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"Sonnet 18" by William Shakespeare
1 Shall I compare thee to a summer's day?
2 Thou art more lovely and more temperate:
3 Rough winds do shake the darling buds of May,
4 And summer's lease hath all too short a date:
5 Sometime too hot the eye of heaven shines,
6 And often is his gold complexion dimmed,
7 And every fair from fair sometime declines,
8 By chance, or nature's changing course untrimmed:
9 But thy eternal summer shall not fade,
10 Nor lose possession of that fair thou ow'st,
11 Nor shall death brag thou wand'rest in his shade,
12 When in eternal lines to time thou grow'st,
13 So long as men can breathe or eyes can see,
14 So long lives this, and this gives life to thee.
Many sonnets contain a “volta.” "Volta" means turn in Italian, and a volta is a turn from one major train of thought or idea to another. This sonnet contains such a switch in train of thought. In which of the following lines does the narrator focus on a brand-new train of thought that is different from the train of thought of the lines leading up to it?
Let's start by reading the first part of the poem and seeing where the poet decides to veer to address another topic midway through the poem. In Line 1, the speaker begins by asking if he should compare someone to a summer's day. In Line 2, he decides that the person he is addressing is better than a summer's day. Lines 3–8 tell us various flaws in "a summer's day," making the poem's addressee look much better in comparison. There's no veer toward a different train of thought in these first eight lines. But consider the shift from Line 8 to Line 9:
7 And every fair from fair sometime declines,
8 By chance, or nature's changing course untrimmed:
9 But thy eternal summer shall not fade,
That's certainly a shift! The author stops focusing on the comparison between the summer's day's negative aspects and instead starts considering the addressee directly. The poem shifts from discussing nature to discussing life and death. Based on this evidence, we can correctly state that the "volta" of the poem occurs between lines 8 and 9. (This is actually the expected location of the volta in Shakespearean sonnets. The next time you read one, see if it includes a dramatic turn between its eighth and ninth lines!)
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“The Petrified Forest of Arizona” by E.A. J. Seddon, Associate Editor, Southern Division in The Mountain States Monitor, September 1918.
The Petrified Forest of Arizona is an area covered with the fossil remains of prehistoric trees. The name “Petrified Forest” is somewhat of a misnomer: the word “forest” suggests standing trees, but these trees fell over long ago and have been preserved in stone. At one time, they formed part of a forest of gigantic trees. They proudly reared their heads above the surrounding country, but they were conquered and laid low by some force of nature.
Then began the process of embalming and preserving these fallen monarchs. They were buried thousands of feet beneath the bottom of an inland sea. This was a vast pickling vat where the wood was slowly converted into living gems. We can tell this because volcanic cones and mineral springs still exist in the area.
Water containing minerals slowly forced its way into the trunks and limbs and roots of the fallen monarchs under a terrific pressure. Eventually, the woody material was gradually replaced by silica, a type of rock. Iron oxides were present in the silica. These oxides created brilliant and beautiful brown, yellow, and red colors in the rock.
Eventually, the sediment containing the petrified trees was thrown up from nature’s subterranean chemical laboratory. The wrappings of the dead monarchs were slowly washed away by erosion and corrosion. Then the glorious sun shone upon the trees once again. They were no longer rulers of the kingdom of flora, but preserved for all time as agate, jasper, opal, and other forms of silica.
Which of the following best describes the passage’s structure?
To figure out what kind of structure the passage employs, let's summarize what each of its paragraphs talk about and consider how the paragraphs connect to one another. In the first paragraph, the author introduces the Petrified Forest of Arizona and describes the ancient trees and how they fell. In the second paragraph, the author describes how the trees were buried underneath an inland sea. In the third paragraph, he talks about how the woody material of the trees was replaced by silica, a type of rock. In the fourth paragraph, the author describes how the trees made their way back to the surface.
This summary shows us that the passage as a whole doesn't "\[provide\] a lengthy, poetic description of a single piece of petrified wood" or "\[describe\] the Petrified Forest of Arizona as it exists in the author’s own time." It certainly doesn't "\[explain\] what the author thinks about the value of petrified wood as a resource," because this point is never mentioned. In addition, the passage does not "\[focus\] on how petrification occurs and then \[consider\] how this process differs from that which produces dinosaur skeleton fossils." While it focuses on how petrification occurs, it never mentions dinosaur fossils!
The correct answer is that the passage "follows the process of petrification chronologically." Did you notice when summarizing the passage that each paragraph described a sequential step in the process of petrification? The author starts by describing the trees before they fell and concludes by describing how the petrified wood arrived back on the Earth's surface, and he outlines each step in chronological order.
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“Stone Trees”
Have you ever seen a stone tree? While the idea of a stone tree may sound fantastic, fallen trees can turn to stone in very specific circumstances, producing what scientists call “petrified wood.” “Petra” means stone in ancient Greek, so something “petrified” has been turned to stone. You may have heard the word “petrified” used to describe someone so scared that they have frozen as if turned to stone, but scientists use the word literally to refer to actual stone. Petrified trees are stone trees, not scared trees!
