
the hair of my arm like a passing stranger,
as though the air has been forced into intimacy
by the brevity of daylight.
But when it starts darkening at 4,
this closeness, I know, will be a felt distance,
like someone drawing your attention
to their lack of intimacy.
These days I am still walking at a cathedral pace
beneath the branches bending across avenues,
brownstones like rows of lived-in chapels,
like a pop-up picture book I could have had as a child,
but didn’t. How Brooklyn makes me nostalgic
for the moment I am walking inside of.
These late afternoons filled
with a loneliness that makes me feel
distinctly myself, and an awareness
of how rare that is.

“Letter from Brooklyn” from LETTER FROM BROOKLYN: POEMS by Jacob Scheier, published by ECW Press. Copyright © 2013 by Jacob Scheier All rights reserved.

brevity: briefness
cathedral: meditative
chapels: private places of prayer or worship
nostalgic: yearning for the past

Question

The details in lines 9–12 convey a central idea of the poem by

  • Ashowing that the cool weather makes the speaker reflect more deeply on life.
  • Bsuggesting that the speaker feels uncomfortable with what the coming weather signifies.
  • Cimplying that the sensations the speaker experiences during the fall season are fleeting.
  • Dsuggesting that the thought of fall approaching increases the loneliness the speaker feels.
Show the answer

Correct answer: C

The question asks how lines 9–12 convey a central idea of the poem.

A. Incorrect. Although the speaker discusses the very beginning of cool weather in these lines, the speaker does not reflect on life in these lines.

B. Incorrect. Although the description in these lines likens the movement of crisp air to “a passing stranger,” that comparison does not have a negative connotation in this context; it does not suggest that the speaker is uncomfortable. Rather, it is used to describe the subtle physical sensation of cool air on the speaker’s arm.

C. CORRECT. By using a description of the crisp air as “a passing stranger” and the daylight as being brief, these lines express the poem’s central idea that the joy of early fall is temporary or fleeting.

D. Incorrect. Although the speaker acknowledges the coming fall in these lines, there is no mention of loneliness. The speaker reveals a loneliness in lines 23–26 but gives no hint of that feeling in lines 9–12. Further, this loneliness is not a central idea of the poem.

Question analysis

This central-idea question on Jacob Scheier’s poem “Letter from Brooklyn” asks how lines 9–12, where the crisp early-fall air grazes the speaker’s arm, convey a central idea of the poem. Students must interpret a simile and a personification packed into four short lines and connect what they suggest to the poem as a whole, while each choice names a different feeling or idea.

NYS standards
  • 7R2 theme or central idea
  • 7R4 word meaning and choice
Grade level
Grade 8 reading and task
Compared with grade 7
Above grade 7 Grade 7 students explain how particular lines develop a central idea. These four lines make their point only through a simile and a personification about air and daylight, and linking them to the whole poem takes more interpretation than typical grade 7 work.
Estimated difficulty
Hard: combines ideas, needs a plan, and has more than one tempting wrong answer.
Evidence
Answered from one paragraph or stanza
Reading level
Passage: 217 words (a poem; reading level not measured); question and choices: about grade 8, 63 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

The four lines describe a sensation, cool air almost grazing an arm, and the central idea sits in two small words, “passing” and “brevity.” The strongest pull hears the stranger and the air “forced into intimacy” as unwelcome, borrowing the unease the poem saves for the darkening of lines 13–16. Other choices bring in moods from elsewhere, the meditative walk and the loneliness of the last lines, so students must judge only what lines 9–12 themselves suggest.

  1. Figurative or literary language major Understanding the question

    The lines never say the moment is short: the air almost grazes the speaker’s arm “like a passing stranger” and is “forced into intimacy / by the brevity of daylight,” so “passing” and “brevity” carry the idea. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  2. Reading between the lines moderate Working it out

    Students must tie the brief touch and the short days to a central idea the poem never states, that early fall is slipping away, framed by “For now” in line 7 and “But when it starts darkening” in line 13. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  3. The right answer is reworded minor Choosing the answer

    The right choice says “fleeting” where the lines say “passing” and “brevity,” while a wrong choice borrows the poem’s own word “loneliness” from line 24, which makes it look supported. (Freedle & Kostin, 1993; Kirsch & Mosenthal, 1990)

Strategy: Paraphrase lines 9–12 in plain words, checking the glossary for unfamiliar words, then decide what the comparison suggests about the speaker’s experience and test each choice against these four lines.

Traps

  • Wrong part of the text: A choice is true of another paragraph, stanza or speaker than the one asked about.
  • Wrong tone or attitude: Misjudges the tone, attitude or point of view, such as reading admiration as criticism, or taking a character's or subject's feelings for the author's.
  • Reads too much in: A reasonable-sounding conclusion that goes further than the text allows.

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This asks how lines 9–12 help build a central idea. A central idea is a main point the poem keeps coming back to. First work out what the four lines say. Then see how they connect to the rest of the poem. Test each choice against these four lines.

  2. Read lines 9–12

    The sentence is about the air, named in line 8. Lines 9–12 say it “is slightly crisp, almost grazing / the hair of my arm like a passing stranger, / as though the air has been forced into intimacy / by the brevity of daylight.” Crisp means cool and fresh. Grazing here means lightly touching. Intimacy means closeness. The glossary says brevity means “briefness.”

  3. Work out the comparisons

    “Like a passing stranger” is a simile, a comparison that uses like or as. A stranger who passes you on the street is there for a moment, then gone. So the cool air touches the speaker lightly and briefly. The next lines treat the air like a person pushed into closeness by the short daylight. Giving human feelings to something that isn’t human is called personification. Both “passing” and “brevity” point to the same thing: this feeling won’t last.

  4. Connect the lines to the poem

    The rest of the poem agrees. Line 7 begins “For now it is the early edge of fall.” Lines 13–14 look ahead: “But when it starts darkening at 4,” this closeness “will be a felt distance.” Lines 21–22 say Brooklyn makes the speaker “nostalgic / for the moment I am walking inside of.” So a central idea is that this early-fall moment is precious and passes quickly. Fleeting means lasting only a short time.

  5. Check each choice

    • A does not fit. These lines describe a touch on the skin, not thoughts about life.
    • B does not fit. The touch is light, and the speaker enjoys the closeness now. The worry comes later, in lines 13–16.
    • C fits. “Passing” and “brevity” show that the feelings of early fall won’t last.
    • D does not fit. Lines 9–12 never mention loneliness, which comes in line 24. And line 7 says fall has already begun.

    Watch out: B is tempting because “stranger” and “forced into intimacy” can sound unpleasant. But the stranger only passes by, and the touch is light.

  6. Choose the answer

    The brief touch and the short daylight show that this early-fall moment slips away fast. Sensations are feelings you get through your senses, like touch. So the answer is C, “implying that the sensations the speaker experiences during the fall season are fleeting.”

Why this answer and not the closest wrong one

B is the closest wrong choice, because “forced” and “stranger” can sound unpleasant. But line 14 calls this feeling “this closeness,” and losing it is what will feel bad. So the closeness is welcome now. What lines 9–12 stress is how brief it is, which is C.

More questions like this

The original DOE question
Question 44 as shown on the screen of the DOE’s digital test.
As shown on the screen of the DOE’s digital test: 2025 Practice Test B English, question 44.
The passage “Letter from Brooklyn” as printed (page 50)The passage “Letter from Brooklyn” as printed on page 50 of the DOE handbook.

Question 35 of 78

2025 Practice Test B English, question 48

Uses the passage above: “Letter from Brooklyn”.

Question

The poet develops the speaker’s point of view by

  • Aproviding details about the speaker’s longing to be in a different place.
  • Bshowing the speaker’s sense of unease about the passing seasons.
  • Cincluding details about the speaker’s hope that life will remain unchanged.
  • Dshowing the speaker’s desire to treasure and appreciate the changes taking place.
Show the answer

Correct answer: D

The question asks how the poet develops the speaker’s point of view.

A. Incorrect. The speaker concedes that at some point, Brooklyn will become tiresome (lines 2–4). However, the bulk of the poem reveals the speaker’s appreciation for experiencing Brooklyn, not a desire to be in some other place.

B. Incorrect. Cold weather is inevitable, and the speaker is well aware of this future shift as well as the change in attitude it will bring. Nevertheless, the speaker does not focus on this future but rather embraces the current season, describing it in vivid detail.

C. Incorrect. The speaker is not hopeful that life will remain unchanged. Rather, the speaker accepts and appreciates the seasonal changes that occur.

D. CORRECT. The speaker’s point of view is largely positive and appreciative of the shift in seasons. This point of view is developed by language that shows a close connection between the speaker and the setting. For example, the speaker uses words such as “intimacy” (line 11) and “closeness” (line 14) and the description of the “pop-up picture book” (line 20). Finally, the conclusion emphasizes the point of view: “These late afternoons filled / with a loneliness that makes me feel / distinctly myself, and an awareness / of how rare that is” (lines 23–26).

Question analysis

This point-of-view question asks how the poet develops the speaker’s point of view in “Letter from Brooklyn,” in which the speaker walks through the city at the start of fall knowing that colder, darker days lie ahead. The speaker’s thoughts move between the present and the future, so students must weigh the whole poem, and each choice names a different attitude.

NYS standards
  • 7R6 point of view and author position
  • 7R4 word meaning and choice
Grade level
Grade 8 reading and task
Compared with grade 7
Above grade 7 Typical grade 7 point-of-view questions focus on one passage or stanza. This one asks for the speaker’s attitude across a whole poem of shifting moods, and several choices rest on real lines, so judging the overall view takes more than typical grade 7 work.
Estimated difficulty
Hard: combines ideas, needs a plan, and has more than one tempting wrong answer.
Evidence
Answered from the whole text
Reading level
Passage: 217 words (a poem; reading level not measured); question and choices: about grade 7, 54 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

The poem opens by predicting its own end and returns to the coming dark in lines 13–16, so a reader who weighs those lines heavily finds unease, and the speaker does feel some. But the speaker turns back to the present each time, with “But that all happens later” and “These days I am still walking,” and the closing lines call the moment rare. The point of view is a wish to savor what is passing, and only a choice that fits the whole poem, not its most anxious lines, matches it.

  1. Evidence in several places moderate Working it out

    The point of view has to hold from line 1 to line 26 while the poem swings between the future, tiring of the bridge and darkening at 4, and the present walk under the branches. (Kirsch & Mosenthal, 1990; Gorin & Embretson, 2006)

  2. Reading between the lines moderate Working it out

    No line names the speaker’s attitude; it has to be drawn from “For now,” the walk “at a cathedral pace,” the nostalgia “for the moment I am walking inside of” and “how rare that is.” (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  3. Every choice must be checked minor Choosing the answer

    Three wrong choices rest on real lines, tiring of the bridge’s “steep incline,” the “felt distance” of line 14 and the nostalgia of lines 21–22, so each must be weighed against the whole poem. (Embretson & Wetzel, 1987)

Strategy: Sum up in one sentence how the speaker feels about the present walk and about the season ahead, then pick the choice that holds true from the first line to the last.

Traps

  • Wrong tone or attitude: Misjudges the tone, attitude or point of view, such as reading admiration as criticism, or taking a character's or subject's feelings for the author's.
  • Reads too much in: A reasonable-sounding conclusion that goes further than the text allows.
  • Twists what the text says: Uses the text's topic and ideas but changes what it says: who did it, how much, when, or why.

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This asks about point of view: how the speaker, the voice talking in the poem, feels about what is happening. The question is about the whole poem, not a few lines. So follow the speaker’s feelings from line 1 to line 26. The right choice must fit all of it.

  2. Follow the speaker’s thoughts

    The poem moves back and forth in time. Lines 1–5 look ahead: “I can already see how this will end.” The speaker will tire of the bridge, and “The weather will turn cold.” Line 6 turns back: “But that all happens later.” Lines 7–12 describe the cool air of early fall. Lines 13–16 look ahead again, to days that get dark at 4 o’clock. Line 17 returns to now: “These days I am still walking at a cathedral pace.”

  3. See how the speaker treats now

    The glossary says cathedral means “meditative,” or calm and thoughtful. The speaker walks slowly to take everything in. Brownstones look “like a pop-up picture book.” Lines 21–22 say “How Brooklyn makes me nostalgic / for the moment I am walking inside of.” Nostalgic means “yearning for the past.” Yet the speaker longs for right now. In the last lines, even the loneliness of late afternoon is welcome. It makes the speaker feel “distinctly myself,” and aware “of how rare that is.”

  4. Put the point of view in words

    The speaker knows this season will end. That is why each moment matters. The speaker notices the first signs of fall, like the crisp air, and savors them. To treasure something is to value it highly. So the speaker wants to treasure and appreciate the changes happening now.

  5. Check each choice

    • A does not fit. Lines 2–4 say the speaker will tire of the bridge someday. But the speaker enjoys Brooklyn now and never wishes to be elsewhere.
    • B does not fit. Lines 13–16 show some unease about the dark days ahead. But each time, the speaker turns back to the present.
    • C does not fit. The speaker knows from line 1 that this will end, and treasures the moment because it will pass.
    • D fits. The speaker savors the early-fall walk while it lasts.

    Watch out: B rests on real lines: the closeness the speaker feels now “will be a felt distance” (line 14). But that is one part of the poem, not the whole view.

  6. Choose the answer

    The speaker knows the season will change and holds on to each moment of it. So the answer is D, “showing the speaker’s desire to treasure and appreciate the changes taking place.”

Why this answer and not the closest wrong one

B is the closest wrong choice, because lines 13–16 do show unease. But each time the poem looks ahead, the speaker turns back to now: “But that all happens later” and “These days I am still walking.” The poem ends by calling the moment rare. The main feeling is a wish to treasure the present, which is D.

More questions like this

The original DOE question
Question 48 as shown on the screen of the DOE’s digital test.
As shown on the screen of the DOE’s digital test: 2025 Practice Test B English, question 48.

Question 36 of 78

2024 Test A English, question 10
Passage Excerpt from “Impressions of an Indian Childhood”

Excerpt from “Impressions of an Indian Childhood”

by Zitkala-Sa

Zitkala-Sa (Gertrude Simmons Bonnin) was a Native American writer, musician, teacher, and political activist who was raised on the Yankton Sioux Reservation in South Dakota. In 1900 she published “Impressions of an Indian Childhood” (the term Indian was commonly used at the time to refer to Native American people) to expose readers to what life is like on a reservation.

Soon after breakfast Mother sometimes began her beadwork. On a bright, clear day, she pulled out the wooden pegs that pinned the skirt of our wigwam1 to the ground, and rolled the canvas part way up on its frame of slender poles. Then the cool morning breezes swept freely through our dwelling, now and then wafting the perfume of sweet grasses from newly burnt prairie.

Untying the long tasseled strings that bound a small brown buckskin2 bag, my mother spread upon a mat beside her bunches of colored beads, just as an artist arranges the paints upon his palette. On a lapboard she smoothed out a double sheet of soft white buckskin; and drawing from a beaded case that hung on the left of her wide belt a long, narrow blade, she trimmed the buckskin into shape. Often she worked upon small moccasins for her small daughter. Then I became intensely interested in her designing. With a proud, beaming face, I watched her work. In [my] imagination, I saw myself walking in a new pair of snugly fitting moccasins. I felt the envious eyes of my playmates upon the pretty red beads decorating my feet.

Close beside my mother I sat on a rug, with a scrap of buckskin in one hand and an awl in the other. This was the beginning of my practical observation lessons in the art of beadwork. From a skein3 of finely twisted threads of silvery sinews my mother pulled out a single one. With an awl she pierced the buckskin, and skillfully threaded it with the white sinew. Picking up the tiny beads one by one, she strung them with the point of her thread, always twisting it carefully after every stitch.

It took many trials before I learned how to knot my sinew thread on the point of my finger, as I saw her do. Then the next difficulty was in keeping my thread stiffly twisted, so that I could easily string my beads upon it. My mother required of me original designs for my lessons in beading. At first I frequently ensnared many a sunny hour into working a long design. Soon I learned from self-inflicted punishment to refrain from drawing complex patterns, for I had to finish whatever I began.

After some experience I usually drew easy and simple crosses and squares. These were some of the set forms. My original designs were not always symmetrical nor sufficiently characteristic, two faults with which my mother had little patience. The quietness of her oversight made me feel strongly responsible and dependent upon my own judgment. She treated me as a dignified little individual as long as I was on my good behavior; and how humiliated I was when some boldness of mine drew forth a rebuke from her!

In the choice of colors she left me to my own taste. I was pleased with an outline of yellow upon a background of dark blue, or a combination of red and myrtle-green. There was another of red with a bluish-gray that was more conventionally used. When I became a little familiar with designing and the various pleasing combinations of color, a harder lesson was given me. It was the sewing on, instead of beads, some tinted porcupine quills, moistened and flattened between the nails of the thumb and forefinger. My mother cut off the prickly ends and burned them at once in the centre fire. These sharp points were poisonous, and worked into the flesh wherever they lodged. For this reason, my mother said, I should not do much alone in quills until I was as tall as my cousin Warca-Ziwin.

Always after these confining lessons I was wild with surplus spirits, and found joyous relief in running loose in the open again. Many a summer afternoon a party of four or five of my playmates roamed over the hills with me. We each carried a light sharpened rod about four feet long, with which we pried up certain sweet roots. When we had eaten all the choice roots we chanced upon, we shouldered our rods and strayed off into patches of a stalky plant under whose yellow blossoms we found little crystal drops of gum. Drop by drop we gathered this nature’s rock-candy, until each of us could boast of a lump the size of a small bird’s egg. Soon satiated with its woody flavor, we tossed away our gum, to return again to the sweet roots.

From “Impressions of an Indian Childhood” by Zitkala-Sa—Public Domain

A BRIEF HISTORY OF BEADWORK IN SOUTH DAKOTA

DateEvent
1500sThe Dakota use beads made from bones, shells, stones, and animal teeth. European traders bring glass beads to North America.
Late 1600sThe Dakota begin trading with the French in Minnesota.
1830sThe Dakota begin using glass beads in clothing, artwork, and decorations in place of Native-made beads.
1862–1865The Dakota are expelled from their homelands in Minnesota as a result of the U.S.-Dakota War.
1900s–1920sThe Dakota create items to sell outside their community.

Source: MNopedia

1wigwam: hut with an arched framework of poles covered with bark, mats, or animal hides

2buckskin: leather made from the skin of a male deer

3skein: coiled length of yarn or other thread loosely wound on a reel

Question

In paragraph 1, the phrases “cool morning breezes swept freely” and “wafting the perfume of sweet grasses” affect the tone of the excerpt by suggesting

  • Athe sadness that the author feels reflecting upon her former way of life.
  • Bthe enthusiasm with which the author approached her work indoors.
  • Cthe fond feelings that the author has toward her childhood experiences.
  • Dthe mix of emotions that the author feels toward her work and her mother.
Show the answer

Correct answer: C

The question asks how the phrases “cool morning breezes swept freely” and “wafting the perfume of sweet grasses” affect the tone of the excerpt.

A. Incorrect. Although the author describes in paragraph 1 the setting of her childhood experiences, the positive wording of the phrases the author uses in the paragraph (“swept freely” and “perfume of sweet grasses”) does not suggest a tone of sadness the author feels when she reflects on her former way of life.

B. Incorrect. Although the phrases “cool morning breezes swept freely” and “wafting the perfume of sweet grasses” used in paragraph 1 create a positive tone, the phrases do not suggest an enthusiasm for the author’s work but rather suggest an appreciation of the peaceful beauty of her childhood.

C. CORRECT. In paragraph 1, the phrases “cool morning breezes swept freely” and “wafting the perfume of sweet grasses” are used to describe where the author’s childhood experiences took place. The phrases create a tone of fondness and evoke a feeling of happiness through their lyrical sensory detail: “swept freely” suggests a sense of joyful possibility, while “perfume,” “sweet,” and “cool” convey delight.

D. Incorrect. Although the author describes her mother’s beadwork lessons as “confining” in paragraph 7, the phrases in paragraph 1 do not suggest that the author feels conflicting or mixed emotions toward her work and her mother. Instead, the phrases convey a positive tone by affectionately describing the author’s childhood home.

Question analysis

This reading question asks how two sensory phrases about cool morning breezes and the scent of sweet grasses shape the tone of Zitkala-Sa's 1900 memoir of life on a Sioux reservation. Students must read the feeling behind descriptive language and decide what that feeling is directed at, since the choices pair different emotions with different subjects.

NYS standards
  • 7R4 word meaning and choice
  • 7L5c connotation and denotation
Grade level
Grade 7 reading and task
Compared with grade 7
At grade 7 Judging how sensory words shape tone is grade 7 reading work. Both phrases are quoted in the question, so little searching is needed, but the 1900 prose keeps the demand at a typical grade 7 level.
Estimated difficulty
Straightforward: two steps or one careful reading.
Evidence
Answered from one paragraph or stanza
Reading level
Passage: about grade 8, 946 words; question and choices: about grade 7, 72 words.
Corrected from the DOE handbook
  • A misstatement of the question in the explanation was corrected.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

The phrases are so clearly pleasant that the real decision is what the pleasant feeling is about. They describe the wigwam on a clear morning, so the warmth belongs to the author's memory of her childhood, not to the beadwork the rest of the excerpt follows. Students who know the excerpt is about lessons tend to attach the mood to the work, and a few read sadness into any memoir.

  1. Figurative or literary language moderate Understanding the question

    The tone comes from sensory images, breezes that “swept freely” and “the perfume of sweet grasses,” which describe air and scent and leave the author's feeling to be read from them. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  2. Reading between the lines minor Working it out

    The phrases describe the dwelling, not the author, so her fondness for her childhood has to be inferred from how lovingly she remembers the setting. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  3. Hard words minor Understanding the question

    “Wafting” and “perfume,” used for the smell of grasses from newly burnt prairie, are unusual words that must be understood before the tone they create can be judged. (Perfetti, 2007; Freedle & Kostin, 1993)

Strategy: Decide what feeling the quoted words create on their own, then check what they describe: the right choice must match both the feeling and what it is about.

Traps

  • Wrong tone or attitude: Misjudges the tone, attitude or point of view, such as reading admiration as criticism, or taking a character's or subject's feelings for the author's.
  • Wrong part of the text: A choice is true of another paragraph, stanza or speaker than the one asked about.

The wrong answers, classified

What was corrected from the DOE handbook, and why

  • Explanation: The handbook’s explanation begins by saying the question asks how the two phrases “affect the tone of paragraph 1 in the excerpt.” The phrases are in paragraph 1, but the question asks how they affect the tone of the excerpt, and the answer is about the author’s feelings toward her childhood as a whole. The explanation now reads “affect the tone of the excerpt.”

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This asks about tone. Tone is the feeling or attitude that a writer’s words show. You need the feeling that two phrases from paragraph 1 give the whole excerpt. An excerpt is a part taken from a longer piece.

  2. Find the phrases in paragraph 1

    Paragraph 1 describes a clear morning at home. The mother rolls up the side of the wigwam (a hut made of poles and covers). “Then the cool morning breezes swept freely through our dwelling.” A dwelling is a home. The breezes were “now and then wafting the perfume of sweet grasses.”

  3. Work out the feeling

    “Wafting” means gently carrying through the air. “Perfume” is a sweet smell. Cool air, sweet smells and breezes moving freely are all pleasant. The author is remembering her childhood home with love. That feeling is fondness, a warm liking for something.

  4. Check each choice

    • A is wrong. Nothing in these words is sad. They are bright and pleasant.
    • B is wrong. The phrases describe air and smells, not her work.
    • C is right. The loving details show warm feelings about her childhood.
    • D is wrong. Mixed feelings, like the “confining” lessons, come later, in paragraph 7. These phrases have nothing negative in them.

    Watch out: B is tempting, since the excerpt is mostly about beadwork lessons. But these two phrases describe the morning, not the work.

  5. Choose the answer

    The phrases make her childhood home feel cool, sweet and free. So the answer is C.

Why this answer and not the closest wrong one

B is the closest wrong answer, because the phrases do sound happy. But a choice must match both the feeling and what the feeling is about. These phrases describe breezes and the smell of grass at her home. That shows fond memories of her childhood, not eagerness to work.

More questions like this

The original DOE question
Question 10 as printed on page 44 of the DOE handbook.
As printed in the DOE’s NYC Guide to the Specialized High Schools Admissions Test (SHSAT) for 2025 Admissions, page 44, question 10. Open page 44 of the handbook (PDF) The handbook letters this question’s choices E–H; here they are A–D (E = A, F = B, G = C, H = D). This is the DOE’s version, before the corrections listed in the analysis.
The passage “Excerpt from “Impressions of an Indian Childhood”” as printed (pages 42–43)The passage “Excerpt from “Impressions of an Indian Childhood”” as printed on page 42 of the DOE handbook.The passage “Excerpt from “Impressions of an Indian Childhood”” as printed on page 43 of the DOE handbook.

Question 37 of 78

2024 Test A English, question 12

Uses the passage above: “Excerpt from “Impressions of an Indian Childhood””.

Question

The phrase “just as an artist arranges the paints upon his palette” in paragraph 2 suggests that

  • Abeadwork is a true form of art.
  • Bcolor is a source of artistic inspiration.
  • Call artistic activities begin with a series of steps.
  • Dthe beadworker tries to imitate art.
Show the answer

Correct answer: A

The question asks what the phrase “just as an artist arranges the paints upon his palette” in paragraph 2 suggests in the excerpt.

A. CORRECT. In paragraph 2, by comparing the way her mother arranges the beads to the way a painter “arranges the paints upon his palette,” the author emphasizes that her mother approaches her craft just as a painter does, thus suggesting that beadwork is a true form of art.

B. Incorrect. Although the author mentions “bunches of colored beads” in paragraph 2, this detail does not provide enough evidence for the idea that color inspires beadworkers. The phrase “just as an artist arranges the paints upon his palette” indicates the connection of beadwork to other forms of art in general, not necessarily to the specifics of color as a source of inspiration.

C. Incorrect. In paragraph 2, the author describes her mother “untying the long tasseled strings” and then spreading “upon a mat beside her bunches of colored beads.” However, the phrase “just as an artist arranges the paints upon his palette” does not suggest that all artistic activities begin with a series of steps. There is no mention in the passage of any other artistic activities involving multiple initial steps.

D. Incorrect. In paragraph 2, the author describes how her mother “spread upon a mat beside her bunches of colored beads” as the first step in the artistic process described in the passage. Therefore, the comparison between the mother’s process and a painter arranging paints on a palette suggests that the mother is creating art, not imitating it. There is no indication that the mother is copying a technique she has seen in other art forms.

Question analysis

This reading question asks what the comparison between Zitkala-Sa's mother laying out her colored beads and an artist arranging paints on a palette suggests. It tests reading a simile in context, and the choices include readings that fix on a single word or go further than the comparison itself.

NYS standards
  • 7L5a interpreting allusions
  • 7R4 word meaning and choice
Grade level
Grade 6 reading and task
Compared with grade 7
Below grade 7 Interpreting a simile is taught by grade 6. The phrase is short and quoted in the question, and one step of interpretation is enough, so this asks less than typical grade 7 work on figurative language.
Estimated difficulty
Routine: one familiar step, little to misread.
What makes it hard
Evidence
Answered from one sentence or line
Reading level
Passage: about grade 8, 946 words; question and choices: about grade 6, 45 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

The comparison is quoted in the stem and makes one point: the mother lays out her beads the way a painter lays out paints, so her craft counts as art. Wrong answers fix on the word “paints,” stretch one comparison into a rule about all art, or read the comparison as copying. Asking what the two things being compared have in common settles it.

  1. Figurative or literary language minor Understanding the question

    The simile sets the mother laying out bunches of colored beads beside a painter arranging paints, and students must see what that comparison says about beadwork itself. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

Strategy: Name the two things being compared and what they share, then choose the idea that comparison supports without adding anything the sentence does not say.

Traps

  • Word match: Repeats striking words or phrases from the text, so it looks supported, but its meaning does not fit the question.
  • Too broad or too strong: A choice overstates, generalizes, or uses absolute words the text does not support.
  • Twists what the text says: Uses the text's topic and ideas but changes what it says: who did it, how much, when, or why.

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    The phrase is a simile. A simile compares two things using “like” or “as.” You need to know what this comparison suggests about the mother’s beadwork.

  2. Read the phrase in paragraph 2

    The mother “spread upon a mat beside her bunches of colored beads, just as an artist arranges the paints upon his palette.” The word order is old-fashioned. It means she spread her bunches of colored beads on a mat beside her. A palette is the board a painter uses to hold and mix paints.

  3. Work out what the comparison means

    The two things being compared are the mother and a painter. Both lay out their colors before they start to make something. So the author treats her mother like a painter. That means beadwork is real art, just like painting.

  4. Check each choice

    • A is right. Comparing the mother to a painter shows that beadwork is a true art.
    • B is wrong. The simile is about laying out materials, not about what gives an artist ideas.
    • C is wrong. One comparison can’t prove a rule about all art.
    • D is wrong. The mother is not copying art. She works the way an artist does, so she is making art.

    Watch out: B is tempting because paints and colored beads both bring color to mind. But the simile is about how she arranges them.

  5. Choose the answer

    The simile puts the beadworker side by side with a painter. So the answer is A.

Why this answer and not the closest wrong one

B is the closest wrong answer. Paints and colored beads do share color. But the simile compares what the two people do: both arrange their materials before they create. Nothing is said about inspiration, which means where ideas come from. A matches the point that the mother works as an artist does.

More questions like this

The original DOE question
Question 12 as printed on page 44 of the DOE handbook.
As printed in the DOE’s NYC Guide to the Specialized High Schools Admissions Test (SHSAT) for 2025 Admissions, page 44, question 12. Open page 44 of the handbook (PDF) The handbook letters this question’s choices E–H; here they are A–D (E = A, F = B, G = C, H = D).

Question 38 of 78

2024 Test A English, question 20
Passage At Dusk

At Dusk

by Natasha Trethewey

At first I think she is calling a child,
my neighbor, leaning through her doorway
at dusk, street lamps just starting to hum
the backdrop of evening. Then I hear
the high-pitched wheedling1 we send out
to animals who know only sound, not
the meanings of our words—here here—
nor how they sometimes fall short.
In another yard, beyond my neighbor’s
sight, the cat lifts her ears, turns first
toward the voice, then back
to the constellation of fireflies flickering
near her head. It’s as if she can’t decide
whether to leap over the low hedge,
the neat row of flowers, and bound
onto the porch, into the steady circle
of light, or stay where she is: luminous
possibility—all that would keep her
away from home—flitting before her.
I listen as my neighbor’s voice trails off.
She’s given up calling for now, left me
to imagine her inside the house waiting,
perhaps in a chair in front of the TV,
or walking around, doing small tasks;
left me to wonder that I too might lift
my voice, sure of someone out there,
send it over the lines stitching here
to there, certain the sounds I make
are enough to call someone home.

“At Dusk” from NATIVE GUARD by Natasha Trethewey, published by Houghton Mifflin Company. Copyright © 2006 by Natasha Trethewey. All rights reserved.

1wheedling: speaking in a flattering manner

Question

The isolation of the words “—here here—” in line 7 contributes to the meaning of the poem mainly by

  • Ademonstrating how people try to communicate in familiar ways but are still sometimes misunderstood.
  • Bshowing how people can feel desperate to connect with others but give up quickly when their first attempts are ignored.
  • Cusing the unspoken bond between the neighbor and her cat to highlight the understanding people have with their pets.
  • Dillustrating the use of a simple expression to call home those who are loved and missed.
Show the answer

Correct answer: D

The question asks how the isolation of the words “—here here—” in line 7 mainly contributes to the meaning of the poem.

A. Incorrect. The words “—here here—” do interrupt the speaker’s observation in lines 7–8 that “our words . . . / . . . sometimes fall short.” However, in lines 5–7, the speaker observes that the neighbor accompanies her words with a “high-pitched wheedling” that people “send out” because they are aware that animals “know only sound, not / the meanings of our words,” indicating that the neighbor does not actually expect her words to be understood. The description of the cat’s response in lines 10–11 (“the cat lifts her ears, turns first / toward the voice, then back”) does not suggest that the neighbor’s message is misunderstood but rather suggests that the cat prefers not to respond to it.

B. Incorrect. In lines 20–21, the “neighbor’s voice trails off,” and she does give up calling the cat. However, rather than any desperation to connect, the neighbor’s use of a “high-pitched wheedling” (line 5) simply indicates her understanding that the cat, like other animals, understands “only sound, not / the meanings of our words” (lines 6–7) such as “here here.” Furthermore, the neighbor does not give up quickly. In lines 21–22, the speaker says the neighbor has “given up calling for now” but is still “waiting” for the cat.

C. Incorrect. In lines 4–7, the speaker describes the neighbor calling to the cat with a “high-pitched wheedling.” The sound may indicate a bond between the neighbor and the cat because the neighbor does understand that animals “know only sound, not / the meanings of our words” (lines 6–7). However, the use of the words “here here” in line 7 does not indicate that bond, because they are used as an example of the type of words that animals do not understand.

D. CORRECT. The speaker’s initial thought in line 1 that the neighbor is calling a child, rather than a cat, suggests that the neighbor loves and misses the cat. Lines 4–7 then present the speaker’s observation that the neighbor uses a “high-pitched wheedling,” to emphasize the simple words of her call, “—here here—.” The idea that the words are an example of a simple expression used to call home a missed loved one is reinforced in lines 25–29, when the speaker is “left . . . to wonder” whether the speaker, too, “might lift / [his or her] voice” and be able “to call someone home.”

Question analysis

This reading question asks how setting off the words here here with dashes in line 7 adds to the meaning of At Dusk, Natasha Trethewey's poem about a neighbor calling her cat at nightfall. Students must work out what two plain, isolated words contribute to the whole poem, choosing among four readings about how people and animals communicate and connect.

NYS standards
  • 7R5 structure and genre features
  • 7R4 word meaning and choice
Grade level
Grade 8 reading and task
Compared with grade 7
Above grade 7 Grade 7 students explain how a line adds to a poem, but here the feature is a tiny typographic choice, and its meaning has to be built from the whole poem rather than nearby lines, which goes beyond typical grade 7 work.
Estimated difficulty
Among the hardest on the SHSAT: a non-obvious approach, heavy reading, or a well-hidden trap.
Evidence
Answered from the whole text
Reading level
Passage: 236 words (a poem; reading level not measured); question and choices: about grade 9, 87 words.
Corrected from the DOE handbook
  • A grammar slip in the explanation was corrected.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

The words sit inside a sentence about animals not knowing the meanings of our words and about words that “sometimes fall short,” so the nearest lines point toward miscommunication. The poem's frame points elsewhere: it opens with a call that sounds like a parent's, ends with the speaker hoping a voice can “call someone home,” and even repeats “here” in line 27. Students who read only around line 7 choose the misunderstanding; those who connect the isolated call to the first and last lines see what it is for.

  1. A very close wrong answer major Choosing the answer

    The misunderstanding choice and the right one agree that “here here” is a familiar way of calling; they part only on what it shows, failed communication or a call home to someone missed. (Embretson & Wetzel, 1987; Gorin & Embretson, 2006; Ascalon et al., 2007)

  2. Evidence in several places moderate Working it out

    The right reading rests on lines far from line 7: the speaker's first guess that a child is being called, and the last line's wish “to call someone home.” (Kirsch & Mosenthal, 1990; Gorin & Embretson, 2006)

  3. How, not what moderate Working it out

    The question asks what setting two words apart with dashes and italics does for the poem, a typographic choice whose purpose the poem never explains. (Anderson & Krathwohl, 2001)

Strategy: Ask what the two words are meant to do and whom they are aimed at, then keep the choice that the poem's other lines confirm.

Traps

  • Wrong purpose or structure: Names a purpose, structure or effect that the part does not serve, or describes what a part says when the question asks what it does.
  • Twists what the text says: Uses the text's topic and ideas but changes what it says: who did it, how much, when, or why.
  • Reads too much in: A reasonable-sounding conclusion that goes further than the text allows.

The wrong answers, classified

What was corrected from the DOE handbook, and why

  • Explanation: In rejecting choice C, the handbook reads “the use of the words “here here” in line 7 do not indicate that bond.” It now reads “does not,” to agree with “use.”

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    In line 7 the words here here are set apart by dashes and slanted letters (italics). The question asks what this does for the poem’s meaning. Think about what the words are for and who they are aimed at.

  2. Look at line 7

    Line 7 reads “the meanings of our words—here here—.” These are the words the neighbor calls to her cat. Setting them apart lets you hear them, as if spoken aloud. They are simple words that mean “come here.” Lines 6–7 say animals know “only sound, not / the meanings of our words.”

  3. Connect to the start and end

    In line 1 the speaker first thinks the neighbor “is calling a child.” So the call sounds like a parent calling someone they love. The poem ends with the hope that a voice can be “enough to call someone home” (line 29). So here here is a simple call to bring a loved one home.

  4. Check each choice

    • A is wrong. The cat isn’t confused. She “lifts her ears” and turns “toward the voice.” She just doesn’t come yet.
    • B is wrong. The neighbor isn’t shown as desperate. She stops only “for now,” and the speaker pictures her waiting inside.
    • C is wrong. Here here is spoken out loud. The poem treats it as words animals don’t understand, not a silent bond.
    • D is right. It is a simple call to someone loved and missed.

    Watch out: Line 8 says words “sometimes fall short,” which points toward A. But read the first and last lines too.

  5. Choose the answer

    The two words stand for the simple call people use to bring loved ones home. So the answer is D.

Why this answer and not the closest wrong one

A is the closest wrong answer, because line 8 says our words “sometimes fall short.” But the cat does hear the call and turn toward it. And the poem ends by hoping the sounds “are enough to call someone home.” D links the two words to that wish, and to the first guess that a child is being called.

More questions like this

The original DOE question
Question 20 as printed on page 49 of the DOE handbook.
As printed in the DOE’s NYC Guide to the Specialized High Schools Admissions Test (SHSAT) for 2025 Admissions, page 49, question 20. Open page 49 of the handbook (PDF) The handbook letters this question’s choices E–H; here they are A–D (E = A, F = B, G = C, H = D). This is the DOE’s version, before the corrections listed in the analysis.
The passage “At Dusk” as printed (page 48)The passage “At Dusk” as printed on page 48 of the DOE handbook.

Question 39 of 78

2024 Test A English, question 22

Uses the passage above: “At Dusk”.

Question

The phrases “luminous possibility” and “all that would keep her / away from home” (lines 17–19) affect the poem by

  • Ahighlighting the cat’s lack of concern for the neighbor.
  • Bimplying that the speaker finds the cat’s current situation interesting.
  • Csuggesting that the cat is compelled by its sense of wonder to remain outdoors.
  • Dindicating that the speaker supports the cat’s decision to ignore the neighbor.
Show the answer

Correct answer: C

The question asks how the phrases “luminous possibility” and “all that would keep her / away from home” (lines 17–19) affect the poem.

A. Incorrect. In lines 20–21, the neighbor’s voice “trails off,” and the speaker states that “she’s given up calling for now,” which could be interpreted as a lack of concern. However, these lines describe the neighbor rather than the cat. The phrases from lines 17–19 are used to explain that what keeps the cat from returning home is the allure of “luminous possibility.” The use of the phrase “all that would keep her” suggests that the cat would likely return home to the security of “the steady circle / of light” (lines 16–17) if not for the possibilities offered by the night, implying that the cat usually prefers to be at home with the neighbor. The phrases do not highlight a lack of concern for the neighbor on the part of the cat.

B. Incorrect. While the phrase “luminous possibility” does convey a high degree of interest, it is used to describe why being outside at night appeals to the cat. It does not describe the speaker’s interest in the cat. The speaker observes the cat as it tries to decide between returning home and staying out and then concludes that it is only “luminous / possibility . . . that would keep [the cat] / away from home.”

C. CORRECT. The phrases are used to explain that the cat, though tempted to return home, is also tempted or compelled by “luminous possibility” to remain outdoors. The phrases convey a sense of wonder about what the night may offer, and it is the powerful effect of this sense of wonder (“all that would keep her / away from home”) that ultimately tempts the cat to remain outdoors rather than return to the comforts of home.

D. Incorrect. Lines 17–19 present the speaker’s observations about the cat as it tries to decide whether to stay where it is or return home. The speaker explains that it is only “luminous possibility” that can convince the cat to stay rather than return to the comforts of home. While the speaker then imagines the neighbor indoors, there is no indication that the speaker supports the cat’s decision. The speaker merely notes that the neighbor stops calling to the cat “for now” (line 21), and then the speaker reflects on the possible results of calling someone home.

Question analysis

This reading question asks how the phrases luminous possibility and all that would keep her away from home, which describe what surrounds a cat in a nearby yard, affect the poem At Dusk. Students must interpret abstract, figurative wording and work out whose feelings it conveys: the cat's, the neighbor's or the speaker's.

