Language in Literary Fiction Passages - SAT Critical Reading

The questions for this problem set are all based off the following passage, excerpted from Great Expectations, by Charles Dickens:

Miss Havisham beckoned her to come close, and took up a jewel from the table, and tried its effect upon her fair young bosom and against her pretty brown hair. "Your own, one day, my dear, and you will use it well. Let me see you play cards with this boy."

"With this boy? Why, he is a common laboring boy!"

I thought I overheard Miss Havisham answer—only it seemed so unlikely—"Well? You can break his heart."

"What do you play, boy?" asked Estella of myself, with the greatest disdain.

"Nothing but beggar my neighbor, miss."

"Beggar him," said Miss Havisham to Estella. So we sat down to cards.

It was then I began to understand that everything in the room had stopped, like the watch and the clock, a long time ago. I noticed that Miss Havisham put down the jewel exactly on the spot from which she had taken it up. As Estella dealt the cards, I glanced at the dressing-table again, and saw that the shoe upon it, once white, now yellow, had never been worn. I glanced down at the foot from which the shoe was absent, and saw that the silk stocking on it, once white, now yellow, had been trodden ragged. Without this arrest of everything, this standing still of all the pale decayed objects, not even the withered bridal dress on the collapsed form could have looked so like grave-clothes, or the long veil so like a shroud.

So she sat, corpse-like, as we played at cards; the frillings and trimmings on her bridal dress, looking like earthy paper. I knew nothing then of the discoveries that are occasionally made of bodies buried in ancient times, which fall to powder in the moment of being distinctly seen; but, I have often thought since, that she must have looked as if the admission of the natural light of day would have struck her to dust.

"He calls the knaves Jacks, this boy!" said Estella with disdain, before our first game was out. "And what coarse hands he has! And what thick boots!"

I had never thought of being ashamed of my hands before; but I began to consider them a very indifferent pair. Her contempt for me was so strong, that it became infectious, and I caught it.

She won the game, and I dealt. I misdealt, as was only natural, when I knew she was lying in wait for me to do wrong; and she denounced me for a stupid, clumsy laboring-boy.

"You say nothing of her," remarked Miss Havisham to me, as she looked on. "She says many hard things of you, but you say nothing of her. What do you think of her?"

"I don't like to say," I stammered.

"Tell me in my ear," said Miss Havisham, bending down.

"I think she is very proud," I replied, in a whisper.

"Anything else?"

"I think she is very pretty."

"Anything else?"

"I think she is very insulting." (She was looking at me then with a look of supreme aversion.)

"Anything else?"

"I think I should like to go home."

"And never see her again, though she is so pretty?"

"I am not sure that I shouldn't like to see her again, but I should like to go home now."

"You shall go soon," said Miss Havisham, aloud. "Play the game out."

Saving for the one weird smile at first, I should have felt almost sure that Miss Havisham's face could not smile. It had dropped into a watchful and brooding expression—most likely when all the things about her had become transfixed—and it looked as if nothing could ever lift it up again. Her chest had dropped, so that she stooped; and her voice had dropped, so that she spoke low, and with a dead lull upon her; altogether, she had the appearance of having dropped body and soul, within and without, under the weight of a crushing blow.

I played the game to an end with Estella, and she beggared me. She threw the cards down on the table when she had won them all, as if she despised them for having been won of me.

"When shall I have you here again?" said Miss Havisham. "Let me think."

I was beginning to remind her that to-day was Wednesday, when she checked me with her former impatient movement of the fingers of her right hand.

"There, there! I know nothing of days of the week; I know nothing of weeks of the year. Come again after six days. You hear?"

"Yes, ma'am."

"Estella, take him down. Let him have something to eat, and let him roam and look about him while he eats. Go, Pip."

I followed the candle down, as I had followed the candle up, and she stood it in the place where we had found it. Until she opened the side entrance, I had fancied, without thinking about it, that it must necessarily be night-time. The rush of the daylight quite confounded me, and made me feel as if I had been in the candlelight of the strange room many hours.

"You are to wait here, you boy," said Estella; and disappeared and closed the door.