A Type of Fossil
Like ancient skeletons of dinosaurs and other organisms preserved in the earth, petrified wood is a type of fossil; however, there is a big difference between petrified wood and most fossils. Most fossils are imprints of creatures or partial remains of them, such as their skeletons. In contrast, the process of petrification recreates an entire preserved tree in stone. It’s very cool to see a petrified tree close-up, because it is still precisely life-size; you can get an idea of how big the tree was when it was alive, and even see individual tree cells that have been preserved. You can even count the tree rings in some petrified trees and estimate how old the tree grew to be before it was petrified.
From Tree to Stone
In order for a tree to become petrified wood, it must have died and been buried a very long time ago. This has to have happened in a specific environment, though, or petrified wood would not be so rare. The tree has to be buried in such a way that oxygen cannot get to its bark and wood. If oxygen can get to the tree, it will rot instead of turn to stone.
The environment has to have two more specific characteristics to produce petrified wood: there has to be water in the ground around the tree, and that water has to contain minerals. If mineral-containing water is present, water will go into and out of the tree’s cells and, over time, the minerals in the water will accumulate in the tree’s cells. When the tree’s cells eventually decay, the minerals are left. Petrified wood can be a rainbow of different colors, with each color corresponding to different elements in the tree’s preserving environment that affect the color of the minerals that form its stone.
Petrified wood is found all over the world, and there are even entire forests of petrified trees that you can travel to go see today. One national park in the United States, Petrified Forest National Park in Arizona, is famous for its many petrified trees. The next time you see a tree, remember, after a few million years in the right environment, it could turn to stone!
In the section “A Type of Fossil,” the author __________, but in the section “From Tree to Stone,” the author __________.
This question asks you to summarize the general structure of two labeled sections in the passage "Stone Trees." To do this, let's first consider what the author does in each of the sections. In "A Type of Fossil," the author contrasts petrified wood against other fossils like dinosaur bones and imprints. The author then uses this contrast to discuss petrified wood's special qualities. In "From Tree to Stone," the author describes how petrified wood forms, walking the reader through each requirement.
This summary can help us answer the question: the section "A Type of Fossil" does not "introduce the passage" or "describe the history of a word"—the first paragraph does that! It's important not to confuse paragraphs when answering questions; if you do, you can easily end up with the wrong answer. The section "A Type of Fossil" also does not "explain a process." It "focuses on a comparison." This means that the correct answer must be "focuses on a comparison . . . explains different requirements for a process," but let's check that second part of the answer to make sure it's correct. The section "From Tree to Stone" does indeed explain different environmental characteristics necessary for petrification to occur. This answer is correct!
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You likely hear the name “Napoleon Bonaparte” and immediately think of the short in stature and short in temper French emperor. But have you heard about his most embarrassing surrender? No, not Waterloo! Not Laon or the battle of La Rothiere either! Napoleon's most laughable defeat came well before his loss at Waterloo, in the summer of 1807.
Despite Napoleon's great renown as a brilliant military leader, he once retreated frantically from an army of ….bunnies! You heard that right! Shortly after Napoleon’s Treaties of Tilsit was penned, the emperor planned to celebrate with his fellow military men the best way he knew how - a hunt! Napoleon ordered the chief of staff, Alexandre Berthier, to organize an extravagant rabbit hunt for Napoleon and his men.
Not to be outdone, Berthier collected what was estimated to be between hundreds and thousands of rabbits for the hunt. However, while Berthier assumed that, like wild rabbits, these village-raised rabbits would scurry at the sight of Napoleon and his men, exactly the opposite was true. When the day came and the hunting party was ready for the chase, the bunnies were released. But instead of running for the woods, the swarm of rabbits came straight for Napoleon and his men. Though the men initially attempted to fight back, they were overwhelmed by the horde and fled to their coaches on a panicked retreat. It was not until the coaches sped away, rabbits still hopping aboard even as they attempted to retreat, that Napoleon was able to escape the furry army.
Embarrassed in front of the military peers and subordinates who once respected him, Napoleon fled home from a battle he never anticipated, and one he would never fully recover from the battle of the bunnies.
The author employs a series of questions and responses in paragraph one primarily because
The author employs a series of questions and responses in paragraph one to emphasize that the “battle” being referenced later in the passage is surprising, and not what most would associate as “Napoleon’s most embarrassing surrender.” While the author argues that this unexpected surrender is the most embarrassing, this does not mean that Waterloo is not embarrassing at all, or that the readers are expected to know about each and every one of Napoleon’s battles. Instead, the author uses this format as a stylistic technique to emphasize that the information introduced is unexpected and not necessarily common knowledge.
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Passage 1:
Graffiti - the public drawings and paintings that often cover surfaces of walls and other public structures - are often written off as an act of vandalism. However, the time has finally come when we begin to recognize graffiti for the art form it truly is.
Artists such as Banksy have shown us that graffiti can be a way to showcase not only one’s talent in the visual arts but also one’s political and social causes and stances. Some cities have even come to embrace graffiti to such an extent that they have commissioned works of art from these artists on the facades of public buildings.
Although graffiti began as an act of anarchy and rebellion, its contributions to society and the communities impacted by the art have seen positive responses that far outweigh the negatives. Graffiti is no longer a costly nuisance that should be immediately covered or removed, it has instead flourished to become an entirely new and unique art form with talent and renown that will eventually come to match the household names “Picasso” and “Michaelangelo” in stature.