NYS standards
  • 7R4 word meaning and choice
  • 7L5a interpreting allusions
Grade level
Grade 8 reading and task
Compared with grade 7
At grade 7 Explaining how word choice affects a poem is grade 7 work. These phrases are abstract and broken across lines, which adds some challenge, but the lines around them are concrete, so the task stays within typical grade 7 demand.
Estimated difficulty
Moderate: several steps, or a close reading with one strong distractor.
Evidence
Answered from one paragraph or stanza
Reading level
Passage: 236 words (a poem; reading level not measured); question and choices: about grade 8, 63 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

The phrases belong to the speaker but describe what tempts the cat, and the choices exploit that by offering the speaker's interest or approval, or the cat's indifference to its owner. The words “all that would keep her / away from home” imply that home still pulls at the cat, so only an attraction strong enough to hold her outside fits. Students who first settle whose experience the phrases describe can rule out most choices at once.

  1. Figurative or literary language moderate Understanding the question

    “Luminous possibility” is abstract, an unnamed promise glowing in the dusk, and students must see it as what draws the cat, the counterweight to “the steady circle / of light” at home. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  2. Reading between the lines minor Working it out

    The phrases are the speaker's words about the cat, so students must work out that they convey the cat's pull, not the speaker's opinion or the neighbor's feelings. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  3. Complex sentences minor Understanding the question

    The phrases are broken across lines 17–19 and set off by dashes, so “flitting before her” is separated from “possibility” by the inserted “all that would keep her / away from home.” (Abedi & Lord, 2001; Freedle & Kostin, 1993; Messick, 1989)

Strategy: Decide first who or what the phrases describe, then keep only choices about that same subject and check that the phrases themselves show what each one claims.

Traps

  • Wrong tone or attitude: Misjudges the tone, attitude or point of view, such as reading admiration as criticism, or taking a character's or subject's feelings for the author's.
  • Reads too much in: A reasonable-sounding conclusion that goes further than the text allows.

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    You need to know what two phrases do in the poem. First decide who they describe. Here they describe the cat and what pulls at her.

  2. Find the phrases in lines 17–19

    The cat could go home, “or stay where she is: luminous / possibility—all that would keep her / away from home—flitting before her.”

  3. Work out what the words mean

    “Luminous” means glowing with light. “Possibility” means what might happen. “Flitting” means darting quickly about, like the fireflies near her head. So the glowing night is full of exciting chances. It is everything that “would keep her / away from home.” That sense of wonder is what holds the cat outside.

  4. Check each choice

    • A is wrong. “All that would keep her / away from home” means home pulls at her too. She isn’t uncaring.
    • B is wrong. The phrases describe what draws the cat, not how the speaker feels.
    • C is right. The night’s glow and wonder tempt the cat to stay out. “Compelled” means strongly pulled.
    • D is wrong. The speaker never says the cat is right to stay out.

    Watch out: B is tempting because “luminous possibility” is the speaker’s own beautiful wording. But the speaker uses it to show what the cat sees.

  5. Choose the answer

    The phrases show a wonder strong enough to hold the cat outdoors. So the answer is C.

Why this answer and not the closest wrong one

B is the closest wrong answer. The speaker does choose these glowing words. But they describe the night that is “flitting before her,” the cat. They explain what keeps her “away from home.” C fits, because the phrases show the cat drawn by wonder to stay outside.

More questions like this

The original DOE question
Question 22 as printed on page 49 of the DOE handbook.
As printed in the DOE’s NYC Guide to the Specialized High Schools Admissions Test (SHSAT) for 2025 Admissions, page 49, question 22. Open page 49 of the handbook (PDF) The handbook letters this question’s choices E–H; here they are A–D (E = A, F = B, G = C, H = D).

Question 40 of 78

2024 Test A English, question 23

Uses the passage above: “At Dusk”.

Question

Read lines 11–13 from the poem.

toward the voice, then back
to the constellation of fireflies flickering
near her head

Which idea from the poem does the imagery in these lines help convey?

  • AThe cat lacks a preference for going in or staying out.
  • BThe cat is eager to see what will happen next.
  • CThe cat wants to understand the unpredictable behavior of the fireflies.
  • DThe cat is fascinated by the natural world and finds the indoors unremarkable.
Show the answer

Correct answer: D

The question asks which idea the imagery in lines 11–13 helps convey.

A. Incorrect. Line 13 includes the speaker’s observation that the cat seems “as if she can’t decide” whether to stay outside or go to the neighbor. However, the imagery of the “constellation of fireflies flickering” in line 12 suggests that the cat does have a preference for exploring the more exciting “luminous / possibility” (lines 17–18) of the outdoors.

B. Incorrect. The imagery in lines 10–11 of the cat turning “first / toward the voice, then back” might seem to suggest that the cat is eagerly watching both the neighbor and the fireflies to see what will happen next. However, line 13, in which the cat seems “as if she can’t decide,” indicates that what will happen next is actually under the cat’s control.

C. Incorrect. The imagery in lines 12–13 of the “fireflies flickering / near her head” does indicate the fireflies’ unpredictable behavior. However, the imagery in lines 10–11 of the cat turning “first / toward the voice, then back” establishes that the cat’s attention is split between the fireflies and the “high-pitched wheedling” (line 5) of the neighbor’s voice, rather than being fully captured by wanting to understand the fireflies.

D. CORRECT. The imagery in line 12 of “the constellation of fireflies flickering” suggests that the outdoors holds fascinating attractions, an idea supported by the description in lines 17–18 of the cat’s current location outdoors as one filled with “luminous / possibility.” The imagery in lines 10–11 of the cat turning “first / toward the voice, then back” indicates that the cat has considered but rejected the option of returning indoors, and the description in lines 16–17 of the indoors as offering only a “steady circle / of light” suggests that the indoors seems unremarkable to the cat in comparison to the outdoors.

Question analysis

This reading question quotes three lines from At Dusk in which a cat turns from a calling voice back to fireflies flickering near her head, and asks which idea the imagery helps convey. Students must interpret a visual image in light of the lines around it and judge how far the poem supports each reading of the cat's attention.

NYS standards
  • 7R4 word meaning and choice
  • 7L5a interpreting allusions
Grade level
Grade 8 reading and task
Compared with grade 7
Above grade 7 Grade 7 students explain what imagery conveys, but this image is brief and the four ideas offered for it differ in subtle ways, so ruling them out takes closer reading than typical grade 7 work.
Estimated difficulty
Hard: combines ideas, needs a plan, and has more than one tempting wrong answer.
Evidence
Answered from one paragraph or stanza
Reading level
Passage: 236 words (a poem; reading level not measured); question and choices: about grade 6, 77 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

The answer is the best available rather than a perfect one: its first half is plain in the image of the cat turning back to the fireflies, while its second half rests on the comparison with a steady porch light. Meanwhile the very next words say she “can't decide,” which makes indifference look like the safe reading. The question rewards seeing that being torn is not the same as having no preference, since the image shows which way she turns.

  1. Reading between the lines major Working it out

    The quoted lines never mention the indoors, so the claim that the cat finds it unremarkable has to be drawn from the contrast with “the steady circle / of light” in lines 16–17. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  2. Figurative or literary language moderate Understanding the question

    “The constellation of fireflies flickering” turns insects into a field of stars beside the cat's head, and that image of wonder is what students are asked to interpret. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  3. Evidence in several places minor Working it out

    The words right after the quotation say “It's as if she can't decide,” and the evidence that tips the balance sits in lines 16–19, outside the three lines quoted. (Kirsch & Mosenthal, 1990; Gorin & Embretson, 2006)

Strategy: Picture the cat's movements in these three lines, then test each choice against the words of lines 10–19 and drop any idea the image does not actually show.

Traps

  • Twists what the text says: Uses the text's topic and ideas but changes what it says: who did it, how much, when, or why.
  • Reads too much in: A reasonable-sounding conclusion that goes further than the text allows.
  • Word match: Repeats striking words or phrases from the text, so it looks supported, but its meaning does not fit the question.

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    Imagery is language that helps you see, hear or feel a scene. You need the idea that the images in lines 11–13 help show.

  2. Picture lines 10–13

    The cat “turns first / toward the voice, then back / to the constellation of fireflies flickering / near her head.” A constellation is a group of stars that forms a picture. So the fireflies are like little stars blinking around her. She hears the call, but she turns back to them.

  3. Compare outdoors and indoors

    Outside, the night sparkles like stars. Lines 17–18 call it “luminous / possibility,” full of glowing chances. Home is “the steady circle / of light” on the porch (lines 16–17). Steady means it does not change. Next to the flickering stars, that light is plain. Unremarkable means not special.

  4. Check each choice

    • A is wrong. The cat “can’t decide,” but that means she feels two pulls. The image shows her turning back to the fireflies.
    • B is wrong. She is not waiting for something to happen. Her attention is split between two pulls.
    • C is wrong. She is drawn to the fireflies’ glow, not trying to figure out how they act.
    • D is right. She is fascinated by the night, and the porch light is plain next to it.

    Watch out: A is tempting because of line 13. But being torn is not the same as having no preference.

  5. Choose the answer

    The poem never says the cat has made up her mind. But the images make the night magical and home ordinary. That fits D best. So the answer is D.

Why this answer and not the closest wrong one

A is the closest wrong answer, since the next words say “It’s as if she can’t decide.” But a cat with no preference would not care either way. This cat turns back to the fireflies, which shows a strong pull. D fits that pull, and the plain “steady circle / of light” shows why home seems less special.

More questions like this

The original DOE question
Question 23 as printed on page 50 of the DOE handbook.
As printed in the DOE’s NYC Guide to the Specialized High Schools Admissions Test (SHSAT) for 2025 Admissions, page 50, question 23. Open page 50 of the handbook (PDF)

Question 41 of 78

2024 Test A English, question 27
Passage Champion of the Channel

Champion of the Channel

In 1926 an editor at the London Daily News predicted that Gertrude Ederle, an American swimmer with eighteen world records and three Olympic medals, would fail in her attempt to swim across the English Channel. He claimed that “even the most uncompromising champion of the rights and capacities of women must admit that in contests of physical skill, speed and endurance they must remain forever the weaker sex.” Yet, at only nineteen years old, Ederle not only became the first woman to accomplish this feat, she also broke the men’s record by two hours. Gertrude Ederle’s triumphant swim across the English Channel was a testimony to her determination, innovative spirit, and passion for swimming.

Crossing the English Channel is a daunting task for any swimmer. At its narrowest point, the channel measures twenty-one miles across. Its icy waters hover around sixty degrees Fahrenheit, and its unruly tides and currents toss swimmers about like bobbing corks. Stinging jellyfish, seaweed, and floating debris from shipwrecks and lost cargoes present added hazards.

For decades the channel’s perils have defeated countless swimmers. Ederle, too, failed in her first attempt to cross the channel in 1925. Just six miles short of finishing, she became ill, and her coach had to haul her out of the water. Undeterred, Ederle decided to try again. Ederle knew that if she did not complete the challenge this time, she might never get the opportunity to set this record, because a rival female swimmer was preparing to make her second attempt at the crossing as well.

To prepare for the marathon swim, Ederle found ways to improve her equipment. She and her sister Meg discovered that melted candle wax perfectly sealed goggle edges, effectively waterproofing Ederle’s goggles against hammering waves. The sisters also designed a two-piece silk swimsuit for Ederle. During her first channel-crossing attempt she had worn a standard one-piece swimsuit that, after the lengthy hours of swimming across the channel, had stretched out, filling with water and creating drag, making an already challenging task almost insurmountable. Unlike the cumbersome typical bathing suit, this silk invention weighed little and allowed for easy movement.

On August 6, 1926, Ederle waded into the channel near Cape Gris-Nez, France. At first she shivered in the bone-chilling water even though she had covered her body in eight layers of grease for insulation. Her limbs felt stiff. Her strokes were irregular. Driving forward, she fought to clear her mind and find what she called her “sphere,” a place where the sea became her only companion and the shrieks of gulls and the humming of boat engines faded away. Using a new overhand stroke called the American crawl, Ederle eventually settled into a steady pace, briskly breaking through waves.

Throughout Ederle’s swim, two tugboats accompanied her. One carried newspaper reporters who wired dispatches of her progress to shore. The other, displaying a sign that read “This way, ole kid!” with an arrow pointing forward, transported her coach, family, and friends. Her coach played songs, such as “Yes, We Have No Bananas,” on a phonograph so that Ederle could time her strokes to the rhythm. Using a net, her coach also passed her baby bottles of broth for nourishment.

For hours Ederle swam, dodging debris with an amused smile. However, as she neared the English shore, a sudden fierce storm erupted. The tides and waves forced Ederle backward, and she fought the stubborn swells for several hours. The salty water caused her tongue to swell and inflamed her ears. Yet Ederle felt indescribably happy as she churned through the sea. Finally, as she neared the English shore, the storm abated, and the tide turned. No longer fighting against her, the sea pushed her toward the shore and victory.

After fourteen hours and thirty-one minutes, Ederle, on wobbly legs, stepped onto the English shore. The waiting crowd roared, honked their automobile horns, blasted their tugboat whistles, and set off flares that flashed in the sky. Ederle had swum into history.

When Ederle returned to New York, she received a parade, where thousands of people shouted “Trudy!” Not only were everyday American citizens proud of Ederle, but she also inspired them to be more active. Over the next few years, more than 60,000 people credited her with motivating them to earn their American Red Cross swimming certificates. Gertrude Ederle’s accomplishment proved to the world that with determination and passion, it was possible for a person to achieve his or her goals.

SOLO SWIMS ACROSS THE ENGLISH CHANNEL

Earliest Speed Records
Year Swimmer Time
1875 Matthew Webb (M) 21 hours, 45 minutes
1923 Enrico Tiraboschi (M) 16 hours, 33 minutes
1926 Gertrude Ederle (F) 14 hours, 31 minutes
1926 Arnst Vierkotter (M) 12 hours, 38 minutes
Current Speed Records
Year Swimmer Time
2012 Trent Grimsey (M) 6 hours, 55 minutes
2006 Yvetta Hlavacova (F) 7 hours, 25 minutes

Question

Read this sentence from paragraph 4.

During her first channel-crossing attempt she had worn a standard one-piece swimsuit that, after the lengthy hours of swimming across the channel, had stretched out, filling with water and creating drag, making an already challenging task almost insurmountable.

The word “insurmountable” is used to highlight

  • Ahow the bathing suit made it impossible for Ederle to make it across the channel.
  • Bhow Ederle and her sister decided to improve Ederle’s swimming equipment in a creative way.
  • Cthat the flaws in Ederle’s bathing suit made a difficult task even more complicated.
  • Dthat the swimming equipment Ederle used needed to be custom made for her attempt.
Show the answer

Correct answer: C

The question asks about the effect of the word “insurmountable,” which means “incapable of being overcome,” in paragraph 4.

A. Incorrect. Ederle did not complete her first swim because she became ill (“Just six miles short of finishing, she became ill, and her coach had to haul her out of the water.” [paragraph 3]), not because the suit made it impossible for Ederle to complete her swim.

B. Incorrect. The author uses the word “insurmountable” to draw attention to the increased difficulty caused by the suit, not to draw attention to the sisters’ creativity in solving the problem.

C. CORRECT. The suit Ederle wore during her first attempt to swim the channel “stretched out, filling with water and creating drag” (paragraph 4), which likely contributed to her failed attempt to swim across the channel.

D. Incorrect. The passage does not address whether the original suit was custom made, simply that the suit created additional difficulties for Ederle in a situation that was already difficult.

Question analysis

This vocabulary-in-context question quotes a sentence about the stretched-out swimsuit Gertrude Ederle wore on her first attempt to swim the English Channel and asks what the word insurmountable is used to highlight. Students must decide what point the word stresses in this sentence rather than simply define it, and the choices range from the old suit's effects to the sisters' new equipment.

NYS standards
  • 7R4 word meaning and choice
  • 7L4a context clues
Grade level
Grade 7 reading and task
Compared with grade 7
At grade 7 Explaining what a strong word emphasizes in context is standard grade 7 vocabulary work. The sentence is printed in the question, which saves a search, but it is long, with several phrases stacked between the swimsuit and the key word.
Estimated difficulty
Moderate: several steps, or a close reading with one strong distractor.
What makes it hard
Evidence
Answered from one sentence or line
Reading level
Passage: about grade 9, 790 words; question and choices: about grade 10, 108 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

The phrase to weigh is “an already challenging task almost insurmountable”, and two small words carry it: “already” says the swim was hard to begin with, and “almost” stops short of impossible. Students who know only the dictionary meaning blame the suit for a failure that paragraph 3 pins on illness. Those who look past the sentence to the sisters' new gear answer a different question, about the fix rather than the problem the word stresses.

  1. Hard words moderate Understanding the question

    The question hinges on “insurmountable”, impossible to overcome, which is softened by the “almost” in front of it and set against the “already challenging task” it describes. (Perfetti, 2007; Freedle & Kostin, 1993)

  2. A very close wrong answer moderate Choosing the answer

    The right choice and the one saying the suit made the crossing impossible both blame the old suit; they differ only in degree, which is exactly what “almost” decides. (Embretson & Wetzel, 1987; Gorin & Embretson, 2006; Ascalon et al., 2007)

  3. Complex sentences minor Understanding the question

    The stem prints all 38 words of the sentence, but between the swimsuit and “insurmountable” come an inserted time phrase, the verb “had stretched out” and two “-ing” phrases, so the link is easy to lose. (Abedi & Lord, 2001; Freedle & Kostin, 1993; Messick, 1989)

Strategy: Say in your own words what the quoted sentence claims about the old swimsuit, then choose the statement that restates that claim, checking each choice against the sentence word by word.

Traps

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out the word’s job

    This question asks why the author chose one word, “insurmountable,” in paragraph 4. First you need to know what the word means. Then you can see which idea it helps the sentence stress.

  2. Break the word into parts

    To surmount something is to get over it or on top of it, the way a climber gets to the top of a cliff. The start in- means not, and the end -able means can be. So something insurmountable cannot be gotten over. It is too hard to beat.

  3. Read the words around it

    The old suit “had stretched out, filling with water and creating drag.” Drag is a force that pulls back on you and slows you down. This made “an already challenging task almost insurmountable.” Two small words matter a lot. Already tells you the swim was hard even before the suit caused trouble. Almost tells you it came close to impossible, but not all the way.

  4. Decide what the word stresses

    Put together, the phrase stresses how much worse the old suit made things. A task that was hard to begin with became even harder. The word does not say the suit by itself made the swim impossible.

  5. Check each choice

    • C fits: the suit’s flaws made “a difficult task even more complicated,” just like “already challenging” plus “almost insurmountable.”
    • A is wrong because it drops “almost,” and paragraph 3 says her first try ended when she “became ill.”
    • B is wrong because the sisters’ clever new gear comes in other sentences, while this word is about the problem.
    • D is wrong because the passage never says her gear had to be custom made.

    Watch out: A uses the word’s dictionary meaning. Always read the small words around a key word.

  6. Choose the answer

    The word shows how the old suit turned a hard swim into a nearly hopeless one. So the answer is C.

Why this answer and not the closest wrong one

A comes closest, since “insurmountable” alone does mean impossible. But the author wrote “almost” in front of it. And paragraph 3 says illness, not the suit, ended her first try. C keeps the exact amount the sentence gives: a hard task made even harder.

More questions like this

The original DOE question
Question 27 as printed on page 54 of the DOE handbook.
As printed in the DOE’s NYC Guide to the Specialized High Schools Admissions Test (SHSAT) for 2025 Admissions, page 54, question 27. Open page 54 of the handbook (PDF)
The passage “Champion of the Channel” as printed (pages 56–57)The passage “Champion of the Channel” as printed on page 56 of the DOE handbook.The passage “Champion of the Channel” as printed on page 57 of the DOE handbook.

Question 42 of 78

2024 Test A English, question 31

Uses the passage above: “Champion of the Channel”.

Question

Which sentence from the passage best conveys the author’s perspective regarding the impact of Ederle’s accomplishment?

  • A“Undeterred, Ederle decided to try again.” (paragraph 3)
  • B“For hours Ederle swam, dodging debris with an amused smile.” (paragraph 7)
  • C“Yet Ederle felt indescribably happy as she churned through the sea.” (paragraph 7)
  • D“Ederle had swum into history.” (paragraph 8)
Show the answer

Correct answer: D

The question asks for the sentence from the passage that best conveys the author’s perspective about the impact of Ederle’s swim.

A. Incorrect. Although this option shows Ederle’s determination to accomplish her goal, it does not convey the author’s perspective. Rather, the option reinforces Ederle’s own perspective about the challenge that she was facing.

B. Incorrect. The sentence presented in this option is incorrect because it relates to Ederle’s state of mind as she came closer to achieving her goal and does not provide details about the author’s opinion of the impact of Ederle’s accomplishment.

C. Incorrect. The sentence presented in this option is incorrect because it simply presents Ederle’s emotional state as she nears her goal and does not provide information about the author’s perspective.

D. CORRECT. This option is correct because, throughout the passage, the author emphasizes that Ederle’s accomplishment was memorable and great, which is best stated in the sentence from paragraph 8.

Question analysis

What did Gertrude Ederle's English Channel swim mean in the author's eyes? This point-of-view question asks which quoted sentence best shows the author's perspective on its impact, and because the quotations all come from the story of her attempts, students must tell the author's judgment apart from sentences reporting what Ederle did or felt.

NYS standards
  • 7R6 point of view and author position
  • 7R4 word meaning and choice
Grade level
Grade 7 reading and task
Compared with grade 7
At grade 7 Telling an author's perspective apart from a subject's actions and moods is ordinary grade 7 point-of-view work. Each choice is a single sentence with its paragraph given, so little searching is needed and the demand is typical.
Estimated difficulty
Straightforward: two steps or one careful reading.
What makes it hard
Evidence
Answered from several paragraphs or stanzas
Reading level
Passage: about grade 9, 790 words; question and choices: about grade 11, 52 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

Two tests apply at once: whose view a sentence gives, and whether that view concerns the swim's impact. Three sentences narrate Ederle herself, before the swim and in the water, and the word “Undeterred” can make the first sound like the author's praise. The five-word sentence that closes paragraph 8 is easy to skim past, because it states impact through an image rather than in plain terms.

  1. How, not what moderate Working it out

    The question asks for the author's judgment, so sentences that narrate Ederle's choices and moods, her decision to try again, her “amused smile”, her happiness in the storm, have to be set aside. (Anderson & Krathwohl, 2001)

  2. Figurative or literary language minor Understanding the question

    The only sentence about impact states it as a figure of speech, “Ederle had swum into history”, which must be read as a claim that the swim earned a lasting place. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

Strategy: Ask of each quotation whether it reports Ederle's actions or feelings, or whether it is the author stepping back to judge what the swim meant. Only the second kind answers this question.

Traps

  • Wrong tone or attitude: Misjudges the tone, attitude or point of view, such as reading admiration as criticism, or taking a character's or subject's feelings for the author's.
  • True but not the answer: A choice says something accurate about the text that does not answer this question.

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Unpack the key words

    A perspective is a point of view, the way someone sees a subject. Impact means the effect something has on the world. So you need a sentence where the author judges what Ederle’s swim meant. A sentence that only tells what Ederle did or felt won’t count.

  2. Test each sentence two ways

    Ask two questions about each choice. First, is this the author’s own judgment, or does it just tell what Ederle did or felt? Second, is it about the effect of the swim, or about something else? The right sentence passes both tests.

  3. Check each choice

    • A: “Undeterred, Ederle decided to try again” (paragraph 3) tells her choice after failing in 1925, so it comes before the swim and can’t show its effect.
    • B: “dodging debris with an amused smile” (paragraph 7) shows her mood in the water.
    • C: “Ederle felt indescribably happy” (paragraph 7) tells her own feelings, not the author’s view.
    • D: “Ederle had swum into history” (paragraph 8) is the author stepping back to judge what the swim meant.

    Watch out: Undeterred means not discouraged, so A can sound like praise from the author. But it is about her decision, not the swim’s effect.

  4. Explain the figure of speech

    “Swum into history” is a figure of speech, words that mean more than they literally say. History is not a place you can swim to. The phrase means her swim was so important that people will remember it for a long time. So the sentence judges the swim’s impact.

  5. Choose the answer

    Only choice D gives the author’s own view of what the swim achieved. So the answer is D.

Why this answer and not the closest wrong one

A is the closest wrong answer, since the word “Undeterred” holds a note of praise. But the sentence reports Ederle’s choice to try again after she failed. That happened before the big swim, so it can’t show the swim’s impact. D is the author’s own claim that the swim made history.

More questions like this

The original DOE question
Question 31 as printed on page 55 of the DOE handbook.
As printed in the DOE’s NYC Guide to the Specialized High Schools Admissions Test (SHSAT) for 2025 Admissions, page 55, question 31. Open page 55 of the handbook (PDF)

Question 43 of 78

2024 Test A English, question 43
Passage Excerpt from The Highest Tide

Excerpt from The Highest Tide

by Jim Lynch

The narrator’s summer job is collecting marine specimens in Puget Sound, Washington. In this excerpt, he is looking for specimens in the mudflats before daybreak. Mudflats, or flats, are coastal landforms created when sediment and silt from tides are deposited as the tides recede.

I rounded the oyster beds, to the far side. . . . It was low tide by then, and I saw the water hesitating at its apex, neither leaving nor returning, patiently waiting for the gravitational gears to shift. Dozens of anxious clams started squirting in unison like they did whenever vibrating grains of sand warned them predators were approaching. I stopped and waited with them, to actually see the moment when the tide started returning with its invisible buffet of plankton for the clams, oysters, mussels and other filter feeders. It was right then, ankle deep in the Sound, feet numbing, eyes relaxed, that I saw the nudibranch.1

In all my time on the flats I’d never seen one before. I’d read about them, sure. I’d handled them at aquariums but never in the wild, and I’d never even seen a photo of one this stunning. It was just three inches long but with dozens of fluorescent, orange-tipped hornlike plumes jutting from the back of its see-through body that appeared to be lit from within.

Nudibranchs are often called the butterflies of the sea, but even that understates their dazzle. Almost everything else in the northern Pacific is dressed to blend with pale surroundings. Nudibranchs don’t bother, in part because they taste so lousy they don’t need camouflage to survive. But also, I decided right then, because their beauty is so startling it earns them a free pass, the same way everyday life brakes for peacocks, parade floats. . . .

The dark mudflats loomed like wet, flattened dunes stretching deep into Skookumchuck Bay in front of our house. From a distance, they looked too barren to support sea life. Up close, they still did, unless you knew where to find the hearty clams, worms and tiny creatures that flourish in mud. . . . I’m not sure why I decided to take a look. It was still an hour before sunrise, and I knew exactly what the bars2 looked like in the moonlight, but for some reason, I couldn’t resist.

I heard it long before I saw it. It was an exhale, a release of sorts, and I instantly wondered if a whale was stranded again. We had a young minke3 stuck out there two summers prior, and it made similar noises until the tide rose high enough for rescuers to help free it. . . . I looked for a hulking silhouette but couldn’t find one. I waited, but there were no more sounds. Still, I went toward what I thought I’d heard, avoiding stepping into the mud until I had to. I knew the flats well enough to know I could get stuck just about anywhere. The general rule was you didn’t venture out past the shells and gravel with an incoming tide. I sank up to my knees twice, and numbing water filled my boots.

. . . I kept stepping toward the one sound I’d heard, a growing part of me hoping I’d find nothing at all. When I stopped to rest and yank up my socks, my headlamp crossed it. My first thought? A giant octopus.

Puget Sound has some of the biggest octopi in the world. They often balloon to a hundred pounds. Even the great Jacques Cousteau4 himself came to study them. But when I saw the long tubular shape of its upper body and the tangle of tentacles below it, I knew it was more than an octopus. I came closer, within fifty feet, close enough to see its large cylindrical siphon5 quiver. I couldn’t tell if it was making any sounds at that point, because it was impossible to hear anything over the blood in my ears. . . .

The creature’s body came to a triangular point above narrow fins that lay flat on the mud like wings, but it was hard to be sure exactly where it all began or ended, or how long its tentacles truly were, because I was afraid to pry my eyes off its jumble of arms for more than half a second. I didn’t know whether I was within reach, and its arms were as big around as my ankle and lined with suckers the size of half-dollars. If they even twitched I would have run. So, I was looking at it and not looking at it while my heart spangled my vision. I saw fragments, pieces, and tried to fuse them in my mind but couldn’t be certain of the whole. I knew what it had to be, but I wouldn’t allow myself to even think the two words. Then I gradually realized the dark shiny disc in the middle of the rubbery mass was too perfectly round to be mud or a reflection.

It was too late to smother my scream. Its eye was the size of a hubcap.6

From THE HIGHEST TIDE by Jim Lynch. Copyright © 2005 by Jim Lynch. Used by permission of Bloomsbury USA. All rights reserved.

1nudibranch: type of sea slug

2bars: sandbars

3minke: species of small whale

4Jacques Cousteau: renowned French oceanographer

5siphon: tube-like organ that is used for drawing in or removing fluids

6hubcap: removable cap over the end of a wheel axle

Question

In paragraph 3, the phrase “the butterflies of the sea” conveys the idea that

  • Anudibranchs do not have to work as hard as other animals to survive in the ocean.
  • Bnudibranchs have colorful features that make them stand out.
  • Cnudibranchs are delicate and have trouble adapting to their environment.
  • Dnudibranchs are rare and difficult to find in the ocean.
Show the answer

Correct answer: B

The question asks what idea the phrase “the butterflies of the sea” in paragraph 3 conveys.

A. Incorrect. While the narrator does say that they “taste so lousy they don’t need camouflage to survive” (paragraph 3), the phrase explains that their bright appearance poses no threat to their lives.

B. CORRECT. The narrator describes the vibrant colors of the nudibranch in paragraph 2. Then in paragraph 3, the narrator says that “their beauty is so startling.” The nudibranchs are colorful and unique, just as many butterflies are.

C. Incorrect. The narrator describes the distinct appearance of the nudibranch but does not suggest that nudibranchs struggle to adapt to their environment because of this trait.

D. Incorrect. In paragraph 2, the narrator states, “I’d handled them at aquariums but never in the wild, and I’d never even seen a photo of one this stunning.” Although this suggests that the narrator has rarely encountered a nudibranch in the wild, it does not suggest that they are rare in the wild in general.

Question analysis

This figurative-language question asks what the phrase “the butterflies of the sea” conveys about nudibranchs, the sea slugs the narrator spots on a Puget Sound mudflat in an excerpt from the novel The Highest Tide. Students must use the description around the phrase to decide which quality of butterflies the comparison points to.

NYS standards
  • 7R4 word meaning and choice
  • 7L5 figurative language and word relationships
Grade level
Grade 7 reading and task
Compared with grade 7
At grade 7 Interpreting a figurative comparison from context is standard grade 7 language work. The description around the phrase is vivid and close at hand, so the demand is typical, even though the creature itself may be unfamiliar.
Estimated difficulty
Straightforward: two steps or one careful reading.
Evidence
Answered from one paragraph or stanza
Reading level
Passage: about grade 6, 902 words; question and choices: about grade 7, 58 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

The nickname is explained in the same sentence, where the narrator says even it “understates their dazzle”, so the question is mostly a matter of reading on a few words. The trap is reading on too far: the next sentences explain why nudibranchs can afford to be showy, a different point. Students who bring their own idea of butterflies as fragile, or who turn the narrator's first sighting into rarity, drift away from what he stresses.

  1. Figurative or literary language moderate Understanding the question

    The comparison's point is supplied by the clause right after it, “even that understates their dazzle”, and by paragraph 2's fluorescent, orange-tipped plumes, not by anything butterflies are usually known for. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  2. An unfamiliar subject minor Understanding the question

    Few students have seen a nudibranch, footnoted only as a type of sea slug, so the picture of it must be built entirely from paragraph 2's description. (Recht & Leslie, 1988; Kintsch, 1998)

Strategy: Read the phrase with the sentence it sits in and the description of the nudibranch just before it, then decide which quality of butterflies the comparison is pointing to.

Traps

  • True but not the answer: A choice says something accurate about the text that does not answer this question.
  • Outside knowledge: A choice is plausible in the real world but not supported by this text.
  • Reads too much in: A reasonable-sounding conclusion that goes further than the text allows.

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Spot the comparison

    This asks about figurative language, words that compare two things to make a point. In paragraph 3, nudibranchs are called “the butterflies of the sea.” You need to decide which quality of butterflies the comparison points to.

  2. Read the rest of the sentence

    The sentence goes on: “but even that understates their dazzle.” To understate means to say less than the full truth. Dazzle means bright, eye-catching beauty. So the narrator means nudibranchs are even more dazzling than butterflies.

  3. Look back at paragraph 2

    Paragraph 2 describes the one he found. It had “dozens of fluorescent, orange-tipped hornlike plumes.” Fluorescent means glowing with bright color. Plumes are feathery tufts. Its body even seemed “to be lit from within.” Like a butterfly, it is bright and colorful, and it stands out.

  4. Check each choice

    • B fits: “colorful features that make them stand out” matches the glowing plumes and the dazzle.
    • A is wrong because their bad taste explains how they survive, not what the butterfly phrase means.
    • C is wrong because the passage never says nudibranchs are delicate or struggle to fit in.
    • D is wrong because the narrator never seeing one in the wild is his own experience, not proof they are rare.

    Watch out: A uses real details from the same paragraph. But they answer a different question: why nudibranchs can afford to be showy.

  5. Choose the answer

    The butterfly comparison points to the nudibranch’s bright, eye-catching colors. So the answer is B.

Why this answer and not the closest wrong one

A comes closest, since the same paragraph says nudibranchs “don’t need camouflage to survive.” But that explains why they can afford to be bright. The butterfly phrase itself is about their beauty, which even the nickname “understates.” B names that beauty: colorful features that stand out.

More questions like this

The original DOE question
Question 43 as printed on page 65 of the DOE handbook.
As printed in the DOE’s NYC Guide to the Specialized High Schools Admissions Test (SHSAT) for 2025 Admissions, page 65, question 43. Open page 65 of the handbook (PDF)
The passage “Excerpt from The Highest Tide” as printed (pages 64–65)The passage “Excerpt from The Highest Tide” as printed on page 64 of the DOE handbook.The passage “Excerpt from The Highest Tide” as printed on page 65 of the DOE handbook.

Question 44 of 78

2024 Test A English, question 49

Uses the passage above: “Excerpt from The Highest Tide”.

Question

Read these sentences from paragraph 8.

So, I was looking at it and not looking at it while my heart spangled my vision. I saw fragments, pieces, and tried to fuse them in my mind but couldn’t be certain of the whole.

The sensory language “spangled my vision,” “I saw fragments, pieces,” and “tried to fuse them in my mind” conveys the narrator’s

  • Aextreme excitement about making a great discovery.
  • Breluctant acceptance that he needs to leave the mudflats.
  • Cterrified confusion about the creature in the mudflats.
  • Dsudden concern about his personal safety.
Show the answer

Correct answer: C

The question asks what the sensory language in the sentences from paragraph 8 conveys about the narrator.

A. Incorrect. While the narrator does not leave the mudflats and is curious about what has been found, the main emotions described in paragraph 8 are fear and confusion as the narrator tries to comprehend the size of the animal.

B. Incorrect. The language focuses on the narrator’s inability to organize what he sees into useful thoughts and conclusions, and while the narrator feels fear in paragraph 8—“I was afraid” and “I would have run”—the narrator refuses to leave the mudflats out of curiosity.

C. CORRECT. The phrase “spangled my vision” illustrates that the narrator cannot fully recognize what has appeared on the mudflats. The sight is so amazing, the narrator is trying to “fuse” together “fragments” and “pieces” because seeing the creature has created so much emotion in the narrator that he feels confused.

D. Incorrect. While the narrator is feeling some fear, as expressed in paragraph 8, the phrases actually indicate that the narrator’s amazement causes him to struggle to take in the view of the creature before him.

Question analysis

This question about sensory language asks what three phrases, including “spangled my vision,” convey about the narrator as he stares at a huge creature in the mud in an excerpt from The Highest Tide. Students must interpret unusual imagery and choose among emotions that all seem possible at such a startling moment.

NYS standards
  • 7R4 word meaning and choice
  • 7L5 figurative language and word relationships
Grade level
Grade 8 reading and task
Compared with grade 7
Above grade 7 Interpreting sensory language for a character's state of mind is grade 7 work, but spangled is an unusual verb, and the paragraph partly supports several of the emotions offered, so the choice must be matched precisely to the quoted phrases.
Estimated difficulty
Hard: combines ideas, needs a plan, and has more than one tempting wrong answer.
Evidence
Answered from one paragraph or stanza
Reading level
Passage: about grade 6, 902 words; question and choices: about grade 7, 92 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

The quoted phrases are about perception, not feeling: the narrator sees fragments and cannot assemble them, while his heart pounds hard enough to blur his sight. The fear is clear from the surrounding sentences, where he is afraid to look away and ready to run, and that context makes the choice about personal safety very tempting. The answer must cover both the terror and the confusion, and the word “spangled” can mislead readers into hearing excitement.

  1. Figurative or literary language major Understanding the question

    The phrases describe seeing in pieces, “looking at it and not looking at it”, a heart that “spangled” his vision, “fragments” he cannot “fuse”, and the emotion has to be read from that broken sight. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  2. A very close wrong answer moderate Choosing the answer

    The right choice and the one about concern for his safety both name fear; they part on what the quoted phrases show, a mind unable to piece the creature together or a worry about its reach. (Embretson & Wetzel, 1987; Gorin & Embretson, 2006; Ascalon et al., 2007)

  3. Hard words minor Understanding the question

    “Spangled”, to scatter with glittering spots, is a rare word, and its sparkle can suggest delight, which opens a reading of excitement to students who miss the fear around it. (Perfetti, 2007; Freedle & Kostin, 1993)

Strategy: Ask what the three quoted phrases together say about how the narrator is seeing and thinking at this moment, then choose the emotion that accounts for all three, not just one.

Traps

  • True but not the answer: A choice says something accurate about the text that does not answer this question.
  • Wrong tone or attitude: Misjudges the tone, attitude or point of view, such as reading admiration as criticism, or taking a character's or subject's feelings for the author's.

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Know what the question asks

    Sensory language describes what a character sees, hears or feels. This asks what feeling the three quoted phrases show. Your answer must explain all three phrases, not just one.

  2. Explain the hard words

    To spangle means to cover with glittering spots. His heart pounds so hard that his sight seems to sparkle and blur. Fragments are small broken pieces. To fuse means to join together.

  3. Put the phrases together

    He sees only “fragments, pieces.” He tries “to fuse them in my mind” but “couldn’t be certain of the whole.” So he is confused, unable to tell what the creature really is. The sentences around them show he is also terrified. He is “afraid to pry my eyes off” its arms, and his heart is racing.

  4. Check each choice

    • C fits: “terrified confusion” covers both his fear and his broken, puzzled seeing.
    • A is wrong because “spangled” may sound happy, but he is frightened, not thrilled.
    • B is wrong because he never decides to leave, and he would run only if the arms moved.
    • D is wrong because the phrases show confused seeing, and his fear has been growing since paragraph 6.

    Watch out: D is close, since he is afraid. But it leaves out the confusion the phrases show.

  5. Choose the answer

    The phrases show a frightened narrator who cannot piece together what he sees. So the answer is C.

Why this answer and not the closest wrong one

D comes closest, because the narrator truly fears for his safety. But the quoted phrases are about how he sees: in pieces he can’t join. That is confusion. C names both the fear and the confusion, so it fits all three phrases.

More questions like this

The original DOE question
Question 49 as printed on page 67 of the DOE handbook.
As printed in the DOE’s NYC Guide to the Specialized High Schools Admissions Test (SHSAT) for 2025 Admissions, page 67, question 49. Open page 67 of the handbook (PDF)

Question 45 of 78

2024 Test B English, question 26
Passage Excerpt from Do Them No Harm!

Excerpt from Do Them No Harm!

by Zoa L. Swayne

This narrative is about the Nez Perce, an American Indian tribe, in what is now northern Idaho. The tribe is preparing for a gathering before the coming winter.

In the moon of Ta-Yum, the hottest days of summer, when salmon spawn in the little streams and huckleberries ripen in the high mountains, people from many villages of the Chopunnish Nation gathered in the Oyaip Prairie for the work and festivities of their annual camas1 harvest.

From far and near The People came. . . .

Should a stranger enter their homeland and ask, “Where are you from?” the reply was always, “We are Nee-mee-poo, The People who live here in this place.”

It was a time of Lawtiwa-mah-ton—a time of being friends together—when The People came for this last chance to enjoy being together before the Cold Moons kept them close to their fires. The visiting and trading, the foot racing and horse racing, and the gambling and stick games would be remembered and talked about long after they had forgotten the drudgery of digging and roasting camas, picking berries, or drying meat and fish. Lawtiwa-mah-ton! It was good to be friends together.

As was their custom since wahk-kee-ma, a time far back beyond the memory of man, they set up their camps in the same locations their parents and grandparents had occupied before them. Red Bear’s people, from Kamiah, made their camp near the trail that came out of the mountains. Their neighbors in Kamiah Valley, The People from Tee-e-lap-a-lo, had their camp close by. Across the wide meadow, by the great roasting pits, the camps of the Te-wap-poo and Ask-kah-poo were located. The tepees and ish-nash, brush shelters, of other groups nestled in their accustomed areas in and among the pines in such numbers that they encircled the entire meadow land.