I took the opportunity of being alone in the courtyard to look at my coarse hands and my common boots. My opinion of those accessories was not favorable. They had never troubled me before, but they troubled me now, as vulgar appendages. I determined to ask Joe why he had ever taught me to call those picture-cards Jacks, which ought to be called knaves. I wished Joe had been rather more genteelly brought up, and then I should have been so too.

In the context of the last paragraph, genteely most nearly means .

Adapted from Nicholas Nickleby by Charles Dickens (1839)

There was a great bustle in Bishopsgate Street Within, as they drew up, and (it being a windy day) half-a-dozen men were tacking across the road under a press of paper, bearing gigantic announcements that a Public Meeting would be held at one o'clock precisely, to take into consideration the propriety of petitioning Parliament in favour of the United Metropolitan Improved Hot Muffin and Crumpet Baking and Punctual Delivery Company, capital five millions, in five hundred thousand shares of ten pounds each; which sums were duly set forth in fat black figures of considerable size. Mr. Bonney elbowed his way briskly upstairs, receiving in his progress many low bows from the waiters who stood on the landings to show the way; and, followed by Mr. Nickleby, dived into a suite of apartments behind the great public room: in the second of which was a business-looking table, and several business-looking people.

"Hear!" cried a gentleman with a double chin, as Mr. Bonney presented himself. "Chair, gentlemen, chair!"

The new-comers were received with universal approbation, and Mr. Bonney bustled up to the top of the table, took off his hat, ran his fingers through his hair, and knocked a hackney-coachman's knock on the table with a little hammer: whereat several gentlemen cried "Hear!" and nodded slightly to each other, as much as to say what spirited conduct that was. Just at this moment, a waiter, feverish with agitation, tore into the room, and throwing the door open with a crash, shouted "Sir Matthew Pupker!"

The committee stood up and clapped their hands for joy, and while they were clapping them, in came Sir Matthew Pupker, attended by two live members of Parliament, one Irish and one Scotch, all smiling and bowing, and looking so pleasant that it seemed a perfect marvel how any man could have the heart to vote against them. Sir Matthew Pupker especially, who had a little round head with a flaxen wig on the top of it, fell into such a paroxysm of bows, that the wig threatened to be jerked off, every instant. When these symptoms had in some degree subsided, the gentlemen who were on speaking terms with Sir Matthew Pupker, or the two other members, crowded round them in three little groups, near one or other of which the gentlemen who were NOT on speaking terms with Sir Matthew Pupker or the two other members, stood lingering, and smiling, and rubbing their hands, in the desperate hope of something turning up which might bring them into notice. All this time, Sir Matthew Pupker and the two other members were relating to their separate circles what the intentions of government were, about taking up the bill; with a full account of what the government had said in a whisper the last time they dined with it, and how the government had been observed to wink when it said so; from which premises they were at no loss to draw the conclusion, that if the government had one object more at heart than another, that one object was the welfare and advantage of the United Metropolitan Improved Hot Muffin and Crumpet Baking and Punctual Delivery Company.

Meanwhile, and pending the arrangement of the proceedings, and a fair division of the speechifying, the public in the large room were eyeing, by turns, the empty platform, and the ladies in the Music Gallery. In these amusements the greater portion of them had been occupied for a couple of hours before, and as the most agreeable diversions pall upon the taste on a too protracted enjoyment of them, the sterner spirits now began to hammer the floor with their boot-heels, and to express their dissatisfaction by various hoots and cries. These vocal exertions, emanating from the people who had been there longest, naturally proceeded from those who were nearest to the platform and furthest from the policemen in attendance, who having no great mind to fight their way through the crowd, but entertaining nevertheless a praiseworthy desire to do something to quell the disturbance, immediately began to drag forth, by the coat tails and collars, all the quiet people near the door; at the same time dealing out various smart and tingling blows with their truncheons, after the manner of that ingenious actor, Mr. Punch: whose brilliant example, both in the fashion of his weapons and their use, this branch of the executive occasionally follows.

Several very exciting skirmishes were in progress, when a loud shout attracted the attention even of the belligerents, and then there poured on to the platform, from a door at the side, a long line of gentlemen with their hats off, all looking behind them, and uttering vociferous cheers; the cause whereof was sufficiently explained when Sir Matthew Pupker and the two other real members of Parliament came to the front, amidst deafening shouts, and testified to each other in dumb motions that they had never seen such a glorious sight as that, in the whole course of their public career.

