SECTION 7 Time 30 minutes 38 Questions 1. In the nineteenth century, novelists and unsympathetic travelers portrayed the American West as a land of - adversity, whereas promoters and idealists created - image of a land of infinite promise. (A) lurid. a mundane (B) incredible. an underplayed (C) dispiriting. an identical (D) intriguing. a luxuriant (E) unremitting. a compelling 2. Honeybees tend to be more - than earth bees: the former, unlike the latter, search for food together and signal their individual findings to one another. (A) insular (B) aggressive (C) differentiated (D) mobile (E) social 3. Joe spoke of superfluous and - matters with exactly the same degree of intensity, as though for him serious issues mattered neither more nor less than did -. (A) vital. trivialities (B) redundant. superficialities (C) important. necessities (D) impractical. outcomes (E) humdrum. essentials 4. The value of Davis sociological research is com- promised by his unscrupulous tendency to use materials- in order to substantiate his own claims, while - information that points to other possible conclusions. (A) haphazardly. deploying (B) selectively. disregarding (C) cleverly. weighing (D) modestly. refuting (E) arbitrarily. emphasizing 5. Once Renaissance painters discovered how to - volume and depth, they were able to replace the medieval convention of symbolic, two-dimensional space with the more - illusion of actual space. (A) reverse. conventional (B) portray. abstract (C) deny. concrete (D) adumbrate. fragmented (E) render. realistic 6. He had expected gratitude for his disclosure, but instead he encountered - bordering on hostility. (A) patience (B) discretion (C) openness (D) ineptitude (E) indifference 7. The diplomat, selected for her demonstrated patience and skill in conducting such delicate negotiations, - to make a decision during the talks because any sudden commitment at that time would have been -. (A) resolved. detrimental (B) refused. apropos (C) declined. inopportune (D) struggled. unconscionable (E) hesitated. warranted 8. CONDUCTOR: INSTRUMENTALIST: (A) director: actor (B) sculptor: painter (C) choreographer: composer (D) virtuoso: amateur (E) poet: listener 9. QUARRY: ROCK (A) silt: gravel (B) sky: rain (C) cold: ice (D) mine: ore (E) jewel: diamond 10. STICKLER: EXACTING: (A) charlatan: forthright (B) malcontent: solicitous (C) misanthrope: expressive (D) defeatist: resigned (E) braggart: unassuming 11. WALK: AMBLE: (A) dream: imagine (B) talk: chat (C) swim: float (D) look: stare (E) speak: whisper 12. JAZZ: MUSIC: (A) act: play (B) variety: vaudeville (C) portraiture: painting (D) menu: restaurant (E) species: biology 13. REPATRIATE: EMIGRATION: (A) reinstate: election (B) recall: impeachment (C) appropriate: taxation (D) repeal: ratification (E) appeal: adjudication 14. PLACEBO: INNOCUOUS: (A) antibiotic: viral (B) vapor: opaque (C) salve: unctuous (D) anesthetic: astringent (E) vitamin: synthetic 15. DISSEMINATE: INFORMATION: (A) amend: testimony (B) analyze: evidence (C) investigate: crime (D) prevaricate: confirmation (E) foment: discontentment 16. VOICE: QUAVER: (A) pace: quicken (B) cheeks: dimple (C) concentration: focus (D) hand: tremble (E) eye: blink Mary Barton, particularly in its early chapters, is a moving response to the suffering of the industrial worker in the England of the 1840s. What is most impressive about the book is the intense and painstaking effort made (5) by the author, Elizabeth Gaskell, to convey the experi- ence of everyday life in working-class homes. Her method is partly documentary in nature: the novel includes such features as a carefully annotated reproduction of dialect, the exact details of food prices in an account of a tea (10)party, an itemized description of the furniture of the Bartons living room, and a transcription (again anno- tated) of the ballad The Oldham Weaver. The interest of this record is considerable, even though the method has a slightly distancing effect. (15) As a member of the middle class, Gaskell could hardly help approaching working-class life as an outside observer and a reporter, and the reader of the novel is always conscious of this fact. But there is genuine imag- inative re-creation in her accounts of the walk in Green (20)Heys Fields, of tea at the Bartons house, and of John Barton and his friends discovery of the starving family in the cellar in the chapter Poverty and Death. Indeed, for a similarly convincing re-creation of