Passage 2:
Though some might idolize graffiti as an act of admirable rebellion, this “art” causes nothing but negative impacts on its community. Those who would vandalize their streets and neighborhoods are no friend to the community. Instead, these criminals deface properties, decrease home values, and leave the community looking less pristine and cared for.
Such vandals also disregard the work put in by maintenance workers cleaning up after their messes and government officials attempting to create a better community for their citizens. While the work created by graffiti “artists” can sometimes be visually impressive, this does not outweigh the fact that what they have created is not art, but a crime against the community.
Popular graffiti “artists” auctioning work off for thousands of dollars apiece only perpetuate this trend. It is high time we put a stop to these criminal activities rather than glorifying them and allow true artists who follow city policies and stick to canvas or sculpture their due respect.
What is the function of the phrase placed between dashes in the first sentence of Passage 1?
The phrase “the public drawings and paintings that often cover surfaces of walls and other public structures” that follows the word “graffiti” at the start of Passage 1 and is offset by dashes provides additional context that tells the reader what graffiti means. This is a modifying phrase renaming the term “graffiti” and providing additional light as to the term’s meaning.
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Passage 1:
Graffiti - the public drawings and paintings that often cover surfaces of walls and other public structures - are often written off as an act of vandalism. However, the time has finally come when we begin to recognize graffiti for the art form it truly is.
Artists such as Banksy have shown us that graffiti can be a way to showcase not only one’s talent in the visual arts but also one’s political and social causes and stances. Some cities have even come to embrace graffiti to such an extent that they have commissioned works of art from these artists on the facades of public buildings.
Although graffiti began as an act of anarchy and rebellion, its contributions to society and the communities impacted by the art have seen positive responses that far outweigh the negatives. Graffiti is no longer a costly nuisance that should be immediately covered or removed, it has instead flourished to become an entirely new and unique art form with talent and renown that will eventually come to match the household names “Picasso” and “Michaelangelo” in stature.
Passage 2:
Though some might idolize graffiti as an act of admirable rebellion, this “art” causes nothing but negative impacts on its community. Those who would vandalize their streets and neighborhoods are no friend to the community. Instead, these criminals deface properties, decrease home values, and leave the community looking less pristine and cared for.
Such vandals also disregard the work put in by maintenance workers cleaning up after their messes and government officials attempting to create a better community for their citizens. While the work created by graffiti “artists” can sometimes be visually impressive, this does not outweigh the fact that what they have created is not art, but a crime against the community.
Popular graffiti “artists” auctioning work off for thousands of dollars apiece only perpetuate this trend. It is high time we put a stop to these criminal activities rather than glorifying them and allow true artists who follow city policies and stick to canvas or sculpture their due respect.
Which of the following expresses why the author of Passage two puts “art” and “artists” in quotation marks throughout the passage?
The author of Passage 2 continually puts “art” and “artists” in parenthesis when referring to graffiti artists to show that the author would not designate this work as art, and instead considers it to be vandalism/crime. The author does not attempt to argue that these individuals are not well known, nor does the author argue that they are the most well-known artists of their time. The author also does not claim that canvas is the “only” type of true art, and even cites sculptures as an additional example of “real art” that deserves our respect.
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Passage 1:
Graffiti - the public drawings and paintings that often cover surfaces of walls and other public structures - are often written off as an act of vandalism. However, the time has finally come when we begin to recognize graffiti for the art form it truly is.
Artists such as Banksy have shown us that graffiti can be a way to showcase not only one’s talent in the visual arts but also one’s political and social causes and stances. Some cities have even come to embrace graffiti to such an extent that they have commissioned works of art from these artists on the facades of public buildings.
Although graffiti began as an act of anarchy and rebellion, its contributions to society and the communities impacted by the art have seen positive responses that far outweigh the negatives. Graffiti is no longer a costly nuisance that should be immediately covered or removed, it has instead flourished to become an entirely new and unique art form with talent and renown that will eventually come to match the household names “Picasso” and “Michaelangelo” in stature.
Passage 2:
Though some might idolize graffiti as an act of admirable rebellion, this “art” causes nothing but negative impacts on its community. Those who would vandalize their streets and neighborhoods are no friend to the community. Instead, these criminals deface properties, decrease home values, and leave the community looking less pristine and cared for.
Such vandals also disregard the work put in by maintenance workers cleaning up after their messes and government officials attempting to create a better community for their citizens. While the work created by graffiti “artists” can sometimes be visually impressive, this does not outweigh the fact that what they have created is not art, but a crime against the community.
Popular graffiti “artists” auctioning work off for thousands of dollars apiece only perpetuate this trend. It is high time we put a stop to these criminal activities rather than glorifying them and allow true artists who follow city policies and stick to canvas or sculpture their due respect.
Which of the following would be the most appropriate alternative to the word “although” in paragraph three of Passage 1?
The term “although” in paragraph three of Passage 1 indicates that a contrast will soon follow. The phrase “even though” fits this context and maintains the desired meaning. “Because” and “since” both cite that a reason or support will follow, and for example indicates that the sentence will include a supporting example for what came before. All three of these terms use similar applications to one another, but not the one we need in this context!
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Passage 1:
Graffiti - the public drawings and paintings that often cover surfaces of walls and other public structures - are often written off as an act of vandalism. However, the time has finally come when we begin to recognize graffiti for the art form it truly is.