Which of these is the best antonym of the underlined word “approbation” in the third paragraph?

Adapted from Once on a Time by A. A. Milne (1922)

The Princess was still puzzled. "But I'm grown up," she said. "I don't want a mother so much now."

The King turned his flagon round and studied the other side of it.

"A mother's—er—tender hand," he said, "is—er—never——" and then the outrageous thing happened.

It was all because of a birthday present to the King of Barodia, and the present was nothing less than a pair of seven-league boots. The King being a busy man, it was a week or more before he had an opportunity of trying those boots. Meanwhile he used to talk about them at meals, and he would polish them up every night before he went to bed. When the great day came for the first trial of them to be made, he took a patronizing farewell of his wife and family, ignored the many eager noses pressed against the upper windows of the Palace, and sailed off. The motion, as perhaps you know, is a little disquieting at first, but one soon gets used to it. After that it is fascinating. He had gone some two thousand miles before he realized that there might be a difficulty about finding his way back. The difficulty proved at least as great as he had anticipated. For the rest of that day he toured backwards and forwards across the country; and it was by the merest accident that a very angry King shot in through an open pantry window in the early hours of the morning. He removed his boots and went softly to bed.

It was, of course, a lesson to him. He decided that in the future he must proceed by a recognized route, sailing lightly from landmark to landmark. Such a route his Geographers prepared for him—an early morning constitutional, of three hundred miles or so, to be taken ten times before breakfast. He gave himself a week in which to recover his nerve and then started out on the first of them.

As it is used in the passage, the underlined word “anticipated” most nearly means __________.

Excerpted from The Picture of Dorian Gray by Oscar Wilde (1890)

Hallward got up from the seat and walked up and down the garden. After some time he came back. "Harry," he said, "Dorian Gray is to me simply a motive in art. You might see nothing in him. I see everything in him. He is never more present in my work than when no image of him is there. He is a suggestion, as I have said, of a new manner. I find him in the curves of certain lines, in the loveliness and subtleties of certain colours. That is all."

"Then why won't you exhibit his portrait?" asked Lord Henry.

"Because, without intending it, I have put into it some expression of all this curious artistic idolatry, of which, of course, I have never cared to speak to him. He knows nothing about it. He shall never know anything about it. But the world might guess it, and I will not bare my soul to their shallow prying eyes. My heart shall never be put under their microscope. There is too much of myself in the thing, Harry—too much of myself!"

"Poets are not so scrupulous as you are. They know how useful passion is for publication. Nowadays a broken heart will run to many editions."

"I hate them for it," cried Hallward. "An artist should create beautiful things, but should put nothing of his own life into them. We live in an age when men treat art as if it were meant to be a form of autobiography. We have lost the abstract sense of beauty. Some day I will show the world what it is; and for that reason the world shall never see my portrait of Dorian Gray."

"I think you are wrong, Basil, but I won't argue with you. It is only the intellectually lost who ever argue. Tell me, is Dorian Gray very fond of you?"

The painter considered for a few moments. "He likes me," he answered after a pause; "I know he likes me. Of course I flatter him dreadfully. I find a strange pleasure in saying things to him that I know I shall be sorry for having said. As a rule, he is charming to me, and we sit in the studio and talk of a thousand things. Now and then, however, he is horribly thoughtless, and seems to take a real delight in giving me pain. Then I feel, Harry, that I have given away my whole soul to some one who treats it as if it were a flower to put in his coat, a bit of decoration to charm his vanity, an ornament for a summer's day."

In context, what does the phrase, “‘Nowadays a broken heart will run to many editions’” most closely mean?

Excerpted from The Picture of Dorian Gray by Oscar Wilde (1890)

Hallward got up from the seat and walked up and down the garden. After some time he came back. "Harry," he said, "Dorian Gray is to me simply a motive in art. You might see nothing in him. I see everything in him. He is never more present in my work than when no image of him is there. He is a suggestion, as I have said, of a new manner. I find him in the curves of certain lines, in the loveliness and subtleties of certain colours. That is all."