Red Bear’s people had traveled all summer with neighboring bands, gathering and preparing roots, picking and drying berries, drying and smoking meat and fish for their winter food supply. Now they were at the Oyaip camp. The women worked hard to dig and cure as many bags of roots as they could during the warm, sunny days, for the sharp night air brought warnings that WARM was going and COLD was coming.

Everyone helped in some way. Most of the men fished or hunted for meat. While many of the women dug and roasted camas, other women and older children picked and dried berries.

And the younger children played. They played at hunting. They played with the babies. They played with their horses and puppies. They learned how to live through their play.

This sun, happiness, peace, and quiet blessed the Red Bear camp. All were busy with their daily tasks, until sudden cries came from the children playing by the trail.

“People coming! People coming! People coming on the trail from the high mountains!” they called as they ran to their elders, who looked sharply at the figures of approaching horsemen.

Were they friends or enemies? Did they bring good news or bad?

“Who can it be? What brings them here?” were the questions in every mind.

“Could they be the four hunters who had gone to Buffalo Country two summers past? Would they have news of the families who had gone long ago to Buffalo Country and never returned?”

It was customary for a hunting party to be gone for more than one season.

“Looks like hunters,” the older men agreed. “Looks like they had good hunting. Maybe our four hunters. [They have] been gone many moons.”

“Looks like five people—not four,” others observed.

Excitement grew as the riders came close enough to be recognized.

“A-a-a-a-a, they are our four hunters! But who is the fifth person?” they asked.

“Looks like a woman. Who is she?”

The hunters rode up to the welcoming crowd, proud to show off the loads of meat, hides, and other trophies of their hunt. They paraded around the encampment for all to see how strong their Hunting Power had been—what great hunters they, themselves, were.

Red Bear’s people rejoiced at their hunters’ success. Good hunters brought good to everybody. The meat meant plenty of food and the hides meant soft-tanned robes to give comfort through the Cold Moons. But it was the sight of the frail figure of the woman that aroused their curiosity. Who was she? Where had she come from? . . .

“Belongs to Red Bear people. Gone then come back,” the hunters said, as they dismounted and unloaded their packs. . . .

Now they could see! She was the daughter of the family gone so long ago! The girl-child who had left came back now—a grown woman.

“Wat-ku-ese!” the women cried. “Gone-from-Home-then-Come-Back. Wat-ku-ese!” And Wat-ku-ese was her name from that time on.

Gentle arms lifted Wat-ku-ese from her horse. The women brought her food and made a place for her to rest. For many suns they cared for her until she became stronger.

One evening Wat-ku-ese told her story for all to hear.

From DO THEM NO HARM!: Lewis and Clark Among the Nez Perce by Zoa L. Swayne. Published by Caxton Press. Copyright © 1990 by Zoa L. Swayne. Orofino, Idaho and Legacy House, Inc. Orofino, Idaho. All rights reserved.

1camas: a wild, edible plant

Question

In paragraph 8, the author repeats the word “played” most likely to

  • Aemphasize how much the adults enjoy observing the children.
  • Bshow how everyone finds a way to enjoy being at the gathering.
  • Cindicate the variety of activities available at the gathering.
  • Dcharacterize the manner in which the children master the work of adults.
Show the answer

Correct answer: D

The question asks what is the most likely reason that the author repeats the word “played” in paragraph 8.

A. Incorrect. Paragraph 7 describes the different tasks that the adults were doing at this time. They were not watching the children play, because they were busy working.

B. Incorrect. While everyone enjoys being at the gathering, the word “played” does not describe the activities of the adults. As described in paragraph 7, the adults are working together at various tasks.

C. Incorrect. The word “played” is used before phrases describing what the children did. It is not used to list activities available for all at the gathering.

D. CORRECT. The word “played” appears before different activities that the children did, such as pretending to hunt, take care of the babies, and take care of the animals. They played by pretending to do adult activities. The last sentence states that the children “learned how to live through their play.”

Question analysis

This word-choice question asks why the author repeats the word “played” in a short paragraph about the younger children at the Nez Perce camp. Students must see what the repetition builds toward and match it to answer choices written in more abstract, formal wording than the simple paragraph itself.

NYS standards
  • 7R5 structure and genre features
  • 7R4 word meaning and choice
Grade level
Grade 7 reading and task
Compared with grade 7
At grade 7 Explaining why an author repeats a word is common grade 7 work on word choice. The paragraph is five short sentences, but the choices are worded abstractly, so students must translate the paragraph’s point into the test’s more formal language.
Estimated difficulty
Moderate: several steps, or a close reading with one strong distractor.
Evidence
Answered from one paragraph or stanza
Reading level
Passage: about grade 5, 885 words; question and choices: about grade 9, 53 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

The paragraph is five short sentences, and the repetition is obvious; the challenge is saying what it adds up to. Students who stop at the repeated word see a list of games and settle on variety, while those who read to the final sentence find that the play is practice for adult life. The abstract wording of the right choice has to be matched to that plain final sentence.

  1. How, not what moderate Working it out

    The stem asks why “played” is repeated four times, so students must name the effect of the pattern, which the closing sentence, “They learned how to live through their play,” spells out. (Anderson & Krathwohl, 2001)

  2. Reading between the lines moderate Working it out

    Playing at hunting, with babies and with horses copies grown-up work, as the hunters of paragraph 7 show, and students must see that likeness to connect the play with learning adult tasks. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  3. The right answer is reworded minor Choosing the answer

    The right choice uses none of paragraph 8’s words, while one wrong choice borrows “enjoy being” together from paragraph 4 and another names the “gathering.” (Freedle & Kostin, 1993; Kirsch & Mosenthal, 1990)

Strategy: Read paragraph 8 to the end and ask what the string of “played” sentences adds up to, then match that idea to a choice even if the wording differs.

Traps

  • Wrong purpose or structure: Names a purpose, structure or effect that the part does not serve, or describes what a part says when the question asks what it does.
  • Too broad or too strong: A choice overstates, generalizes, or uses absolute words the text does not support.
  • Reads too much in: A reasonable-sounding conclusion that goes further than the text allows.

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    The author uses the word “played” over and over in paragraph 8. Repeating a word is a way to make a point. You need to figure out what point the repetition makes.

  2. Read paragraph 8

    Paragraph 8 says: “And the younger children played. They played at hunting. They played with the babies. They played with their horses and puppies. They learned how to live through their play.” The last sentence tells you where the list was going.

  3. See what the play has in common

    The children “played at hunting,” which means they pretended to hunt. Caring for babies and horses is grown-up work, too. In paragraph 7, the adults hunt, fish and gather food. So the children copy adult work when they play. The last line says “They learned how to live through their play.” Their games are practice for grown-up life.

  4. Check each choice

    • D fits. The repeated word shows how the children learn adult work by playing. To master something means to learn to do it well.
    • A: the adults aren’t watching. Paragraph 7 shows them busy working.
    • B: only the children play. The adults are working.
    • C: the play does vary, but variety isn’t the point. The last sentence is.

  5. Pick the answer

    Watch out: C is tempting because each “played” leads to a new activity. But the paragraph builds to learning, not to variety. So the answer is D.

Why this answer and not the closest wrong one

C is the closest wrong answer, because hunting, babies and horses are different kinds of play. But the paragraph doesn’t stop at the list. It ends with “They learned how to live through their play.” Each kind of play copies adult work, so D explains why the word is repeated.

More questions like this

The original DOE question
Question 26 as printed on page 179 of the DOE handbook.
As printed in the DOE’s NYC Guide to the Specialized High Schools Admissions Test (SHSAT) for 2025 Admissions, page 179, question 26. Open page 179 of the handbook (PDF) The handbook letters this question’s choices E–H; here they are A–D (E = A, F = B, G = C, H = D).
The passage “Excerpt from Do Them No Harm!” as printed (pages 177–178)The passage “Excerpt from Do Them No Harm!” as printed on page 177 of the DOE handbook.The passage “Excerpt from Do Them No Harm!” as printed on page 178 of the DOE handbook.

Question 46 of 78

2024 Test B English, question 28

Uses the passage above: “Excerpt from Do Them No Harm!”.

Question

In paragraph 20, the phrases “trophies of their hunt” and “paraded around” affect the paragraph by

  • Asuggesting that the hunters are rewarded for their leadership.
  • Bemphasizing that The People are dependent on the hunters for food.
  • Crevealing that the hunters are pleased with their success.
  • Dindicating that The People have gathered specifically to welcome the hunters.
Show the answer

Correct answer: C

The question asks how the phrases “trophies of their hunt” and “paraded around” affect paragraph 20.

A. Incorrect. The phrase “trophies of their hunt” describes the animals that the hunters have successfully found. They have already received their rewards (the animals) and are showing them to The People.

B. Incorrect. The excerpt describes many ways that The People find and prepare their own food. While they appreciate the extra food, they are not dependent on the hunters.

C. CORRECT. The hunters “paraded around” because they were proud of the animals they had been able to get while hunting. Since a trophy is a recognition of success, they consider these animals their trophies.

D. Incorrect. The phrases show the pride the hunters feel. As paragraph 20 says, the hunters want “all to see how strong their Hunting Power had been.” The phrases are focused on the hunters rather than on those who have gathered around them.

Question analysis

This word-meaning question looks at the phrases “trophies of their hunt” and “paraded around” in the scene where four Nez Perce hunters ride back into camp, and asks what the phrases add to the paragraph. Students must work out what the words suggest in this context, not just their dictionary meanings, and weigh four plausible effects on the paragraph.

NYS standards
  • 7R4 word meaning and choice
  • 7L5c connotation and denotation
Grade level
Grade 6 reading and task
Compared with grade 7
Below grade 7 Grade 7 students analyze the connotations of words in context. These two phrases are familiar and sit in one short paragraph with helpful context nearby, so this is lighter than typical grade 7 word-choice work.
Estimated difficulty
Straightforward: two steps or one careful reading.
Evidence
Answered from one paragraph or stanza
Reading level
Passage: about grade 5, 885 words; question and choices: about grade 8, 55 words.
Corrected from the DOE handbook
  • A quotation in the explanation was corrected to match the passage.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

Paragraph 20 nearly states the answer: the hunters are “proud to show off” their loads and parade “for all to see how strong their Hunting Power had been.” Errors come from neighboring details instead: the welcoming crowd in the same paragraph, the food for everyone in the next, or the everyday sense of a trophy as an award. Reading the phrases inside their own sentences settles it.

  1. Figurative or literary language minor Understanding the question

    “Trophies of their hunt” turns meat and hides into prizes and “paraded around” suggests a show, and students must read both as signs of pride rather than of awards or ceremony. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  2. The right answer is reworded minor Choosing the answer

    The right choice recasts “proud to show off” in new words, while one wrong choice echoes the “welcoming crowd” and another the “plenty of food” of paragraph 21. (Freedle & Kostin, 1993; Kirsch & Mosenthal, 1990)

Strategy: Think about what each phrase usually suggests, then reread the whole of paragraph 20 to check that meaning against the context before looking at the choices.

Traps

The wrong answers, classified

What was corrected from the DOE handbook, and why

  • Explanation: The handbook’s explanation of Option C says the hunters “parade around.” Paragraph 20, and the question itself, say they “paraded around the encampment,” so the site now quotes “paraded around” and puts the rest of that sentence in the past tense to match.

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This asks what two phrases add to paragraph 20: “trophies of their hunt” and “paraded around.” Think about what each phrase suggests. Then check it against the whole paragraph.

  2. Think about each phrase

    A trophy is something you show off to prove you won, like a cup for a winning team. Here the trophies are the meat and hides from the hunt. To parade is to march around so people can watch, like in a parade. Both phrases suggest showing off something you are proud of.

  3. Check the whole paragraph

    Paragraph 20 says the hunters were “proud to show off the loads of meat, hides, and other trophies of their hunt.” Then “They paraded around the encampment for all to see how strong their Hunting Power had been.” An encampment is a camp. The paragraph ends “what great hunters they, themselves, were.” So the hunters are proud of how well they did.

  4. Check each choice

    • C fits. The hunters are pleased with their success.
    • A: no one gives the hunters a prize. The trophies are what they caught, and nothing mentions leading.
    • B: The People get much of their own food. They dig roots, pick berries and fish. They don’t depend on the hunters to eat.
    • D: The People came for the camas harvest. They greet the hunters when they arrive. They did not gather just for them.

    Watch out: D is tempting because the paragraph mentions a “welcoming crowd.” But the two phrases describe the hunters, not the crowd.

  5. Pick the answer

    Both phrases show the hunters proudly showing off the results of a good hunt. So the answer is C: the hunters are pleased with their success.

Why this answer and not the closest wrong one

D and B are the closest wrong answers, because they use nearby details: the “welcoming crowd” and the food the hunters bring. But the two phrases are about the hunters themselves. They are “proud to show off” what they caught. That pride is C.

More questions like this

The original DOE question
Question 28 as printed on page 180 of the DOE handbook.
As printed in the DOE’s NYC Guide to the Specialized High Schools Admissions Test (SHSAT) for 2025 Admissions, page 180, question 28. Open page 180 of the handbook (PDF) The handbook letters this question’s choices E–H; here they are A–D (E = A, F = B, G = C, H = D). This is the DOE’s version, before the corrections listed in the analysis.

Question 47 of 78

2024 Test B English, question 36
Passage Invention of the Telegraph

Samuel Morse, an American inventor, is credited with creating the electronic telegraph, a communication device that allows users to send messages using a system of short and long pulses that represent letters, numbers, and punctuation. In 1843 the United States Congress passed the Telegraph Bill, which provided Morse with the funds to build an electric telegraph system.

Invention of the Telegraph

Earlier Signal Systems

Long before Samuel F. B. Morse electrically transmitted his famous message “What hath God wrought?” from Washington to Baltimore on May 24, 1844, there were signaling systems that enabled people to communicate over distances. Most were visual or “semaphore” systems using flags or lights. In the eighteenth century, such systems used an observer who would decipher a signal from a high tower on a distant hill and then send it on to the next station. The young American republic wanted just such a system along its entire Atlantic coast and offered a prize of $30,000 for a workable proposal. The framers of this legislation1^1 had no way of knowing that when they used the word “telegraph” to refer to this visual semaphore system, they would be offered an entirely new and revolutionary means of communication—electricity.

The Growth of an Idea

The idea of using electricity to communicate over distance is said to have occurred to Morse during a conversation aboard ship when he was returning from Europe in 1832. Michael Faraday’s recently invented electromagnet was much discussed by the ship’s passengers, and when Morse came to understand how it worked, he speculated that it might be possible to send a coded message over a wire. While a student at Yale College years before, he had written his parents a letter about how interesting he found the lectures on electricity. Despite what he had learned at Yale, Morse found when he began to develop his idea that he had little real understanding of the nature of electricity, and after sporadic attempts to work with batteries, magnets, and wires, he finally turned for help to a colleague at the University of the City of New York, Leonard D. Gale.

Gale was a professor of chemistry and familiar with the electrical work of Princeton’s Joseph Henry, a true pioneer in the new field. Well before Morse had his shipboard idea about a telegraph, Henry rang a bell at a distance by opening and closing an electric circuit. In 1831, he had published an article, of which Morse was unaware, that contained details suggesting the idea of an electric telegraph. Gale’s help and his knowledge of this article proved crucial to Morse’s telegraph system because Gale not only pointed out flaws in the system but showed Morse how he could regularly boost the strength of a signal and overcome the distance problems he had encountered by using a relay system Henry had invented. Henry’s experiments, Gale’s assistance, and, soon after, hiring the young technician Alfred Vail were keys to Morse’s success.

Obstacles and Opportunities

By December 1837, Morse had enough confidence in his new system to apply for the federal government’s appropriation, and during the next year he conducted demonstrations of his telegraph both in New York and Washington.

However, when the economic disaster known as the Panic of 1837 took hold of the nation and caused a long depression, Morse was forced to wait for better times. It was during this period that Morse visited Europe again and tried not only to secure patent protection overseas but to examine competing telegraph systems in England. . . .

By 1843, the country was beginning to recover economically, and Morse again asked Congress for the $30,000 that would allow him to build a telegraph line from Washington to Baltimore, forty miles away. The House of Representatives eventually passed the bill containing the Morse appropriation, and the Senate approved it in the final hours of that Congress’s last session. With President Tyler’s signature, Morse received the cash he needed and began to carry out plans for an underground telegraph line.

Realizing a Great Invention

Morse had hired the ingenious construction engineer Ezra Cornell to lay the pipe carrying the wire, and although Cornell did his job superbly, one of Morse’s partners, Congressman F. O. J. Smith, had purchased wire with defective insulation. Too much time had been wasted laying bad wire, and with the project on a rigid deadline, something had to be done quickly. Cornell suggested that the fastest and cheapest way of connecting Washington and Baltimore was to string wires overhead on trees and poles. The desperate Morse gave the go-ahead, and the line was completed in time for the dramatic and spectacularly successful link between the Supreme Court chamber of the Capitol building and the railroad station in Baltimore.

Soon, as overhead wires connected cities up and down the Atlantic coast, the dots-and-dashes method2^2 that recorded messages on a long moving strip of paper was replaced by the operator’s ability to interpret the code in real time. . . . Telegraph lines soon extended westward, and within Morse’s own lifetime they connected the continents of Europe and America.

“Invention of the Telegraph”—Public Domain/Library of Congress

1^1legislation: Telegraph Bill

2^2dots-and-dashes method: the short and long pulses of Morse code that are sent and received by telegraph operators

World map titled “British All-Red Telegraph Line, 1902,” with a compass rose (N, S, E, W) and a key showing a thick black line as an electric telegraph line. The line runs from London across the Atlantic Ocean and Canada to Vancouver, then west into the Pacific Ocean off the map’s left edge; from London and from Canada’s east coast to Bermuda, then to Barbados, across the Atlantic to Cape Town, and across the Indian Ocean to Perth, which a second line links to India; and from Perth across Australia to Brisbane and Norfolk, with branches to New Zealand and east into the Pacific off the map’s right edge. Washington, D.C., in the United States, is marked with a dot but no line reaches it.

The first transatlantic electric telegraph message was sent in 1858, and by 1902 the British All-Red Line connected most of the world.

Bar graph titled “Telegraph Messages Transmitted, 1870–1920,” with the number of messages transmitted, in millions, on the vertical axis (0 to 180 in steps of 20) and the years 1870, 1880, 1890, 1900, 1910 and 1920 on the horizontal axis. The bars show about 10 million messages in 1870, 30 million in 1880, 55 million in 1890, 65 million in 1900, 75 million in 1910 and 155 million in 1920.

Source: U.S. Bureau of the Census. Historical Statistics of the United States, Colonial Times to 1970, Bicentennial Edition, Part 2. Washington, D.C., 1975.

Question

Read this sentence from paragraph 7.

The desperate Morse gave the go-ahead, and the line was completed in time for the dramatic and spectacularly successful link between the Supreme Court chamber of the Capitol building and the railroad station in Baltimore.

The words “dramatic” and “spectacularly” in the sentence convey a

  • Asense of relief and fulfillment that the line was finished.
  • Bsense of wonder and celebration that the telegraph line was accomplished.
  • Cfeeling of excitement about the future possibilities of the telegraph.
  • Dfeeling of confidence about being able to continue the work.
Show the answer

Correct answer: B

The question asks what the words “dramatic” and “spectacularly” convey in the sentence from paragraph 7.

A. Incorrect. While there may have been some feelings of relief and fulfillment when the lines were finished, the passage instead focuses on the wonder and joy that Morse and Cornell felt after overcoming setbacks and completing the construction of the telegraph system.

B. CORRECT. Morse and Cornell rushed to post the wires overhead, and the “rigid deadline” (paragraph 7) was successfully met. The words have a positive and victorious tone that is consistent with the feeling of wonder that it worked and of celebration that the construction was completed.

C. Incorrect. The passage does not share whether Morse or Cornell considered the future possibilities of the telegraph; it shares only that the finished product was “dramatic,” implying it was amazing to see.

D. Incorrect. While the passage later discusses the expansion of overhead wires “up and down the Atlantic coast” and how they “connected the continents of Europe and America” (paragraph 8), there is no evidence shared in the passage that Morse planned to continue his work with electricity.

Question analysis

Students judge the connotation of two words, “dramatic” and “spectacularly,” in the sentence from “Invention of the Telegraph” that describes the completion of Samuel Morse’s first telegraph link from Washington to Baltimore. Because the same sentence calls Morse “desperate” and says the line was finished just in time, several feelings seem to fit the moment, and the choices name four of them.

NYS standards
  • 7R4 word meaning and choice
  • 7L5c connotation and denotation
Grade level
Grade 7 reading and task
Compared with grade 7
At grade 7 Judging what two adjectives convey is standard grade 7 word-choice work, and the sentence is printed with the question. The challenge is that all four choices name believable feelings, so students must separate the words’ own connotations from the situation around them.
Estimated difficulty
Moderate: several steps, or a close reading with one strong distractor.
Evidence
Answered from one sentence or line
Reading level
Passage: about grade 11, 910 words; question and choices: about grade 10, 91 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

The quoted sentence offers two tempting sources for the answer besides the two words the stem names: Morse is “desperate,” and the line is finished “in time.” Students who read the situation rather than the words choose relief, and those who think ahead to paragraph 8’s spreading wires choose excitement about the future. The question rewards asking what “dramatic” and “spectacularly” say about the link itself, an event that impressed and was celebrated.

  1. A very close wrong answer moderate Choosing the answer

    The relief choice is built like the key, a pair of feelings about the finished line; only the feelings differ, and “dramatic” and “spectacularly” point to wonder at a public success, not release from worry. (Embretson & Wetzel, 1987; Gorin & Embretson, 2006; Ascalon et al., 2007)

  2. Reading between the lines moderate Working it out

    Neither word names an emotion: “dramatic” and “spectacularly” describe the link itself, so the feeling they carry has to be inferred from their sense of an impressive public show. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  3. Every choice must be checked minor Choosing the answer

    All four choices name a positive feeling that suits a race against a “rigid deadline,” so tone alone rules none of them out. (Embretson & Wetzel, 1987)

Strategy: Before reading the choices, picture something you would call dramatic and spectacularly successful, and name the feeling those words give it; then find the choice closest to that feeling.

Traps

  • Wrong tone or attitude: Misjudges the tone, attitude or point of view, such as reading admiration as criticism, or taking a character's or subject's feelings for the author's.
  • Wrong part of the text: A choice is true of another paragraph, stanza or speaker than the one asked about.

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This question is about connotation, the feeling a word carries beyond its dictionary meaning. It names two words, “dramatic” and “spectacularly.” Your job is to name the feeling those two words give the sentence. Other words in the sentence should not decide your answer.

  2. See what is happening in paragraph 7

    Just before this sentence, Morse’s team lost time laying wire that turned out to be faulty. The job was also “on a rigid deadline” with no time to spare. Cornell had a quick fix: to “string wires overhead on trees and poles” instead. Morse agreed, and the line was done in time. The sentence describes the moment the first link worked, from the Capitol in Washington to the train station in Baltimore.

  3. Work out what the two words suggest

    A dramatic event grabs your attention, the way the high point of a movie does. Spectacularly comes from spectacle, a grand sight that makes people stop and stare. So the author is saying the link was more than finished. It was a thrilling public success. Words like these make a reader marvel at what was done and want to cheer.

  4. Check each choice

    • A does not fit. Morse was “desperate,” so he may have felt relief. But that feeling comes from the word “desperate,” not from the two words the question asks about.
    • B fits. Wonder matches an amazing sight, and celebration matches a great success.
    • C does not fit. This sentence is only about the finished link. Wires spreading to other places come later, in paragraph 8.
    • D does not fit. The two words describe the event itself. They tell nothing about Morse’s plans for more work.

  5. Choose the answer

    The words “dramatic” and “spectacularly” make the first telegraph link sound like a thrilling show. So the answer is B, a “sense of wonder and celebration that the telegraph line was accomplished.”

Why this answer and not the closest wrong one

A is the closest trap, since it also names two good feelings about the finished line. But relief is the quiet feeling you get when worry ends. The words “dramatic” and “spectacularly” are loud and showy. They make the link sound like something to gasp at and cheer for, and that is wonder and celebration.

More questions like this

The original DOE question
Question 36 as printed on page 187 of the DOE handbook.
As printed in the DOE’s NYC Guide to the Specialized High Schools Admissions Test (SHSAT) for 2025 Admissions, page 187, question 36. Open page 187 of the handbook (PDF) The handbook letters this question’s choices E–H; here they are A–D (E = A, F = B, G = C, H = D).
The passage “Invention of the Telegraph” as printed (pages 146–148)The passage “Invention of the Telegraph” as printed on page 146 of the DOE handbook.The passage “Invention of the Telegraph” as printed on page 147 of the DOE handbook.The passage “Invention of the Telegraph” as printed on page 148 of the DOE handbook.

Question 48 of 78

2024 Test B English, question 45
Passage Snowy Mountains

Snowy Mountains

by John Gould Fletcher

Higher and still more high,
Palaces made for cloud,
Above the dingy city-roofs
Blue-white like angels with broad wings,
Pillars of the sky at rest
The mountains from the great plateau
Uprise.

But the world heeds them not;
They have been here now for too long a time.
The world makes war on them,
Tunnels their granite cliffs,
Splits down their shining sides,
Plasters their cliffs with soap-advertisements,
Destroys the lonely fragments of their peace.

Vaster and still more vast,
Peak after peak, pile after pile,
Wilderness still untamed,
To which the future is as was the past,
Barrier spread by Gods,
Sunning their shining foreheads,
Barrier broken down by those who do not need
The joy of time-resisting storm-worn stone,
The mountains swing along
The south horizon of the sky;
Welcoming with wide floors of blue-green ice
The mists that dance and drive before the sun.

“Snowy Mountains” by John Gould Fletcher—Public Domain

Question

How does the poet develop the speaker’s point of view in the second stanza (lines 8–14)?

  • Aby describing images of the mountains’ awe-inspiring size and strength
  • Bby illustrating the differences among the various ways humans can affect the natural environment
  • Cby criticizing society for taking careless, harmful courses of action against nature
  • Dby demonstrating how the mountains and the people are able to benefit from each other
Show the answer

Correct answer: C

The question asks how the poet develops the speaker’s point of view in the second stanza.

A. Incorrect. The speaker’s descriptions of the mountains’ awe-inspiring size and strength mainly occur in the first and third stanzas, while in the second stanza, the speaker focuses on humanity and its negative effect on the mountains.

B. Incorrect. The wording of the second stanza—“makes war” (line 10), “Splits down their shining sides” (line 12), and “Destroys the lonely fragments” (line 14)—communicates the speaker’s position that people’s main impact on the mountains is destructive; the wording does not illustrate different ways people impact the natural environment.

C. CORRECT. In the second stanza, the speaker criticizes the destructive actions of “the world” (lines 8 and 10) against the mountains—actions such as tunneling “their granite cliffs” (line 11) and destroying “the lonely fragments of their peace” (line 14).

D. Incorrect. In the second stanza, the speaker does not describe a positive relationship between the mountains and the people.

Question analysis

This point-of-view question on the poem “Snowy Mountains” asks how the poet develops the speaker’s outlook in the second stanza, lines 8–14. Students must read the stanza on its own, decide what attitude its images and verbs express, and then find the choice that names both that attitude and the way it comes across.

NYS standards
  • 7R6 point of view and author position
  • 7R4 word meaning and choice
Grade level
Grade 6 reading and task
Compared with grade 7
Below grade 7 Below typical grade 7 demand. Grade 7 point-of-view questions often require weighing subtle or shifting attitudes; this stanza is seven short lines with one consistent stance, carried by strong action words, so it suits grade 6.
Estimated difficulty
Straightforward: two steps or one careful reading.
What makes it hard
Evidence
Answered from one paragraph or stanza
Reading level
Passage: 161 words (a poem; reading level not measured); question and choices: about grade 10, 66 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

The speaker’s anger in lines 8–14 is plain, and most students sense that the stanza blames people. Points are lost to choices that describe the poem’s admiration of the peaks, which belongs to the stanzas around this one, or that list the stanza’s actions without their hostility. Staying inside the seven lines and reading the attitude in verbs such as “makes war” and “Destroys” settles it quickly.

  1. How, not what moderate Working it out

    The stem asks how the viewpoint is built, and the answer lies in what the world does in lines 10–14: it “makes war,” “Tunnels,” “Splits,” “Plasters” and “Destroys.” (Anderson & Krathwohl, 2001)

  2. Figurative or literary language minor Understanding the question

    The stanza personifies the mountains as victims, ignored and robbed of “the lonely fragments of their peace,” so the criticism of people comes through sympathy for the peaks. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

Strategy: Read lines 8–14 by themselves and put the speaker’s attitude into a few words of your own before looking at the choices.

Traps

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This asks about point of view. That is how the speaker, the voice talking in the poem, feels about the subject. It also asks how the poet shows that feeling. Look only at the second stanza, lines 8 to 14.

  2. Read the second stanza closely

    The stanza opens with “But the world heeds them not” (line 8). To heed something is to pay attention to it. Then “the world” starts to act. It “makes war on them,” “Tunnels their granite cliffs,” and “Splits down their shining sides.” It covers them with ads. Finally, in line 14, it “Destroys the lonely fragments of their peace.”

  3. Decide what the speaker thinks

    Here “the world” means people in general. People ignore the mountains, yet keep hurting them. Each action is an attack: making war, tunneling, splitting, plastering, destroying. The speaker is clearly on the mountains’ side. By listing these acts, the speaker blames people for being careless and harmful. Blaming someone for what they do wrong is called criticism.

  4. Check each choice

    • A does not fit. Size and strength fill the first and third stanzas, as in “Higher and still more high” and “Vaster and still more vast.” In lines 8 to 14, the mountains are only victims.
    • B does not fit. The stanza lists several acts, but it does not compare them. They are all part of one “war.”
    • C fits. The stanza blames society for ignoring and harming the mountains.
    • D does not fit. The stanza shows no give-and-take. People only harm the mountains, and the mountains get nothing back.

  5. Choose the answer

    The speaker’s view comes through a list of careless, harmful acts that the poem plainly condemns. So the answer is C.

Why this answer and not the closest wrong one

B is the closest wrong choice, because the stanza really does name several ways people affect the mountains. But the speaker is not studying how they differ. Each one is another blow in the same attack, and the speaker is upset by all of them. C names that anger as criticism, which is what the stanza does.

More questions like this

The original DOE question
Question 45 as printed on page 191 of the DOE handbook.
As printed in the DOE’s NYC Guide to the Specialized High Schools Admissions Test (SHSAT) for 2025 Admissions, page 191, question 45. Open page 191 of the handbook (PDF)
The passage “Snowy Mountains” as printed (page 142)The passage “Snowy Mountains” as printed on page 142 of the DOE handbook.

Question 49 of 78

2024 Test B English, question 47

Uses the passage above: “Snowy Mountains”.

Question

Read lines 21–22 from the poem.

Barrier broken down by those who do not need
The joy of time-resisting storm-worn stone,

How do the lines help convey the speaker’s point of view?

  • AThey suggest that the speaker wants to remove the obstacles that prevent others from experiencing the wonders of nature.
  • BThey reveal the speaker’s opinion that some people are too busy to appreciate natural beauty.
  • CThey reflect the speaker’s dismay that people destroy the natural landscape without understanding the ramifications of their actions.
  • DThey explain that the speaker is confident that nature will never be fully destroyed by people.
Show the answer

Correct answer: C

The question asks how lines 21–22 help convey the speaker’s point of view.

A. Incorrect. The word “barrier” (line 21) refers to the speaker’s opinion that the mountains were “spread by Gods” (line 19) and not to an obstacle that the speaker thinks should be removed.

B. Incorrect. While the lines indicate that people have lost the need to connect with nature, they do not reveal that the speaker thinks that the cause of this loss is busyness.

C. CORRECT. The words “those who do not need / The joy” in lines 21–22 reflect the speaker’s sadness that people do not realize that they are destroying something wonderful and irreplaceable.

D. Incorrect. Although the speaker does say that the stone is “time-resisting” (line 22), this belief is only a small detail of the speaker’s point of view.

Question analysis

Two lines from the final stanza of “Snowy Mountains” describe a barrier broken down by people who do not need “The joy of time-resisting storm-worn stone,” and students must explain how these lines convey the speaker’s point of view. The phrasing is compact and old-fashioned, with an unusual use of “need,” so working out the plain meaning comes before choosing among close descriptions of the speaker’s feelings.

NYS standards
  • 7R6 point of view and author position
  • 7R4 word meaning and choice
Grade level
Grade 8 reading and task
Compared with grade 7
Above grade 7 Grade 7 students often infer a speaker’s attitude from clear statements. Here the attitude must be drawn from a compressed sentence broken across two lines, and the choices differ in fine shades of feeling and cause.
Estimated difficulty
Hard: combines ideas, needs a plan, and has more than one tempting wrong answer.
What makes it hard
Evidence
Answered from one sentence or line
Reading level
Passage: 161 words (a poem; reading level not measured); question and choices: about grade 9, 99 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

Before any choice can be judged, the compressed, inverted verse has to be put into plain English: people with no use for the old stone’s joy have broken the barrier down. Once that paraphrase is in hand, the speaker’s sorrow is clear, yet two wrong choices offer nearby readings. One supplies a cause the lines never give, busyness, and the other turns the stone’s endurance into a promise that the same sentence contradicts.

  1. Complex sentences major Understanding the question

    The lines break mid-phrase, “those who do not need / The joy of time-resisting storm-worn stone,” inside a sentence whose subject arrives only in line 23, so who breaks what must be untangled first. (Abedi & Lord, 2001; Freedle & Kostin, 1993; Messick, 1989)

  2. Reading between the lines moderate Working it out

    Neither dismay nor ignorance is stated; both must be inferred from describing the people as not needing “The joy” of the stone they break down. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  3. Hard words minor Understanding the question

    “Barrier” here means the mountain range as a great wall, not an obstacle, and the key turns on “ramifications,” a word many seventh graders will not know. (Perfetti, 2007; Freedle & Kostin, 1993)

Strategy: Read lines 21–22 with the lines just before them, restate the sentence in your own words, and then decide what the speaker thinks of the people it describes.

Traps

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This asks about point of view: what the speaker thinks and feels. Read lines 21 and 22, and decide what they show about the speaker’s attitude toward the people in them.

  2. Read the lines with the ones before

    Two lines earlier, the poem names the mountains a “Barrier spread by Gods” (line 19). A barrier is a wall, and here the wall is the mountain range itself. Line 21 says this barrier is “broken down by those who do not need” something. Line 22 says what that something is: “The joy of time-resisting storm-worn stone.”

  3. Put the lines in plain words

    Time-resisting means the stone has held out against ages of time. Storm-worn means storms have rubbed it down. So this stone is very old and very tough. In plain words: the mountains are being torn down by people who have no use for the joy this ancient stone can give. The speaker sounds sad and troubled that something so lasting is wrecked by people who do not value it.

  4. Check each choice

    • A does not fit. Here “Barrier” means the mountains, not something blocking the way. The speaker is sorry it was broken, not eager to remove it.
    • B does not fit. The lines never give a reason, such as being too busy. That idea comes from outside the poem.
    • C fits. Dismay is a mix of sadness and alarm. Ramifications are the effects an action leads to later on. The speaker is dismayed that people wreck the mountains with no thought for what they are losing.
    • D does not fit. The stone is “time-resisting,” but the same lines show it broken down. They express sorrow, not confidence.

  5. Choose the answer

    The lines show the mountains being broken by people who see no value in them, and the speaker is upset. So the answer is C.

Why this answer and not the closest wrong one

B is the strongest trap, because being too busy for nature sounds like a fair reason. But lines 21 and 22 never explain why these people do not need the stone’s joy. B adds a cause from outside the poem. C stays with what the lines show: damage to the mountains, done by people who do not value them, and the speaker’s distress.

More questions like this

The original DOE question
Question 47 as printed on page 191 of the DOE handbook.
As printed in the DOE’s NYC Guide to the Specialized High Schools Admissions Test (SHSAT) for 2025 Admissions, page 191, question 47. Open page 191 of the handbook (PDF)

Question 50 of 78

2024 Test B English, question 49

Uses the passage above: “Snowy Mountains”.

Question

Read lines 23–26 from the poem.

The mountains swing along
The south horizon of the sky;
Welcoming with wide floors of blue-green ice
The mists that dance and drive before the sun.

The personification in these concluding lines of the poem suggests that the mountains are

  • Agracious hosts who are untroubled by the actions of people.
  • Bunaware of their coming destruction.
  • Clively entertainers who are amused by the everyday concerns of people.
  • Dtoo proud to reveal their pain.
Show the answer

Correct answer: A

The question asks what the personification in the concluding lines of the poem suggests about the mountains.

A. CORRECT. Line 25’s use of the word “Welcoming” suggests that the mountains are kind hosts. Lines 23 and 26, with language such as “The mountains swing along” and “The mists that dance and drive before the sun,” imply the carefree nature of the mountains as they resist the destructive work of humanity.

B. Incorrect. The personification in the lines conveys a sense of optimism and endurance, with no language to suggest coming destruction.

C. Incorrect. Although the lines mention that “the mountains swing along” (line 23) and “the mists . . . dance” (line 26), the personification is used to describe the mountains’ perseverance, rather than to suggest that the mountains are amused by the concerns of others.

D. Incorrect. Although the second stanza develops the idea that the mountains have been mistreated by humans, which might be a source of pain, the concluding lines emphasize the joy and perseverance of the mountains as they “swing along” (line 23) despite significant adversity.

Question analysis

Students interpret the personification in the closing lines of “Snowy Mountains,” lines 23–26, and decide what it suggests about the mountains on the south horizon. They need to see which human actions the poet gives the mountains and what kind of character those actions create, and then choose among four quite different personalities.

NYS standards
  • 7L5 figurative language and word relationships
  • 7R4 word meaning and choice
Grade level
Grade 7 reading and task
Compared with grade 7
At grade 7 Grade 7 readers routinely interpret personification, and here the four lines are printed with the question. The images are concrete and the choices give the mountains clearly different roles and moods, so careful matching settles it.
Estimated difficulty
Straightforward: two steps or one careful reading.
What makes it hard
Evidence
Answered from one sentence or line
Reading level
Passage: 161 words (a poem; reading level not measured); question and choices: about grade 6, 77 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

The closing lines are calm and generous, and the task is to turn their personification into a character. Students who give the mists’ dancing to the mountains see performers, but the performer choice also has the mountains amused by people’s concerns, which nothing here supports, so a careful reader rejects it. The remaining losses come from carrying the second stanza’s damage into lines that show only ease and welcome.

  1. Figurative or literary language moderate Understanding the question

    The human traits must be sorted by who has them: the mountains “swing along” and are “Welcoming,” while the mists are the ones that “dance and drive before the sun.” (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  2. Complex sentences minor Understanding the question

    In “Welcoming with wide floors of blue-green ice / The mists,” the object of “Welcoming” comes after a long phrase and a line break, so who welcomes whom is easy to lose. (Abedi & Lord, 2001; Freedle & Kostin, 1993; Messick, 1989)

Strategy: Underline each verb or describing word in lines 23–26 that gives the mountains a human trait, then check every choice against all of them.

Traps

  • Twists what the text says: Uses the text's topic and ideas but changes what it says: who did it, how much, when, or why.
  • Reads too much in: A reasonable-sounding conclusion that goes further than the text allows.

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This asks about personification. That is when a writer describes a thing as if it were a person, with human actions or moods. You need to decide what kind of character the mountains seem to be in lines 23 to 26.

  2. Find who does each action

    The four lines are one sentence. In line 23, “The mountains swing along” the edge of the sky. Line 25 shows them “Welcoming with wide floors of blue-green ice.” The guests arrive in line 26: “The mists that dance and drive before the sun.” The mountains do two things here, swing along and welcome. The dancing belongs to the mists.

  3. Decide what the actions suggest

    Welcoming guests is what a host does. A host invites others in and makes them comfortable. Gracious means warm and polite. To swing along is to move in a relaxed, easy way. The second stanza was full of harm, yet here the mountains seem calm. They are untroubled, or not worried or upset.

  4. Check each choice

    • A fits. The mountains welcome the mists like gracious hosts, and they move at ease.
    • B does not fit. Nothing in these lines hints at harm to come. The mood is calm and bright.
    • C does not fit. Line 26 gives the dancing to the mists. And nothing shows the mountains laughing at people’s daily worries.
    • D does not fit. There is no sign of pride or hidden pain. The mountains seem relaxed and open.

  5. Choose the answer

    Like kind hosts, the mountains greet their guests and stay calm. So the answer is A.

Why this answer and not the closest wrong one

C may tempt you, because swinging and dancing both sound lively. But check who dances: line 26 gives the dancing to the mists. The mountains are the ones “Welcoming” them, so they are hosts, not entertainers. C also says the mountains are amused by people, and these lines never show that.