Artists such as Banksy have shown us that graffiti can be a way to showcase not only one’s talent in the visual arts but also one’s political and social causes and stances. Some cities have even come to embrace graffiti to such an extent that they have commissioned works of art from these artists on the facades of public buildings.
Although graffiti began as an act of anarchy and rebellion, its contributions to society and the communities impacted by the art have seen positive responses that far outweigh the negatives. Graffiti is no longer a costly nuisance that should be immediately covered or removed, it has instead flourished to become an entirely new and unique art form with talent and renown that will eventually come to match the household names “Picasso” and “Michaelangelo” in stature.
Passage 2:
Though some might idolize graffiti as an act of admirable rebellion, this “art” causes nothing but negative impacts on its community. Those who would vandalize their streets and neighborhoods are no friend to the community. Instead, these criminals deface properties, decrease home values, and leave the community looking less pristine and cared for.
Such vandals also disregard the work put in by maintenance workers cleaning up after their messes and government officials attempting to create a better community for their citizens. While the work created by graffiti “artists” can sometimes be visually impressive, this does not outweigh the fact that what they have created is not art, but a crime against the community.
Popular graffiti “artists” auctioning work off for thousands of dollars apiece only perpetuate this trend. It is high time we put a stop to these criminal activities rather than glorifying them and allow true artists who follow city policies and stick to canvas or sculpture their due respect.
Which of the following best expresses the function of Passage 1 paragraph two?
Paragraph two of Passage 1 uses examples such as popular graffiti artist Banksy, the political and social motivations involved, and cory support and commissions to support the main idea of the passage: that graffiti is a popular art form worthy of respect in the realm of art. So, “support the main idea of the passage” addresses the function of this paragraph.
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Passage 1:
The penny has long outlived its usefulness in the monetary system and should be removed from use. Pennies cost more to produce than the value they represent. In fact, it costs taxpayers nearly two cents to produce and distribute every one cent penny.
Additionally, the penny does not represent the real level of purchasing power. Go to the corner store today and ask for the “penny candy,” and you might be routed to a row of treats, but you’re unlikely to find anything for purchase for under a quarter.
On top of the cost and lack of benefit, pennies are also heavy for their value, so much so that many don’t even care to keep the pennies they receive in change. 11% of people report that they would rather throw a penny away than carry it around with them, and over $62 million dollars in coins are thrown out annually - most of them pennies.
Whether it’s at the grocery register or at the bank, everyone who handles pennies agrees that they are excessively time-consuming to process. Even most charities would rather do without the pennies they receive! It’s time we let go of this costly antiquity and get rid of the penny once and for all!
Passage 2:
The penny is a sacred historic symbol in America and should be respected for its historical value. Over half of Americans are in favor of keeping the penny, and many fear the trend that eliminating low-value currency sets. “Rounding tax,” or the inclination for businesses to round prices up to the nearest unit of change available, could have an impact on consumers, and as inflation continues, the nickel, the dime, and even the quarter could follow!
Not only does the penny help keep costs low, but it would also be costly to take out of commission effectively. The penny is also a powerful historical tribute to Abraham Lincoln, who has appeared on the penny’s face since 1909.
The penny represents far more than its one-cent value and eliminating it would take a toll on the history it represents and the majority of citizens who seek to keep it in commission.
Which of the following would be the least appropriate alternative for the word “additionally” in Passage 1 paragraph two?
Here, the word “additionally” serves as a continuation transition word, indicating that what follows in paragraph two will continue in the same direction as the support in the paragraph before. “Moreover,” “furthermore,” and “further” all also indicate continuation. “However” on the other hand, cites a contrast to the paragraph before. This is not the transition we’re looking for and is thus the least appropriate alternative.
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Every day it seems, new inventions surface that promise to add value to our day-to-day lives. But did you know, many of the inventions we interact with on a daily basis were developed completely by accident?
Take the microwave, for instance. This accidental invention was developed by engineer Percy Spencer who, upon experimenting with a microwave-emitting magnetron, found that the candy bar in his pocket had begun to melt. Spencer was then able to harness this radiation into the microwave we use today to make snack time a speedy process!
Perhaps one of the most well-known accidental inventions of today, the potato chip was born when a customer kept requesting that his french fries be sliced thinner and made crispier. Though chef George Crum responded with the chips as a joke, they quickly became a favorite snack around the world!
Even the match is a result of accidental invention. When pharmacist John Walker was stirring chemicals, he noticed that the end of his stirring stick had dried into a hardened lump. When attempting to scrape the dried residue off, a flame sparked, and so did Walker’s idea to turn this accident into a helpful tool!
So, the next time your science experiment doesn’t go as planned, or you burn what you have cooked on the stove, keep in mind that some of today’s most valued inventions were discovered when the inventor least expected it!
Which of the following set of paragraphs have the most similar function?
The passage carries the following structure:
Paragraph 1: introduction
Paragraph 2: supporting example 1 - the microwave
Paragraph 3: supporting example 2 - the potato chip
Paragraph 4: supporting example 3 - the match
Paragraph 5: conclusion
Since paragraphs 2 & 3 both represent supporting examples, they are the most similar in structure.
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The animal kingdom is made up of creatures of all shapes, sizes, and colors. While we may see color as little more than decoration, animals use their colors in three key ways: to hide, to deceive, and to attract.