"Then why won't you exhibit his portrait?" asked Lord Henry.

"Because, without intending it, I have put into it some expression of all this curious artistic idolatry, of which, of course, I have never cared to speak to him. He knows nothing about it. He shall never know anything about it. But the world might guess it, and I will not bare my soul to their shallow prying eyes. My heart shall never be put under their microscope. There is too much of myself in the thing, Harry—too much of myself!"

"Poets are not so scrupulous as you are. They know how useful passion is for publication. Nowadays a broken heart will run to many editions."

"I hate them for it," cried Hallward. "An artist should create beautiful things, but should put nothing of his own life into them. We live in an age when men treat art as if it were meant to be a form of autobiography. We have lost the abstract sense of beauty. Some day I will show the world what it is; and for that reason the world shall never see my portrait of Dorian Gray."

"I think you are wrong, Basil, but I won't argue with you. It is only the intellectually lost who ever argue. Tell me, is Dorian Gray very fond of you?"

The painter considered for a few moments. "He likes me," he answered after a pause; "I know he likes me. Of course I flatter him dreadfully. I find a strange pleasure in saying things to him that I know I shall be sorry for having said. As a rule, he is charming to me, and we sit in the studio and talk of a thousand things. Now and then, however, he is horribly thoughtless, and seems to take a real delight in giving me pain. Then I feel, Harry, that I have given away my whole soul to some one who treats it as if it were a flower to put in his coat, a bit of decoration to charm his vanity, an ornament for a summer's day."

What evidence does the speaker give of that same phrase: “I have given away my whole soul to some one who treats it as if it were a flower to put in his coat?”

Excerpted from The Picture of Dorian Gray by Oscar Wilde (1890)

Hallward got up from the seat and walked up and down the garden. After some time he came back. "Harry," he said, "Dorian Gray is to me simply a motive in art. You might see nothing in him. I see everything in him. He is never more present in my work than when no image of him is there. He is a suggestion, as I have said, of a new manner. I find him in the curves of certain lines, in the loveliness and subtleties of certain colours. That is all."

"Then why won't you exhibit his portrait?" asked Lord Henry.

"Because, without intending it, I have put into it some expression of all this curious artistic idolatry, of which, of course, I have never cared to speak to him. He knows nothing about it. He shall never know anything about it. But the world might guess it, and I will not bare my soul to their shallow prying eyes. My heart shall never be put under their microscope. There is too much of myself in the thing, Harry—too much of myself!"

"Poets are not so scrupulous as you are. They know how useful passion is for publication. Nowadays a broken heart will run to many editions."

"I hate them for it," cried Hallward. "An artist should create beautiful things, but should put nothing of his own life into them. We live in an age when men treat art as if it were meant to be a form of autobiography. We have lost the abstract sense of beauty. Some day I will show the world what it is; and for that reason the world shall never see my portrait of Dorian Gray."

"I think you are wrong, Basil, but I won't argue with you. It is only the intellectually lost who ever argue. Tell me, is Dorian Gray very fond of you?"

The painter considered for a few moments. "He likes me," he answered after a pause; "I know he likes me. Of course I flatter him dreadfully. I find a strange pleasure in saying things to him that I know I shall be sorry for having said. As a rule, he is charming to me, and we sit in the studio and talk of a thousand things. Now and then, however, he is horribly thoughtless, and seems to take a real delight in giving me pain. Then I feel, Harry, that I have given away my whole soul to some one who treats it as if it were a flower to put in his coat, a bit of decoration to charm his vanity, an ornament for a summer's day."

What can one assume Henry means when he says that “It is only the intellectually lost who ever argue?”

Adapted from Pride and Prejudice by Jane Austen (1813)

She was suddenly roused by the sound of the doorbell, and her spirits were a little fluttered by the idea of its being Colonel Fitzwilliam himself, who had once before called late in the evening, and might now come to inquire particularly after her. But this idea was soon banished, and her spirits were very differently affected, when, to her utter amazement, she saw Mr. Darcy walk into the room. In an hurried manner he immediately began an inquiry after her health, imputing his visit to a wish of hearing that she were better. She answered him with cold civility. He sat down for a few moments, and then getting up, walked about the room. Elizabeth was surprised, but said not a word. After a silence of several minutes, he came towards her in an agitated manner, and thus began:

"In vain I have struggled. It will not do. My feelings will not be repressed. You must allow me to tell you how ardently I admire and love you."