More questions like this

The original DOE question
Question 49 as printed on page 192 of the DOE handbook.
As printed in the DOE’s NYC Guide to the Specialized High Schools Admissions Test (SHSAT) for 2025 Admissions, page 192, question 49. Open page 192 of the handbook (PDF)

Question 51 of 78

2024 Test B English, question 50
Passage Excerpt from “The Past and the Future of the Earth’s Oldest Trees”

Excerpt from “The Past and the Future of the Earth’s Oldest Trees”

by Alex Ross

About forty-five hundred years ago, not long after the completion of the Great Pyramid at Giza, a seed of Pinus longaeva, the Great Basin bristlecone pine, landed on a steep slope in what are now known as the White Mountains, in eastern California. The seed may have travelled there on a gust of wind, its flight aided by a winglike attachment to the nut. Or it could have been planted by a bird known as the Clark’s nutcracker, which likes to hide pine seeds in caches; nutcrackers have phenomenal spatial1 memory and can recall thousands of such caches. This seed, however, lay undisturbed. On a moist day in fall, or in the wake of melting snows in spring, a seedling appeared above ground—a stubby one-inch stem with a tuft of bright-green shoots.

Most seedlings die within a year; the mortality rate is more than ninety-nine percent. The survivors are sometimes seen growing in the shadow of a fallen tree. The landscape of the Ancient Bristlecone Pine Forest, as this area of the White Mountains is called, is littered with fragments of dead trees—trunks, limbs, roots, and smaller chunks. Pinus longaeva grows exclusively in subalpine regions of the Great Basin, which stretches from the eastern slopes of the Sierra Nevada to the Wasatch Range, in Utah. Conditions are generally too arid for the dead wood to rot; instead, it erodes, sanded down like rock. The remnants may harbor nutrients and fungi that help new trees grow. Bristlecones rise from the bones of their ancestors—a city within a cemetery.

Coast redwoods and giant sequoias, California’s gargantuan world-record-holding trees, can grow fifty feet or more in their first twenty years. Bristlecones rise agonizingly slowly. After four or five years, the seedling on the steep slope would have been just a few inches higher, sprouting needles in place of the embryonic shoots. The needles are a deep green, tough, resinous, and closely bunched in groups of five. On a mature tree, they live for fifty years or more. Decades may have passed before the tree was human height, and decades more before it resembled a conventional pine. Bristlecone saplings grow straight up, with relatively sparse foliage, looking like undernourished Christmas trees. After a few hundred years—by which time the Old Kingdom of Egypt had fallen—it was probably forty or fifty feet in height.

Many tree species live for hundreds of years. A smaller but not inconsiderable number, including the sequoias and certain yews, oaks, cypresses, and junipers, survive for thousands. Once a bristlecone has established itself in the unforgiving conditions of the White Mountains, it can last almost indefinitely. The trees tend to grow some distance from one another, so fires almost never destroy an entire stand. Because only a few other plant species can handle the dry, cold climate, the bristlecones face little competition. Unlike most plants, they tolerate dolomite soil, which is composed of a chalky type of limestone that is heavily alkaline and low in nutrients. As for insect threats, bristlecone wood is so dense that mountain-pine beetles and other pests can rarely burrow their way into it.

Empires rose and fell; wars raged; . . . and the tree from 2500 B.C. continued its implacable slow-motion existence, adding about two-hundredths of an inch to the diameter of its trunk each year. Minute changes in the tree-ring record make bristlecones an exceptionally useful source of data about changing conditions on Earth. When rains are heavier than normal, the rings widen. When volcanic eruptions cause global cooling, frost rings make the anomaly2 visible. . . .

As the millennia go by, bristlecones become contorted and wraithlike.3 The main stem, or leader, dies back. Entire branches, even the trunk itself, become fossils. At first glance, the tree may look dead. Such is the case of the forty-five-hundred-year-old tree that clings to life near the tourist path that now runs through the Ancient Bristlecone Pine Forest. Spears of dead wood jut into the air. The trunk is a marbled hulk stripped of bark, like driftwood thrown from a vanished ocean. A ribbon of live bark runs up one side, funneling water and nutrients to clumps of green needles high above. All told, the tree is an unprepossessing specimen; most people march past it without giving it a second glance. . . .

. . . No two super-elderly trees look alike, to the point where they have acquired the characteristics of individuals. Trees are prone to anthropomorphism; we project our dreams and our anxieties onto them. Bristlecones have been called elders, sentinels, sages. The possibility that climate change will cause their extinction has inspired a spate4 of alarmed news stories, although tree scientists tend to discount the idea that the bristlecones are in immediate danger. They have survived any number of catastrophes in the past; they may survive humanity.

From “The Past and the Future of the Earth’s Oldest Trees” by Alex Ross from THE NEW YORKER, January 20, 2020. Copyright © 2020 by Condé Nast. All rights reserved.

1spatial: relating to physical space

2anomaly: oddity

3wraithlike: ghostly

4spate: sudden abundance

Question

What is the effect of comparing groups of bristlecone pines to “a city within a cemetery” (paragraph 2)?

  • AIt illustrates that the new tree’s appearance is markedly different from that of mature bristlecone pines.
  • BIt emphasizes the new tree’s ability to use resources left by prior generations of bristlecone pines.
  • CIt highlights the tree’s capacity for a long life if it is able to survive to maturity.
  • DIt reveals that the tree’s dense growth patterns are unusual in arid conditions.
Show the answer

Correct answer: B

The question asks what the effect is of comparing groups of bristlecone pines to “a city within a cemetery” (paragraph 2).

A. Incorrect. The reference to “a city within a cemetery” describes how new trees use the remnants of their “ancestors” (paragraph 2) and makes no comment on the appearance of young versus mature trees.

B. CORRECT. The “cemetery” contains “the bones of their ancestors” (paragraph 2)—“ancestors” being earlier generations of bristlecone pines—which provide some of the nutrients that the new trees need.

C. Incorrect. The reference to “a cemetery” is not a comment on how long bristlecone pines can live; rather, it illustrates that the new pines are using remnants of their “ancestors” (paragraph 2) to grow.

D. Incorrect. Although the climate is mentioned in paragraph 2, it is not the reason for the comparison to “a city within a cemetery.” The comment is intended to illustrate how the new trees use nutrients left behind by the old ones.

Question analysis

This figurative language question on Alex Ross’s article about the bristlecone pine, one of the Earth’s oldest trees, asks what effect the author creates by comparing groups of these trees to “a city within a cemetery.” Students must interpret a metaphor in context, and the choices raise ideas the excerpt discusses elsewhere, so they must stay with what this comparison itself conveys.

NYS standards
  • 7R4 word meaning and choice
  • 7L5 figurative language and word relationships
Grade level
Grade 7 reading and task
Compared with grade 7
At grade 7 Interpreting a metaphor from nearby context is standard grade 7 work. The phrase closes a paragraph whose earlier sentences give the needed context, so the demand is typical, though the excerpt’s rich vocabulary adds some reading load.
Estimated difficulty
Straightforward: two steps or one careful reading.
What makes it hard
Evidence
Answered from one paragraph or stanza
Reading level
Passage: about grade 8, 851 words; question and choices: about grade 10, 79 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

The comparison closes paragraph 2, and the sentence just before it explains it: the dead wood may hold nutrients and fungi that help seedlings grow. Students who read the image on its own reach for ideas from elsewhere in the excerpt, such as the trees’ great age, the look of young and old trees, or the dry climate. The question rewards reading the metaphor against its neighbors, which makes it fairly quick.

  1. Figurative or literary language moderate Understanding the question

    Both halves of the metaphor need decoding: the “city” is the living bristlecones, and the “cemetery” is the dead trunks, limbs and roots littering the slope, “the bones of their ancestors.” (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  2. Hard words minor Understanding the question

    The sentence that explains the image, “The remnants may harbor nutrients and fungi that help new trees grow,” depends on “remnants” and on “harbor” in its less familiar sense of hold. (Perfetti, 2007; Freedle & Kostin, 1993)

Strategy: Work out what the “city” and the “cemetery” each stand for by rereading the sentences just before the phrase, then choose the effect that both halves of the comparison support.

Traps

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This asks about a comparison. In paragraph 2, the author calls groups of bristlecones “a city within a cemetery.” You need to figure out what this picture helps the reader understand about the trees.

  2. Read the sentences around it

    Paragraph 2 says the forest floor is “littered with fragments of dead trees—trunks, limbs, roots, and smaller chunks.” Next it says, “The remnants may harbor nutrients and fungi that help new trees grow.” Then comes the comparison: “Bristlecones rise from the bones of their ancestors—a city within a cemetery.”

  3. Decode the two halves of the picture

    Remnants are leftover pieces. To harbor something here means to hold it. Fungi are living things such as mushrooms and molds. A cemetery is a place for the dead, so it stands for the dead wood. A city is full of life, so it stands for the living trees. Their ancestors are the trees that lived and died before them. So new trees grow out of the old ones’ remains and use what those remains hold.

  4. Check each choice

    • A does not fit. The image is about living trees and dead wood. It says nothing about how young and old trees look.
    • B fits. New trees use the nutrients and fungi left behind by earlier generations.
    • C does not fit. The excerpt does show that bristlecones live long, but this image is about growing from dead wood.
    • D does not fit. A city may sound crowded, but paragraph 4 says the trees “grow some distance from one another.”

  5. Choose the answer

    The comparison shows living trees rising from, and feeding on, the remains of their ancestors. So the answer is B.

Why this answer and not the closest wrong one

C is tempting, because long life is what the whole excerpt is about. But the sentence just before the comparison explains it: the dead wood may hold nutrients that help new trees grow. The picture is about the living drawing on the dead, which is what B says.

More questions like this

The original DOE question
Question 50 as printed on page 194 of the DOE handbook.
As printed in the DOE’s NYC Guide to the Specialized High Schools Admissions Test (SHSAT) for 2025 Admissions, page 194, question 50. Open page 194 of the handbook (PDF) The handbook letters this question’s choices E–H; here they are A–D (E = A, F = B, G = C, H = D).
The passage “Excerpt from “The Past and the Future of the Earth’s Oldest Trees”” as printed (pages 193–194)The passage “Excerpt from “The Past and the Future of the Earth’s Oldest Trees”” as printed on page 193 of the DOE handbook.The passage “Excerpt from “The Past and the Future of the Earth’s Oldest Trees”” as printed on page 194 of the DOE handbook.

Question 52 of 78

2024 Test B English, question 54

Uses the passage above: “Excerpt from “The Past and the Future of the Earth’s Oldest Trees””.

Question

The phrases “clings to life” and “stripped of bark” in paragraph 6 are used to highlight

  • Athat the tree is fragile and needs help to avoid becoming extinct.
  • Bhow the tree can be misunderstood because of its appearance.
  • Chow the tree interests observers with its unusual appearance.
  • Dthat the tree manages to survive even when partially fossilized.
Show the answer

Correct answer: D

The question asks what the phrases “clings to life” and “stripped of bark” in paragraph 6 are used to emphasize.

A. Incorrect. While these two phrases are suggestive of the tree’s fragility, nothing in this paragraph suggests that the tree needs help to avoid extinction.

B. Incorrect. While the tree may be misunderstood to be dead because it is “stripped of bark,” the phrase “clings to life” emphasizes the fact that the tree is not dead but manages to survive.

C. Incorrect. The paragraph says that far from being interested in the tree’s unusual appearance, “most people march past it without giving it a second glance” (paragraph 6).

D. CORRECT. The phrase “clings to life” emphasizes that the tree is still surviving even though it is partially fossilized, as shown by its “marbled hulk stripped of bark” (paragraph 6).

Question analysis

This word meaning question asks what the phrases “clings to life” and “stripped of bark” highlight in paragraph 6 of an article about a forty-five-hundred-year-old bristlecone pine. Students must interpret figurative and descriptive language in context, read the phrases against the rest of the paragraph, and find the idea the author uses them to stress.

NYS standards
  • 7R4 word meaning and choice
  • 7L5 figurative language and word relationships
Grade level
Grade 7 reading and task
Compared with grade 7
At grade 7 Explaining what figurative phrases emphasize is everyday grade 7 work. Both phrases sit in one short paragraph of concrete description and the choices are brief, so the demand is typical, though vocabulary such as “unprepossessing” adds some load.
Estimated difficulty
Moderate: several steps, or a close reading with one strong distractor.
Evidence
Answered from one paragraph or stanza
Reading level
Passage: about grade 8, 851 words; question and choices: about grade 7, 56 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

One phrase points to death and the other to life, and the question asks what the pair stresses together. The strongest lure explains only the bark phrase: paragraph 6 does say the tree may look dead, so a choice about being misunderstood seems well grounded. Students who give “clings to life” equal weight see a tree that survives even as its trunk turns to fossil.

  1. Figurative or literary language moderate Understanding the question

    “Clings to life” personifies the tree as holding on by a thread, and “stripped of bark” belongs to the image of a “marbled hulk” like driftwood, so the pair sets death beside survival. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  2. Reading between the lines minor Working it out

    The key’s “partially fossilized” is never said of this tree; it comes from linking “stripped of bark” to the paragraph’s earlier statement that “Entire branches, even the trunk itself, become fossils.” (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

Strategy: Decide what each phrase suggests by itself, then what the two say when read together within paragraph 6, and choose the idea that both phrases support.

Traps

  • True but not the answer: A choice says something accurate about the text that does not answer this question.
  • Half right: One half of a two-part choice is right and the other is not.
  • Twists what the text says: Uses the text's topic and ideas but changes what it says: who did it, how much, when, or why.

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This asks about two phrases in paragraph 6, “clings to life” and “stripped of bark.” You need to see what they point out when you read them together. Look for the idea that both phrases support.

  2. Find the phrases in paragraph 6

    In very old bristlecones, “Entire branches, even the trunk itself, become fossils” (paragraph 6). Next the author describes one 4,500-year-old tree “that clings to life near the tourist path” (paragraph 6). Its “trunk is a marbled hulk stripped of bark,” like driftwood. Still, “A ribbon of live bark runs up one side,” carrying water and nutrients to green needles high above.

  3. Work out what each phrase means

    To cling to life is to hold on to it hard, like gripping a rope. A fossil here is wood so old and dead that it has hardened, almost like stone. A hulk is a big, empty shell. Stripped of bark means the bark is gone. So one phrase shows a bare, fossil-like trunk, and the other shows a tree that is still alive. Together they show a tree that survives even though much of it has turned to fossil.

  4. Check each choice

    • A does not fit. The phrase “clings to life” does hint that the tree is fragile. But nothing in paragraph 6 says it needs help to avoid dying out.
    • B does not fit. The paragraph says the tree “may look dead.” But “clings to life” stresses that it survives, not that people misjudge it.
    • C does not fit. Paragraph 6 says the opposite: “most people march past it without giving it a second glance.”
    • D fits. The bare, fossil-like trunk and the tree’s grip on life together show survival.

  5. Choose the answer

    The two phrases set a dead-looking trunk beside a tree that refuses to die. So the answer is D.

Why this answer and not the closest wrong one

B is the closest trap, because the tree really can look dead. But B explains only the bark phrase. The phrase “clings to life” tells you the tree is still living. D uses both phrases: a trunk that has turned to fossil, and a tree that survives anyway.

More questions like this

The original DOE question
Question 54 as printed on page 196 of the DOE handbook.
As printed in the DOE’s NYC Guide to the Specialized High Schools Admissions Test (SHSAT) for 2025 Admissions, page 196, question 54. Open page 196 of the handbook (PDF) The handbook letters this question’s choices E–H; here they are A–D (E = A, F = B, G = C, H = D).

Question 53 of 78

2023 Test B English, question 10
Passage Excerpt from “The Food Business Incubator”

Excerpt from “The Food Business Incubator”

by Mandalit Del Barco

“La Cocina” means “the kitchen” in Spanish. It’s also the name of a business incubator1 based in San Francisco’s Mission District. Since it began in 2005, it’s been helping local food entrepreneurs, many of whom are low-income immigrant women, develop their small businesses.

Over the years, many of its alumni have found success: more than 50 chefs in its program have become self-sufficient business owners, and many of them have opened their own brick-and-mortar restaurants. Two alumnae of its culinary program . . . were even recognized as semi-finalists for prestigious James Beard awards.2

A new cookbook, We Are La Cocina: Recipes in Pursuit of the American Dream, tells some of their stories.

Executive director Caleb Zigas says the nonprofit La Cocina grew out of two grassroots economic development organizations3 who found many people cooking at their homes and selling food on the streets. The vendors needed an affordable commercial kitchen space and technical assistance in order for their businesses to be legally viable. La Cocina provided just such a space, in addition to helping them develop business plans, pull city permits and more.

Zigas says as many as eight businesses can work in the kitchen space at La Cocina at any one time. Some can prep for a farmers’ market sale, corporate catering gigs or weddings, while others might be making and packaging their food products.

“It’s just an incredible and exciting range of techniques, flavors, perspectives, age, language. And that’s a really beautiful thing,” he says. . . .

Twice a year, La Cocina hosts “F&B: Voices from the Kitchen,” a storytelling project where their chefs can tell their own stories, as they do in the new cookbook. Some of the chefs will be on tour to promote the book, whose proceeds will go to support La Cocina entrepreneurs.

NPR4 caught up with . . . La Cocina chefs, who shared their stories:

Mariko Grady, Aedan Fermented Foods

At La Cocina, you can often hear Mariko Grady singing or humming as she prepares miso, koji, and amasake. Her fermented products come in four different flavors, including mushroom and chicken, to be used in soups and sauces. She originally brought the fermenting rice and barley koji seeds from Japan, where she had a 30-year career as a singer and dancer with the prestigious modern theatrical dance group she founded, Pappa Tarahumara. They performed around the world, and 16 years ago, had a one-night show in San Francisco. The man who would become her husband was in the audience. She soon joined him in San Francisco, often returning to Tokyo to rehearse. But after the earthquake and tsunami hit Japan in 2011, her company disbanded. . . . Grady focused on nourishing her family and creating a line of fermented products that she sells online, at local Bay Area stores and at the Ferry Plaza Farmers Market. She began at La Cocina in 2012 and named her business after her son, Aedan. (Written in Kanji characters, the name means “wisdom” and “handed down from generation to generation.”) . . . Her fermented products are “also full of wisdom about how to relate to nature and how to create a healthy life,” she says. . . .

Shani Jones, Peaches Patties

Shani Jones is a native San Franciscan. Her father was born in New Orleans, her mother, in Jamaica. She says their home was always filled with a variety of spices and dishes like jerk chicken and Jamaican patties—savory pastries filled with beef or chicken. Jones says she learned to cook from her mother, whose nickname was Peaches. After returning from college in Atlanta, Jones worked on her doctorate in organizational leadership and management while driving a Lyft5 car. She often told passengers about her idea of opening a catering company with her mom’s recipes. They steered her to La Cocina, where she developed her own business, named after her mother. Five years later, she caters and runs a kiosk6 at a small food cooperative in Bernal Heights, where some of her handmade patties have an Ethiopian twist, “because my husband is Ethiopian.” Jones has big aspirations for Peaches Patties: “The ultimate goal,” she says, “is to be the patty kingpin7 of the West Coast.”

From “The Food Business Incubator That Helps Immigrant Women Pursue The American Dream” by Mandalit Del Barco from WEEKEND EDITION SUNDAY, June 19, 2019. Copyright © 2019 NPR.

QUALIFICATIONS FOR LA COCINA APPLICANTS

Level of IncomeLa Cocina considers assets and access to opportunity when screening applicants. La Cocina’s mission is to support entrepreneurs who face barriers to becoming successful in the food industry. Applicants must be classified as low- or very-low-income earners according to the Housing and Urban Development (HUD) Guidelines for San Francisco.
Business PlanApplicants must have a business plan that is ready to be put into action. La Cocina will help applicants refine an existing business plan. Applicants without a business plan should contact one of La Cocina’s partner organizations for guidance in developing one.
Viable ProductThe applicant’s food must not only be delicious but also stand out. For a business to make a profit, there also has to be a market for the food.
Entrepreneurial Work EthicLa Cocina is excited to work with entrepreneurs who are motivated and passionate about growing their business. Succeeding in the food industry requires a lot of heart and hard work.
Community SpiritThe 30+ entrepreneurs who share La Cocina’s kitchen are from many different backgrounds. La Cocina values the community it has created and expects each entrepreneur to be active in bringing the spirit of La Cocina to the wider world.
In order to succeed in the La Cocina kitchen, accepted applicants must be flexible and willing to work closely with others.

Source: La Cocina

1business incubator: company that helps new and startup companies develop by providing services such as management training and office space

2James Beard awards: an award named after American cook and author James Beard, considered one of the highest honors in the culinary industry

3economic development organizations: organizations whose mission is to promote economic improvement within a specific geographical area

4NPR: National Public Radio, a nonprofit media organization that produces and distributes news and cultural programming

5Lyft: ride-sharing company where people use their own cars to provide rides to customers

6kiosk: cart or small structure with one or more open sides that is used to vend merchandise or services

7kingpin: the leader in a group or undertaking

Question

Read this sentence from paragraph 2.

Two alumnae of its culinary program . . . were even recognized as semi-finalists for prestigious James Beard awards.

The words “recognized” and “prestigious” in the sentence convey that La Cocina

  • Amakes an effort to identify chefs who have a strong entrepreneurial work ethic.
  • Bhas the ability to mentor chefs to reach the highest levels of achievement in their craft.
  • Cis focused on establishing local food entrepreneurs as celebrated professionals in their industry.
  • Dis dedicated to assisting chefs in developing new and innovative products.
Show the answer

Correct answer: B

The question asks what the words “recognized” and “prestigious” convey about La Cocina.

A. Incorrect. While later information indicates that La Cocina bases its choices on the work ethic of entrepreneurs as well as their financial needs, the use of the words “recognized” and “prestigious” in the context of the sentence is not related to the work ethic of the chefs.

B. CORRECT. The fact that alumni of the La Cocina program have received recognition as semi-finalists for prestigious awards shows that La Cocina has helped members of its program achieve at the highest level.

C. Incorrect. As paragraph 1 indicates, La Cocina focuses on helping local food entrepreneurs develop their small businesses. While some participants in the program have earned official recognition, La Cocina is not primarily focused on establishing entrepreneurs as celebrated professionals.

D. Incorrect. La Cocina assists chefs with the development of their small businesses, not necessarily with their development of specific products.

Question analysis

This word-choice question quotes a sentence from paragraph 2 of “The Food Business Incubator,” an NPR article about La Cocina, a San Francisco program for food entrepreneurs: two alumnae of its culinary program were recognized as semi-finalists for prestigious James Beard awards. Students decide what the words “recognized” and “prestigious” convey about La Cocina itself, and several choices sound like fair praise for any cooking program.

NYS standards
  • 7R4 word meaning and choice
  • 7L5c connotation and denotation
Grade level
Grade 7 reading and task
Compared with grade 7
Above grade 7 Judging the connotation of two words is regular grade 7 work, and the sentence is printed with the question. Here students must then turn the words’ praise of two chefs into a claim about the organization, choosing between close statements, which goes beyond typical demand.
Estimated difficulty
Hard: combines ideas, needs a plan, and has more than one tempting wrong answer.
Evidence
Answered from one paragraph or stanza
Reading level
Passage: about grade 10, 1057 words; question and choices: about grade 10, 86 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

The two words are plainly positive, so the challenge is not their tone but what they say about the organization rather than the two chefs. Students must decide whether an honor reached by alumnae shows a capability of La Cocina or a goal it pursues, and the excerpt’s own statement of its focus, helping entrepreneurs develop small businesses, rules out the goal. The other choices attach the words to the table’s work-ethic and product rows, which the sentence never touches.

  1. Reading between the lines moderate Working it out

    The sentence praises two alumnae, not La Cocina; students must reason that if former members became semi-finalists for “prestigious” awards, the program that trained them can bring chefs to the top of their field. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  2. A very close wrong answer moderate Choosing the answer

    The choice about celebrated professionals and the right one both read the awards as chefs reaching the top; they differ in whether that shows what La Cocina can do or what it is focused on. (Embretson & Wetzel, 1987; Gorin & Embretson, 2006; Ascalon et al., 2007)

  3. The right answer is reworded minor Choosing the answer

    The right choice uses words the excerpt never does, “mentor” and “highest levels of achievement,” while wrong ones borrow its own: the table’s “entrepreneurial work ethic,” paragraph 1’s “local food entrepreneurs,” paragraph 5’s “food products.” (Freedle & Kostin, 1993; Kirsch & Mosenthal, 1990)

Strategy: Say what the two words add to the plain fact that two former members reached an awards list, then test each choice against paragraph 1’s account of what La Cocina actually sets out to do.

Traps

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This question is about word choice. Two words, “recognized” and “prestigious,” add meaning to a sentence. You must decide what they show about La Cocina, the program itself, not just about two of its chefs.

  2. Look at the sentence in paragraph 2

    Paragraph 2 says that two alumnae of the program “were even recognized as semi-finalists for prestigious James Beard awards.” Alumnae are women who once took part in a program. Here, recognized means honored. Prestigious means highly respected. Footnote 2 says these awards are “considered one of the highest honors in the culinary industry.” Culinary means having to do with cooking.

  3. Work out what the words show

    Two women trained by La Cocina came close to one of the top prizes in cooking. That says something about the program that taught them. It can bring its chefs near the very top of their field. The small word “even” adds pride. It tells you this honor is something special.

  4. Check each choice

    • A is wrong. Here “recognized” does not mean picked out by La Cocina. The award judges did the honoring. Work ethic never comes up.
    • B is right. To mentor means to guide and teach. A craft is a skill, like cooking. The honors show La Cocina can guide chefs to great heights in their craft.
    • C is wrong. Fame is not what La Cocina aims for. Paragraph 1 says it helps cooks “develop their small businesses.”
    • D is wrong. The sentence is about honors for chefs. It says nothing about inventing new products.

    Watch out: C is tempting, since awards do make chefs celebrated, or famous. But C claims fame is La Cocina’s focus, and the excerpt never says so.

  5. Choose the answer

    The two words show that La Cocina can help the chefs it trains rise near the top of their craft. So the answer is B.

Why this answer and not the closest wrong one

C comes nearest to being right. It reads the honor as La Cocina’s main goal. B reads it as proof of what La Cocina can do. Paragraph 1 names the real goal, building small businesses. So the award shows a strength of the program, not its purpose.

More questions like this

The original DOE question
Question 10 as printed on page 160 of the DOE handbook.
As printed in the DOE’s NYC Guide to the Specialized High Schools Admissions Test (SHSAT) for 2024 Admissions, page 160, question 10. Open page 160 of the handbook (PDF) The handbook letters this question’s choices E–H; here they are A–D (E = A, F = B, G = C, H = D).
The passage “Excerpt from “The Food Business Incubator”” as printed (pages 158–160)The passage “Excerpt from “The Food Business Incubator”” as printed on page 158 of the DOE handbook.The passage “Excerpt from “The Food Business Incubator”” as printed on page 159 of the DOE handbook.The passage “Excerpt from “The Food Business Incubator”” as printed on page 160 of the DOE handbook.

Question 54 of 78

2023 Test B English, question 33
Passage Excerpt from “How We Made the First Flight”

Excerpt from “How We Made the First Flight”

by Orville Wright

In 1903 brothers Wilbur and Orville Wright conducted experiments related to flying machines. These experiments would eventually lead to air travel becoming a reliable form of transportation.

During the night of December 16, 1903, a strong cold wind blew from the north. When we arose on the morning of the 17th, the puddles of water, which had been standing about camp since the recent rains, were covered with ice. The wind had a velocity of 10 to 12 meters per second (22 to 27 miles an hour). We thought it would die down before long, and so remained indoors the early part of the morning. But when ten o’clock arrived, and the wind was as brisk as ever, we decided that we had better get the machine out and attempt a flight. We hung out the signal for the men of the Life Saving Station.1 We thought that by facing the flyer into a strong wind, there ought to be no trouble in launching it from the level ground about camp. We realized the difficulties of flying in so high a wind, but estimated that the added dangers in flight would be partly compensated for by the slower speed in landing.

Final Preparations

We laid the track on a smooth stretch of ground about one hundred feet north of the new building. The biting cold wind made work difficult, and we had to warm up frequently in our living room, where we had a good fire in an improvised stove made of a large carbide2 can. By the time all was ready, J. T. Daniels, W. S. Dough and A. D. Etheridge, members of the Kill Devil3 Life Saving Station; W. C. Brinkley of Manteo, and Johnny Moore, a boy from Nags Head,4 had arrived.

We had a “Richard” hand anemometer with which we measured the velocity of the wind. Measurements made just before starting the first flight showed velocities of 11 to 12 meters per second, or 24 to 27 miles per hour. . . .

Audacity—and Calculation

Wilbur having used his turn in the unsuccessful attempt on the 14th, the right to the first trial now belonged to me. After running the motor a few minutes to heat it up, I released the wire that held the machine to the track, and the machine started forward in the wind. Wilbur ran at the side of the machine, holding the wing to balance it on the track. Unlike the start on the 14th, made in a calm, the machine, facing a 27-mile wind, started very slowly. Wilbur was able to stay with it till it lifted from the track after a forty-foot run. One of the Life Saving men snapped the camera for us, taking a picture just as the machine had reached the end of the track and had risen to a height of about two feet. The slow forward speed of the machine over the ground is clearly shown in the picture by Wilbur’s attitude. He stayed along beside the machine without any effort.

Flight

The course of the flight up and down was exceedingly erratic, partly due to the irregularity of the air, and partly to lack of experience in handling this machine. The control of the front rudder was difficult on account of its being balanced too near the center. This gave it a tendency to turn itself when started; so that it turned too far on one side and then too far on the other. As a result the machine would rise suddenly to about ten feet, and then as suddenly dart for the ground. A sudden dart when a little over a hundred feet from the end of the track, or a little over 120 feet from the point at which it rose into the air, ended the flight. As the velocity of the wind was over 35 feet per second and the speed of the machine over the ground against this wind ten feet per second, the speed of the machine relative to the air was over 45 feet per second, and the length of the flight was equivalent to a flight of 540 feet made in calm air. This flight lasted only 12 seconds, but it was nevertheless the first in the history of the world in which a machine carrying a man had raised itself by its own power into the air in full flight, had sailed forward without reduction of speed and had finally landed at a point as high as that from which it started.

From “How We Made the First Flight” by Orville Wright—Public Domain/Federal Aviation Administration

1Life Saving Station: one of the rescue stations along the Atlantic coastline that provided assistance to mariners in distress

2carbide: a very hard material composed of carbon and other heavy metals

3Kill Devil: the town of Kill Devil Hills in eastern North Carolina

4Nags Head: a town in eastern North Carolina

Question

Read this sentence from paragraph 5.

This flight lasted only 12 seconds, but it was nevertheless the first in the history of the world in which a machine carrying a man had raised itself by its own power into the air in full flight, had sailed forward without reduction of speed and had finally landed at a point as high as that from which it started.

The words “only,” “nevertheless,” and “finally” most clearly convey the idea that

  • Aeven a flight of such minor duration had taken a long time to achieve.
  • Bthe short flight gave the Wright brothers hope for longer ones in the future.
  • Cthe flight proved that the machine was, at last, capable of becoming airborne.
  • Dalthough it was brief, the flight was a remarkable accomplishment.
Show the answer

Correct answer: D

The question asks what idea is most clearly conveyed by the words “only,” “nevertheless,” and “finally” in the sentence from paragraph 5.

A. Incorrect. Although the duration of the flight was short and a successful flight had taken a long time to achieve, the words in the sentence from paragraph 5 are used to emphasize the remarkable nature of the flight, not the length of time it had taken the Wright brothers to be successful.

B. Incorrect. While it is easy to imagine that the Wright brothers had hope for longer flights, the words in the sentence from paragraph 5 do not relate directly to this sentiment; instead, they describe the groundbreaking success of their flight.

C. Incorrect. While the capabilities of the aircraft were demonstrated during the flight, the words in the sentence from paragraph 5 apply not only to the machine but also to the efforts of the people who designed it, built it, and actually made it fly.

D. CORRECT. The words in the sentence from paragraph 5 suggest that, though the first flight may not have lasted very long or taken the pilot very far, the Wright brothers accomplished something no one had been able to do before: successfully pilot an airplane in flight.

Question analysis

This word-choice question quotes the 60-word closing sentence of Orville Wright’s account of the first airplane flight, the sentence that begins by saying the flight lasted only 12 seconds. Students must decide what idea the words “only,” “nevertheless” and “finally,” spread across the sentence, most clearly convey, and the choices offer four readings of the flight’s significance.

NYS standards
  • 7R4 word meaning and choice
  • 7L4a context clues
Grade level
Grade 8 reading and task
Compared with grade 7
At grade 7 Explaining how word choice shapes meaning is grade 7 work, and these three words are familiar. The demand comes from the 60-word, old-fashioned sentence around them and from reading each word as it is used here, a typical grade 7 challenge.
Estimated difficulty
Moderate: several steps, or a close reading with one strong distractor.
Evidence
Answered from one sentence or line
Reading level
Passage: about grade 7, 816 words; question and choices: about grade 8, 127 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

“Only” and “nevertheless” work as a pair, a concession followed by a claim of importance, and seeing that pair is most of the question. The trap is “finally,” which most students know as “at last,” a sense that suggests years of trying or a machine that at last left the ground. Here it simply means the flight ended with a level landing, so the choices built on the everyday meaning fall away for students who read it in its place.

  1. A very close wrong answer moderate Choosing the answer

    The “minor duration” choice and the right one both open by granting that the flight was brief; they part on the second half, a long road to success or a remarkable accomplishment. (Embretson & Wetzel, 1987; Gorin & Embretson, 2006; Ascalon et al., 2007)

  2. Reading between the lines minor Working it out

    “Finally” here marks the last stage of the flight, the landing “at a point as high as that from which it started,” and students must infer that from its place after “raised itself” and “sailed forward.” (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  3. Complex sentences minor Understanding the question

    The 60-word sentence places “only” fourth, “nevertheless” tenth and “finally” 48th, inside a chain of three “had” clauses, so the three words must be gathered from across it before their combined idea appears. (Abedi & Lord, 2001; Freedle & Kostin, 1993; Messick, 1989)

Strategy: Read the sentence with each of the three words left out in turn and notice what changes; then choose the idea the three create together, not one that a single word suggests alone.

Traps

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    Here the question is about the author’s word choice. Three words, “only,” “nevertheless” and “finally,” are spread across one long sentence. You need the idea they create together. Look at what each word means right where it sits.

  2. Look at only and nevertheless

    The sentence begins, “This flight lasted only 12 seconds.” The word “only” stresses how short that is. Next comes “but it was nevertheless the first in the history of the world.” Nevertheless means even so, or in spite of that. Together these two words say: yes, it was short, but it still mattered greatly.

  3. Look at finally

    The sentence lists three things the machine did. It “had raised itself by its own power into the air,” then “had sailed forward without reduction of speed.” Last, it “had finally landed at a point as high as that from which it started.” Here, finally means as the last step. It does not mean after a long wait. It shows the flight was complete from start to finish.

  4. Check each choice

    • A is wrong. It reads “finally” as meaning after years of trying. The sentence says nothing about how long the brothers worked.
    • B is wrong. None of the three words looks ahead to future flights.
    • C is wrong. It leans on one word, “finally.” It skips how “only” and “nevertheless” work as a pair.
    • D is right. Brief matches “only.” Remarkable, or amazing, matches “nevertheless the first in the history of the world.”

    Watch out: A is tempting because most people know finally as “at last.” Always check what a word means in its own sentence.

  5. Choose the answer

    Together the three words say the flight was short but still a historic first. So the answer is D.

Why this answer and not the closest wrong one

A is the closest wrong answer. Like D, it starts by saying the flight was brief. But A then claims the flight took a long time to achieve, which needs “finally” to mean “at last.” Here it marks the landing, the last step. D keeps the real idea: short, yet a world first.

More questions like this

The original DOE question
Question 33 as printed on page 174 of the DOE handbook.
As printed in the DOE’s NYC Guide to the Specialized High Schools Admissions Test (SHSAT) for 2024 Admissions, page 174, question 33. Open page 174 of the handbook (PDF)
The passage “Excerpt from “How We Made the First Flight”” as printed (pages 13–14)The passage “Excerpt from “How We Made the First Flight”” as printed on page 13 of the DOE handbook.The passage “Excerpt from “How We Made the First Flight”” as printed on page 14 of the DOE handbook.

Question 55 of 78

2023 Test B English, question 38
Passage Cross-Purposes

Cross-Purposes

What I am is built: concrete and steel.
I defy gravity. I am what every athlete
wants: to remain at the apex of the leap,
up in the air. And yet I am useful, too:
cars, trucks, people, even trains
make their way across my broad back.
Swallows and ospreys1^1 nest in my trusses.

What I am is motion. I am water, and I am older
than anything else you know. No human
built me. I am gravity’s best friend; I pool
and flow wherever gravity takes me.
I am the blood flowing in the runner’s chest,
and I catch everything: from the hills,
the mountains. It all washes down through me.

What you are is an accident,
what happens to rain when rain gives in
to Earth’s gravitational pull.
You are some tears dribbling from a mountain’s
eye, running down the pavements
of small towns, into the cities, to the sea.
You are the path of least resistance.

What I am is power. You, of course,
have none: you are a static lump, an artifact
slowly decaying. But my regal flow
nourishes grasses, permits empires to rise.
Those who made you will break you,
in time, replacing you with yet another
clumsy structure. I have seen. I know.

“Clumsy”? Being rebuilt makes me
a friend of time, does it not? And it means
that I have siblings—those “clumsy” structures,
my sisters and brothers.
We stitch across the rip you make.
We are steel thread to the human needle.
We bind you up. We sew you.

And I sow into you; in every cranny
of your superstructure my vapors cling.
They bring out your softness, your rust.
Boast your best, and boast better yet.
I am listening to the bright hum
of the wind in your wires. Because I am,
above all else, patient. I will wait for you.

1^1ospreys: large birds

Question

The use of the words “siblings” and “my sisters and brothers” in lines 31–32 conveys the idea that the

  • Aforms water can take are less diverse than the types of structures that exist.
  • Bnumber of human-made structures is rapidly increasing.
  • Cwater passes under many similar-looking structures as it flows.
  • Dstructure is powerful because it is one of many.
Show the answer

Correct answer: D

The question asks which idea the use of the words “siblings” and “my sisters and brothers” in lines 31–32 conveys in the poem.

A. Incorrect. Although in line 29 the structure refers to itself as “being rebuilt” or taking on new forms, this idea is expressed to reinforce the idea that the structure’s presence is eternal (“a friend of time,” line 30). The use of the words “siblings” and “my sisters and brothers” in lines 31–32 does suggest that a variety of structures exist, but no comparison is drawn to suggest that the varieties of structures are more diverse than the forms of water.

B. Incorrect. While the use of the words “siblings” and “my sisters and brothers” in lines 31–32 conveys the idea that structures can be replicated by being built, it does not convey the idea that the number of human-made structures is rapidly increasing.

C. Incorrect. Although in line 33 the structure states, “We stitch across the rip you make,” suggesting that water passes under structures, the use of the words “siblings” and “my sisters and brothers” in lines 31–32 does not convey the idea that the structures that the water passes under are similar-looking.

D. CORRECT. The use of the words “siblings” and “my sisters and brothers” in lines 31–32 conveys the idea that the structure is powerful because it is one of many and because these structures “stitch across the rip” (line 33) that water makes.

Question analysis

This figurative-language question asks what idea the structure in “Cross-Purposes” conveys when it calls other structures its “siblings” and “my sisters and brothers” in lines 31–32. The words come in the fifth stanza, where the structure takes up the water’s word “clumsy,” so students must decide what this family language adds to the structure’s side of the exchange.

NYS standards
  • 7R4 word meaning and choice
  • 7L5a interpreting allusions
Grade level
Grade 7 reading and task
Compared with grade 7
At grade 7 Interpreting a metaphor in a poem is standard grade 7 work, and the family words themselves are simple. Students must still decide what the comparison means coming from a personified structure in the middle of an argument, a typical grade 7 step.
Estimated difficulty
Moderate: several steps, or a close reading with one strong distractor.
Evidence
Answered from one paragraph or stanza
Reading level
Passage: 316 words (a poem; reading level not measured); question and choices: about grade 7, 57 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

The family words answer the water’s taunt in the stanza before, that the structure’s makers will replace it with “yet another clumsy structure,” and the structure turns replacement into kinship. Students who read lines 31–32 alone may stop at the picture of a family, and the strongest wrong choice reads that family as look-alikes. The point arrives only in the next lines, where the structures act as one to bind the water, which makes their number a source of strength.