The first purpose of color in the animal kingdom, to hide, is perhaps the most commonly known. Animals use a variety of colorations to camouflage themselves or to obscure their shapes from predators. For instance, the owl is often colored and patterned to match the bark of its tree of choice to better blend into its surroundings when perched. The leafy seadragon, an aquatic example of a species employing color to hide, uses its blue-green coloration and leaf-like protrusions to blend into the aquatic foliage of its ecosystem. But perhaps no species is better known for its ability to use color to hide than the chameleon, which can change color to blend into its surroundings. In fact, the chameleon is so well-known for this trait that its name has become a term that is now generally used to refer to one who “changes to fit/blend in.”
Deception is the second function of color in animals. Animals have been known to use their colors and patterns to deceive potential predators and prey. The hemeroplanes triptolemus, otherwise known as the aptly named “snake mimic caterpillar,” uses large, eye-like colorations on its underbelly to flip over and appear snake-like and thus more intimidating to predators. The orchid mantis is another fascinating example of deception in the animal kingdom. Brightly colored in hues of pink and purple, the mantis contorts itself to appear flower-like as it awaits its prey. When pollinators come around expecting a flower to feed on, they are in for a surprise, as the mantis sits ready to strike.
Animals don’t always use their colors to become less pronounced or to hide their true forms from predators or prey. They can also use colors to attract. Bright colorations in animals are used to both attract mates, and to attract attention from and send a warning to potential predators. Many species of birds are known to use bright colorations to attract potential female mates. Additionally, poisonous creatures might be seen with bright colorations and patterns to warn potential predators to leave them be! In fact, many non-poisonous animals have taken this “attract attention” purpose and melded it with “deception” to use their bright coloration to appear poisonous and thus dangerous to predators - even though they are completely harmless!
When it comes to animal colorations, there’s more than meets the eye. With bright colors to attract a mate or ward off a foe, patterns to obscure one’s form and markings that can make even the most harmless bug look like a terrifying creature, animals use color in many ways to better their chances of survival in the wild.
Which of the following animals are used as supporting examples for the same function of color?
In the passage, both the snake mimic caterpillar and the orchid mantis are used as examples of animals using color to “deceive.” All other pairings represent two different functions, as the chameleon and the leafy seadragon are examples of color used to hide.
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The animal kingdom is made up of creatures of all shapes, sizes, and colors. While we may see color as little more than decoration, animals use their colors in three key ways: to hide, to deceive, and to attract.
The first purpose of color in the animal kingdom, to hide, is perhaps the most commonly known. Animals use a variety of colorations to camouflage themselves or to obscure their shapes from predators. For instance, the owl is often colored and patterned to match the bark of its tree of choice to better blend into its surroundings when perched. The leafy seadragon, an aquatic example of a species employing color to hide, uses its blue-green coloration and leaf-like protrusions to blend into the aquatic foliage of its ecosystem. But perhaps no species is better known for its ability to use color to hide than the chameleon, which can change color to blend into its surroundings. In fact, the chameleon is so well-known for this trait that its name has become a term that is now generally used to refer to one who “changes to fit/blend in.”
Deception is the second function of color in animals. Animals have been known to use their colors and patterns to deceive potential predators and prey. The hemeroplanes triptolemus, otherwise known as the aptly named “snake mimic caterpillar,” uses large, eye-like colorations on its underbelly to flip over and appear snake-like and thus more intimidating to predators. The orchid mantis is another fascinating example of deception in the animal kingdom. Brightly colored in hues of pink and purple, the mantis contorts itself to appear flower-like as it awaits its prey. When pollinators come around expecting a flower to feed on, they are in for a surprise, as the mantis sits ready to strike.
Animals don’t always use their colors to become less pronounced or to hide their true forms from predators or prey. They can also use colors to attract. Bright colorations in animals are used to both attract mates, and to attract attention from and send a warning to potential predators. Many species of birds are known to use bright colorations to attract potential female mates. Additionally, poisonous creatures might be seen with bright colorations and patterns to warn potential predators to leave them be! In fact, many non-poisonous animals have taken this “attract attention” purpose and melded it with “deception” to use their bright coloration to appear poisonous and thus dangerous to predators - even though they are completely harmless!
When it comes to animal colorations, there’s more than meets the eye. With bright colors to attract a mate or ward off a foe, patterns to obscure one’s form and markings that can make even the most harmless bug look like a terrifying creature, animals use color in many ways to better their chances of survival in the wild.
Which of the following best describes the function of the text in quotations: “changes to fit/blend in” in paragraph two of the passage?
In end of paragraph two, the author tells us that the term chameleon has extended beyond the animal to refer to anyone who “changes to fit/blend in.” So, the function of the text in quotations is “to provide a definition of chameleon that extends beyond its reference to the animal.”
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The animal kingdom is made up of creatures of all shapes, sizes, and colors. While we may see color as little more than decoration, animals use their colors in three key ways: to hide, to deceive, and to attract.
The first purpose of color in the animal kingdom, to hide, is perhaps the most commonly known. Animals use a variety of colorations to camouflage themselves or to obscure their shapes from predators. For instance, the owl is often colored and patterned to match the bark of its tree of choice to better blend into its surroundings when perched. The leafy seadragon, an aquatic example of a species employing color to hide, uses its blue-green coloration and leaf-like protrusions to blend into the aquatic foliage of its ecosystem. But perhaps no species is better known for its ability to use color to hide than the chameleon, which can change color to blend into its surroundings. In fact, the chameleon is so well-known for this trait that its name has become a term that is now generally used to refer to one who “changes to fit/blend in.”