Elizabeth's astonishment was beyond expression. She stared, colored, doubted, and was silent. This he considered sufficient encouragement, and the avowal of all that he felt, and had long felt for her, immediately followed. He spoke well, but there were feelings besides those of the heart to be detailed, and he was not more eloquent on the subject of tenderness than of pride. His sense of her inferiority—of its being a degradation—of the family obstacles which had always opposed to inclination, were dwelt on with a warmth that was very unlikely to recommend his suit.

In spite of her deeply-rooted dislike, she could not be insensible to the compliment of such a man's affection, and though her intentions did not vary for an instant, she was at first sorry for the pain he was to receive; till, roused to resentment by his subsequent language, she lost all compassion in anger. She tried, however, to compose herself to answer him with patience.

He concluded with representing to her the strength of that attachment that, in spite of all his endeavors, he had found impossible to conquer; and with expressing his hope that it would now be rewarded by her acceptance of his hand. As he said this, she could easily see that he had no doubt of a favorable answer. He spoke of apprehension and anxiety, but his countenance expressed real security. Such a circumstance could only exasperate farther, and, when he ceased, the color rose into her cheeks, and she said:

"In such cases as this, it is, I believe, the established mode to express a sense of obligation for the sentiments avowed, however unequally they may be returned. It is natural that obligation should be felt, and if I could feel gratitude, I would now thank you. But I cannot—I have never desired your good opinion, and you have certainly bestowed it most unwillingly. I am sorry to have occasioned pain to anyone. It has been most unconsciously done, however, and I hope will be of short duration. The feelings which, you tell me, have long prevented the acknowledgment of your regard, can have little difficulty in overcoming it after this explanation."

Mr. Darcy, who was leaning against the mantelpiece with his eyes fixed on her face, seemed to catch her words with no less resentment than surprise. His complexion became pale with anger, and the disturbance of his mind was visible in every feature. He was struggling for the appearance of composure, and would not open his lips till he believed himself to have attained it. The pause was to Elizabeth's feelings dreadful. At length, with a voice of forced calmness, he said:

"And this is all the reply which I am to have the honor of expecting! I might, perhaps, wish to be informed why, with so little endeavor at civility, I am thus rejected. But it is of small importance."

"I might as well inquire," replied she, "why with so evident a desire of offending and insulting me, you chose to tell me that you liked me against your will, against your reason, and even against your character? Was not this some excuse for incivility, if I was uncivil? But I have other provocations. You know I have. Had not my feelings decided against you—had they been indifferent, or had they even been favorable, do you think that any consideration would tempt me to accept the man who has been the means of ruining, perhaps forever, the happiness of a most beloved sister?"

As she pronounced these words, Mr. Darcy changed color; but the emotion was short, and he listened without attempting to interrupt her while she continued.

In the context of this passage, the meaning of the underlined word "endeavor" as it is used in the fifth and eighth paragraphs is closest to "__________."

Adapted from Pride and Prejudice, by Jane Austen (1813)

Happy for all her maternal feelings was the day on which Mrs. Bennet got rid of her two most deserving daughters. With what delighted pride she afterwards visited Mrs. Bingley, and talked of Mrs. Darcy, may be guessed. I wish I could say, for the sake of her family, that the accomplishment of her earnest desire in the establishment of so many of her children produced so happy an effect as to make her a sensible, amiable, well-informed woman for the rest of her life; though perhaps it was lucky for her husband, who might not have relished domestic felicity in so unusual a form, that she still was occasionally nervous and invariably silly.

Mr. Bennet missed his second daughter exceedingly; his affection for her drew him oftener from home than anything else could do. He delighted in going to Pemberley, especially when he was least expected.

Mr. Bingley and Jane remained at Netherfield only a twelvemonth. So near a vicinity to her mother and Meryton relations was not desirable even to his easy temper, or her affectionate heart. The darling wish of his sisters was then gratified; he bought an estate in a neighboring county to Derbyshire, and Jane and Elizabeth, in addition to every other source of happiness, were within thirty miles of each other.