  1. Figurative or literary language moderate Understanding the question

    The structure calls other structures “siblings” and “my sisters and brothers,” a family metaphor followed at once by a sewing one, “We stitch across the rip you make,” so two figures must be read together. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  2. Reading between the lines moderate Working it out

    Nothing in lines 31–32 says the structure is powerful; students must infer it from the switch to “We” in the lines that follow, where the many structures together “bind” and “sew” the water. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  3. A very close wrong answer minor Choosing the answer

    The choice about similar-looking structures shares the right one’s idea of many structures; it differs in what their number means, a matter of looks rather than strength. (Embretson & Wetzel, 1987; Gorin & Embretson, 2006; Ascalon et al., 2007)

Strategy: Reread the whole fifth stanza, not just lines 31–32, and say what the structure is arguing there; then choose the idea that the family words add to that argument.

Traps

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This asks about figurative language, words that mean more than their plain meaning. In lines 31–32 the structure calls other structures “siblings” and “my sisters and brothers.” You need to decide what idea those family words give.

  2. Read what the water said first

    The family words answer an insult. In lines 26–28 the water says, “Those who made you will break you, / in time, replacing you with yet another / clumsy structure.” Clumsy means awkward and poorly made. The water means the structure won’t last.

  3. Read the structure’s reply

    In lines 29–32, the structure turns the insult around. Being rebuilt makes it “a friend of time.” It has “siblings,” other structures, which it calls “my sisters and brothers.” Then, in lines 33–35, it switches from “I” to “We.” It says, “We stitch across the rip you make.” It adds, “We bind you up. We sew you.” To stitch is to sew. The rip is the gap water cuts through the land.

  4. Work out the idea

    A family is a group that sticks together. Working as one, the many structures “bind” the water, like thread holding cloth. One bridge may be replaced, but the family goes on. So being one of many is what makes the structure strong.

  5. Check each choice

    • A is wrong. The lines never compare kinds of structures with forms of water.
    • B is wrong. Being rebuilt swaps one structure for another. It doesn’t mean their number is growing fast.
    • C is wrong. Real siblings may look alike, but that isn’t the point here. The family words show the structures are many and connected.
    • D is right. The “We” lines show the many structures acting together, which gives them power.

    Watch out: C is tempting if you picture siblings who look alike. Read on to line 35 to see what the family does.

  6. Choose the answer

    The family words show the structure gets its strength from being one of many. So the answer is D.

Why this answer and not the closest wrong one

C is the closest wrong answer. It also sees many structures, and in line 33 they do cross the water. But C makes the family words about looks. Lines 33–35 make them about strength: “We bind you up.” That is why D fits better.

More questions like this

The original DOE question
Question 38 as printed on page 178 of the DOE handbook.
As printed in the DOE’s NYC Guide to the Specialized High Schools Admissions Test (SHSAT) for 2024 Admissions, page 178, question 38. Open page 178 of the handbook (PDF) The handbook letters this question’s choices E–H; here they are A–D (E = A, F = B, G = C, H = D).
The passage “Cross-Purposes” as printed (pages 72–73)The passage “Cross-Purposes” as printed on page 72 of the DOE handbook.The passage “Cross-Purposes” as printed on page 73 of the DOE handbook.

Question 56 of 78

2022 Test B English, question 11
Passage Excerpt from “The World Has an E-Waste Problem”

Excerpt from “The World Has an E-Waste Problem”

by Alana Semuels

As a tech-hungry nation . . . gets ready to upgrade to the next generation of lightning-fast 5G devices, there is a surprising environmental cost to be reckoned with: a fresh mountain of obsolete1 gadgets. About 6 million pounds of discarded electronics are already processed monthly at recycling giant ERI’s Fresno plant. Pallets2 of once beloved but now outdated devices . . . arrive here daily. Workers with hammers hack at the bulkiest devices, while others remove dangerous components like lithium-ion batteries. The scene is like a twisted . . . movie, with doomed gadgets riding an unrelenting conveyor belt into a machine that shreds them into piles of copper, aluminum and steel.

“In our society, we always have to have the new, best product,” said Aaron Blum, the co-founder and chief operating officer of ERI, on a tour of the facility. Americans spent $71 billion on telephone and communication equipment in 2017, nearly five times what they spent in 2010 even when adjusted for inflation, according to the Bureau of Economic Analysis. . . . When we buy something new, we get rid of what’s old. That cycle of consumption has made electronics waste the world’s fastest-growing solid-waste stream.

That stream is expected to turn into a torrent3 as the world upgrades to 5G, the next big step in wireless technology. 5G promises faster speeds and other benefits. But experts say it will also result in a dramatic increase in e-waste, as millions of smartphones, modems and other gadgets incompatible with 5G networks are made obsolete. “I don’t think people understand the magnitude of the transition,” says ERI co-founder and executive chairman John Shegerian. “This is bigger than the change of black-and-white to color, bigger than analog to digital, by many multitudes.”

. . . Less than a quarter of all U.S. electronic waste is recycled, according to a United Nations estimate. The rest is incinerated or ends up in landfills. That’s bad news, as e-waste can contain harmful materials like mercury and beryllium that pose environmental risks.

Part of the problem is regulatory. Only 19 states have laws banning electronics from the regular trash. In states without such rules, like Nevada, electronics often end up in garbage and recycling bins, said Jeremy Walters, a community-relations manager for waste collector Republic Services. Environmental concerns aside, compacting flammable lithium-ion batteries with paper recycling can be dangerous; recycling centers have reported an uptick in fires.

Even when e-waste rules exist, it’s left up to consumers to handle their old devices properly. But recycling them can be a pain. Rather than just drop a used phone in a bin outside their homes, lots of people have to take their electronics to a store, which may pay them for it but could also charge them to get rid of it. Many consumers, paralyzed by the hassle or put off by the expense, simply throw their devices into the trash or stash them in a drawer, hoping they’ll just disappear. “We don’t necessarily have the measures to make sure people aren’t throwing it away,” Walters said.

One solution is to make electronics last as long as they once did. At ERI’s facility, Shegerian showed TIME [magazine] dozens of televisions from the 1970s and 1980s that stopped working only recently. Yet instead, technology companies are speeding the pace of obsolescence. Most smartphone batteries can’t be easily replaced when they stop holding a charge, new laptops don’t accept old cables, and software companies push upgrades that won’t run on old devices. “Our products today don’t last as long as they used to, and it’s a strategy by manufacturers to force us into shorter and shorter upgrade cycles,” said Kyle Wiens, the founder of iFixit, which publishes do-it-yourself repair guides. . . .

Some environmental groups say multibillion-dollar companies . . . should pick up the cost of recycling the devices they sell. Lawmakers in parts of Europe and Canada and in some U.S. states have passed so-called Extended Producer Responsibility (EPR) laws, which require manufacturers to establish and fund systems to recycle or collect obsolete products. . . .

. . . Some companies are increasing their recycling efforts on their own, whether for the economic benefit or the public relations boost.

From “The World Has an E-Waste Problem” by Alana Semuels from TIME Magazine, June 3, 2019. Copyright © 2019 TIME USA, LLC.

Diagram titled “ENVIRONMENTAL IMPACTS OF PERSISTENT BIOACCUMULATIVE TOXIC CHEMICALS IN ELECTRONIC DEVICES,” a cross-section of land with a layer labeled Soil over a layer labeled Groundwater. On the left, an arrow rises from an Unlined landfill to Air emissions, another leads from the landfill to a Wastewater treatment plant, which has an arrow into a pond of Surface water with a fish, and arrows point down from the landfill and from the pond through the soil to the groundwater; Air emissions has one arrow pointing right to a cloud labeled Rain, with raindrops falling, and another pointing down to a tree, beside which stand three people and a deer, with an arrow pointing up from the groundwater toward them. On the right, an arrow labeled Runoff points down the slope to a second pond of Surface water with fish, and an arrow running along the Groundwater layer also points right into that pond.

Electronics such as smartphones, computers, cameras, and large appliances contain toxins like lead, chromium, zinc, nickel, mercury, beryllium, and cadmium. These substances are bioaccumulative, which means that they accumulate over time in living organisms.

1obsolete: outdated and no longer useful

2Pallets: wooden platforms used to store or transport materials in a warehouse

3torrent: an outpouring

Question

Read this sentence from paragraph 1.

The scene is like a twisted . . . movie, with doomed gadgets riding an unrelenting conveyor belt into a machine that shreds them into piles of copper, aluminum and steel.

The words “twisted,” “doomed,” and “unrelenting” most affect the sentence by

  • Aemphasizing that discarded devices are condemned to an unfortunate fate.
  • Bexpressing a sense of desperation about the amount of waste from discarded devices.
  • Cimplying that discarded devices are often disposed of in an inappropriate manner.
  • Dsuggesting a feeling of doubt about solving the problem of discarded devices.
Show the answer

Correct answer: A

The question asks about the effect of the words “twisted,” “doomed,” and “unrelenting” on the last sentence of paragraph 1.

A. CORRECT. Paragraph 1 first describes the problem of discarded devices in terms of the scope of the problem (“about 6 million pounds . . . processed monthly”). The author then elaborates on the problem with a vivid description of the actual process; it is unfortunate that this process is necessary because, even though they are relatively new, these devices are no longer useful. These particular words emphasize the process of a once-useful device becoming a part of a “twisted . . . movie,” and “doomed” to be recycled by going through an “unrelenting” or never-ending conveyor belt.

B. Incorrect. In the excerpt, the author does express concern about the amount of waste from discarded devices, but this particular sentence is about what happens to the devices and the perspective that one has while watching the devices as they are being processed. In this description, the once-beloved devices have been destroyed, with only some useful parts being retained.

C. Incorrect. Although there is an indication in paragraphs 4–6 that some obsolete devices are disposed of inappropriately, this description is of an appropriate disposal—a recycling center developed specifically for these types of devices.

D. Incorrect. At this juncture in the excerpt, the author has not yet mentioned solving the problem of discarded devices; rather, the author is describing what happens to discarded devices that are appropriately recycled.

Question analysis

This word-choice question quotes the last sentence of the opening paragraph of “The World Has an E-Waste Problem,” in which old gadgets ride a conveyor belt into a shredder at a recycling plant. Students decide how the words “twisted,” “doomed” and “unrelenting” most affect the sentence. Each choice reads something negative into the words, so their connotations have to be matched to what this sentence describes.

NYS standards
  • 7R4 word meaning and choice
  • 7L5c connotation and denotation
Grade level
Grade 7 reading and task
Compared with grade 7
At grade 7 Explaining how word choices shape a sentence’s meaning and tone is everyday grade 7 work. The three words are quoted and sit in one sentence, though it comes from adult magazine prose and its comparison has a word cut by an ellipsis.
Estimated difficulty
Straightforward: two steps or one careful reading.
What makes it hard
Evidence
Answered from one sentence or line
Reading level
Passage: about grade 10, 760 words; question and choices: about grade 8, 91 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

The three words share one job: they cast once-loved gadgets as victims on a one-way ride to the shredder. Each wrong choice keeps the gloom but points it somewhere else, at the amount of waste, at improper dumping, or at the chances of fixing the problem. Students who ask what the words describe in this one sentence, rather than what the article worries about overall, settle on the gadgets’ fate quickly.

  1. Figurative or literary language moderate Understanding the question

    The sentence likens the plant to “a twisted . . . movie,” with a word cut by the ellipsis, and the effect lives in connotation: “doomed” and “unrelenting” turn gadgets on a conveyor belt into victims bound for a shredder. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  2. Hard words minor Understanding the question

    “Unrelenting” has to be known as never letting up, and the right choice restates “doomed” as “condemned to an unfortunate fate,” so the match is one of meaning, not of sound. (Perfetti, 2007; Freedle & Kostin, 1993)

Strategy: Ask what the three words describe in this one sentence and what feeling they share, then check each choice against the sentence itself rather than against the article as a whole.

Traps

  • Wrong tone or attitude: Misjudges the tone, attitude or point of view, such as reading admiration as criticism, or taking a character's or subject's feelings for the author's.
  • Wrong part of the text: A choice is true of another paragraph, stanza or speaker than the one asked about.
  • Reads too much in: A reasonable-sounding conclusion that goes further than the text allows.

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Find what the question asks

    This is a word-choice question. Three words in one sentence work as a team: “twisted,” “doomed” and “unrelenting.” You need to find the feeling they create and what they describe. Stay inside this one sentence, not the whole article.

  2. Read the last sentence of paragraph 1

    Paragraph 1 ends: “The scene is like a twisted . . . movie, with doomed gadgets riding an unrelenting conveyor belt into a machine that shreds them into piles of copper, aluminum and steel.” The dots (. . .) mean some words were left out. A conveyor belt is a moving belt that carries things along, like the one at a grocery checkout. The “scene” is the recycling plant.

  3. Work out each word

    Each word adds something dark.

    • Twisted means strange in a creepy way. A twisted movie is a dark one.
    • Doomed means sure to meet a bad end, with no escape.
    • Unrelenting means it never stops or slows down.

    Put together, the gadgets sound like movie characters on a one-way ride. The belt keeps moving, and the shredder waits at the end.

  4. Test the four choices

    • A fits. “Condemned to an unfortunate fate” means sentenced to a bad ending. That is just what “doomed” says.
    • B does not fit. The amount of waste, 6 million pounds a month, comes earlier. This sentence follows the gadgets, and no one sounds desperate.
    • C does not fit. This is a recycling plant, the right place for old devices. Trash and landfills come later, in paragraphs 4–6.
    • D does not fit. The sentence says nothing about fixing the problem. Solutions first come up in paragraph 7.

  5. Pick the answer

    Watch out: B is tempting because the words sound gloomy, and the plant handles a lot of waste. But gloom is not desperation, which means feeling out of hope. These words make you feel sorry for the gadgets themselves. So the answer is A.

Why this answer and not the closest wrong one

B is the closest wrong choice. The paragraph does show a huge pile of waste. But “doomed” and “unrelenting” point at what happens to each gadget: it rides the belt to the shredder and can’t get off. That is a sad fate, which is A, not a worry about how much waste there is.

More questions like this

The original DOE question
Question 11 as printed on page 166 of the DOE handbook.
As printed in the DOE’s NYC Guide to the Specialized High Schools Admissions Test (SHSAT) for 2023 Admissions, page 166, question 11. Open page 166 of the handbook (PDF)
The passage “Excerpt from “The World Has an E-Waste Problem”” as printed (pages 164–166)The passage “Excerpt from “The World Has an E-Waste Problem”” as printed on page 164 of the DOE handbook.The passage “Excerpt from “The World Has an E-Waste Problem”” as printed on page 165 of the DOE handbook.The passage “Excerpt from “The World Has an E-Waste Problem”” as printed on page 166 of the DOE handbook.

Question 57 of 78

2022 Test B English, question 25
Passage Going Solar in China

Going Solar in China

In the Anhui province of China, 166,000 floating solar panels are strung together atop the rippling surface of a lake. It is the largest solar-power farm in the world, an immense blanket of renewable energy strong enough to power 15,000 homes.

The floating solar-power farm, which harvests the sun’s rays for power, was first conceived by the Sungrow Power Supply Company after heavy rains flooded a collapsed coal mine and created a lake. Sang Dajie, a former coal miner from the area, is now an electrician for the farm, which occupies the original mine site where he used to work. Now, instead of working under the dangerous conditions at the mine, he spends his days maintaining the solar panels on the water. “The coal mine,” says Dajie, “was very hot and the air was bad. . . . But here I feel safe. The new energy is safe.” People in China rely primarily on the burning of coal in massive power plants to create electricity. While the burning of fossil fuels, like coal, is a reliable source of energy, the process releases massive amounts of carbon dioxide into the atmosphere, creating air pollution and harming Earth. Solar power, on the other hand, is clean and safe for the environment.

Solar panels are typically placed on rooftops or in open fields, but experts in China determined that the newly formed lake was a great spot for the solar-power farm. Solar-power farms over water are efficient because the water keeps the panels cool. A water-based solar-power farm can potentially generate more power than one based on land. Additionally, with the solar-power farm on the lake, the land in the surrounding area remains available for farming, which is another source of income for Anhui residents.

Originally, China displayed minimal interest in solar energy. The use of solar energy was limited primarily to rural areas that had no access to a power grid. Without access to other means of electricity, people in these areas used solar panels as an alternative to lighting candles and kerosene lamps. China began to manufacture solar panels for other countries in the late 1990s when the German government offered its people financial incentives for installing solar panels. The heightened demand for solar panels was instantaneous, and Chinese businesses were quick to seize the opportunity. Soon the governments of Spain and Italy also offered incentives for using solar technology, and Chinese manufacturers were ready for the increased demand.

Between 2008 and 2013, China improved its manufacturing technology and processes so much that it effectively lowered the worldwide cost of using solar energy by 80 percent, further increasing demand. However, a point came when Chinese manufacturers had become so efficient at producing solar-power equipment that they outpaced the demand. The manufacturers were producing two solar panels for every one solar panel they sold. In order to make manufacturing a profitable industry again, the Chinese government offered its own financial incentives to Chinese citizens for using solar energy. Now, projects like the floating solar-power farm are putting those surplus panels to use, in addition to providing jobs and cleaner energy.

A second solar-power farm has already been constructed near the massive one in Anhui as part of a government initiative to build more low-emission power plants. The goal is to meet 20 percent of the country’s energy needs with renewable, clean energy sources by the year 2030.

As Sang Dajie puts it, “I’m glad we are reusing this area to create a better future.” China’s dedication to increasing its production of renewable energy through solar power demonstrates that patience, time, and flexibility can result in transformation.

Question

The phrases “166,000 floating solar panels are strung together atop the rippling surface of a lake” and “an immense blanket of renewable energy” in paragraph 1 convey that the solar-power farm

  • Aproduces the maximum amount of energy possible for its size.
  • Bmeets and exceeds the energy needs of the area.
  • Cblends in with the surrounding landscape.
  • Dproduces a large amount of energy and is in an unusual location.
Show the answer

Correct answer: D

The question asks for an explanation of the effect of two phrases in paragraph 1 that describe the solar panels on the lake.

A. Incorrect. The phrases describe the size of the solar panels, but they do not provide any information about the amount of energy that the solar panels produce in relation to the size of the solar farm.

B. Incorrect. Despite the descriptions of the size of the solar-power farm, the phrases quoted do not indicate how much power is produced by the farm or how much energy is required by the surrounding area.

C. Incorrect. The description of the floating solar panels on the “rippling surface of a lake” provides a sense of the landscape, but it does not necessarily suggest that the solar panels blend into the landscape.

D. CORRECT. The number of solar panels suggests that the solar farm produces a great deal of energy, and the description of the solar panels floating on the lake shows that the solar farm is in a unique or unusual location.

Question analysis

This word-choice question quotes two phrases from the first paragraph of “Going Solar in China,” an article about a solar-power farm in China’s Anhui province. Students decide what the description of 166,000 panels on a lake and “an immense blanket of renewable energy” conveys about the farm. The language is vivid but plain, so each choice must be checked against what the phrases actually say.

NYS standards
  • 7R4 word meaning and choice
  • 7L5a interpreting allusions
Grade level
Grade 6 reading and task
Compared with grade 7
Below grade 7 Interpreting the effect of descriptive phrases is grade 6 and 7 work. Both phrases are quoted from one short opening paragraph in everyday words, so one careful reading is enough, lighter than most grade 7 word-choice tasks.
Estimated difficulty
Straightforward: two steps or one careful reading.
Evidence
Answered from one paragraph or stanza
Reading level
Passage: about grade 13, 598 words; question and choices: about grade 9, 66 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

The right choice has two parts, and each phrase supplies one: the count of panels and the “immense blanket” give the amount of energy, the lake gives the setting. Students who catch only the energy part look for a choice about output and find two that overstate it, one claiming the most possible and one claiming more than the area needs. Checking that both phrases are accounted for leaves the only choice that pairs the energy with the farm’s place on the water.

  1. Reading between the lines minor Working it out

    Neither phrase says the location is unusual; that has to be read from panels floating “atop the rippling surface of a lake,” where paragraph 3 says panels usually sit on rooftops or in open fields. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  2. Figurative or literary language minor Understanding the question

    “An immense blanket of renewable energy” is a metaphor for size and coverage, and students must take from it a large amount of energy, not a smooth covering or a measure of efficiency. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

Strategy: Decide what a reader learns about the farm from each quoted phrase, then test each choice by finding the exact words in the phrases that would support it.

Traps

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out the task

    This asks what two phrases from paragraph 1 tell you about the solar-power farm. A solar-power farm is a large group of solar panels that turn sunlight into electricity. Each phrase gives you a clue. The right answer must use both clues.

  2. Read the first phrase

    The first phrase is “166,000 floating solar panels are strung together atop the rippling surface of a lake.” Atop means on top of. Strung together means joined, like beads on a string. Rippling means moving in small waves. The panels are not on land. They float on water.

  3. Read the second phrase

    The second phrase calls the farm “an immense blanket of renewable energy.” Immense means huge. Renewable energy comes from a source that does not run out, like sunlight. Comparing the farm to a blanket shows it spread across the lake. So this phrase is about size and the energy it gives.

  4. Put the two clues together

    The huge number of panels and the word “immense” point to a lot of energy. The lake points to an unusual place. Paragraph 3 backs this up. It says panels are “typically placed on rooftops or in open fields.” Typically means usually. A lake is not the usual spot.

  5. Test the four choices

    • A does not fit. The phrases show size. They don’t compare the farm’s power with the most it could make.
    • B does not fit. The article never says how much energy the area needs, so you can’t tell if the farm goes beyond it.
    • C does not fit. A blanket covers things, but nothing says the panels blend in or are hard to notice.
    • D fits. It names both clues: lots of energy and a spot on the water.

  6. Pick the answer

    Watch out: A and B both catch the idea of lots of energy, but each claims more than the phrases say. Only D also uses the lake. So the answer is D.

Why this answer and not the closest wrong one

B comes closest, because the sentence ends by saying the farm could power 15,000 homes. But that number doesn’t tell you what the area needs. D sticks to what the phrases show: a huge farm that makes a lot of energy, floating on a lake instead of sitting on land.

More questions like this

The original DOE question
Question 25 as printed on page 175 of the DOE handbook.
As printed in the DOE’s NYC Guide to the Specialized High Schools Admissions Test (SHSAT) for 2023 Admissions, page 175, question 25. Open page 175 of the handbook (PDF)
The passage “Going Solar in China” as printed (page 174)The passage “Going Solar in China” as printed on page 174 of the DOE handbook.

Question 58 of 78

2022 Test B English, question 43
Passage Looking for the Smallest Spark of Everything

Looking for the Smallest Spark of Everything

Located underground near Geneva, Switzerland, the Large Hadron Collider (LHC) helps scientists study and understand how the smallest particles of matter interact with one another. The LHC propels atomic particle beams along a 17-mile-long ring.

There are the things the world is made of,
things we can see and feel, and then
there are the things even smaller, things that seem
to exist only when we are looking right at them.

So beneath the level of molecules are atoms,
and beneath the level of atoms, we find
protons, electrons, neutrons; and beneath that—
what, exactly? Because we are talking about
everything here: your fingernail,
the candy at the back of your mouth,
the coffee your teacher drank this morning,
your little sister, and the stuffed dog
she used to carry around with her everywhere.
And everywhere.

Everything and everywhere
are made up of the same stuff, whatever
it is. How do we find it? We can listen for it
in the wavelengths from deep space,
talking back to us from unimaginable
distances. Or we can build long,
deep circular tunnels beneath the surface
of this Earth and race particles
(like racing cars, only very tiny cars
flashing along at close to the speed of light)
until everything we think we know
bangs against everything else we know.

And there, in the explosion, in the darkness,
briefly incandescent, they appear:
the quarks, the leptons, and the bosons;
the baryons and the mesons. Their names
sound like dinosaurs or maybe bands
playing terrible music in someone’s garage.

The one thing we know for sure
is that they spin. This is how gravity
enters our world, how our world is held
both together and apart, what keeps
together the pencil in your hand right now
as well as separate from, say,
Jupiter. They spin, and it is only down there
in the darkness—in the vast garage
where physicists jot down
what they can, whatever seems most real—
that they let us perceive their wild dancing,
combusting to the music they make.

Question

Read lines 25–26 from the poem.

until everything we think we know
bangs against everything else we know.

The lines help develop a central idea in the poem by suggesting that

  • Acreative methods for researching particles are frequently being invented.
  • Bongoing research continues to add to our knowledge of particles.
  • Cour understanding of particles is limited by the equipment available to study them.
  • Dcompeting theories about particles provoke scientific debate.
Show the answer

Correct answer: B

The question asks how lines 25–26 help develop a central idea in the poem.

A. Incorrect. Lines 25–26 illustrate the collision of old and new information about particles, but they do not describe “creative methods” that are currently being invented to research subatomic particles.

B. CORRECT. The lines “until everything we think we know / bangs against everything else we know” (lines 25–26) are about how the old knowledge about particles interacts with newfound knowledge.

C. Incorrect. While lines 20–22 describe the Large Hadron Collider as “long, / deep circular tunnels beneath the surface / of this Earth” where scientists “race particles,” lines 25–26 refer to the collision of old and new ideas about particles, not the limitations of the Large Hadron Collider.

D. Incorrect. Lines 25–26 focus on what “we think we know” about subatomic particles and how new discoveries challenge “everything else we know.” However, the challenge is not a result of scientists debating one another but rather what the Large Hadron Collider reveals about particles.

Question analysis

Lines 25–26 of the poem “Looking for the Smallest Spark of Everything” end a long sentence about racing particles through underground tunnels: “until everything we think we know / bangs against everything else we know.” This question asks what central idea the lines help develop. Students must interpret a figurative collision, and several choices offer reasonable-sounding ideas about how science works.

NYS standards
  • 7R5 structure and genre features
  • 7R2 theme or central idea
  • 7R4 word meaning and choice
Grade level
Grade 8 reading and task
Compared with grade 7
Above grade 7 Grade 7 students interpret figurative lines and connect them to a central idea, but these two lines play on the collisions in a particle accelerator, state nothing directly, and end a seven-line sentence, above typical grade 7 work.
Estimated difficulty
Hard: combines ideas, needs a plan, and has more than one tempting wrong answer.
Evidence
Answered from one paragraph or stanza
Reading level
Passage: 346 words (a poem; reading level not measured); question and choices: about grade 9, 69 words.
Corrected from the DOE handbook
  • A missing period in the explanation was restored.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

The lines use the collider’s own action, a crash, as a picture of what the research does to knowledge, and nothing in them says plainly what that is. The strongest pull reads the crash as people clashing, rival theories in a debate, which turns the image into a quarrel the poem never describes. Students who follow the sentence into the next stanza, where new particles appear in the explosion, see that the collisions add to what we know.

  1. Figurative or literary language major Understanding the question

    “Bangs against” moves the collision from the particles racing in the tunnel to “everything we think we know,” so the lines must be read as a picture of knowledge being tested, not of machines. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  2. Reading between the lines moderate Working it out

    What the collision does to knowledge is never stated; it follows from “until,” which makes the crash the goal of the work, and from the next stanza, where the quarks and leptons “appear.” (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  3. Complex sentences minor Understanding the question

    Lines 25–26 close a seven-line sentence that starts at “Or we can build long,” runs through a parenthesis about racing cars, and only then reaches its “until” clause. (Abedi & Lord, 2001; Freedle & Kostin, 1993; Messick, 1989)

Strategy: Read lines 20–26 as one sentence, decide what is literally colliding in the tunnels, then ask what the poet suggests is happening to “everything we think we know.”

Traps

  • Reads too much in: A reasonable-sounding conclusion that goes further than the text allows.
  • Wrong part of the text: A choice is true of another paragraph, stanza or speaker than the one asked about.
  • Outside knowledge: A choice is plausible in the real world but not supported by this text.

The wrong answers, classified

What was corrected from the DOE handbook, and why

  • Explanation: The handbook’s explanation of Option B ends “…are about how the old knowledge about particles interacts with newfound knowledge” with no closing period. The site adds the period.

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Make sense of the question

    This asks what lines 25–26 add to a central idea of the poem. The lines use a picture, not plain facts. So first see what is really happening in the lines before them. Then ask what the picture means.

  2. Read the whole sentence

    Lines 25–26 end a long sentence that starts in line 20: “Or we can build long, / deep circular tunnels beneath the surface / of this Earth and race particles.” The racing goes on “until everything we think we know / bangs against everything else we know.” In the real machine, particles speed around and smash into each other.

  3. Work out the picture

    The poet swaps the particles for “everything we think we know.” So it is our knowledge that crashes. Picture old ideas being tested against new findings. The word “until” shows the crash is the goal of the racing. The next stanza shows the result. In the explosion, tiny particles “appear,” and the poet names them. Each crash teaches scientists more.

  4. Check each choice

    • A does not fit. The ways of searching come earlier, in lines 17–22. Nothing says new methods are often invented.
    • B fits. The research keeps going, and each crash adds to what we know about particles.
    • C does not fit. The tunnels are shown as a way to find things out, not as a limit.
    • D does not fit. The banging stands for particles colliding. No scientists argue, and no sides compete.

  5. Give the answer

    Watch out: D is tempting, because things banging together can sound like people clashing in a debate, an argument between sides. But the poem never shows anyone arguing. So the answer is B.

Why this answer and not the closest wrong one

D is the closest wrong choice, since “bangs against” can sound like an argument. But the crash copies what the particles do in the tunnel. Right after it, particles appear in the explosion. The lines picture knowledge growing as the experiments go on, which is B, not a fight between theories.

More questions like this

The original DOE question
Question 43 as printed on page 186 of the DOE handbook.
As printed in the DOE’s NYC Guide to the Specialized High Schools Admissions Test (SHSAT) for 2023 Admissions, page 186, question 43. Open page 186 of the handbook (PDF) This is the DOE’s version, before the corrections listed in the analysis.
The passage “Looking for the Smallest Spark of Everything” as printed (pages 32–33)The passage “Looking for the Smallest Spark of Everything” as printed on page 32 of the DOE handbook.The passage “Looking for the Smallest Spark of Everything” as printed on page 33 of the DOE handbook.

Question 59 of 78

2018 Test A English, question 12
Passage An Early Warning

An Early Warning

One of the books that has done the most to alert the world to the dangers of environmental degradation is George Perkins Marsh’s Man and Nature. Its message—that Western society is in the process of causing irreparable harm to the environment—greatly influenced ecologists during the beginning of the modern environmentalist movement in the 1960s. Marsh was not, however, part of this movement. Surprisingly, Man and Nature was first published in 1864.

Marsh first observed the environmentally destructive effects of human activities while growing up in Vermont in the early nineteenth century. The heavy demand for firewood had depleted the forests, and extensive sheep grazing had stripped the land. The result was flooding and soil erosion. Furthermore, streams were fouled by wastes dumped from numerous mills and dye houses.

Much later in his life, after careers in law, business, farming, and politics, Marsh served as ambassador to Italy. There he noticed land abuse similar to what he had seen in Vermont. Overgrazing and forest mismanagement had rendered areas that had been productive farmland since the days of the Roman Empire desolate. Marsh attributed this to what he called “man’s ignorant disregard for the laws of nature.”

In Italy, Marsh began to organize his observations and theories. He wrote in a way intended to educate readers about the impact of industrial and agricultural practices on the environment. In Man and Nature, he evaluated the important relationships between animals and plants, discussed forestry practices in great detail, and analyzed the ways natural water supplies are affected by human use.

Man and Nature challenged the popular belief that nature can heal any damage that people inflict upon it. Marsh argued that people may use and enjoy, but not destroy, the riches of the earth.

Furthermore, he asserted that everything in nature is significant and that even the tiniest organism affects the fragile environmental balance. His belief that drastic alteration of this balance would be dangerous is now accepted as a fundamental principle of modern environmental science.

Although he pointed out environmental damage caused by irresponsible human activities, Marsh did not oppose every human alteration to the environment. To him, the goal was proper management, not a return to wilderness conditions. People should consider the consequences of their actions, he wrote, and become “co-worker[s] with nature.” Marsh praised the Suez Canal, the human-made waterway between the Mediterranean Sea and the Gulf of Aden, as “the greatest and most truly cosmopolite physical improvement ever undertaken by man.” He believed that the advantages of the canal— improved transportation and commerce—would outweigh any environmental damage. Yet he also warned of possible unintended consequences, such as destructive plants and animals spreading from one body of water to the other.

Marsh was considered a radical thinker during his lifetime. By the late nineteenth century, however, his writings, along with those of John Muir, Henry David Thoreau, and others, had inspired what became known as the conservation movement. The conservationists of that time sought to educate the public that wilderness areas were worth preserving and were responsible for creating the National Park Service and the National Forest Service.

Question

What is the most likely reason the author uses the word “surprisingly” in paragraph 1?

  • Ato argue that Marsh’s ideas are more applicable in the present than they were during his lifetime
  • Bto show that Marsh introduced ideas a century before they became widely accepted
  • Cto emphasize that Marsh was unaware that his ideas would help begin a conservation movement
  • Dto prove that there would be fewer issues with the environment today if people had accepted Marsh’s ideas earlier
Show the answer

Correct answer: B

The answer is (B)

The question asks for the reason the word “surprisingly” was used in paragraph 1. The beginning of paragraph 1 leads the reader to expect that Marsh was part of the modern environmental movement that began in the 1960s. Therefore, the fact that Marsh’s influential book was published one hundred years earlier is surprising, and so Option B is correct.

Option A is incorrect because, while Marsh’s ideas have had a resurgence in popularity since the 1960s (paragraph 1), Marsh’s observations about deforestation in Vermont (paragraph 2) and land mismanagement in Italy (paragraph 3) indicate that his ideas were just as applicable in his time as they are today.

Option C is incorrect because, while Marsh could not have been aware that his ideas would lead to the start of a conservation movement, paragraph 1 indicates that Marsh introduced the principles of the environmentalist movement before it became popular.

Option D is incorrect because, while it is possible that a greater awareness of human impact on the environment during Marsh’s time could have prevented certain environmental issues today, this idea is conjecture and does not explain the author’s reason for using the word “surprisingly.”

Question analysis

This reading question asks why the author of a passage about the environmental thinker George Perkins Marsh uses the word surprisingly in the opening paragraph. Students must see what the earlier sentences lead a reader to expect and how the next fact contrasts with it, while avoiding choices that read too much into one word.

NYS standards
  • 7R5 structure and genre features
  • 7R4 word meaning and choice
Grade level
Grade 7 reading and task
Compared with grade 7
At grade 7 Explaining why an author chose a particular word is common grade 7 reading work. This one rests on reading the first paragraph closely and noticing what the word contrasts, a typical grade 7 demand.
Estimated difficulty
Moderate: several steps, or a close reading with one strong distractor.
What makes it hard
Evidence
Answered from one paragraph or stanza
Reading level
Passage: about grade 12, 523 words; question and choices: about grade 10, 78 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

Students have to reconstruct the expectation that the word overturns, and the paragraph sets it up quietly by naming the 1960s first. Most errors come from attaching the surprise to the wrong sentence, Marsh's absence from the movement, or from turning one adverb into a broad argument about past and present. The question rewards rereading the sentences around the word and asking which fact is unexpected.

  1. Reading between the lines moderate Working it out

    The surprise is never explained; the reader must see that the first two sentences lead one to place Marsh in the 1960s, so the date 1864 breaks that expectation. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  2. How, not what moderate Working it out

    The question asks why the author chose the single word “surprisingly”, a judgment about the effect of a word rather than a fact the paragraph states. (Anderson & Krathwohl, 2001)

Strategy: Reread the sentences just before the word and ask what a reader would expect at that point. The surprise is whatever breaks that expectation.

Traps

  • Wrong purpose or structure: Names a purpose, structure or effect that the part does not serve, or describes what a part says when the question asks what it does.
  • Too broad or too strong: A choice overstates, generalizes, or uses absolute words the text does not support.
  • Reads too much in: A reasonable-sounding conclusion that goes further than the text allows.

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This asks why the author chose one word, “surprisingly.” A word like this tells you the next fact is not what you’d expect. So find what a reader expects, and then find the fact that breaks it.

  2. Read what comes before the word

    Paragraph 1 says the book’s message “greatly influenced ecologists during the beginning of the modern environmentalist movement in the 1960s.” Ecologists are scientists who study how living things and nature fit together. Then it says: “Marsh was not, however, part of this movement.” After reading this, you might guess Marsh wrote in the 1960s, or just a bit before.

  3. Find the surprise

    The next sentence is: “Surprisingly, Man and Nature was first published in 1864.” From 1864 to the 1960s is about 100 years, or a century. So Marsh had these ideas a whole century before most people accepted them. That is the surprise.

  4. Check each choice

    • B: Marsh introduced ideas “a century before they became widely accepted.” This matches the gap from 1864 to the 1960s.
    • A: the paragraph never says his ideas fit today better than in his own time.
    • C: the paragraph says nothing about what Marsh knew or expected.
    • D: the paragraph never says we would have fewer problems if people had listened sooner. That is only a guess.

    Watch out: C seems linked to the sentence just before, about Marsh not being in the movement. But “surprisingly” comes right before a date, 1864.

  5. Pick the answer

    The surprise is how early Marsh’s ideas came, about a hundred years ahead of the movement. So the answer is B.

Why this answer and not the closest wrong one

C is the closest wrong answer, because it also links Marsh to the later movement. But the surprising fact is a date, not something Marsh knew or didn’t know. B explains the surprise: his ideas came about a century before they caught on.

More questions like this

The original DOE question
Question 12 as printed on page 53 of the DOE handbook.
As printed in the DOE’s Specialized High Schools Student Handbook 2018–2019, page 53, question 12. Open page 53 of the handbook (PDF) The handbook letters this question’s choices E–H; here they are A–D (E = A, F = B, G = C, H = D).
The passage “An Early Warning” as printed (page 52)The passage “An Early Warning” as printed on page 52 of the DOE handbook.

Question 60 of 78

2018 Test A English, question 20
Passage Champion of the Channel

Champion of the Channel

In 1926 an editor at the London Daily News predicted that Gertrude Ederle, an American swimmer with eighteen world records and three Olympic medals, would fail in her attempt to swim across the English Channel. He claimed that “even the most uncompromising champion of the rights and capacities of women must admit that in contests of physical skill, speed and endurance they must remain forever the weaker sex.” Yet, at only nineteen years old, Ederle not only became the first woman to accomplish this feat, she also broke the men’s record by two hours. Gertrude Ederle’s triumphant swim across the English Channel was a testimony to her determination, innovative spirit, and passion for swimming.

Crossing the English Channel is a daunting task for any swimmer. At its narrowest point, the channel measures twenty-one miles across. Its icy waters hover around sixty degrees Fahrenheit, and its unruly tides and currents toss swimmers about like bobbing corks. Stinging jellyfish, seaweed, and floating debris from shipwrecks and lost cargoes present added hazards.

For decades the channel’s perils have defeated countless swimmers. Ederle, too, failed in her first attempt to cross the channel in 1925. Just six miles short of finishing, she became ill, and her coach had to haul her out of the water. Undeterred, Ederle decided to try again. Ederle knew that if she did not complete the challenge this time, she might never get the opportunity to set this record, because a rival female swimmer was preparing to make her second attempt at the crossing as well.

To prepare for the marathon swim, Ederle found ways to improve her equipment. She and her sister Meg discovered that melted candle wax perfectly sealed goggle edges, effectively waterproofing Ederle’s goggles against hammering waves. The sisters also designed a two-piece silk swimsuit for Ederle. During her first channel-crossing attempt she had worn a standard one-piece swimsuit that, after the lengthy hours of swimming across the channel, had stretched out, filling with water and creating drag, making an already challenging task almost insurmountable. Unlike the cumbersome typical bathing suit, this silk invention weighed little and allowed for easy movement.

On August 6, 1926, Ederle waded into the channel near Cape Gris-Nez, France. At first she shivered in the bone-chilling water even though she had covered her body in eight layers of grease for insulation. Her limbs felt stiff. Her strokes were irregular. Driving forward, she fought to clear her mind and find what she called her “sphere,” a place where the sea became her only companion and the shrieks of gulls and the humming of boat engines faded away. Using a new overhand stroke called the American crawl, Ederle eventually settled into a steady pace, briskly breaking through waves.

Throughout Ederle’s swim, two tugboats accompanied her. One carried newspaper reporters who wired dispatches of her progress to shore. The other, displaying a sign that read “This way, ole kid!” with an arrow pointing forward, transported her coach, family, and friends. Her coach played songs, such as “Yes, We Have No Bananas,” on a phonograph so that Ederle could time her strokes to the rhythm. Using a net, her coach also passed her baby bottles of broth for nourishment.

For hours Ederle swam, dodging debris with an amused smile. However, as she neared the English shore, a sudden fierce storm erupted. The tides and waves forced Ederle backward, and she fought the stubborn swells for several hours. The salty water caused her tongue to swell and inflamed her ears. Yet Ederle felt indescribably happy as she churned through the sea. Finally, as she neared the English shore, the storm abated, and the tide turned. No longer fighting against her, the sea pushed her toward the shore and victory.

After fourteen hours and thirty-one minutes, Ederle, on wobbly legs, stepped onto the English shore. The waiting crowd roared, honked their automobile horns, blasted their tugboat whistles, and set off flares that flashed in the sky. Ederle had swum into history.