Deception is the second function of color in animals. Animals have been known to use their colors and patterns to deceive potential predators and prey. The hemeroplanes triptolemus, otherwise known as the aptly named “snake mimic caterpillar,” uses large, eye-like colorations on its underbelly to flip over and appear snake-like and thus more intimidating to predators. The orchid mantis is another fascinating example of deception in the animal kingdom. Brightly colored in hues of pink and purple, the mantis contorts itself to appear flower-like as it awaits its prey. When pollinators come around expecting a flower to feed on, they are in for a surprise, as the mantis sits ready to strike.
Animals don’t always use their colors to become less pronounced or to hide their true forms from predators or prey. They can also use colors to attract. Bright colorations in animals are used to both attract mates, and to attract attention from and send a warning to potential predators. Many species of birds are known to use bright colorations to attract potential female mates. Additionally, poisonous creatures might be seen with bright colorations and patterns to warn potential predators to leave them be! In fact, many non-poisonous animals have taken this “attract attention” purpose and melded it with “deception” to use their bright coloration to appear poisonous and thus dangerous to predators - even though they are completely harmless!
When it comes to animal colorations, there’s more than meets the eye. With bright colors to attract a mate or ward off a foe, patterns to obscure one’s form and markings that can make even the most harmless bug look like a terrifying creature, animals use color in many ways to better their chances of survival in the wild.
Which of the following best expresses the function of the following excerpt from paragraph two of the passage?
When pollinators come around expecting a flower to feed on, they are in for a surprise, as the mantis sits ready to strike.
The context of this excerpt shows us that the orchid mantis uses deception as a predator to deceive prey. This aligns with “To provide an example of the “deception” function of color.” The excerpt is not expressing risks (for the predator, at least!) nor showing how attract is used to find a mate. In this case, the mantis is the predator using deception to fool unsuspecting prey.
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Samantha has highlighted keywords and phrases in a story to help identify the text structure. She has highlighted the following words/phrases:
What text structure often uses these keywords and phrases?
Samantha has highlights phrases and words from a text that is structured using a cause-and-effect method. In a cause-and-effect text, structured events and actions give readers the reasons or consequences of the story. An example could be, "Gregory was riding his bike quickly around that corner. He was not paying attention, and this led to him crashing into a parked car." We know the consequence is crashing, and the cause of this was not paying attention while riding the bike quickly. Many text structures can be identified based on their keywords.
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What text structure does the author use to organize this set of passages?
Coal Passage 1
The typical coal plant in the United States creates more than 125,000 tons of ash and 193,000 tons of sludge each year. On average, 42% of coal combustion waste ponds and landfills are unlined. This means that the substances in the waste can seep into the ground and nearby lakes. Some of the substances include arsenic, mercury, chromium, and cadmium. These can contaminate drinking water supplies and directly contact the consumers who drink water from these areas. The disposal of coal plant waste has damaged many ecosystems. Once the coal plants have cycled through billions of gallons of water to cool the system, it is dumped back into the river, ocean, or lake it is pulling water from. When this hot water is released back into the body of water, it creates “thermal pollution,” which can harm the plants and animals living in this area. Many plants add chemicals to their cooling water, which is released back into the lake, ocean, or river with the hot water.
Coal Passage 2
Coal is a concentrated form of prehistoric biomass, plant life, and is the most plentiful fossil fuel produced in the United States. More than 90 percent of the coal consumed in the US is used to generate electricity. Coal power is also an essential industry source for making steel, cement, and paper, and is used in numerous other industries. Coal was a valuable resource that powered trains, steamships, and other forms of transportation for centuries. Coal is essential to the US economy and provides consumers with affordable electricity. The mining of coal and the use of coal power plants provide vital jobs to many American citizens. In 2018 15% of U.S. coal production was exported to other countries. Exporting coal has a positive effect on the United State’s economy.
This author uses a compare and contrast text structure to organize the passage set. Another way to describe this passage set's structure is as a point/counterpoint structure. The author provides two different viewpoints of the use of coal - positive and negative - and uses evidence or details to support the opinion.
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"Sonnet 18" by William Shakespeare
1 Shall I compare thee to a summer's day?
2 Thou art more lovely and more temperate:
3 Rough winds do shake the darling buds of May,
4 And summer's lease hath all too short a date:
5 Sometime too hot the eye of heaven shines,
6 And often is his gold complexion dimmed,
7 And every fair from fair sometime declines,
8 By chance, or nature's changing course untrimmed:
9 But thy eternal summer shall not fade,
10 Nor lose possession of that fair thou ow'st,
11 Nor shall death brag thou wand'rest in his shade,
12 When in eternal lines to time thou grow'st,
13 So long as men can breathe or eyes can see,
14 So long lives this, and this gives life to thee.
Many sonnets contain a “volta.” "Volta" means turn in Italian, and a volta is a turn from one major train of thought or idea to another. This sonnet contains such a switch in train of thought. In which of the following lines does the narrator focus on a brand-new train of thought that is different from the train of thought of the lines leading up to it?
Let's start by reading the first part of the poem and seeing where the poet decides to veer to address another topic midway through the poem. In Line 1, the speaker begins by asking if he should compare someone to a summer's day. In Line 2, he decides that the person he is addressing is better than a summer's day. Lines 3–8 tell us various flaws in "a summer's day," making the poem's addressee look much better in comparison. There's no veer toward a different train of thought in these first eight lines. But consider the shift from Line 8 to Line 9:
7 And every fair from fair sometime declines,
8 By chance, or nature's changing course untrimmed:
9 But thy eternal summer shall not fade,
That's certainly a shift! The author stops focusing on the comparison between the summer's day's negative aspects and instead starts considering the addressee directly. The poem shifts from discussing nature to discussing life and death. Based on this evidence, we can correctly state that the "volta" of the poem occurs between lines 8 and 9. (This is actually the expected location of the volta in Shakespearean sonnets. The next time you read one, see if it includes a dramatic turn between its eighth and ninth lines!)
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“The Petrified Forest of Arizona” by E.A. J. Seddon, Associate Editor, Southern Division in The Mountain States Monitor, September 1918.
The Petrified Forest of Arizona is an area covered with the fossil remains of prehistoric trees. The name “Petrified Forest” is somewhat of a misnomer: the word “forest” suggests standing trees, but these trees fell over long ago and have been preserved in stone. At one time, they formed part of a forest of gigantic trees. They proudly reared their heads above the surrounding country, but they were conquered and laid low by some force of nature.
Then began the process of embalming and preserving these fallen monarchs. They were buried thousands of feet beneath the bottom of an inland sea. This was a vast pickling vat where the wood was slowly converted into living gems. We can tell this because volcanic cones and mineral springs still exist in the area.
Water containing minerals slowly forced its way into the trunks and limbs and roots of the fallen monarchs under a terrific pressure. Eventually, the woody material was gradually replaced by silica, a type of rock. Iron oxides were present in the silica. These oxides created brilliant and beautiful brown, yellow, and red colors in the rock.
Eventually, the sediment containing the petrified trees was thrown up from nature’s subterranean chemical laboratory. The wrappings of the dead monarchs were slowly washed away by erosion and corrosion. Then the glorious sun shone upon the trees once again. They were no longer rulers of the kingdom of flora, but preserved for all time as agate, jasper, opal, and other forms of silica.
Which of the following best describes the passage’s structure?
To figure out what kind of structure the passage employs, let's summarize what each of its paragraphs talk about and consider how the paragraphs connect to one another. In the first paragraph, the author introduces the Petrified Forest of Arizona and describes the ancient trees and how they fell. In the second paragraph, the author describes how the trees were buried underneath an inland sea. In the third paragraph, he talks about how the woody material of the trees was replaced by silica, a type of rock. In the fourth paragraph, the author describes how the trees made their way back to the surface.
This summary shows us that the passage as a whole doesn't "\[provide\] a lengthy, poetic description of a single piece of petrified wood" or "\[describe\] the Petrified Forest of Arizona as it exists in the author’s own time." It certainly doesn't "\[explain\] what the author thinks about the value of petrified wood as a resource," because this point is never mentioned. In addition, the passage does not "\[focus\] on how petrification occurs and then \[consider\] how this process differs from that which produces dinosaur skeleton fossils." While it focuses on how petrification occurs, it never mentions dinosaur fossils!
The correct answer is that the passage "follows the process of petrification chronologically." Did you notice when summarizing the passage that each paragraph described a sequential step in the process of petrification? The author starts by describing the trees before they fell and concludes by describing how the petrified wood arrived back on the Earth's surface, and he outlines each step in chronological order.
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“Stone Trees”
Have you ever seen a stone tree? While the idea of a stone tree may sound fantastic, fallen trees can turn to stone in very specific circumstances, producing what scientists call “petrified wood.” “Petra” means stone in ancient Greek, so something “petrified” has been turned to stone. You may have heard the word “petrified” used to describe someone so scared that they have frozen as if turned to stone, but scientists use the word literally to refer to actual stone. Petrified trees are stone trees, not scared trees!
A Type of Fossil
Like ancient skeletons of dinosaurs and other organisms preserved in the earth, petrified wood is a type of fossil; however, there is a big difference between petrified wood and most fossils. Most fossils are imprints of creatures or partial remains of them, such as their skeletons. In contrast, the process of petrification recreates an entire preserved tree in stone. It’s very cool to see a petrified tree close-up, because it is still precisely life-size; you can get an idea of how big the tree was when it was alive, and even see individual tree cells that have been preserved. You can even count the tree rings in some petrified trees and estimate how old the tree grew to be before it was petrified.
From Tree to Stone
In order for a tree to become petrified wood, it must have died and been buried a very long time ago. This has to have happened in a specific environment, though, or petrified wood would not be so rare. The tree has to be buried in such a way that oxygen cannot get to its bark and wood. If oxygen can get to the tree, it will rot instead of turn to stone.
The environment has to have two more specific characteristics to produce petrified wood: there has to be water in the ground around the tree, and that water has to contain minerals. If mineral-containing water is present, water will go into and out of the tree’s cells and, over time, the minerals in the water will accumulate in the tree’s cells. When the tree’s cells eventually decay, the minerals are left. Petrified wood can be a rainbow of different colors, with each color corresponding to different elements in the tree’s preserving environment that affect the color of the minerals that form its stone.