When Ederle returned to New York, she received a parade, where thousands of people shouted “Trudy!” Not only were everyday American citizens proud of Ederle, but she also inspired them to be more active. Over the next few years, more than 60,000 people credited her with motivating them to earn their American Red Cross swimming certificates. Gertrude Ederle’s accomplishment proved to the world that with determination and passion, it was possible for a person to achieve his or her goals.

SOLO SWIMS ACROSS THE ENGLISH CHANNEL

Earliest Speed Records
Year Swimmer Time
1875 Matthew Webb (M) 21 hours, 45 minutes
1923 Enrico Tiraboschi (M) 16 hours, 33 minutes
1926 Gertrude Ederle (F) 14 hours, 31 minutes
1926 Arnst Vierkotter (M) 12 hours, 38 minutes
Current Speed Records
Year Swimmer Time
2012 Trent Grimsey (M) 6 hours, 55 minutes
2006 Yvetta Hlavacova (F) 7 hours, 25 minutes

Question

In paragraph 4, the word “insurmountable” is used to highlight

  • Ahow the bathing suit made it impossible for Ederle to make it across the channel.
  • Bhow Ederle and her sister decided to improve Ederle’s swimming equipment in a creative way.
  • Cthat the flaws in Ederle’s bathing suit made a difficult task even more complicated.
  • Dthat the swimming equipment Ederle used needed to be custom made for her attempt.
Show the answer

Correct answer: C

The answer is (C)

The question asks about the effect of the word “insurmountable,” which means “incapable of being overcome,” in paragraph 4.

Option C is correct because the suit Ederle wore during her first attempt to swim the channel “stretched out, filling with water and creating drag” (paragraph 4), which likely contributed to her failed attempt to swim across the channel.

Option A is incorrect; Ederle did not complete her first swim because she became ill (paragraph 3: “Just six miles short of finishing, she became ill, and her coach had to haul her out of the water.”), not because the suit made it impossible for Ederle to complete her swim.

Option B is incorrect because the author uses the word “insurmountable” to draw attention to the increased difficulty caused by the swimsuit, not to draw attention to the sisters’ creativity in solving the problem.

Option D is incorrect because the passage does not address whether the original swimsuit was custom made, simply that the swimsuit created additional difficulties for Ederle in a situation that was already difficult.

Question analysis

This vocabulary-in-context question asks what the author highlights by using the word insurmountable in a passage about Gertrude Ederle's English Channel swim. Students must read the word as it is used in its sentence about her first swimsuit and decide what point it stresses, which takes close attention to the surrounding words.

NYS standards
  • 7R4 word meaning and choice
  • 7L4a context clues
Grade level
Grade 7 reading and task
Compared with grade 7
At grade 7 Working out the effect of a difficult word from its context is standard grade 7 work. The word is advanced, but the sentence around it explains the situation clearly, so the overall demand is typical.
Estimated difficulty
Moderate: several steps, or a close reading with one strong distractor.
What makes it hard
Evidence
Answered from one sentence or line
Reading level
Passage: about grade 9, 790 words; question and choices: about grade 9, 67 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

Knowing what insurmountable means is necessary but not sufficient, because the phrase is “almost insurmountable” and the point is how much harder the old suit made a hard swim. The commonest error takes the word at full strength and blames the suit for a failure that paragraph 3 attributes to illness. Choices about the sisters' fix describe the paragraph's next move rather than what this word stresses.

  1. Hard words moderate Understanding the question

    The question turns on “insurmountable”, impossible to overcome, and on the “almost” in front of it, which turns impossible into extremely hard. (Perfetti, 2007; Freedle & Kostin, 1993)

  2. Complex sentences moderate Understanding the question

    The word ends a 38-word sentence whose “that” clause is interrupted by “after the lengthy hours of swimming across the channel”, so its link to the swimsuit is easy to lose. (Abedi & Lord, 2001; Freedle & Kostin, 1993; Messick, 1989)

  3. A very close wrong answer moderate Choosing the answer

    The right choice and the one saying the suit made crossing impossible make the same point about the old suit and differ only in degree, which turns on the word “almost”. (Embretson & Wetzel, 1987; Gorin & Embretson, 2006; Ascalon et al., 2007)

Strategy: Read the whole sentence containing the word, along with the sentences around it, then ask what point about the old swimsuit the author is stressing.

Traps

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This asks why the author used the word “insurmountable.” First you need to know what the word means. Then you need to see what point it helps the author make.

  2. Find the word in its sentence

    Paragraph 4 says her old suit “had stretched out, filling with water and creating drag, making an already challenging task almost insurmountable.” Drag is a pull that slows you down in the water.

  3. Work out what the word means

    To surmount something means to get over it, like climbing over a wall. So insurmountable means impossible to get over or beat. But the author wrote “almost insurmountable.” Almost means not quite. Also notice “already challenging.” The swim was hard to begin with. So the suit made a hard job even harder. It did not make it fully impossible.

  4. Check each choice

    • C: the suit’s flaws made “a difficult task even more complicated.” This matches “already challenging” plus “almost insurmountable.”
    • A says the suit made the swim “impossible.” That ignores “almost.” Also, paragraph 3 says her first try ended because “she became ill.”
    • B: the sisters’ creative fix is in other sentences. This word describes the problem, not the fix.
    • D: the passage never says her gear had to be custom made.

    Watch out: A uses the dictionary meaning of the word. But always read the words around it, like “almost.”

  5. Pick the answer

    The word stresses how much harder the old suit made the swim. So the answer is C.

Why this answer and not the closest wrong one

A is the closest wrong answer, because it uses the word’s full meaning, impossible. But the author wrote “almost,” and Ederle’s first try ended when she got sick, not because of her suit. C keeps the right amount: a hard task made even harder.

More questions like this

The original DOE question
Question 20 as printed on page 59 of the DOE handbook.
As printed in the DOE’s Specialized High Schools Student Handbook 2018–2019, page 59, question 20. Open page 59 of the handbook (PDF) The handbook letters this question’s choices E–H; here they are A–D (E = A, F = B, G = C, H = D).
The passage “Champion of the Channel” as printed (pages 56–57)The passage “Champion of the Channel” as printed on page 56 of the DOE handbook.The passage “Champion of the Channel” as printed on page 57 of the DOE handbook.

Question 61 of 78

2018 Test A English, question 24

Uses the passage above: “Champion of the Channel”.

Question

Which sentence from the passage best conveys the author’s perspective regarding the impact of Ederle’s accomplishment?

  • A“Gertrude Ederle’s triumphant swim across the English Channel was a testimony to her determination, innovative spirit, and passion for swimming.” (paragraph 1)
  • B“For hours Ederle swam, dodging debris with an amused smile.” (paragraph 7)
  • C“Yet Ederle felt indescribably happy as she churned through the sea.” (paragraph 7)
  • D“Ederle had swum into history.” (paragraph 8)
Show the answer

Correct answer: D

The answer is (D)

The question asks for the sentence from the passage that best conveys the author’s perspective about the impact of Ederle’s swim.

Option D is correct because, throughout the passage, the author emphasizes that Ederle’s accomplishment was memorable and great, which is best stated in the sentence from paragraph 8.

The sentence presented in Option A is incorrect because it focuses on Ederle’s personal attributes that allowed her to successfully complete her swim, not the author’s perspective about the impact of her achievement.

The sentence presented in Option B is incorrect because the details in the sentence relate to Ederle’s state of mind as she came closer to achieving her goal and do not provide details about the author’s opinion of the impact of Ederle’s accomplishment.

The sentence presented in Option C is incorrect because it simply presents Ederle’s emotional state as she nears her goal and does not provide information about the author’s perspective.

Question analysis

This reading question asks which quoted sentence best conveys the author's own perspective on the impact of Gertrude Ederle's English Channel swim. Every quotation shows the swim in a positive light, so students must tell the author's judgment apart from description and keep the question's focus on impact in mind.

NYS standards
  • 7R6 point of view and author position
  • 7R4 word meaning and choice
Grade level
Grade 7 reading and task
Compared with grade 7
At grade 7 Identifying an author's own perspective is typical grade 7 point-of-view work. The quotations are short and labeled, and the main demand is attending to the word impact in the question.
Estimated difficulty
Moderate: several steps, or a close reading with one strong distractor.
What makes it hard
Evidence
Answered from several paragraphs or stanzas
Reading level
Passage: about grade 9, 790 words; question and choices: about grade 12, 66 words.
Corrected from the DOE handbook
  • A grammar slip in the explanation was corrected.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

Two tests apply at once: whose view a sentence gives and whether that view concerns impact. The thesis sentence passes the first and fails the second, which makes it the main trap, while the two sentences from paragraph 7 report Ederle's feelings, not the author's judgment. The short sentence in paragraph 8 is easy to skim past because it states impact in five words and a figure of speech.

  1. How, not what moderate Working it out

    The question asks for the author's perspective, so narration of Ederle's own feelings, her “amused smile” and being “indescribably happy”, has to be set apart from the author's judgment. (Anderson & Krathwohl, 2001)

  2. Figurative or literary language minor Understanding the question

    “Ederle had swum into history” states the impact through a figure of speech, so the student must read it as a claim that the swim earned a lasting place. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

Strategy: Ask two questions of each quotation: whose view does it express, and is it about the swim's impact or about something else? Only one quotation passes both tests.

Traps

  • True but not the answer: A choice says something accurate about the text that does not answer this question.
  • Wrong tone or attitude: Misjudges the tone, attitude or point of view, such as reading admiration as criticism, or taking a character's or subject's feelings for the author's.

The wrong answers, classified

What was corrected from the DOE handbook, and why

  • Explanation: In the reason for rejecting F (B on this site), the handbook reads “the details in the sentence relate to … and does not provide details”. It now reads “do not provide”, to agree with “details”.

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    A perspective is a point of view. Impact means the effect something has. So you need a sentence that shows the author’s opinion about what Ederle’s swim meant. A sentence about how Ederle felt does not count.

  2. Ask two questions of each quote

    For each choice, ask: Whose view is this, the author’s or Ederle’s? Then ask: Is it about the effect of the swim, or about something else? Only one choice will pass both tests.

  3. Check each choice

    • A: the swim was “a testimony to her determination, innovative spirit, and passion for swimming.” This is the author’s view, but it is about her qualities, not the swim’s effect.
    • B: “dodging debris with an amused smile” describes Ederle’s mood during the swim.
    • C: “Ederle felt indescribably happy” describes her feelings, not the author’s judgment.
    • D: “Ederle had swum into history” (paragraph 8). This is the author speaking about what the swim meant.

  4. Explain the key phrase

    “Swum into history” is a figure of speech, words that mean more than their exact sense. She didn’t really swim into a history book. It means her swim was so important that people will remember it for a long time. That is a judgment about its impact.

  5. Pick the answer

    Watch out: A is the author’s main claim, so it is tempting. But it explains what made her succeed, not what her success meant. So the answer is D.

Why this answer and not the closest wrong one

A is the closest wrong answer, because it is also the author’s own opinion. But it tells what the swim showed about Ederle: her determination and passion. D tells what the swim meant: it made history. Only D is about impact.

More questions like this

The original DOE question
Question 24 as printed on page 60 of the DOE handbook.
As printed in the DOE’s Specialized High Schools Student Handbook 2018–2019, page 60, question 24. Open page 60 of the handbook (PDF) The handbook letters this question’s choices E–H; here they are A–D (E = A, F = B, G = C, H = D). This is the DOE’s version, before the corrections listed in the analysis.

Question 62 of 78

2018 Test A English, question 26
Passage Excerpt from A Tramp Abroad

Excerpt from A Tramp Abroad

by Mark Twain

Now and then, while we1^1 rested, we watched the laborious ant at his work. I found nothing new in him—certainly nothing to change my opinion of him. It seems to me that in the matter of intellect the ant must be a strangely overrated bird. During many summers now I have watched him, when I ought to have been in better business, and I have not yet come across a living ant that seemed to have any more sense than a dead one. I refer to the ordinary ant, of course; I have had no experience of those wonderful Swiss and African ones which vote, keep drilled armies, . . . and dispute about religion. Those particular ants may be all that the naturalist paints them, but I am persuaded that the average ant is a sham.

I admit his industry, of course; he is the hardest working creature in the world—when anybody is looking—but his leather-headedness is the point I make against him. He goes out foraging, he makes a capture, and then what does he do? Go home? No; he goes anywhere but home. He doesn’t know where home is. His home may be only three feet away; no matter, he can’t find it. He makes his capture, as I have said; it is generally something which can be of no sort of use to himself or anybody else; it is usually seven times bigger than it ought to be; he hunts out the awkwardest place to take hold of it; he lifts it bodily up in the air by main force, and starts—not toward home, but in the opposite direction; not calmly and wisely, but with a frantic haste which is wasteful of his strength; he fetches up against a pebble, and, instead of going around it, he climbs over it backwards, dragging his booty after him, tumbles down on the other side, jumps up in a passion, kicks the dust off his clothes, moistens his hands, grabs his property viciously, yanks it this way, then that, shoves it ahead of him a moment, turns tail and lugs it after him another moment, gets madder and madder, then presently hoists it into the air and goes tearing away in an entirely new direction; comes to a weed; it never occurs to him to go around it. No; he must climb it, and he does climb it, dragging his worthless property to the top—which is as bright a thing to do as it would be for me to carry a sack of flour from Heidelberg to Paris by way of Strasburg steeple; when he gets up there he finds that that is not the place; takes a cursory glance at the scenery, and either climbs down again or tumbles down, and starts off once more—as usual, in a new direction. At the end of half an hour he fetches up within six inches of the place he started from, and lays his burden down. Meantime, he has been over all the ground for two yards around, and climbed all the weeds and pebbles he came across. Now he wipes the sweat from his brow, strokes his limbs, and then marches aimlessly off, in as violent a hurry as ever. He traverses a good deal of zig-zag country, and by and by stumbles on his same booty again. He does not remember to have ever seen it before; he looks around to see which is not the way home, grabs his bundle, and starts. He goes through the same adventures he had before; finally stops to rest, and a friend comes along.

Evidently the friend remarks that a last year’s grasshopper leg is a very noble acquisition, and inquires where he got it. Evidently the proprietor does not remember exactly where he did get it, but thinks he got it “around here somewhere.” Evidently the friend contracts to help him freight it home. Then, with a judgment peculiarly antic (pun not intentional), they take hold of opposite ends of that grasshopper leg and begin to tug with all their might in opposite directions. Presently they take a rest, and confer together. They decide that something is wrong, they can’t make out what. Then they go at it again, just as before. Same result. Mutual recriminations follow. Evidently each accuses the other of being an obstructionist. They warm up, and the dispute ends in a fight. They lock themselves together and chew each other’s jaws for a while; then they roll and tumble on the ground till one loses a horn or a leg and has to haul off for repairs. They make up and go to work again in the same old insane way, but the crippled ant is at a disadvantage; tug as he may, the other one drags off the booty and him at the end of it. Instead of giving up, he hangs on, and gets his shins bruised against every obstruction that comes in the way. By and by, when that grasshopper leg has been dragged all over the same old ground once more, it is finally dumped at about the spot where it originally lay. The two perspiring ants inspect it thoughtfully and decide that dried grasshopper legs are a poor sort of property after all, and then each starts off in a different direction to see if he can’t find an old nail or something else that is heavy enough to afford entertainment and at the same time valueless enough to make an ant want to own it. . . .

Science has recently discovered that the ant does not lay up anything for winter use. . . . He does not work, except when people are looking, and only then when the observer has a green, naturalistic look, and seems to be taking notes. This amounts to deception, and will injure him for the Sunday schools. He has not judgment enough to know what is good to eat from what isn’t. This amounts to ignorance, and will impair the world’s respect for him. . . . He cannot stroll around a stump and find his way home again. This amounts to idiocy, and once the damaging fact is established, thoughtful people will cease to look up to him. It is strange beyond comprehension that so manifest a humbug as the ant has been able to fool so many nations and keep it up so many ages without being found out.

we1^1: the author and his fictional travel companion

From A TRAMP ABROAD by Mark Twain—Public Domain

Question

The phrase “those wonderful Swiss and African ones which vote, keep drilled armies, . . . and dispute about religion” in paragraph 1 shows that the author

  • Abelieves that the behavior of the ants is reflected in other living creatures.
  • Backnowledges that his observations of a few do not necessarily apply to all.
  • Cknows that disproving a commonly held belief is challenging.
  • Daccepts that there are flaws in his interpretation of the behavior of the ants.
Show the answer

Correct answer: B

The answer is (B)

The question asks about the phrase, which highlights the behavior of ants from different parts of the world, and about what the inclusion of the phrase shows about the author.

Option B is correct because the phrase is meant to communicate a caution that while the author believes most ants are foolish, his observations in the excerpt do not apply to all types of ants.

Option A is incorrect because, in the excerpt, the author is comparing species of ants to one another and not to other living creatures.

Option C is incorrect because the author never comments in the excerpt that challenging common or strongly held beliefs is, in general, difficult.

Option D is incorrect because the author never expresses in the excerpt the idea that the conclusions drawn about the ants’ behavior are flawed; the reference to Swiss and African ants is meant to show that those ants are an exception.

Question analysis

In this Mark Twain excerpt about ants, students must decide what a mocking aside about Swiss and African ants that “vote” and “keep drilled armies” reveals about the author's point of view. The tricky part is reading past the sarcasm to see what the aside does for his larger case against ants.

NYS standards
  • 7R6 point of view and author position
  • 7R4 word meaning and choice
Grade level
Grade 8 reading and task
Compared with grade 7
Above grade 7 Grade 7 readers usually judge a narrator's stance from direct statements. Here the stance sits inside a sarcastic aside in long nineteenth-century sentences, so students must separate what Twain means from what he mocks, which goes beyond typical grade 7 work.
Estimated difficulty
Hard: combines ideas, needs a plan, and has more than one tempting wrong answer.
Evidence
Answered from one sentence or line
Reading level
Passage: about grade 9, 1099 words; question and choices: about grade 8, 72 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

Most misses come from reading the aside as a sincere comparison or as a confession. Twain mocks the naturalists' stories of voting, warring ants while making clear that his verdict covers only the ordinary ant he has watched, so the phrase narrows his claim without weakening it. The key's wording, “observations of a few,” is abstract and does not echo the text, and students who catch the concession but not its limits drift to the choice about flaws in his interpretation.

  1. Figurative or literary language major Understanding the question

    The aside is mock praise: “wonderful” ants that “vote” and “dispute about religion” poke fun at the naturalists, so students must see that the joke also fences off which ants his verdict covers. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  2. A very close wrong answer moderate Choosing the answer

    B and D both read the aside as a concession about his conclusions; they part only on its kind, since B narrows which ants his verdict covers while D admits the verdict itself is flawed. (Embretson & Wetzel, 1987; Gorin & Embretson, 2006; Ascalon et al., 2007)

  3. Reading between the lines moderate Working it out

    The phrase says nothing about the author directly; his stance comes from its frame, “I refer to the ordinary ant, of course” before it and “the average ant is a sham” after. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

Strategy: Reread the whole sentence the quoted phrase sits in, not just the quoted words, and decide what job the aside does there; then drop any choice describing an idea the paragraph never expresses.

Traps

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This question is about the author’s point of view. In paragraph 1, Twain mentions some very special ants. You need to decide what that mention shows about Twain himself.

  2. Read the whole sentence

    Don’t read only the quoted words. Read the whole sentence in paragraph 1: “I refer to the ordinary ant, of course; I have had no experience of those wonderful Swiss and African ones which vote, keep drilled armies, . . . and dispute about religion.”

    Then read the next sentence: “Those particular ants may be all that the naturalist paints them, but I am persuaded that the average ant is a sham.”

  3. Work out what the phrase means

    Twain is joking. No ant really votes or argues about religion. He is poking fun at wild stories told by naturalists (people who study nature).

    But the joke also does a job. Twain says his opinion is about the “ordinary ant,” the kind he has watched. He has never seen those other ants. So he limits his claim to the ants he knows. He does not say his claim is wrong.

  4. Check each choice

    • A says ant behavior shows up in other creatures. No. Twain compares kinds of ants, not ants and other animals.
    • B fits. He has watched only some ants, so his verdict may not fit every ant.
    • C says he finds it hard to disprove a common belief. He never says that.
    • D says he admits his view of ants is flawed. He doesn’t. He stays sure the ant is a sham.

  5. Choose the answer

    The phrase shows that Twain knows what he saw in the ants he watched may not be true of all ants. So the answer is B.

Why this answer and not the closest wrong one

D is the closest trap. Both B and D hear Twain admitting something. But D says he admits he is wrong. B says only that he limits which ants he means. Right after the phrase he writes, “I am persuaded that the average ant is a sham.” He is not backing down.

More questions like this

The original DOE question
Question 26 as printed on page 63 of the DOE handbook.
As printed in the DOE’s Specialized High Schools Student Handbook 2018–2019, page 63, question 26. Open page 63 of the handbook (PDF) The handbook letters this question’s choices E–H; here they are A–D (E = A, F = B, G = C, H = D).
The passage “Excerpt from A Tramp Abroad” as printed (pages 62–63)The passage “Excerpt from A Tramp Abroad” as printed on page 62 of the DOE handbook.The passage “Excerpt from A Tramp Abroad” as printed on page 63 of the DOE handbook.

Question 63 of 78

2018 Test A English, question 28

Uses the passage above: “Excerpt from A Tramp Abroad”.

Question

In paragraph 2, how do the words “grabs,” “yanks,” and “tearing away” contribute to the meaning of the excerpt?

  • AThey highlight the ant’s belief that his work is important.
  • BThey illustrate that the ant is more efficient working on his own.
  • CThey indicate the speed with which the ant completes his tasks.
  • DThey emphasize the ant’s anxious efforts to be productive.
Show the answer

Correct answer: D

The answer is (D)

The question asks for an explanation of how the words “grabs,” “yanks,” and “tearing away” (paragraph 2) contribute to the meaning of the excerpt.

Option D is correct because these words convey sudden movements as the ant becomes more upset in his efforts to transport the grasshopper leg.

Option A is incorrect because the ant is never described in the excerpt as believing his work to be important.

Option B is incorrect because the ant’s inability to make progress while transporting the grasshopper leg by himself demonstrates the ant’s inefficiency (paragraph 2: “At the end of half an hour he fetches up within six inches of the place he started from”).

Option C is incorrect because the ant does not complete his tasks despite moving in a hurried and determined way (paragraph 2: “not calmly and wisely, but with a frantic haste which is wasteful of his strength”).

Question analysis

This word-choice question asks how three action words from Mark Twain's ant story, “grabs,” “yanks” and “tearing away,” add to the excerpt's meaning. The verbs are buried in one very long sentence that lists dozens of actions, so students must find them and decide what their connotations add to the picture of the ant.

NYS standards
  • 7R4 word meaning and choice
  • 7L5c connotation and denotation
Grade level
Grade 7 reading and task
Compared with grade 7
At grade 7 Grade 7 word-choice items usually ask about one word in a short passage. This one asks for the shared effect of three verbs scattered through a very long sentence, though their tone is fairly clear once found, which keeps it at grade 7.
Estimated difficulty
Moderate: several steps, or a close reading with one strong distractor.
Evidence
Answered from one paragraph or stanza
Reading level
Passage: about grade 9, 1099 words; question and choices: about grade 6, 60 words.
Corrected from the DOE handbook
  • A wrong option letter in the explanation was corrected.
  • A missing comma in the explanation was restored.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

The verbs themselves are easy words; the difficulty is deciding what they add. Their speed is obvious, which is why the choice about how fast the ant finishes his tasks catches readers who stop at speed and miss that nothing gets finished. The key reads the verbs together with “in a passion” and “madder and madder” around them, so it rewards looking at the words' surroundings rather than the words alone.

  1. Complex sentences moderate Understanding the question

    All three verbs are buried in one 183-word sentence of paragraph 2, strung through semicolons among about twenty other actions, so students must find them before judging them. (Abedi & Lord, 2001; Freedle & Kostin, 1993; Messick, 1989)

  2. Figurative or literary language moderate Understanding the question

    The verbs' force reads as a comic tantrum, “grabs his property viciously” soon after he “jumps up in a passion,” so their connotation of agitation, not skill, carries the meaning. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  3. A very close wrong answer minor Choosing the answer

    A and D both tie the verbs to the ant caring about his work; they differ in one part, since the verbs show his anxious efforts, as D says, but never reveal a belief, as A claims. (Embretson & Wetzel, 1987; Gorin & Embretson, 2006; Ascalon et al., 2007)

Strategy: Locate the three verbs in paragraph 2, read the clauses around each one, and describe their effect in your own words before looking at the choices.

Traps

  • Twists what the text says: Uses the text's topic and ideas but changes what it says: who did it, how much, when, or why.
  • Reads too much in: A reasonable-sounding conclusion that goes further than the text allows.

The wrong answers, classified

What was corrected from the DOE handbook, and why

  • Explanation: The handbook’s last reason begins “Option H is incorrect because the ant does not complete his tasks despite moving in a hurried and determined way”, but H is its correct answer. The reason is about G, “They indicate the speed with which the ant completes his tasks,” so this site reads Option C (G relettered). This was already corrected on the site before this review.
  • Explanation: The handbook quotes the words as “grabs” “yanks,” and “tearing away”. The comma after “grabs” is restored, as in the question.

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This is a word-choice question. It asks what three action words add to the excerpt. Think about how the words feel, not just what they mean.

  2. Find the words in paragraph 2

    All three words are in the very long sentence in paragraph 2. Look at the words around them. The ant “jumps up in a passion,” then “grabs his property viciously, yanks it this way, then that.” Soon he “gets madder and madder” and goes “tearing away in an entirely new direction.”

  3. Work out what the words show

    “In a passion” means in a fit of anger. “Viciously” means fiercely. So the words show a worked-up, frantic ant. He moves fast and rough, like a kid having a tantrum. He badly wants to get his job done.

    But Twain also says the ant moves “with a frantic haste which is wasteful of his strength.” All that rushing gets him nowhere.

  4. Check each choice

    • A The excerpt never tells us what the ant believes about his work. The words show he is upset, not what he thinks.
    • B Working alone, he ends up six inches from where he started. That is not efficient (getting a lot done without waste).
    • C The words do show speed. But the ant never finishes anything.
    • D fits. The words show anxious, frantic effort to get the job done.

  5. Choose the answer

    The rough, fast verbs show an upset ant trying hard to be productive. So the answer is D.

Why this answer and not the closest wrong one

C is the closest trap, because “tearing away” does sound fast. But C says the ant completes his tasks, and he never does. D keeps the speed and the worry but does not claim success. That is why D fits better.

More questions like this

The original DOE question
Question 28 as printed on page 64 of the DOE handbook.
As printed in the DOE’s Specialized High Schools Student Handbook 2018–2019, page 64, question 28. Open page 64 of the handbook (PDF) The handbook letters this question’s choices E–H; here they are A–D (E = A, F = B, G = C, H = D). This is the DOE’s version, before the corrections listed in the analysis.

Question 64 of 78

2018 Test A English, question 34

Uses the passage above: “Excerpt from A Tramp Abroad”.

Question

Read this sentence from paragraph 3.

The two perspiring ants inspect it thoughtfully and decide that dried grasshopper legs are a poor sort of property after all, and then each starts off in a different direction to see if he can’t find an old nail or something else that is heavy enough to afford entertainment and at the same time valueless enough to make an ant want to own it.

How does the word choice in the sentence contribute to the overall meaning of the excerpt?

  • AIt creates a humorous critique of the ants’ intense attitude toward their pointless work.
  • BIt illustrates the ants’ confusion over their lack of positive results compared with their level of effort.
  • CIt highlights the ants’ frustration as they repeatedly chose a difficult task over one that could be accomplished more easily.
  • DIt illustrates the ants’ stubborn determination to hold on to the worthless object.
Show the answer

Correct answer: A

The answer is (A)

The question asks for an explanation of how the word choice in the sentence adds to the meaning of the excerpt. The image the author creates of two sweating ants abandoning the grasshopper leg to look for “an old nail,” which an ant would want because it is “valueless,” is comical, as suggested in Option A.

Option B is incorrect because it is a misinterpretation of the excerpt, as the ants are not confused but are acting decisively (paragraph 3: “Then they go at it again, just as before”).

Option C is incorrect because the ants find moving heavy objects to be an amusing way to spend their time and are not aware enough to feel frustrated (paragraph 3: “something else that is heavy enough to afford entertainment and at the same time valueless enough to make an ant want to own it”).

Option D is incorrect because the ants are willingly giving up on their object (paragraph 3: “decide that dried grasshopper legs are a poor sort of property after all”).

Question analysis

This question asks how Mark Twain's word choice in one long sentence, where two sweating ants give up on a grasshopper leg and go looking for something else to carry, shapes the excerpt's meaning. Students must judge the tone of words such as “thoughtfully,” “entertainment” and “valueless” and relate it to the excerpt as a whole.

NYS standards
  • 7R4 word meaning and choice
  • 7L5 figurative language and word relationships
Grade level
Grade 7 reading and task
Compared with grade 7
At grade 7 Grade 7 students regularly judge how word choice shapes tone, so the skill is familiar. What adds demand is one very long sentence whose effect depends on reading its adjectives against the situation they describe.
Estimated difficulty
Moderate: several steps, or a close reading with one strong distractor.
What makes it hard
Evidence
Answered from one sentence or line
Reading level
Passage: about grade 9, 1099 words; question and choices: about grade 11, 149 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

The sentence comes after a brawl, so readers expect frustration or confusion, and two wrong choices supply exactly those moods from earlier in paragraph 3. Here, though, the ants are calm and deliberate, and the joke is that their calm reasoning picks the heaviest, most worthless thing to haul. Students who judge the words of this sentence, not the paragraph's general mood, see that it mocks the ants' earnest attitude toward pointless work.

  1. Figurative or literary language major Understanding the question

    The humor is ironic logic: the ants inspect “thoughtfully,” then seek something “heavy enough to afford entertainment” and “valueless enough” to own, praising the very qualities that make their work pointless. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  2. Complex sentences moderate Understanding the question

    The effect builds across one 67-word sentence whose key phrases come at the very end, after a chain of clauses about inspecting, deciding and setting off. (Abedi & Lord, 2001; Freedle & Kostin, 1993; Messick, 1989)

Strategy: Underline the words that describe the ants' thinking and goals, decide what effect they have in this sentence, and then compare that effect with each choice.

Traps

  • Half right: One half of a two-part choice is right and the other is not.
  • Wrong part of the text: A choice is true of another paragraph, stanza or speaker than the one asked about.

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This is a word-choice question. It asks how the words in one sentence add to the meaning of the excerpt. Pay attention to the tone, which is the feeling the words give.

  2. Find the key words

    The sentence ends paragraph 3. First the ants “inspect it thoughtfully.” Then each one looks for “an old nail or something else that is heavy enough to afford entertainment and at the same time valueless enough to make an ant want to own it.”

  3. Work out the joke

    “Afford entertainment” means give them fun. “Valueless” means worth nothing. Twain makes the ants sound careful and wise. Then they decide to look for something heavy and worthless.

    That is the joke. The very things that make their work pointless are what they want most. Twain is making fun of how seriously the ants take their silly work.

  4. Check each choice

    • A fits. The words make a funny critique (a judgment) of the ants’ serious attitude toward pointless work.
    • B In this sentence the ants are not confused. They think it over and decide calmly.
    • C They do pick heavy things, but for fun, not out of frustration.
    • D They give the leg up. They decide it is “a poor sort of property after all.”

  5. Choose the answer

    The sentence pokes fun at how hard the ants work at nothing. So the answer is A.

Why this answer and not the closest wrong one

C is the closest trap, since the ants really do choose heavy loads. But the anger came earlier in the paragraph, during the fight. In this sentence the ants are calm. They want something heavy to have fun with. Fun, not frustration, is the point, and Twain makes it funny. That matches A.

More questions like this

The original DOE question
Question 34 as printed on page 66 of the DOE handbook.
As printed in the DOE’s Specialized High Schools Student Handbook 2018–2019, page 66, question 34. Open page 66 of the handbook (PDF) The handbook letters this question’s choices E–H; here they are A–D (E = A, F = B, G = C, H = D).

Question 65 of 78

2018 Test A English, question 45
Passage Cross-Purposes

Cross-Purposes

What I am is built: concrete and steel.
I defy gravity. I am what every athlete
wants: to remain at the apex of the leap,
up in the air. And yet I am useful, too:
cars, trucks, people, even trains
make their way across my broad back.
Swallows and ospreys1^1 nest in my trusses.

What I am is motion. I am water, and I am older
than anything else you know. No human
built me. I am gravity’s best friend; I pool
and flow wherever gravity takes me.
I am the blood flowing in the runner’s chest,
and I catch everything: from the hills,
the mountains. It all washes down through me.

What you are is an accident,
what happens to rain when rain gives in
to Earth’s gravitational pull.
You are some tears dribbling from a mountain’s
eye, running down the pavements
of small towns, into the cities, to the sea.
You are the path of least resistance.

What I am is power. You, of course,
have none: you are a static lump, an artifact
slowly decaying. But my regal flow
nourishes grasses, permits empires to rise.
Those who made you will break you,
in time, replacing you with yet another
clumsy structure. I have seen. I know.

“Clumsy”? Being rebuilt makes me
a friend of time, does it not? And it means
that I have siblings—those “clumsy” structures,
my sisters and brothers.
We stitch across the rip you make.
We are steel thread to the human needle.
We bind you up. We sew you.

And I sow into you; in every cranny
of your superstructure my vapors cling.
They bring out your softness, your rust.
Boast your best, and boast better yet.
I am listening to the bright hum
of the wind in your wires. Because I am,
above all else, patient. I will wait for you.

1^1ospreys: large birds

Question

Read lines 18–20 from the poem.

You are some tears dribbling from a mountain’s
eye, running down the pavements
of small towns, into the cities, to the sea.

What impact do the phrases “some tears dribbling” and “running down” have on the meaning of the poem?

  • AThey suggest that naturally flowing water is a problem in populated areas.
  • BThey highlight the different types of naturally flowing water.
  • CThey imply that the flow of water is weak and influenced by the landscape.
  • DThey highlight that the flow of water from the mountains is minimal compared with that of the seas.
Show the answer

Correct answer: C

The answer is (C)

The question asks for the impact that the phrases have on the meaning of the poem. The phrases “some tears dribbling” and “running down” (lines 18–19) imply weakness in form and being influenced by the landscape, making Option C correct.

Option A is incorrect because, while the lines do describe the water in populated areas, they do not describe the water as a problem for the people living there.

Option B is incorrect because the lines do more than bring attention to different types of water; the lines make a judgment about the strength and importance of the water.

Option D is incorrect because a comparison is not made based on the volume of water streaming from the mountains and the volume of water in the seas.

Question analysis

In this question about figurative language in “Cross-Purposes,” students explain the impact of the phrases “some tears dribbling” and “running down,” used to describe the water. They must first work out which of the poem's two speakers is talking, then judge the connotations of the words rather than only the picture they paint.

NYS standards
  • 7R4 word meaning and choice
  • 7L5c connotation and denotation
Grade level
Grade 7 reading and task
Compared with grade 7
At grade 7 Judging the connotation of a few words is standard grade 7 work. The two-voice format adds one step, since the speakers are never named, but the lines are quoted and short, so the demand stays typical.
Estimated difficulty
Moderate: several steps, or a close reading with one strong distractor.
Evidence
Answered from one paragraph or stanza
Reading level
Passage: 316 words (a poem; reading level not measured); question and choices: about grade 6, 98 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

The lines can be read as a simple picture of water running from mountains to the sea, and that reading leads to choices about kinds of water, flooding or volume. The phrases matter for what they say about the water's strength: it dribbles, it runs downhill, it goes where the land sends it. Students who ask how the speaker feels about the water, and remember the stanza's “path of least resistance,” arrive at the key.

  1. Figurative or literary language moderate Understanding the question

    “Some tears dribbling from a mountain's eye” turns a river into a weak trickle of tears, so the judgment lies in the connotation of “some” and “dribbling,” not in the picture. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  2. A very close wrong answer moderate Choosing the answer

    C and D both say the water's flow is weak, D's “minimal” matching “dribbling”; they differ in the second part, where D adds a comparison with the seas that the lines never make. (Embretson & Wetzel, 1987; Gorin & Embretson, 2006; Ascalon et al., 2007)

  3. Reading between the lines minor Working it out

    The stanza is unlabeled, so students must work out from its roman type and its “you” that the structure is speaking and belittling the water. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

Strategy: Compare “dribbling” with a neutral word such as “flowing,” and ask what the difference suggests about how this stanza's speaker regards the water.

Traps

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This is a word-choice question. It asks what two phrases suggest about the water. Notice how the words make the water seem.

  2. Work out who is speaking

    Lines 15–21 are spoken by the structure. It talks to the water as “you.” It starts: “What you are is an accident.” It ends: “You are the path of least resistance.” The path of least resistance is the easiest way, the one that takes no effort.

  3. Look closely at the phrases

    Lines 18–19 say the water is “some tears dribbling from a mountain’s eye, running down the pavements.”

    To dribble is to drip a little at a time. “Some tears” sounds small and weak. “Running down” means the water just goes downhill, wherever the land sends it. So the structure is putting the water down. It calls the water weak and pushed around by the land.

  4. Check each choice

    • A The lines mention towns, but they never call the water a problem for people.
    • B The lines do more than list kinds of water. They judge the water.
    • C fits. The water is weak and goes where the landscape sends it.
    • D The lines never compare how much water is in mountains and in seas.

  5. Choose the answer

    The phrases make the water seem weak and controlled by the land. So the answer is C.

Why this answer and not the closest wrong one

D is the closest trap, since “dribbling” does sound small, like “minimal.” But D adds a comparison with the seas. The sea is just where the water ends up. C keeps the weakness and adds the land, which matches “running down” and “the path of least resistance.”

More questions like this

The original DOE question
Question 45 as printed on page 74 of the DOE handbook.
As printed in the DOE’s Specialized High Schools Student Handbook 2018–2019, page 74, question 45. Open page 74 of the handbook (PDF)
The passage “Cross-Purposes” as printed (pages 72–73)The passage “Cross-Purposes” as printed on page 72 of the DOE handbook.The passage “Cross-Purposes” as printed on page 73 of the DOE handbook.

Question 66 of 78

2018 Test A English, question 46

Uses the passage above: “Cross-Purposes”.

Question

The comparison to sewing in lines 33–35 helps show that the structure

  • Aenhances the beauty of the natural landscape.
  • Bbrings people together more effectively than nature does.
  • Cprovides clear boundaries for natural environments.
  • Dserves as a means for people to overcome an obstacle created by nature.
Show the answer

Correct answer: D

The answer is (D)

The question asks what the comparison in lines 33–35 shows about the structure. The speaker states, “We are steel thread to the human needle” (line 34), which illustrates that the structure (and others like it) is a tool used by humans to “bind . . . up” (line 35) or overcome “the rip” (line 33) that the water creates in the earth, making Option D correct.

Option A is incorrect because the language in the lines is used only to imply the flaw that the water creates—“the rip you make” (line 33).

Option B is incorrect because, while the water states that it enables “empires to rise” (line 25), implying that it is needed for society to thrive, it never shares a purpose of bringing people together through its existence.

Option C is incorrect because the language used for sewing (“We stitch across the rip you make” [line 33]) indicates the repair of a flaw and not the establishment of boundaries.

Question analysis

This figurative language question asks what the comparison to sewing, “We stitch across the rip you make,” shows about the structure in the poem “Cross-Purposes.” Students must work out what the speaker and the rip stand for, since the poem never names either, before the thread-and-needle metaphor makes sense.

NYS standards
  • 7L5a interpreting allusions
  • 7R4 word meaning and choice
Grade level
Grade 7 reading and task
Compared with grade 7
At grade 7 Interpreting an extended metaphor is standard grade 7 work, and the sewing words are concrete and familiar. One inference about what the speaker really is comes first, which keeps the task typical rather than hard.
Estimated difficulty
Moderate: several steps, or a close reading with one strong distractor.
Evidence
Answered from one paragraph or stanza
Reading level
Passage: 316 words (a poem; reading level not measured); question and choices: about grade 8, 45 words.
Corrected from the DOE handbook
  • A misstatement of the question in the explanation was corrected.
  • Two small typos in the explanation were corrected.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

Students who see that the structure is a bridge usually find the metaphor's sense: a river tears the land, and bridges stitch it closed for people to cross. The danger is the choice that also talks about connecting people, which matches the general idea of bridges but slips in a comparison with nature. The other choices treat stitching as decoration or as drawing lines, which a reader who pictures a needle closing a tear will not accept.

  1. Figurative or literary language major Understanding the question

    The sewing image runs over three lines: the river is a “rip,” bridges are “steel thread,” builders are “the human needle,” so each part must be mapped before the meaning appears. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  2. Reading between the lines moderate Working it out

    The poem never says the structure is a bridge or the rip a river gorge; students must infer both from earlier clues such as trains crossing its “broad back.” (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

Strategy: Use the earlier stanzas to work out what kind of structure is speaking and what the rip is, then translate the thread-and-needle comparison into plain terms.

Traps

  • Reads too much in: A reasonable-sounding conclusion that goes further than the text allows.
  • Twists what the text says: Uses the text's topic and ideas but changes what it says: who did it, how much, when, or why.

The wrong answers, classified

What was corrected from the DOE handbook, and why

  • Explanation: The handbook says the question asks what the comparison “shows about the structure of the poem.” The question asks what it shows about the structure that speaks in the poem, not about the poem’s form, so “of the poem” was removed.
  • Explanation: “(lines 25)” now reads “(line 25)”, and a stray closing parenthesis after “establishment of boundaries.” was removed.

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This asks what a comparison means. In lines 33–35 the structure compares itself to sewing. You need to turn that picture into plain words.

  2. Read the sewing lines

    The lines say: “We stitch across the rip you make. / We are steel thread to the human needle. / We bind you up. We sew you.”

    “We” means the structure and its “siblings,” other structures like it. “You” is the water.

  3. Match each part to the real thing

    • The “rip” stands for the gap a river cuts through the land.
    • The “steel thread” stands for the bridges.
    • The “human needle” stands for the people who build them.

    When you sew a rip, you pull the two sides back together. Bridges do the same. They join the land on both sides of a river, so people can cross.

  4. Check each choice

    • A The lines are about fixing a tear, not about adding beauty.
    • B Bridges do bring people together, but the lines never say they do it better than nature.
    • C Stitching across a rip pulls the sides together. It does not mark boundaries (lines that divide).
    • D fits. The structure helps people get past the gap the water made.

  5. Choose the answer

    The sewing picture shows the structure helps people get past an obstacle the water created. So the answer is D.

Why this answer and not the closest wrong one

B is the closest trap, because bridges really do connect people. But B says they do it “more effectively than nature does.” The lines never compare the two that way. D sticks to what the picture shows: a tear made by water, closed by the structure so people can cross.

More questions like this

The original DOE question
Question 46 as printed on page 74 of the DOE handbook.
As printed in the DOE’s Specialized High Schools Student Handbook 2018–2019, page 74, question 46. Open page 74 of the handbook (PDF) The handbook letters this question’s choices E–H; here they are A–D (E = A, F = B, G = C, H = D). This is the DOE’s version, before the corrections listed in the analysis.

Question 67 of 78

2018 Test A English, question 56
Passage The Year without a Summer

The Year without a Summer

The eruption of the Philippine volcano Mount Pinatubo in June 1991 sent a huge cloud of gas and dust encircling the globe. The dust and ash from Mount Pinatubo was blamed for a two-year decrease in global temperature, changes in weather patterns, and damage to the ozone layer. The situation brings to mind a time now remembered as “The Year without a Summer,” a meteorological event that occurred 175 years earlier. At that time, harsh weather conditions plagued much of eastern North America and, to a lesser extent, northern Europe.

April 1816 brought typical spring weather to upstate New York and New England; trees budded, and farmers prepared to plow and plant. In May, however, the expected warm temperatures failed to arrive. Most people remained optimistic, waiting for the summer that was “just around the corner.” They waited in vain. During the first week of June, ten inches of snow fell on New England. Throughout the month, temperatures rarely rose above the 30s. Many farmers replanted crops several times, only to see them stunted or destroyed by sleet, hail, and icy winds. July and August brought little improvement. During most days the temperature stayed in the 40s. Farmers’ diaries document the farmers’ daily struggles with near-freezing temperatures, failing crops, and dying farm animals. The few crops that managed to survive were killed by frost in mid-September. Winter came early in New England and was unusually severe. Even the South was affected; on July 4, the high temperature for Savannah, Georgia, was only 46 degrees Fahrenheit!

Some religious leaders warned their congregations that the unusual weather meant that the end of the world was drawing near. Other leaders attributed the cool weather to unusual sunspot activity. The proliferation of the newly invented lightning rod was also blamed as some people believed that lightning rods had interrupted the natural temperature balance of Earth, causing the cooler temperatures.

It was not until October that the first plausible explanation for “The Year without a Summer” was suggested. Friedrich Bessel, a German astronomer, reported seeing thick clouds of dust in the upper atmosphere. He theorized that these dust particles screened portions of Earth from the warming rays of the sun. It was discovered that in April 1815, Mount Tambora, an Indonesian volcano, had erupted with such force that it had sent an estimated 100 cubic miles of fine dust into the atmosphere. Witnesses to the eruption reported that the sky remained dark for two days. The dust then rose high into the stratosphere, where it encircled the world for several years to come.

Skeptics in 1816 doubted that a faraway volcano could steal their summer. However, most present-day researchers believe Bessel’s explanation to be generally correct, demonstrating the global nature of weather. The dust in the atmosphere eventually settled, and the spring of 1817 was back to normal.

Question

Which of the following is implied by the phrase “the global nature of weather” (paragraph 5)?

  • AUnderstanding weather events around the world is important for making weather predictions.
  • BExtreme weather conditions in some parts of the world can have a lasting impact on a geographical area.
  • CNatural disasters tend to occur in different parts of the world at the same time.
  • DConditions in one part of the world can affect weather in another part of the world.
Show the answer

Correct answer: D

The answer is (D)

The question asks for the implied meaning behind the phrase “the global nature of weather” (paragraph 5). This phrase refers to how conditions in one part of the world can affect weather in another part of the world.

Option D is correct because it clarifies “global” by explaining the relationship between weather and conditions all over the world. Option A is incorrect because the phrase in paragraph 5 is about the effects of weather conditions around the world, not about making weather predictions.

Option B is incorrect because it discusses the lasting impact on specific geographical areas, while the phrase “the global nature of weather” refers to events that affect the entire world.

Option C is incorrect because, while weather events (the unusually cold summer in New England in 1816) can be related to natural disasters (a volcano eruption), there is no support in the passage for the idea that natural disasters tend to occur at the same time.

Question analysis

This question about word meaning in context asks what the phrase “the global nature of weather” implies in the final paragraph of “The Year without a Summer.” Students have to work out its meaning from the events the passage has described, not from a general sense of the word “global.”

NYS standards
  • 7R4 word meaning and choice
  • 7L4a context clues
Grade level
Grade 7 reading and task
Compared with grade 7
At grade 7 Determining a phrase's meaning from context is standard grade 7 work. The phrase draws on the passage's main explanation, which is clearly laid out, so the demand is typical for grade 7.
Estimated difficulty
Straightforward: two steps or one careful reading.
Evidence
Answered from several paragraphs or stanzas
Reading level
Passage: about grade 9, 469 words; question and choices: about grade 9, 76 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

“Global” alone suggests anything worldwide, and the wrong choices offer several worldwide-sounding ideas: forecasting, lasting local damage, simultaneous disasters. The phrase means something narrower, that what happens in one place can change the weather far away, as Tambora did to New England. Students who read the phrase in its sentence, where it is what Bessel's explanation demonstrates, find the key; those who define the word in isolation do not.

  1. Reading between the lines moderate Working it out

    The phrase must be read through the example the passage just gave: an Indonesian volcano filled the stratosphere with dust and New England lost its summer. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  2. Evidence in several places minor Working it out

    The meaning depends on facts from paragraph 4, Tambora's location and its dust circling the world, and from paragraph 2, snow in New England, not on paragraph 5 alone. (Kirsch & Mosenthal, 1990; Gorin & Embretson, 2006)

  3. A very close wrong answer minor Choosing the answer

    B and D are worded almost alike, conditions in some part of the world affecting somewhere; they differ in what is affected, since B makes it a lasting impact on one area rather than weather elsewhere. (Embretson & Wetzel, 1987; Gorin & Embretson, 2006; Ascalon et al., 2007)

Strategy: Reread the sentence with the phrase and the paragraph before it, ask what Bessel's explanation demonstrated, and choose the paraphrase that fits that example.

Traps

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This asks what a phrase implies, or hints at. Read the phrase in its sentence, not by itself.

  2. Read the phrase in its sentence

    Paragraph 5 says researchers “believe Bessel’s explanation to be generally correct, demonstrating the global nature of weather.”

    So Bessel’s explanation is the example. Recall it. In 1815, a volcano in Indonesia erupted. Its dust spread around the world. In 1816, New England had snow in June.

  3. Work out what it means

    Global means having to do with the whole world. Indonesia is in Asia, very far from New England. Yet the eruption there changed the weather in America. So the phrase means that something in one part of the world can change the weather in a faraway part.

  4. Check each choice

    • A The passage never talks about predicting weather.
    • B It keeps the effects in one area. The point here is that effects travel far.
    • C The two eruptions in the passage were 176 years apart. Nothing says disasters strike at the same time.
    • D fits. Conditions in Indonesia changed the weather in New England.

  5. Choose the answer

    The phrase means events in one place can change the weather far away. So the answer is D.

Why this answer and not the closest wrong one

B is the closest trap, because it also says extreme conditions have effects. But B keeps those effects in one area. The passage’s example crosses the world: dust from Indonesia chilled New England. D names that link between faraway places.

More questions like this

The original DOE question
Question 56 as printed on page 78 of the DOE handbook.
As printed in the DOE’s Specialized High Schools Student Handbook 2018–2019, page 78, question 56. Open page 78 of the handbook (PDF) The handbook letters this question’s choices E–H; here they are A–D (E = A, F = B, G = C, H = D).
The passage “The Year without a Summer” as printed (page 76)The passage “The Year without a Summer” as printed on page 76 of the DOE handbook.

Question 68 of 78

2018 Test B English, question 16
Passage Excerpt from A Voice in the Wilderness

Excerpt from A Voice in the Wilderness

by Grace Livingston Hill

With a lurch the train came to a dead stop and Margaret Earle, hastily gathering up her belongings, hurried down the aisle and got out into the night.

It occurred to her, as she swung her heavy suit-case down the rather long step to the ground, and then carefully swung herself after it, that it was strange that neither conductor, brakeman, nor porter had come to help her off the train, when all three had taken the trouble to tell her that hers was the next station; but she could hear voices up ahead. Perhaps something was the matter with the engine that detained them and they had forgotten her for the moment.

The ground was rough where she stood, and there seemed no sign of a platform. Did they not have platforms in this wild Western land, or was the train so long that her car had stopped before reaching it?

She strained her eyes into the darkness, and tried to make out things from the two or three specks of light that danced about like fireflies in the distance. She could dimly see moving figures away up near the engine, and each one evidently carried a lantern. The train was tremendously long. A sudden feeling of isolation took possession of her. Perhaps she ought not to have got out until some one came to help her. Perhaps the train had not pulled into the station yet and she ought to get back on it and wait. Yet if the train started before she found the conductor she might be carried on somewhere and he justly blame her for a fool.

There did not seem to be any building on that side of the track. It was probably on the other, but she was standing too near the cars to see over. She tried to move back to look, but the ground sloped and she slipped and fell in the cinders1^1, bruising her knee and cutting her wrist.

In sudden panic she arose. She would get back into the train, no matter what the consequences. They had no right to put her out here, away off from the station, at night, in a strange country. If the train started before she could find the conductor she would tell him that he must back it up again and let her off. He certainly could not expect her to get out like this.

She lifted the heavy suit-case up the high step that was even farther from the ground than it had been when she came down, because her fall had loosened some of the earth and caused it to slide away from the track. Then, reaching to the rail of the step, she tried to pull herself up, but as she did so the engine gave a long snort and the whole train, as if it were in league against her, lurched forward crazily, shaking off her hold. She slipped to her knees again, the suit-case, toppled from the lower step, descending upon her, and together they slid and rolled down the short bank, while the train . . . ran giddily off into the night.

The horror of being deserted helped the girl to rise in spite of bruises and shock. She lifted imploring hands to the unresponsive cars as they hurried by her—one, two, three, with bright windows, each showing a passenger, comfortable and safe inside, unconscious of her need.

A moment of useless screaming, running, trying to attract some one’s attention, a sickening sense of terror and failure, and the last car slatted itself past with a mocking clatter, as if it enjoyed her discomfort.

Margaret stood dazed, reaching out helpless hands, then dropped them at her sides and gazed after the fast-retreating train, the light on its last car swinging tauntingly, blinking now and then with a leer in its eye, rapidly vanishing from her sight into the depth of the night.

She gasped and looked about her for the station that but a short moment before had been so real to her mind; and, lo! on this side and on that there was none!

The night was wide like a great floor shut in by a low, vast dome of curving blue set with the largest, most wonderful stars she had ever seen. Heavy shadows of purple-green, smoke-like, hovered over earth darker and more intense than the unfathomable blue of the night sky. It seemed like the secret nesting-place of mysteries wherein no human foot might dare intrude. It was incredible that such could be but common sage-brush, sand, and greasewood wrapped about with the beauty of the lonely night.

No building broke the inky outlines of the plain, nor friendly light streamed out to cheer her heart. Not even a tree was in sight, except on the far horizon, where a heavy line of deeper darkness might mean a forest. Nothing, absolutely nothing, in the blue, deep, starry dome above and the bluer darkness of the earth below save one sharp shaft ahead like a black mast throwing out a dark arm across the track.

As soon as she sighted it she picked up her baggage and made her painful way toward it, for her knees and wrist were bruised and her baggage was heavy.

A soft drip, drip greeted her as she drew nearer; something plashing down among the cinders by the track. Then she saw the tall column with its arm outstretched, and looming darker among the sage-brush the outlines of a water-tank. It was so she recognized the engine’s drinking-tank, and knew that she had mistaken a pause to water the engine for a regular stop at a station.

1^1cinders: track bed made from the residue of burnt coal

From A VOICE IN THE WILDERNESS by Grace Livingston Hill—Public Domain

Question

In paragraph 2, how does the phrase “when all three had taken the trouble to tell her” affect the tone in the first part of the excerpt?

  • AIt creates an accusatory tone by suggesting that Margaret believes that others are responsible for her problem.
  • BIt introduces a defiant tone by suggesting that Margaret left the train early to prove a point.
  • CIt suggests a frustrated tone by showing that Margaret feels confused by the inconsistent help offered by the railroad employees.
  • DIt establishes an appreciative tone by showing that Margaret feels cared for by the railroad employees.
Show the answer

Correct answer: C

The question asks how the phrase affects the tone in the first part of the excerpt. The phrase includes the words “all three” and “taken the trouble,” emphasizing Margaret’s early frustration as she recalls with some confused irritation that the men thought she needed an abundance of help earlier, but none of them is around to help when the train stops, as indicated in Option C.

Option A is incorrect because when Margaret recalls the interaction, there is no indication that she blames the men for her current problem.

Option B is incorrect because, while the description of how Margaret “hastily [gathers] up her belongings” and “[hurries] down the aisle” (paragraph 1) gives the appearance of being defiant, there is no evidence that she intentionally put herself in this vulnerable position just to make a point.

Option D is incorrect because when Margaret recalls the interaction, there is no evidence that she appreciates the care shown to her, but rather she seems a bit offended that the men do not think she could take care of herself, as shown by the author’s description of the forceful way she exits the train without assistance when it stops.

Question analysis

This tone question looks at a phrase from the opening of Grace Livingston Hill’s novel A Voice in the Wilderness, as Margaret Earle steps off a train at night. Students decide what attitude the phrase about the three railroad men creates. The wording is low-key and old-fashioned, which makes the attitude behind it easy to misjudge.

NYS standards
  • 7R4 word meaning and choice
  • 7L5c connotation and denotation
Grade level
Grade 8 reading and task
Compared with grade 7
Above grade 7 Grade 7 tone questions usually rest on clearly charged words; this one hinges on an understated phrase in century-old prose. Students must read how Margaret feels about the trainmen from context, without help from any strongly worded clue.
Estimated difficulty
Hard: combines ideas, needs a plan, and has more than one tempting wrong answer.
Evidence
Answered from one paragraph or stanza
Reading level
Passage: about grade 8, 981 words; question and choices: about grade 10, 96 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

The phrase is understated, and old-fashioned wording hides how Margaret feels. Students who sense criticism of the trainmen often push it too far into blame, which she does not reach until paragraph 6, while those who take “taken the trouble” at face value hear gratitude. The question rewards reading the whole sentence: “it was strange” and her quick excuse about engine trouble show puzzlement and mild irritation, not accusation.

  1. A very close wrong answer major Choosing the answer

    The accusatory choice and the frustrated choice both find a negative attitude toward the railroad employees; only the degree separates them, since Margaret calls their absence “strange” and excuses it rather than blaming them. (Embretson & Wetzel, 1987; Gorin & Embretson, 2006; Ascalon et al., 2007)

  2. Complex sentences moderate Understanding the question

    The phrase sits deep inside a 66-word sentence that opens with her swinging the suit-case down and closes with voices up ahead, so its contrast is easy to lose. (Abedi & Lord, 2001; Freedle & Kostin, 1993; Messick, 1989)

  3. Reading between the lines moderate Working it out

    Margaret never says she is annoyed; the feeling comes from the contrast between “all three had taken the trouble to tell her” and none of them coming to help. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  4. Hard words minor Understanding the question

    Each choice turns on a tone word, “accusatory,” “defiant,” “frustrated,” “appreciative,” and students unsure of these labels cannot match them to the scene. (Perfetti, 2007; Freedle & Kostin, 1993)

Strategy: Reread the full sentence the phrase sits in, ask how Margaret feels about the three men at this moment, and match both the feeling and its reason to a choice.

Traps

  • Too broad or too strong: A choice overstates, generalizes, or uses absolute words the text does not support.
  • Wrong tone or attitude: Misjudges the tone, attitude or point of view, such as reading admiration as criticism, or taking a character's or subject's feelings for the author's.

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This asks about tone: the feeling or attitude that the words give. What does one phrase show about how Margaret feels toward the train workers?

  2. Read the whole sentence

    In paragraph 2, Margaret thinks “it was strange that neither conductor, brakeman, nor porter had come to help her off the train, when all three had taken the trouble to tell her that hers was the next station.”

  3. Work out the feeling

    A conductor, a brakeman and a porter are train workers. To take the trouble means to make an effort. All three made an effort to tell her about her stop. But now none of them comes to help. That doesn’t add up, and she calls it “strange.” She feels puzzled and a bit annoyed. That is frustration.

    She even makes excuses for them: “Perhaps something was the matter with the engine.” So she is not blaming them.

  4. Check each choice

    • A is wrong. “Accusatory” means blaming. Margaret makes excuses for the workers instead.
    • B is wrong. “Defiant” means boldly refusing to obey. Nothing shows she left the train to prove a point.
    • C is right. The workers were helpful at first and then vanished. She is confused and frustrated.
    • D is wrong. “Appreciative” means thankful. The point is that nobody came to help.

    Watch out: A is tempting because she does find the workers’ absence odd. But odd is not the same as their fault.

  5. Choose the answer

    The phrase shows Margaret puzzled by help that came and then disappeared. So the answer is C.

Why this answer and not the closest wrong one

A is the closest wrong answer, because both A and C find something negative in her thoughts. But A goes too far. Margaret does not blame the workers. She guesses they “had forgotten her for the moment.” She is puzzled, not accusing, as C says.

More questions like this

The original DOE question
Question 16 as printed on page 129 of the DOE handbook.
As printed in the DOE’s Specialized High Schools Student Handbook 2018–2019, page 129, question 16. Open page 129 of the handbook (PDF) The handbook letters this question’s choices E–H; here they are A–D (E = A, F = B, G = C, H = D).
The passage “Excerpt from A Voice in the Wilderness” as printed (pages 128–129)The passage “Excerpt from A Voice in the Wilderness” as printed on page 128 of the DOE handbook.The passage “Excerpt from A Voice in the Wilderness” as printed on page 129 of the DOE handbook.

Question 69 of 78

2018 Test B English, question 19

Uses the passage above: “Excerpt from A Voice in the Wilderness”.

Question

Read this sentence from paragraph 4.

She strained her eyes into the darkness, and tried to make out things from the two or three specks of light that danced about like fireflies in the distance.

The simile used in the sentence affects the tone of the paragraph by emphasizing a

  • Afeeling of comfort as Margaret connects her unfamiliar surroundings with familiar images.
  • Bsense of lonesomeness as Margaret realizes that she is on her own in the wilderness.
  • Csense of tranquility as Margaret is distracted from the urgency of her situation by the beauty of the night.
  • Dfeeling of dread as Margaret regards the desolation of the land that surrounds her.
Show the answer

Correct answer: B

The question asks how the simile in the sentence from paragraph 4 reflects the tone of the paragraph. The image of two or three fireflies creating small specks of light in the darkness creates a sense of isolation or loneliness in Margaret, as shown in the sentence, “A sudden feeling of isolation took possession of her” (paragraph 4). Therefore, Option B is correct.

Option A is incorrect because Margaret is confused and indecisive, showing her discomfort with her situation.

Option C is incorrect because Margaret expresses distress in her situation, questions her decision, and worries about being labeled a “fool” (paragraph 4).

Option D is incorrect because the simile is meant to show how far away things are from Margaret, not create a feeling of dread, which develops later in paragraph 9.

Question analysis

This figurative-language question asks how a simile comparing distant lights to fireflies affects the tone of paragraph 4 in A Voice in the Wilderness. Students connect the image to Margaret’s state of mind as she stands beside the stopped train in the dark. The choices range from calm to fear, so the answer must rest on what Margaret is thinking.

NYS standards
  • 7R4 word meaning and choice
  • 7L5 figurative language and word relationships
Grade level
Grade 7 reading and task
Compared with grade 7
At grade 7 Explaining how a simile shapes tone is regular grade 7 work with figurative language, and this one is typical. Students must read the comparison in the light of the paragraph around it, since the image alone could suggest several moods.
Estimated difficulty
Moderate: several steps, or a close reading with one strong distractor.
Evidence
Answered from one paragraph or stanza
Reading level
Passage: about grade 8, 981 words; question and choices: about grade 9, 109 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

The simile itself is gentle, which is why the comforting reading tempts some students, but the paragraph around it is not: two sentences later, “A sudden feeling of isolation took possession of her.” That sentence decides the question. The harder choice is between loneliness now and the dread and desolation that come after the train has gone, so the question rewards keeping to paragraph 4.

  1. A very close wrong answer moderate Choosing the answer

    The dread choice is built like the lonesomeness choice, a feeling plus Margaret alone in empty country, “the desolation of the land” beside “on her own in the wilderness”; only the feeling named, dread rather than loneliness, separates them. (Embretson & Wetzel, 1987; Gorin & Embretson, 2006; Ascalon et al., 2007)

  2. Figurative or literary language moderate Understanding the question

    Fireflies are usually a cheerful, homey image, so students must read the simile through its setting, “two or three specks of light” far off in the dark, to see that it stresses distance. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  3. Hard words minor Understanding the question

    The choices hinge on near-synonyms for feelings, “lonesomeness,” “tranquility,” “dread” and “desolation,” whose shades of meaning have to be weighed against one paragraph. (Perfetti, 2007; Freedle & Kostin, 1993)

Strategy: Picture the scene the comparison creates, then reread paragraph 4 around it and choose the feeling that the paragraph itself supports.

Traps

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This asks about a simile: a comparison that uses “like” or “as.” How does this simile shape the tone, or feeling, of paragraph 4?

  2. Find the simile

    Margaret looks into the dark and sees “two or three specks of light that danced about like fireflies in the distance.” The far-off lights are compared to fireflies.

  3. Picture what it shows

    Fireflies are tiny lights. Here there are only two or three, and they are far away. Everything else is dark. The picture makes Margaret seem small and far from other people. A few lines later, the paragraph says it: “A sudden feeling of isolation took possession of her.” Isolation means being alone and cut off.

  4. Check each choice

    • A is wrong. Fireflies can seem cozy, but Margaret is straining to see. She feels alone, not comforted.
    • B is right. The tiny, faraway lights stress that she is on her own.
    • C is wrong. The beauty of the night comes later, in paragraph 12. Here she is worried.
    • D is wrong. Dread and the empty land come later, after the train leaves.

    Watch out: D jumps ahead. Her terror starts in paragraph 9, and the empty land appears in paragraphs 12 and 13. Both come after the train is gone.

  5. Choose the answer

    The few faraway specks of light in the dark make Margaret feel small and alone. So the answer is B.

Why this answer and not the closest wrong one

D is the closest wrong answer, because Margaret does feel dread later in the story. But in paragraph 4 the train is still there, and the land has not been described yet. The paragraph names the feeling itself: “a sudden feeling of isolation.” Lonesomeness matches that.

More questions like this

The original DOE question
Question 19 as printed on page 130 of the DOE handbook.
As printed in the DOE’s Specialized High Schools Student Handbook 2018–2019, page 130, question 19. Open page 130 of the handbook (PDF)

Question 70 of 78

2018 Test B English, question 20

Uses the passage above: “Excerpt from A Voice in the Wilderness”.

Question

Read paragraph 9 from the excerpt.

A moment of useless screaming, running, trying to attract some one’s attention, a sickening sense of terror and failure, and the last car slatted itself past with a mocking clatter, as if it enjoyed her discomfort.

The imagery in this sentence conveys the

  • Agrowing irritation Margaret feels as she is ignored by people on the train.
  • Beffort Margaret is making despite being physically unable to keep up with the train.
  • Canger that Margaret is experiencing as she watches the train leave without her.
  • Dvulnerability Margaret feels as the train leaves her behind.
Show the answer

Correct answer: D

The question asks for an explanation of what the imagery in the excerpt from paragraph 9 conveys. The words “useless” and “failure” in the sentence indicate that Margaret’s best efforts do not help her. The phrase “the last car slatted itself past” shows that Margaret is helpless to stop the train from departing, which leaves her completely vulnerable, as described in Option D.

Option A is incorrect because describing Margaret’s “sickening sense of terror” indicates that she is extremely afraid of being left behind rather than increasingly irritated with the other passengers.

Option B is incorrect because Margaret spends her time “screaming, running, trying to attract some one’s attention” in an effort to be noticed so that the train will stop, not attempting to run as fast as the train.

Option C is incorrect because while Margaret’s screaming and running could easily suggest feelings of anger, descriptions of her “sickening sense of terror and failure” indicate otherwise.

Question analysis

This imagery question quotes paragraph 9 of A Voice in the Wilderness, a single long sentence describing the moment the last car of the train rattles past Margaret. Students decide what feeling the imagery conveys. The scene is full of action and noise, so it is easy to name an emotion that fits her behavior but not the words used.

NYS standards
  • 7R4 word meaning and choice
  • 7L5 figurative language and word relationships
Grade level
Grade 7 reading and task
Compared with grade 7
At grade 7 Reading imagery for a character’s feelings is everyday grade 7 work. Paragraph 9 is a single sentence with strong emotional words, so the task stays inside one sentence rather than ranging across the story.
Estimated difficulty
Straightforward: two steps or one careful reading.
Evidence
Answered from one paragraph or stanza
Reading level
Passage: about grade 8, 981 words; question and choices: about grade 9, 97 words.
Corrected from the DOE handbook
  • A misspelling of the main character’s name in the explanation was corrected.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

The sentence names Margaret’s feelings outright, “terror and failure,” and calls her screaming “useless,” so the question is mostly about trusting those words over the noisy action around them. Students who read the actions alone tend to name anger or irritation. Seeing that a train which seems to enjoy her distress makes her look powerless, not angry, is what leads to the right reading.

  1. Figurative or literary language moderate Understanding the question

    The last car “slatted itself past with a mocking clatter, as if it enjoyed her discomfort,” and students must see that the personified mockery stresses her helplessness, not her temper. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  2. Complex sentences minor Understanding the question

    Paragraph 9 is one 36-word sentence that lists fragments, “useless screaming, running” and “a sickening sense of terror and failure,” before its only main verb arrives. (Abedi & Lord, 2001; Freedle & Kostin, 1993; Messick, 1989)

  3. A very close wrong answer minor Choosing the answer

    The anger choice shares the right one’s frame, a feeling as the train leaves her behind, and differs only in the feeling named, which the sentence’s “terror and failure” settle. (Embretson & Wetzel, 1987; Gorin & Embretson, 2006; Ascalon et al., 2007)

Strategy: Pick out the words in the sentence that name feelings, along with what the personified train seems to do, and match the choice to those words.

Traps

  • Wrong tone or attitude: Misjudges the tone, attitude or point of view, such as reading admiration as criticism, or taking a character's or subject's feelings for the author's.
  • Twists what the text says: Uses the text's topic and ideas but changes what it says: who did it, how much, when, or why.

The wrong answers, classified

What was corrected from the DOE handbook, and why

  • Explanation: The handbook spells the name “Margret” once, in the reason Option C is wrong. The passage and the rest of the explanation spell it “Margaret,” as the site now does.

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This asks about imagery: words that help you see, hear or feel a scene. What do the images in paragraph 9 show about Margaret?

  2. Find the key words

    Paragraph 9 describes “useless screaming, running, trying to attract some one’s attention.” She feels “a sickening sense of terror and failure.” Then “the last car slatted itself past with a mocking clatter, as if it enjoyed her discomfort.”

  3. Work out what the words mean

    “Useless” and “failure” tell you nothing she does works. “Terror” is great fear. The train even seems to mock her, like a mean person laughing. Giving human traits to a thing is called personification. All of this shows she is helpless. That feeling is vulnerability: being open to harm, with no way to protect yourself.

  4. Check each choice

    • A is wrong. Irritation is mild annoyance. The sentence says “terror.”
    • B is wrong. She runs to get someone’s attention, not to keep up with the train.
    • C is wrong. Screaming might suggest anger, but the sentence names “terror and failure.”
    • D is right. She is helpless as the train leaves her behind.

    Watch out: The train is “mocking,” which might make you think of anger. But it is the train that seems mean. Her own feelings are fear and failure.

  5. Choose the answer

    The images show a girl who can do nothing as the train leaves. So the answer is D.

Why this answer and not the closest wrong one

C is the closest wrong answer, because screaming and a mocking train can suggest anger. But the sentence names her feelings directly: “a sickening sense of terror and failure.” Those are the feelings of someone who is helpless, not angry. D matches those words.

More questions like this

The original DOE question
Question 20 as printed on page 131 of the DOE handbook.
As printed in the DOE’s Specialized High Schools Student Handbook 2018–2019, page 131, question 20. Open page 131 of the handbook (PDF) The handbook letters this question’s choices E–H; here they are A–D (E = A, F = B, G = C, H = D). This is the DOE’s version, before the corrections listed in the analysis.

Question 71 of 78

2018 Test B English, question 22

Uses the passage above: “Excerpt from A Voice in the Wilderness”.

Question

Read paragraph 10 from the excerpt.

Margaret stood dazed, reaching out helpless hands, then dropped them at her sides and gazed after the fast-retreating train, the light on its last car swinging tauntingly, blinking now and then with a leer in its eye, rapidly vanishing from her sight into the depth of the night.

What does the figurative language in this sentence emphasize?

  • Athe sense of doubt that Margaret experiences when she is deciding what to do next
  • Bthe anger that Margaret feels toward the people on the train who she expected to help her
  • Cthe embarrassment that Margaret feels when she imagines what others will think of her
  • Dthe hopelessness that Margaret feels when she accepts that the train is continuing on
Show the answer

Correct answer: D

The question asks for what the figurative language illustrates in the sentence. As Margaret stands and reaches out “helpless hands,” the language used to describe the train as “swinging tauntingly” and having “a leer in its eye” confirms Margaret’s fears of being left alone and feeling foolish; there is nothing she can do to change the situation, as expressed in Option D.

Option A is incorrect because, while the image of Margaret’s helpless hands dropping at her sides could suggest a sense of doubt, the figurative language in the sentence emphasizes a different feeling about her situation and does not indicate her intentions.

Option B is incorrect because, while the figurative language seems to give a malevolent quality to the train, it is not referring to the people onboard, who are described in paragraph 8 as “comfortable and safe inside, unconscious of her need.”

Option C is incorrect because, while Margaret is worried in paragraph 4 about embarrassing herself, she now feels “dazed” because she is overwhelmed with the seriousness of what has just happened.

Question analysis

This figurative-language question quotes paragraph 10 of A Voice in the Wilderness, where Margaret watches the train disappear and its light seems to taunt her. Students decide what the personification of the train emphasizes about her situation. The image is vivid but brief, so students need to link it to the feeling the whole paragraph builds.

NYS standards
  • 7R4 word meaning and choice
  • 7L5 figurative language and word relationships
Grade level
Grade 7 reading and task
Compared with grade 7
At grade 7 Interpreting personification is part of grade 7 work on figurative language. This sentence gives the train a leer and a taunting light, so students must decide whose feeling the image reflects, a step beyond naming the figure of speech.
Estimated difficulty
Moderate: several steps, or a close reading with one strong distractor.
What makes it hard
Evidence
Answered from one paragraph or stanza
Reading level
Passage: about grade 8, 981 words; question and choices: about grade 8, 122 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

The figurative language belongs to the train, so students have to translate a taunting, leering light into a statement about Margaret’s state. Some read the taunt as the cause of an emotion, embarrassment or anger, instead of as a picture of how powerless she is. Her “helpless hands,” dropped to her sides as the light vanishes, confirm that she has accepted the train is gone.

  1. Figurative or literary language moderate Understanding the question

    The train’s light is personified, “swinging tauntingly, blinking now and then with a leer in its eye,” and students must decide what a mocking machine says about Margaret rather than about the train. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  2. Complex sentences minor Understanding the question

    Paragraph 10 is a single 48-word sentence that strings together participle phrases, “reaching out,” “swinging tauntingly,” “rapidly vanishing,” so the figurative part arrives only after her gestures. (Abedi & Lord, 2001; Freedle & Kostin, 1993; Messick, 1989)

Strategy: Find the phrases that give the train human traits, then ask what they add to the picture of Margaret standing by the track, using only this sentence.

Traps

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This asks about figurative language: words that mean more than their plain meaning. What feeling does it stress in paragraph 10?

  2. Find the figurative language

    Paragraph 10 describes the train’s last light “swinging tauntingly, blinking now and then with a leer in its eye.” Margaret stands “reaching out helpless hands, then dropped them at her sides.”

  3. Work out what it means

    “Tauntingly” means in a teasing, mean way. A leer is a nasty, sly look. A light can’t really tease anyone. The author gives the train human traits to show it is leaving her, and she can do nothing. When she drops her hands, she stops trying. She accepts that the train is gone. That feeling is hopelessness.

  4. Check each choice

    • A is wrong. She is not deciding what to do next. She is just watching the train go.
    • B is wrong. The mean look belongs to the train, not the people. The passengers did not even know she needed help.
    • C is wrong. She worried about looking foolish back in paragraph 4. Now she is “dazed.”
    • D is right. Her dropped hands and the mocking light show she has lost hope.

    Watch out: The teasing light may remind you of her fear of being called a fool. But that was earlier. Here she has lost all hope of stopping the train.

  5. Choose the answer

    The figurative language shows Margaret giving up as the train disappears. So the answer is D.

Why this answer and not the closest wrong one

C is the closest wrong answer, because a teasing train seems to fit embarrassment. But Margaret is not thinking about what others will say. She stands “dazed” and drops her “helpless hands.” The mocking light shows the train is gone for good. That is hopelessness, so D fits better.

More questions like this

The original DOE question
Question 22 as printed on page 131 of the DOE handbook.
As printed in the DOE’s Specialized High Schools Student Handbook 2018–2019, page 131, question 22. Open page 131 of the handbook (PDF) The handbook letters this question’s choices E–H; here they are A–D (E = A, F = B, G = C, H = D).

Question 72 of 78

2018 Test B English, question 26
Passage Excerpt from “Niagara Falls”

Excerpt from “Niagara Falls”

by Rupert Brooke

The real secret of the beauty and terror of the Falls is not their height or width, but the feeling of colossal power and of unintelligible disaster caused by the plunge of that vast body of water. If that were taken away, there would be little visible change, but the heart would be gone.

The American Falls do not inspire this feeling in the same way as the Canadian. It is because they are less in volume, and because the water does not fall so much into one place. By comparison their beauty is almost delicate and fragile. They are extraordinarily level, one long curtain of lacework and woven foam. Seen from opposite, when the sun is on them, they are blindingly white, and the clouds of spray show dark against them. With both Falls the colour of the water is the ever-altering wonder. Greens and blues, purples and whites, melt into one another, fade, and come again, and change with the changing sun. Sometimes they are as richly diaphanous1^1 as a precious stone, and glow from within with a deep, inexplicable light. Sometimes the white intricacies of dropping foam become opaque and creamy. And always there are the rainbows. If you come suddenly upon the Falls from above, a great double rainbow, very vivid, spanning the extent of spray from top to bottom, is the first thing you see. If you wander along the cliff opposite, a bow springs into being in the American Falls, accompanies you courteously on your walk, dwindles and dies as the mist ends, and awakens again as you reach the Canadian tumult. And the bold traveller who attempts the trip under the American Falls sees, when he dare open his eyes to anything, tiny baby rainbows, some four or five yards in span, leaping from rock to rock among the foam, and gambolling beside him, barely out of hand’s reach, as he goes. One I saw in that place was a complete circle, such as I have never seen before, and so near that I could put my foot on it. It is a terrifying journey, beneath and behind the Falls. The senses are battered and bewildered by the thunder of the water and the assault of wind and spray; or rather, the sound is not of falling water, but merely of falling; a noise of unspecified ruin. So, if you are close behind the endless clamour, the sight cannot recognise liquid in the masses that hurl past. You are dimly and pitifully aware that sheets of light and darkness are falling in great curves in front of you. Dull omnipresent foam washes the face. Farther away, in the roar and hissing, clouds of spray seem literally to slide down some invisible plane of air.

Beyond the foot of the Falls the river is like a slipping floor of marble, green with veins of dirty white, made by the scum that was foam. It slides very quietly and slowly down for a mile or two, sullenly exhausted. Then it turns to a dull sage green, and hurries more swiftly, smooth and ominous. As the walls of the ravine close in, trouble stirs, and the waters boil and eddy. These are the lower rapids, a sight more terrifying than the Falls, because less intelligible. Close in its bands of rock the river surges tumultuously forward, writhing and leaping as if inspired by a demon. It is pressed by the straits into a visibly convex form. Great planes of water slide past. Sometimes it is thrown up into a pinnacle of foam higher than a house, or leaps with incredible speed from the crest of one vast wave to another, along the shining curve between, like the spring of a wild beast. Its motion continually suggests muscular action. The power manifest in these rapids moves one with a different sense of awe and terror from that of the Falls. Here the inhuman life and strength are spontaneous, active, almost resolute. . . . A place of fear.

One is drawn back, strangely, to a contemplation of the Falls, at every hour, and especially by night, when the cloud of spray becomes an immense visible ghost, straining and wavering high above the river, white and pathetic and translucent. The Victorian lies very close below the surface in every man. There one can sit and let great cloudy thoughts of destiny and the passage of empires drift through the mind; for such dreams are at home by Niagara. I could not get out of my mind the thought of a friend, who said that the rainbows over the Falls were like the arts and beauty and goodness, with regard to the stream of life—caused by it, thrown upon its spray, but unable to stay or direct or affect it, and ceasing when it ceased. In all comparisons that rise in the heart, the river, with its multitudinous waves and its single current, likens itself to a life, whether of an individual or of a community. A man’s life is of many flashing moments, and yet one stream; a nation’s flows through all its citizens, and yet is more than they. In such places, one is aware, with an almost insupportable and yet comforting certitude, that both men and nations are hurried onwards to their ruin or ending as inevitably as this dark flood. Some go down to it unreluctant, and meet it, like the river, not without nobility. And as incessant, as inevitable, and as unavailing as the spray that hangs over the Falls, is the white cloud of human crying. . . . With some such thoughts does the platitudinous2^2 heart win from the confusion and thunder of a Niagara peace that the quietest plains or most stable hills can never give.

From LETTERS FROM AMERICA by Rupert Brooke—Public Domain

1^1diaphanous: sheer, translucent

2^2platitudinous: clichéd, common

Question

Read this sentence from paragraph 2.

They are extraordinarily level, one long curtain of lacework and woven foam.

What is the effect of comparing the American Falls to a “long curtain of lacework and woven foam”?

  • AIt demonstrates the timelessness of the American Falls.
  • BIt conveys the secretive nature of the American Falls.
  • CIt illustrates the elegant uniformity of the American Falls.
  • DIt communicates the intense strength of the American Falls.
Show the answer

Correct answer: C

The question asks for the effect of the comparison being made in the sentence in paragraph 2. The word “lacework” in the sentence suggests an elegant piece of craftsmanship, and the “one long curtain” and “extraordinarily level” aspects of the Falls mean that the Falls are uniform or consistent; therefore, Option C is correct.

Option A is incorrect because neither “lacework and woven foam,” nor the quality of being extremely level, are related to timelessness.

Option B is incorrect because, while a curtain may suggest the idea of something being hidden or secret, the description of a delicate “lacework” curtain does not suggest this purpose.

Option D is incorrect because “lacework” is generally fragile and does not suggest great strength.

Question analysis

In this figurative language question, students explain the effect of a comparison in Rupert Brooke’s “Niagara Falls”: the American Falls as “one long curtain of lacework and woven foam.” They need to picture the image and read the sentences around it, since a curtain, lace and foam can each call up quite different qualities.