Petrified wood is found all over the world, and there are even entire forests of petrified trees that you can travel to go see today. One national park in the United States, Petrified Forest National Park in Arizona, is famous for its many petrified trees. The next time you see a tree, remember, after a few million years in the right environment, it could turn to stone!
In the section “A Type of Fossil,” the author __________, but in the section “From Tree to Stone,” the author __________.
This question asks you to summarize the general structure of two labeled sections in the passage "Stone Trees." To do this, let's first consider what the author does in each of the sections. In "A Type of Fossil," the author contrasts petrified wood against other fossils like dinosaur bones and imprints. The author then uses this contrast to discuss petrified wood's special qualities. In "From Tree to Stone," the author describes how petrified wood forms, walking the reader through each requirement.
This summary can help us answer the question: the section "A Type of Fossil" does not "introduce the passage" or "describe the history of a word"—the first paragraph does that! It's important not to confuse paragraphs when answering questions; if you do, you can easily end up with the wrong answer. The section "A Type of Fossil" also does not "explain a process." It "focuses on a comparison." This means that the correct answer must be "focuses on a comparison . . . explains different requirements for a process," but let's check that second part of the answer to make sure it's correct. The section "From Tree to Stone" does indeed explain different environmental characteristics necessary for petrification to occur. This answer is correct!
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You likely hear the name “Napoleon Bonaparte” and immediately think of the short in stature and short in temper French emperor. But have you heard about his most embarrassing surrender? No, not Waterloo! Not Laon or the battle of La Rothiere either! Napoleon's most laughable defeat came well before his loss at Waterloo, in the summer of 1807.
Despite Napoleon's great renown as a brilliant military leader, he once retreated frantically from an army of ….bunnies! You heard that right! Shortly after Napoleon’s Treaties of Tilsit was penned, the emperor planned to celebrate with his fellow military men the best way he knew how - a hunt! Napoleon ordered the chief of staff, Alexandre Berthier, to organize an extravagant rabbit hunt for Napoleon and his men.
Not to be outdone, Berthier collected what was estimated to be between hundreds and thousands of rabbits for the hunt. However, while Berthier assumed that, like wild rabbits, these village-raised rabbits would scurry at the sight of Napoleon and his men, exactly the opposite was true. When the day came and the hunting party was ready for the chase, the bunnies were released. But instead of running for the woods, the swarm of rabbits came straight for Napoleon and his men. Though the men initially attempted to fight back, they were overwhelmed by the horde and fled to their coaches on a panicked retreat. It was not until the coaches sped away, rabbits still hopping aboard even as they attempted to retreat, that Napoleon was able to escape the furry army.
Embarrassed in front of the military peers and subordinates who once respected him, Napoleon fled home from a battle he never anticipated, and one he would never fully recover from the battle of the bunnies.
The author employs a series of questions and responses in paragraph one primarily because
The author employs a series of questions and responses in paragraph one to emphasize that the “battle” being referenced later in the passage is surprising, and not what most would associate as “Napoleon’s most embarrassing surrender.” While the author argues that this unexpected surrender is the most embarrassing, this does not mean that Waterloo is not embarrassing at all, or that the readers are expected to know about each and every one of Napoleon’s battles. Instead, the author uses this format as a stylistic technique to emphasize that the information introduced is unexpected and not necessarily common knowledge.
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Passage 1:
Graffiti - the public drawings and paintings that often cover surfaces of walls and other public structures - are often written off as an act of vandalism. However, the time has finally come when we begin to recognize graffiti for the art form it truly is.
Artists such as Banksy have shown us that graffiti can be a way to showcase not only one’s talent in the visual arts but also one’s political and social causes and stances. Some cities have even come to embrace graffiti to such an extent that they have commissioned works of art from these artists on the facades of public buildings.
Although graffiti began as an act of anarchy and rebellion, its contributions to society and the communities impacted by the art have seen positive responses that far outweigh the negatives. Graffiti is no longer a costly nuisance that should be immediately covered or removed, it has instead flourished to become an entirely new and unique art form with talent and renown that will eventually come to match the household names “Picasso” and “Michaelangelo” in stature.
Passage 2:
Though some might idolize graffiti as an act of admirable rebellion, this “art” causes nothing but negative impacts on its community. Those who would vandalize their streets and neighborhoods are no friend to the community. Instead, these criminals deface properties, decrease home values, and leave the community looking less pristine and cared for.
Such vandals also disregard the work put in by maintenance workers cleaning up after their messes and government officials attempting to create a better community for their citizens. While the work created by graffiti “artists” can sometimes be visually impressive, this does not outweigh the fact that what they have created is not art, but a crime against the community.
Popular graffiti “artists” auctioning work off for thousands of dollars apiece only perpetuate this trend. It is high time we put a stop to these criminal activities rather than glorifying them and allow true artists who follow city policies and stick to canvas or sculpture their due respect.
What is the function of the phrase placed between dashes in the first sentence of Passage 1?
The phrase “the public drawings and paintings that often cover surfaces of walls and other public structures” that follows the word “graffiti” at the start of Passage 1 and is offset by dashes provides additional context that tells the reader what graffiti means. This is a modifying phrase renaming the term “graffiti” and providing additional light as to the term’s meaning.
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