NYS standards
  • 7R4 word meaning and choice
  • 7L5 figurative language and word relationships
Grade level
Grade 7 reading and task
Compared with grade 7
At grade 7 Explaining the effect of a metaphor in a quoted sentence is routine grade 7 work. The older prose is harder than most grade 7 texts, but the sentences around this one give direct context clues.
Estimated difficulty
Straightforward: two steps or one careful reading.
What makes it hard
Evidence
Answered from one sentence or line
Reading level
Passage: about grade 9, 987 words; question and choices: about grade 10, 70 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

The image is clear once pictured, and the sentences around it, about the American Falls being “delicate and fragile” and “extraordinarily level,” confirm what it means. Students go wrong by bringing in what they associate with curtains or with Niagara in general, hiding or power, instead of what this curtain is made of. The right choice also uses an abstract word that has to be connected back to “level.”

  1. Figurative or literary language moderate Understanding the question

    Students must translate “one long curtain of lacework and woven foam” into qualities: lace is delicate and finely made, and one long level curtain is even from end to end. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  2. Hard words minor Understanding the question

    The right choice uses “uniformity,” which students must link to “extraordinarily level” and “one long curtain,” just as “elegant” must be linked to the lacework. (Perfetti, 2007; Freedle & Kostin, 1993)

Strategy: Picture the image first, then reread the few sentences around it about the American Falls and keep only the choice that both the image and those sentences support.

Traps

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This asks about the effect of a comparison. The author compares the American Falls to “one long curtain of lacework and woven foam.” What quality does that picture give them?

  2. Read the sentence and its neighbor

    The full sentence is “They are extraordinarily level, one long curtain of lacework and woven foam.” The sentence just before it says, “By comparison their beauty is almost delicate and fragile.”

  3. Picture the comparison

    Lacework is fancy cloth with fine, delicate patterns. It looks elegant, which means graceful and beautiful. “Extraordinarily level” and “one long curtain” mean the Falls are even all the way across, with no breaks. That evenness is uniformity: being the same all the way through. So the picture shows elegant uniformity.

  4. Check each choice

    • A is wrong. Nothing about lace or foam suggests lasting forever.
    • B is wrong. A curtain can hide things, but lace is open and see-through. Nothing is hidden.
    • C is right. Lace is elegant, and a level curtain is uniform.
    • D is wrong. Lace is fragile, not strong.

    Watch out: Paragraph 1 talks about “colossal power,” so D can seem right. But paragraph 2 says the American Falls “do not inspire this feeling” the way the Canadian Falls do.

  5. Choose the answer

    The lace curtain makes the American Falls look graceful and even. So the answer is C.

Why this answer and not the closest wrong one

D is the closest wrong answer, because the Falls seem powerful in other parts of the essay. But this sentence is about the American Falls, whose beauty is “delicate and fragile.” Lace is delicate, not strong. A smooth, level curtain of lace shows grace and evenness, as C says.

More questions like this

The original DOE question
Question 26 as printed on page 135 of the DOE handbook.
As printed in the DOE’s Specialized High Schools Student Handbook 2018–2019, page 135, question 26. Open page 135 of the handbook (PDF) The handbook letters this question’s choices E–H; here they are A–D (E = A, F = B, G = C, H = D).
The passage “Excerpt from “Niagara Falls”” as printed (pages 134–135)The passage “Excerpt from “Niagara Falls”” as printed on page 134 of the DOE handbook.The passage “Excerpt from “Niagara Falls”” as printed on page 135 of the DOE handbook.

Question 73 of 78

2018 Test B English, question 40
Passage Snowy Mountains

Snowy Mountains

by John Gould Fletcher

Higher and still more high,
Palaces made for cloud,
Above the dingy city-roofs
Blue-white like angels with broad wings,
Pillars of the sky at rest
The mountains from the great plateau
Uprise.

But the world heeds them not;
They have been here now for too long a time.
The world makes war on them,
Tunnels their granite cliffs,
Splits down their shining sides,
Plasters their cliffs with soap-advertisements,
Destroys the lonely fragments of their peace.

Vaster and still more vast,
Peak after peak, pile after pile,
Wilderness still untamed,
To which the future is as was the past,
Barrier spread by Gods,
Sunning their shining foreheads,
Barrier broken down by those who do not need
The joy of time-resisting storm-worn stone,
The mountains swing along
The south horizon of the sky;
Welcoming with wide floors of blue-green ice
The mists that dance and drive before the sun.

“Snowy Mountains” by John Gould Fletcher—Public Domain

Question

Read line 5 from the poem.

Pillars of the sky at rest

The line helps develop the theme of the poem by suggesting that the mountains

  • Aserve a noble and supportive purpose in the world.
  • Battract the clouds with their strength and permanence.
  • Cremain untamed through the ages.
  • Dprovide protection for the people.
Show the answer

Correct answer: A

The question asks how the line from the poem helps develop the theme of the poem. Line 5 helps develop the theme that the mountains are more important than people realize by suggesting that the mountains serve a noble, foundational purpose in the world, as explained in Option A.

Option B is incorrect because, while the poem does describe the strength and permanence of the mountains, the line does not suggest that these traits attract the clouds.

Option C is incorrect because, while the line states that the highest peaks are “at rest,” that phrase describes stillness, not wildness; the poem calls the mountains “still untamed” only later (line 17), and line 5 does not suggest it.

Option D is incorrect because, while pillars are strong and may indicate shelter, there is no suggestion in the line that the mountains are protecting the people. Additionally, this concept is not a theme of the poem.

Question analysis

This figurative language question asks how the metaphor “Pillars of the sky at rest” in “Snowy Mountains” helps develop the poem’s theme. Students must work out what calling mountains pillars of the sky suggests about them, and it is tricky because every choice sounds like something this poem could say.

NYS standards
  • 7R4 word meaning and choice
  • 7R2 theme or central idea
Grade level
Grade 8 reading and task
Compared with grade 7
Above grade 7 Grade 7 students interpret metaphors, but here they must also connect a short image to the poem’s theme and choose among abstract options, a step closer to grade 8 work on figurative meaning and theme.
Estimated difficulty
Hard: combines ideas, needs a plan, and has more than one tempting wrong answer.
Evidence
Answered from one sentence or line
Reading level
Passage: 161 words (a poem; reading level not measured); question and choices: about grade 3, 52 words.
Corrected from the DOE handbook
  • A claim in the explanation that the poem contradicts was corrected.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

This is hard because every choice says something the poem could plausibly mean, and two of them borrow real phrases from other lines. Students who test choices against the poem as a whole find support for the wrong ones; the question rewards testing them against the single image of pillars holding up the sky. Seeing that pillars both support and ennoble a structure leads directly to the key.

  1. Figurative or literary language major Understanding the question

    The answer depends on unpacking one metaphor: pillars hold up a roof, so “Pillars of the sky” casts the mountains as supports of the heavens, and “at rest” adds a calm, dignified strength. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  2. The right answer is reworded moderate Choosing the answer

    The key uses words the poem never does, “noble” and “supportive,” while wrong choices echo “cloud” from line 2 and “untamed” from line 17 and so look anchored in the text. (Freedle & Kostin, 1993; Kirsch & Mosenthal, 1990)

  3. Combines ideas minor Working it out

    Students must interpret the image and then link it to the poem’s theme, that the mountains matter more than the world below recognizes. (Embretson, 1998; Daniel & Embretson, 2010)

Strategy: Ask what a pillar is and why a poet might call mountains “pillars of the sky,” then test each choice against line 5 alone before thinking about the rest of the poem.

Traps

  • Wrong part of the text: A choice is true of another paragraph, stanza or speaker than the one asked about.
  • Half right: One half of a two-part choice is right and the other is not.
  • Reads too much in: A reasonable-sounding conclusion that goes further than the text allows.

The wrong answers, classified

What was corrected from the DOE handbook, and why

  • Explanation: The handbook rejects Option C by saying the mountains “do not remain untamed or untouched,” but line 17 calls them “Wilderness still untamed,” and the handbook’s own explanation of the third-stanza question relies on that line. The site now says that “at rest” describes stillness, not wildness, and that the poem calls the mountains “still untamed” only later, in line 17, so line 5 does not suggest it.

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This asks what one image, line 5, adds to the poem’s theme. A theme is the big message of a poem. Here the theme is that the mountains are great and important, even though people ignore them. You need to decide what “Pillars of the sky” says about the mountains.

  2. Look closely at line 5

    Line 5 reads “Pillars of the sky at rest.” It is part of the first stanza’s list of grand pictures. The list also has “Palaces made for cloud” in line 2. Line 5 is a metaphor. A metaphor calls one thing by the name of another to compare them, without using “like” or “as.”

  3. Explain what pillars do

    A pillar is a tall, strong column that holds up a roof. Big, important buildings, like temples and courthouses, have pillars. So calling the mountains “Pillars of the sky” makes them seem to hold up the sky. That is a supporting job. It is also a grand, noble one. “At rest” adds calm. The pillars stand still and steady.

  4. Check each choice

    • A fits. Holding up the sky is a noble, supportive job.
    • B is wrong. Clouds come from line 2. Line 5 says nothing about pulling clouds in.
    • C is wrong. “Wilderness still untamed” is line 17, not line 5. Pillars “at rest” suggest calm, not wildness.
    • D is wrong. Pillars hold up roofs, and roofs can shelter people. But the line never shows the mountains protecting anyone.

  5. Choose the answer

    Pillars hold things up and make a building grand. So the answer is A, “serve a noble and supportive purpose in the world.”

Why this answer and not the closest wrong one

C is the strongest trap, because the poem really does call the mountains untamed. But that is line 17. Test each choice against line 5 alone. A pillar is a support, and a pillar of the sky is a grand one. Only A comes straight from that picture.

More questions like this

The original DOE question
Question 40 as printed on page 143 of the DOE handbook.
As printed in the DOE’s Specialized High Schools Student Handbook 2018–2019, page 143, question 40. Open page 143 of the handbook (PDF) The handbook letters this question’s choices E–H; here they are A–D (E = A, F = B, G = C, H = D). This is the DOE’s version, before the corrections listed in the analysis.
The passage “Snowy Mountains” as printed (page 142)The passage “Snowy Mountains” as printed on page 142 of the DOE handbook.

Question 74 of 78

2018 Test B English, question 41

Uses the passage above: “Snowy Mountains”.

Question

How does isolating the word “Uprise” in line 7 affect the meaning of the poem?

  • AIt creates a contrast between the great plateau and the city buildings.
  • BIt reveals the similarity between the tall buildings in the city and the tall mountains on the horizon.
  • CIt creates a vision of the region before people developed the land.
  • DIt emphasizes that the mountains dominate the landscape.
Show the answer

Correct answer: D

The question asks how the isolation of the word affects the meaning of the poem. The isolation of the word “Uprise” powerfully emphasizes the first stanza’s description of the magnificent mountains standing tall above the land below, as expressed in Option D.

Option A is incorrect because the word describes the mountains and, therefore, does not create a contrast between the plateau and the city buildings, but rather between the mountains and the plateau.

Option B is incorrect because the word contrasts the mountains with the plateau; it does not compare the mountains to the buildings in the city.

Option C is incorrect because the first stanza describes the already developed land over which the mountains rise.

Question analysis

In “Snowy Mountains,” the opening stanza builds a long sentence about the mountains and saves its verb, “Uprise,” for a line of its own. This poetry structure question asks how isolating that single word affects the poem’s meaning, so students need to think about how a line break shapes what the reader notices, as well as about what the stanza describes.

NYS standards
  • 7R5 structure and genre features
  • 7R4 word meaning and choice
Grade level
Grade 8 reading and task
Compared with grade 7
At grade 7 Grade 7 poetry questions often ask about word choice; this one asks about a structural choice, a one-word line, which is less familiar, though the stanza’s images make the intended effect fairly easy to sense.
Estimated difficulty
Moderate: several steps, or a close reading with one strong distractor.
What makes it hard
Evidence
Answered from one paragraph or stanza
Reading level
Passage: 161 words (a poem; reading level not measured); question and choices: about grade 8, 64 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

Students who see that “Uprise” is the verb the whole stanza has been building toward recognize the effect quickly: the mountains rise over everything else in the picture. Those who treat the word as one more image look for a comparison instead and find several, because the stanza is full of buildings, roofs and a plateau. The real test is sorting which contrast belongs to the mountains.

  1. Complex sentences moderate Understanding the question

    The stanza is one long sentence that withholds its subject until line 6 and its verb until line 7, so “Uprise” lands as the payoff of five lines of images. (Abedi & Lord, 2001; Freedle & Kostin, 1993; Messick, 1989)

  2. How, not what moderate Working it out

    The question asks about a line break, a structural choice, rather than a word’s meaning, and students must judge what setting one verb on its own line makes the reader notice. (Anderson & Krathwohl, 2001)

Strategy: Read the stanza aloud and notice where the long sentence finally reaches its verb, then ask what ending on that single word makes the reader see.

Traps

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This asks about a choice the poet made in how the poem looks. Line 7 is only one word: “Uprise.” You need to say what setting that word alone on its line does to the meaning.

  2. Find the sentence the word ends

    The whole first stanza is one long sentence. Lines 1 to 5 are a string of pictures: palaces, angels, pillars. The subject, “The mountains from the great plateau,” does not come until line 6. Line 7 then gives the verb, or action word, which is “Uprise.” A plateau is a wide area of high, flat land.

  3. Think about the effect

    “Uprise” means rise up. The reader waits six lines for this action. Then it stands by itself, like the mountains standing alone over the land. The short line makes you stop and picture them rising above everything, even “the dingy city-roofs.” So the mountains dominate the scene. To dominate is to tower over and be the main thing you notice.

  4. Check each choice

    • A is wrong. “Uprise” is about the mountains rising. It does not set the plateau against the city buildings.
    • B is wrong. The stanza does not show the city and the mountains as alike. The city roofs are “dingy,” while the mountains are like palaces.
    • C is wrong. Line 3 already shows a city, so this is not the land before people.
    • D fits. The lone word makes the mountains tower over the whole picture.

  5. Choose the answer

    Ending the long sentence on one lone word makes the mountains stand out over everything. So the answer is D, “It emphasizes that the mountains dominate the landscape.”

Why this answer and not the closest wrong one

A is the closest trap, because the stanza does contain a contrast. But it is between the mountains and everything below them. “Uprise” is the mountains’ own action, so its effect must be about the mountains. Only D keeps the focus there.

More questions like this

The original DOE question
Question 41 as printed on page 143 of the DOE handbook.
As printed in the DOE’s Specialized High Schools Student Handbook 2018–2019, page 143, question 41. Open page 143 of the handbook (PDF)

Question 75 of 78

2018 Test B English, question 42

Uses the passage above: “Snowy Mountains”.

Question

How does the poet develop the speaker’s point of view in the second stanza (lines 8–14)?

  • Aby describing images of the mountains’ awe-inspiring size and strength
  • Bby illustrating the differences among the various ways humans can impact the natural environment
  • Cby criticizing society for taking careless, destructive courses of action against nature
  • Dby demonstrating how the mountains and the people are able to benefit from each other
Show the answer

Correct answer: C

The question asks how the poet develops the speaker’s point of view in the second stanza. In the second stanza, the speaker criticizes the destructive actions of “the world” (lines 8 and 10) against the mountains—actions such as tunneling “their granite cliffs” (line 11) and destroying “the lonely fragments of their peace” (line 14)—as described in Option C.

Option A is incorrect because the speaker’s descriptions of the mountains’ grandeur mainly occur in the first and third stanzas, while in the second stanza, the speaker focuses on humanity and its negative effect on the mountains.

Option B is incorrect because the wording of the second stanza—“makes war” (line 10), “Splits down their shining sides” (line 12), and “Destroys the lonely fragments” (line 14)—communicates the speaker’s position that people’s main impact on the mountains is destructive; the wording does not illustrate different ways people impact the natural environment.

Option D is incorrect because no benefit to the mountains is described by the speaker in the second stanza.

Question analysis

Students explain how the poet develops the speaker’s point of view in the second stanza of the poem “Snowy Mountains,” the seven lines about what “the world” does to the mountains. The main challenge is staying focused on these lines and their word choice while the four choices range across the poem’s ideas.

NYS standards
  • 7R6 point of view and author position
  • 7R4 word meaning and choice
Grade level
Grade 6 reading and task
Compared with grade 7
Below grade 7 Easier than typical grade 7 work: the stanza is short and its attitude comes through plainly in its verbs, so the task resembles grade 6 questions that ask how a point of view is developed.
Estimated difficulty
Straightforward: two steps or one careful reading.
What makes it hard
Evidence
Answered from one paragraph or stanza
Reading level
Passage: 161 words (a poem; reading level not measured); question and choices: about grade 10, 66 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

The speaker’s disapproval is loud in lines 8–14, so most students identify the criticism quickly. The wrong choices work by describing the poem rather than this stanza, or by describing the stanza’s list neutrally and missing its anger. The question rewards staying inside the seven lines and reading the attitude in their verbs.

  1. How, not what moderate Working it out

    The stem asks how the point of view is built, and the answer is in the verbs: the world “makes war,” “Tunnels,” “Splits,” “Plasters” and “Destroys,” each casting people as attackers. (Anderson & Krathwohl, 2001)

  2. Figurative or literary language minor Understanding the question

    The stanza personifies the mountains as victims, with “the lonely fragments of their peace,” so the speaker’s criticism of people comes through sympathy for the mountains. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

Strategy: Underline the verbs in lines 8–14 and ask what attitude toward people they show, then match both that attitude and the way it is expressed to a choice.

Traps

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This asks how the poet shows the speaker’s point of view in lines 8 to 14, the second stanza. Point of view here means the speaker’s attitude, or feelings and opinion. Stay inside these seven lines.

  2. Find the action words

    Line 8 says, “But the world heeds them not.” “Heeds” means pays attention to. Then come the verbs, the action words. The world “makes war on them,” “Tunnels their granite cliffs,” “Splits down their shining sides,” and “Plasters their cliffs with soap-advertisements.” Line 14 ends, “Destroys the lonely fragments of their peace.”

  3. Name the speaker’s attitude

    Every verb shows people attacking the mountains. “War” is a strong, angry word. The mountains even seem to have feelings. They are lonely, and their peace is broken. So the speaker is criticizing people, or pointing out what they do wrong. People hurt the mountains without caring. That is careless and destructive.

  4. Check each choice

    • A is wrong. Awe at the mountains’ size is in stanzas 1 and 3, not stanza 2.
    • B is wrong. The stanza lists several harms, but they are all part of one “war.” It does not compare different kinds of impact.
    • C fits. The speaker blames people for destroying the mountains.
    • D is wrong. No one benefits here. People attack, and the mountains lose their peace.

  5. Choose the answer

    The second stanza blames people for attacking the mountains. So the answer is C, “by criticizing society for taking careless, destructive courses of action against nature.”

Why this answer and not the closest wrong one

B is the closest trap, because the stanza does list several actions. But a list of differences would treat them calmly, side by side. These lines are angry. Words like “war” and “Destroys” show blame, which is exactly what C says.

More questions like this

The original DOE question
Question 42 as printed on page 144 of the DOE handbook.
As printed in the DOE’s Specialized High Schools Student Handbook 2018–2019, page 144, question 42. Open page 144 of the handbook (PDF) The handbook letters this question’s choices E–H; here they are A–D (E = A, F = B, G = C, H = D).

Question 76 of 78

2018 Test B English, question 46

Uses the passage above: “Snowy Mountains”.

Question

Read lines 21–22 from the poem.

Barrier broken down by those who do not need
The joy of time-resisting storm-worn stone,

How do the lines help convey the speaker’s point of view?

  • AThey suggest that the speaker wants to remove the obstacles that prevent others from experiencing the wonders of nature.
  • BThey reveal the speaker’s opinion that some people are too busy to appreciate natural beauty.
  • CThey suggest the speaker’s dismay that people destroy the natural landscape without understanding the ramifications of their actions.
  • DThey explain that the speaker is confident that nature will never be fully destroyed by people.
Show the answer

Correct answer: C

The question asks how the lines help convey the speaker’s point of view. The words “those who do not need / The joy” in lines 21–22 suggest the speaker’s sadness that people do not realize that they are destroying something wonderful and irreplaceable, as expressed in Option C.

Option A is incorrect because the word “barrier” (line 21) refers to the speaker’s opinion that the mountains were “spread by Gods” (line 19) and not to an obstacle that the speaker thinks should be removed.

Option B is incorrect because, while the lines indicate that people have lost the need to connect with nature, they do not reveal that the speaker thinks that the cause of this loss is busyness.

Option D is incorrect because, although the speaker does say that the stone is “time-resisting” (line 22), this belief is only a small detail of the speaker’s point of view.

Question analysis

Students explain how lines 21–22 of the poem “Snowy Mountains” convey the speaker’s point of view about people who break down the mountains’ barrier. The lines are hard to parse because a phrase runs across the line break and “need” is used in an unusual way, so students must first work out what the sentence says before judging the speaker’s feeling.

NYS standards
  • 7R6 point of view and author position
  • 7R4 word meaning and choice
Grade level
Grade 8 reading and task
Compared with grade 7
Above grade 7 Reading a speaker’s attitude is grade 7 work, but this sentence runs across a line break with unusual phrasing, and the choices require fine distinctions between feelings and reasons, which pushes it above typical grade 7 demand.
Estimated difficulty
Hard: combines ideas, needs a plan, and has more than one tempting wrong answer.
What makes it hard
Evidence
Answered from one sentence or line
Reading level
Passage: 161 words (a poem; reading level not measured); question and choices: about grade 9, 99 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

Two lines of compressed, inverted verse must be untangled before any choice can be judged, and the meaning of “need” in them is unusual. Once the lines are paraphrased as people who do not value the old stone breaking it down, the speaker’s sorrow is clear, but two wrong choices offer neighboring readings. One supplies a reason the poem never gives, and the other carries the stanza’s idea of endurance into a certainty the lines contradict.

  1. Complex sentences major Understanding the question

    The sentence breaks mid-phrase, “those who do not need / The joy of time-resisting storm-worn stone,” and has no main verb of its own, so students must first work out who breaks what. (Abedi & Lord, 2001; Freedle & Kostin, 1993; Messick, 1989)

  2. Reading between the lines moderate Working it out

    Neither dismay nor ignorance is stated; both have to be inferred from describing people as not needing “the joy” of what they break down. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  3. Hard words minor Understanding the question

    “Barrier” here means the mountain range as a wall, not an obstacle, and the key uses “ramifications,” a word many students will not know. (Perfetti, 2007; Freedle & Kostin, 1993)

Strategy: Rephrase the two lines in plain words, starting with who breaks the barrier and what they do not need, then decide which feeling of the speaker that wording reveals.

Traps

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This asks what lines 21 and 22 show about the speaker’s point of view, or feelings and opinion. The lines are tangled, so first you need to put them in plain words.

  2. Read the lines in their place

    The two lines are “Barrier broken down by those who do not need / The joy of time-resisting storm-worn stone,” in the third stanza. Two lines earlier, line 19 calls the mountains a “Barrier spread by Gods,” or a wall made by the gods. So the barrier is the mountain range itself. It is not an obstacle in someone’s way.

  3. Put the lines in plain words

    Here is the meaning. The mountains are being broken down by people who feel no need for the joy that old, strong stone gives. These people do not value what they are destroying. The speaker is sad and upset about this. That feeling is dismay. Ramifications are the results that follow from an action. People break the mountains without seeing what they lose.

  4. Check each choice

    • A is wrong. The “barrier” is the mountains, which the speaker loves. The speaker does not want them removed.
    • B is wrong. The lines never say why people don’t value the stone. Being too busy is a reason brought in from outside.
    • C fits. The speaker is dismayed that people destroy the mountains without seeing their worth.
    • D is wrong. The same lines show the barrier being “broken down.” They show worry about harm, not confidence that nature is safe.

  5. Choose the answer

    The lines show sorrow at people breaking down something they do not value. So the answer is C, “They suggest the speaker’s dismay that people destroy the natural landscape without understanding the ramifications of their actions.”

Why this answer and not the closest wrong one

B is the closest trap. It also says people fail to value nature. But it adds a reason, being busy, that the poem never gives. The lines only say these people “do not need” the joy. C stays with what the lines show: harm done by people who don’t see its cost.

More questions like this

The original DOE question
Question 46 as printed on page 145 of the DOE handbook.
As printed in the DOE’s Specialized High Schools Student Handbook 2018–2019, page 145, question 46. Open page 145 of the handbook (PDF) The handbook letters this question’s choices E–H; here they are A–D (E = A, F = B, G = C, H = D).

Question 77 of 78

2018 Test B English, question 47

Uses the passage above: “Snowy Mountains”.

Question

Read lines 23–26 from the poem.

The mountains swing along
The south horizon of the sky;
Welcoming with wide floors of blue-green ice
The mists that dance and drive before the sun.

The personification in these concluding lines of the poem suggests that the mountains are

  • Agracious hosts who are untroubled by the actions of people.
  • Bunaware of their coming destruction.
  • Clively entertainers who are not bothered by the everyday concerns of people.
  • Dtoo proud to reveal their pain.
Show the answer

Correct answer: A

The question asks what the personification in the lines suggests in the poem. Line 25’s use of the word “Welcoming” suggests that the mountains are kind hosts. Lines 23 and 26, with language such as “The mountains swing along” and “The mists that dance and drive before the sun,” imply the carefree nature of the mountains as they resist the destructive work of humanity. Therefore, Option A is correct.

Option B is incorrect because the wording in the lines is positive and victorious, with no language to suggest coming destruction.

Option C is incorrect because, although the lines mention that “the mountains swing along” (line 23) and “the mists . . . dance” (line 26), the personification is used to describe the mountains’ perseverance, rather than to suggest that the mountains are entertaining others.

Option D is incorrect because the lines refer to the joy of the mountains as they “swing along” (line 23) and do not suggest pride.

Question analysis

This personification question asks what the final four lines of the poem “Snowy Mountains” suggest about the mountains, which “swing along” the south horizon of the sky. Students must interpret human qualities given to nature, and the trick is that several choices assign the mountains feelings or roles that only partly match the lines.

NYS standards
  • 7L5 figurative language and word relationships
  • 7R4 word meaning and choice
Grade level
Grade 7 reading and task
Compared with grade 7
At grade 7 Interpreting personification is a familiar grade 7 skill, and these lines are short and quoted. The challenge is choosing among character descriptions that each match part of the imagery, a typical rather than unusual demand.
Estimated difficulty
Moderate: several steps, or a close reading with one strong distractor.
Evidence
Answered from one sentence or line
Reading level
Passage: 161 words (a poem; reading level not measured); question and choices: about grade 6, 78 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

The closing lines are calm and generous, and the question asks students to turn their personification into a character. The trap is assigning actions to the wrong actor: the dancing belongs to the mists, and taking it for the mountains’ makes them performers rather than hosts. Students who carry the destruction of earlier stanzas into these lines also misjudge the mountains’ ease.

  1. Figurative or literary language moderate Understanding the question

    The personification has to be sorted by actor: the mountains “swing along” and are “Welcoming,” while it is the mists that “dance and drive before the sun.” (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  2. A very close wrong answer moderate Choosing the answer

    The hosts choice and the entertainers choice share one frame, mountains unbothered by people; they differ only in the role, and line 26 settles it, since the mists, not the mountains, “dance.” (Embretson & Wetzel, 1987; Gorin & Embretson, 2006; Ascalon et al., 2007)

  3. Complex sentences minor Understanding the question

    In “Welcoming with wide floors of blue-green ice / The mists,” the object comes after a long phrase and a line break, so who welcomes whom is easy to miss. (Abedi & Lord, 2001; Freedle & Kostin, 1993; Messick, 1989)

Strategy: Note each human action in lines 23–26 and who performs it, then choose the description that fits every one of those actions.

Traps

  • Half right: One half of a two-part choice is right and the other is not.
  • Reads too much in: A reasonable-sounding conclusion that goes further than the text allows.

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This asks about personification in lines 23 to 26. Personification means giving human actions or feelings to something that is not human. You need to decide what kind of person the mountains seem to be.

  2. Sort the actions by who does them

    Line 23 says “The mountains swing along.” Line 25 says the mountains are “Welcoming with wide floors of blue-green ice.” Whom do they welcome? Line 26 answers: “The mists that dance and drive before the sun.” So the mountains swing and welcome. The mists are the ones that dance.

  3. Explain what the actions suggest

    To swing along is to move in an easy, carefree way. Welcoming guests onto your floors is what a host does. A host is a person who has guests over. The mountains are kind hosts to the mists. Gracious means kind and polite. They also seem calm. After all the harm in stanza 2, they are untroubled, or not bothered.

  4. Check each choice

    • A fits. The mountains welcome guests and stay calm.
    • B is wrong. These lines say nothing about harm still to come.
    • C is wrong. The mists dance, not the mountains. The mountains are hosts, not entertainers.
    • D is wrong. The lines show ease and welcome. Nothing hints at pride or hidden pain.

  5. Choose the answer

    The mountains swing along and welcome the mists like hosts. So the answer is A, “gracious hosts who are untroubled by the actions of people.”

Why this answer and not the closest wrong one

C is very close, since it also says the mountains don’t worry about people. The difference is the role. An entertainer performs for others. A host welcomes others in. In line 26 it is the mists that “dance,” and the mountains are “Welcoming” them. That makes the mountains hosts.

More questions like this

The original DOE question
Question 47 as printed on page 145 of the DOE handbook.
As printed in the DOE’s Specialized High Schools Student Handbook 2018–2019, page 145, question 47. Open page 145 of the handbook (PDF)

Question 78 of 78

2018 Test B English, question 50
Passage Invention of the Telegraph

Samuel Morse, an American inventor, is credited with creating the electronic telegraph, a communication device that allows users to send messages using a system of short and long pulses that represent letters, numbers, and punctuation. In 1843 the United States Congress passed the Telegraph Bill, which provided Morse with the funds to build an electric telegraph system.

Invention of the Telegraph

Earlier Signal Systems

Long before Samuel F. B. Morse electrically transmitted his famous message “What hath God wrought?” from Washington to Baltimore on May 24, 1844, there were signaling systems that enabled people to communicate over distances. Most were visual or “semaphore” systems using flags or lights. In the eighteenth century, such systems used an observer who would decipher a signal from a high tower on a distant hill and then send it on to the next station. The young American republic wanted just such a system along its entire Atlantic coast and offered a prize of $30,000 for a workable proposal. The framers of this legislation1^1 had no way of knowing that when they used the word “telegraph” to refer to this visual semaphore system, they would be offered an entirely new and revolutionary means of communication—electricity.

The Growth of an Idea

The idea of using electricity to communicate over distance is said to have occurred to Morse during a conversation aboard ship when he was returning from Europe in 1832. Michael Faraday’s recently invented electromagnet was much discussed by the ship’s passengers, and when Morse came to understand how it worked, he speculated that it might be possible to send a coded message over a wire. While a student at Yale College years before, he had written his parents a letter about how interesting he found the lectures on electricity. Despite what he had learned at Yale, Morse found when he began to develop his idea that he had little real understanding of the nature of electricity, and after sporadic attempts to work with batteries, magnets, and wires, he finally turned for help to a colleague at the University of the City of New York, Leonard D. Gale.

Gale was a professor of chemistry and familiar with the electrical work of Princeton’s Joseph Henry, a true pioneer in the new field. Well before Morse had his shipboard idea about a telegraph, Henry rang a bell at a distance by opening and closing an electric circuit. In 1831, he had published an article, of which Morse was unaware, that contained details suggesting the idea of an electric telegraph. Gale’s help and his knowledge of this article proved crucial to Morse’s telegraph system because Gale not only pointed out flaws in the system but showed Morse how he could regularly boost the strength of a signal and overcome the distance problems he had encountered by using a relay system Henry had invented. Henry’s experiments, Gale’s assistance, and, soon after, hiring the young technician Alfred Vail were keys to Morse’s success.

Obstacles and Opportunities

By December 1837, Morse had enough confidence in his new system to apply for the federal government’s appropriation, and during the next year he conducted demonstrations of his telegraph both in New York and Washington.

However, when the economic disaster known as the Panic of 1837 took hold of the nation and caused a long depression, Morse was forced to wait for better times. It was during this period that Morse visited Europe again and tried not only to secure patent protection overseas but to examine competing telegraph systems in England. . . .

By 1843, the country was beginning to recover economically, and Morse again asked Congress for the $30,000 that would allow him to build a telegraph line from Washington to Baltimore, forty miles away. The House of Representatives eventually passed the bill containing the Morse appropriation, and the Senate approved it in the final hours of that Congress’s last session. With President Tyler’s signature, Morse received the cash he needed and began to carry out plans for an underground telegraph line.

Realizing a Great Invention

Morse had hired the ingenious construction engineer Ezra Cornell to lay the pipe carrying the wire, and although Cornell did his job superbly, one of Morse’s partners, Congressman F. O. J. Smith, had purchased wire with defective insulation. Too much time had been wasted laying bad wire, and with the project on a rigid deadline, something had to be done quickly. Cornell suggested that the fastest and cheapest way of connecting Washington and Baltimore was to string wires overhead on trees and poles. The desperate Morse gave the go-ahead, and the line was completed in time for the dramatic and spectacularly successful link between the Supreme Court chamber of the Capitol building and the railroad station in Baltimore.

Soon, as overhead wires connected cities up and down the Atlantic coast, the dots-and-dashes method2^2 that recorded messages on a long moving strip of paper was replaced by the operator’s ability to interpret the code in real time. . . . Telegraph lines soon extended westward, and within Morse’s own lifetime they connected the continents of Europe and America.

“Invention of the Telegraph”—Public Domain/Library of Congress

1^1legislation: Telegraph Bill

2^2dots-and-dashes method: the short and long pulses of Morse code that are sent and received by telegraph operators

World map titled “British All-Red Telegraph Line, 1902,” with a compass rose (N, S, E, W) and a key showing a thick black line as an electric telegraph line. The line runs from London across the Atlantic Ocean and Canada to Vancouver, then west into the Pacific Ocean off the map’s left edge; from London and from Canada’s east coast to Bermuda, then to Barbados, across the Atlantic to Cape Town, and across the Indian Ocean to Perth, which a second line links to India; and from Perth across Australia to Brisbane and Norfolk, with branches to New Zealand and east into the Pacific off the map’s right edge. Washington, D.C., in the United States, is marked with a dot but no line reaches it.

The first transatlantic electric telegraph message was sent in 1858, and by 1902 the British All-Red Line connected most of the world.

Bar graph titled “Telegraph Messages Transmitted, 1870–1920,” with the number of messages transmitted, in millions, on the vertical axis (0 to 180 in steps of 20) and the years 1870, 1880, 1890, 1900, 1910 and 1920 on the horizontal axis. The bars show about 10 million messages in 1870, 30 million in 1880, 55 million in 1890, 65 million in 1900, 75 million in 1910 and 155 million in 1920.

Source: U.S. Bureau of the Census. Historical Statistics of the United States, Colonial Times to 1970, Bicentennial Edition, Part 2. Washington, D.C., 1975.

Question

Read this sentence from paragraph 7.

The desperate Morse gave the go-ahead, and the line was completed in time for the dramatic and spectacularly successful link between the Supreme Court chamber of the Capitol building and the railroad station in Baltimore.

The words “dramatic” and “spectacularly” in the sentence convey a

  • Asense of relief and fulfillment that the line was finished.
  • Bsense of wonder and of celebration that the telegraph line was completed on time.
  • Cfeeling of excitement about the future possibilities of the telegraph.
  • Dfeeling of confidence about being able to continue the work.
Show the answer

Correct answer: B

The question asks what the words “dramatic” and “spectacularly” convey in the sentence. Morse and Cornell rushed to post the wires overhead, and the “rigid deadline” (paragraph 7) was successfully met. The words have a positive and victorious tone that is consistent with the feeling of wonder that it worked and of celebration that the construction was completed, making Option B correct.

Option A is incorrect because, while there may have been some feelings of relief and fulfilment that the lines were in place, the passage does not say so, and instead it focuses on the wonder and joy Morse and Cornell felt overcoming setbacks and completing the construction of Morse’s telegraph system.

Option C is incorrect because the passage does not share whether Morse or Cornell considered the future possibilities of the telegraph, only that the finished product was “dramatic,” implying it was amazing to see.

Option D is incorrect because, while the passage later discusses the expansion of overhead wires “up and down the Atlantic coast” and how they “connected the continents of Europe and America” (paragraph 8), there is no evidence shared in the passage that Morse planned to continue his work with electricity.

Question analysis

This word choice question asks what the words “dramatic” and “spectacularly” convey in a sentence from “Invention of the Telegraph” about the first Washington-to-Baltimore line. Students must read the connotations of two words in context, and the choices name feelings that are all believable for a project rushed to meet a deadline.

NYS standards
  • 7R4 word meaning and choice
  • 7L5c connotation and denotation
Grade level
Grade 7 reading and task
Compared with grade 7
At grade 7 Reading the connotation of words in context is typical grade 7 work. The sentence is quoted, but the choices are close in meaning, which demands careful attention to what the two words themselves suggest.
Estimated difficulty
Moderate: several steps, or a close reading with one strong distractor.
Evidence
Answered from one sentence or line
Reading level
Passage: about grade 11, 910 words; question and choices: about grade 9, 94 words.
Students, last 30 days
Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)

Why it is hard

Every choice names a reasonable emotion for the end of a race against a deadline, which makes this a question about two words rather than about the situation. Students who read the whole sentence are pulled toward relief by “desperate,” and those who read ahead are pulled toward the future by paragraph 8. The words point to an audience impressed by a public success, not to Morse’s private feelings or plans.

  1. A very close wrong answer moderate Choosing the answer

    The relief-and-fulfillment choice has the same shape as the key, a pair of feelings about finishing the line; only the feelings differ, and “desperate” nearby favors relief while “dramatic” and “spectacularly” point to wonder. (Embretson & Wetzel, 1987; Gorin & Embretson, 2006; Ascalon et al., 2007)

  2. Reading between the lines moderate Working it out

    “Dramatic” and “spectacularly” describe the event, not anyone’s emotions, so the feeling they convey, wonder at the result and celebration of its success, has to be inferred from their connotations. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)

  3. Every choice must be checked minor Choosing the answer

    All four choices name positive feelings that suit a project rushed to completion, so none can be dismissed by tone alone. (Embretson & Wetzel, 1987)

Strategy: Ask what kind of event people call dramatic or spectacular, then pick the feeling those two words express, not a feeling the surrounding story might suggest.

Traps

  • Wrong tone or attitude: Misjudges the tone, attitude or point of view, such as reading admiration as criticism, or taking a character's or subject's feelings for the author's.
  • Wrong part of the text: A choice is true of another paragraph, stanza or speaker than the one asked about.

The wrong answers, classified

How the questions are analyzed, and the research behind it

Working it out, step by step

  1. Figure out what the question asks

    This is a word-meaning question. It asks what feeling two words give the sentence: “dramatic” and “spectacularly.” Focus on those two words, not on how Morse might have felt.

  2. Read the sentence in its setting

    Paragraph 7 tells of a race against time. Bad wire had wasted time, and the project had “a rigid deadline.” Cornell’s idea of wires on poles saved the day. Then “the line was completed in time for the dramatic and spectacularly successful link between the Supreme Court chamber of the Capitol building and the railroad station in Baltimore.”

  3. Explain the two words

    Something dramatic is exciting and striking, like the big moment in a play. Something done spectacularly is done in an amazing way that is wonderful to see. Both words describe the event as a grand public success. They make you feel wonder and want to celebrate. The sentence also says the line was done “in time,” or on time.

  4. Check each choice

    • A is wrong. The “desperate” Morse may have felt relief. But the two words describe an amazing event, not a quiet sigh of relief.
    • B fits. The words show wonder and celebration, and the line was finished on time.
    • C is wrong. The sentence is about this first link. The future comes later, in paragraph 8.
    • D is wrong. The sentence says nothing about going on with more work.

  5. Choose the answer

    “Dramatic” and “spectacularly” cheer a thrilling success that came right on time. So the answer is B, “sense of wonder and of celebration that the telegraph line was completed on time.”

Why this answer and not the closest wrong one

A is the closest trap because “desperate” is in the same sentence. Relief is a quiet, private feeling that a worry is over. But “dramatic” and “spectacularly” are loud, showy words. People use them for something amazing to watch. That points to wonder and celebration, as B says.

More questions like this

The original DOE question
Question 50 as printed on page 149 of the DOE handbook.
As printed in the DOE’s Specialized High Schools Student Handbook 2018–2019, page 149, question 50. Open page 149 of the handbook (PDF) The handbook letters this question’s choices E–H; here they are A–D (E = A, F = B, G = C, H = D).
The passage “Invention of the Telegraph” as printed (pages 146–148)The passage “Invention of the Telegraph” as printed on page 146 of the DOE handbook.The passage “Invention of the Telegraph” as printed on page 147 of the DOE handbook.The passage “Invention of the Telegraph” as printed on page 148 of the DOE handbook.