Kitty, to her very material advantage, spent the chief of her time with her two elder sisters. In society so superior to what she had generally known, her improvement was great. She was not of so ungovernable a temper as Lydia; and, removed from the influence of Lydia's example, she became, by proper attention and management, less irritable, less ignorant, and less insipid. From the further disadvantage of Lydia's society she was of course carefully kept, and though Mrs. Wickham frequently invited her to come and stay with her, with the promise of balls and young men, her father would never consent to her going.

Mary was the only daughter who remained at home; and she was necessarily drawn from the pursuit of accomplishments by Mrs. Bennet's being quite unable to sit alone. Mary was obliged to mix more with the world, but she could still moralize over every morning visit; and as she was no longer mortified by comparisons between her sisters' beauty and her own, it was suspected by her father that she submitted to the change without much reluctance.

In the context of this passage, "ungovernable" is most likely closest in meaning to what?

The questions for this problem set are all based off the following passage, excerpted from Great Expectations, by Charles Dickens:

Miss Havisham beckoned her to come close, and took up a jewel from the table, and tried its effect upon her fair young bosom and against her pretty brown hair. "Your own, one day, my dear, and you will use it well. Let me see you play cards with this boy."

"With this boy? Why, he is a common laboring boy!"

I thought I overheard Miss Havisham answer—only it seemed so unlikely—"Well? You can break his heart."

"What do you play, boy?" asked Estella of myself, with the greatest disdain.

"Nothing but beggar my neighbor, miss."

"Beggar him," said Miss Havisham to Estella. So we sat down to cards.

It was then I began to understand that everything in the room had stopped, like the watch and the clock, a long time ago. I noticed that Miss Havisham put down the jewel exactly on the spot from which she had taken it up. As Estella dealt the cards, I glanced at the dressing-table again, and saw that the shoe upon it, once white, now yellow, had never been worn. I glanced down at the foot from which the shoe was absent, and saw that the silk stocking on it, once white, now yellow, had been trodden ragged. Without this arrest of everything, this standing still of all the pale decayed objects, not even the withered bridal dress on the collapsed form could have looked so like grave-clothes, or the long veil so like a shroud.

So she sat, corpse-like, as we played at cards; the frillings and trimmings on her bridal dress, looking like earthy paper. I knew nothing then of the discoveries that are occasionally made of bodies buried in ancient times, which fall to powder in the moment of being distinctly seen; but, I have often thought since, that she must have looked as if the admission of the natural light of day would have struck her to dust.

"He calls the knaves Jacks, this boy!" said Estella with disdain, before our first game was out. "And what coarse hands he has! And what thick boots!"

I had never thought of being ashamed of my hands before; but I began to consider them a very indifferent pair. Her contempt for me was so strong, that it became infectious, and I caught it.

She won the game, and I dealt. I misdealt, as was only natural, when I knew she was lying in wait for me to do wrong; and she denounced me for a stupid, clumsy laboring-boy.

"You say nothing of her," remarked Miss Havisham to me, as she looked on. "She says many hard things of you, but you say nothing of her. What do you think of her?"

"I don't like to say," I stammered.

"Tell me in my ear," said Miss Havisham, bending down.

"I think she is very proud," I replied, in a whisper.

"Anything else?"

"I think she is very pretty."

"Anything else?"

"I think she is very insulting." (She was looking at me then with a look of supreme aversion.)

"Anything else?"

"I think I should like to go home."

"And never see her again, though she is so pretty?"

"I am not sure that I shouldn't like to see her again, but I should like to go home now."

"You shall go soon," said Miss Havisham, aloud. "Play the game out."

Saving for the one weird smile at first, I should have felt almost sure that Miss Havisham's face could not smile. It had dropped into a watchful and brooding expression—most likely when all the things about her had become transfixed—and it looked as if nothing could ever lift it up again. Her chest had dropped, so that she stooped; and her voice had dropped, so that she spoke low, and with a dead lull upon her; altogether, she had the appearance of having dropped body and soul, within and without, under the weight of a crushing blow.

I played the game to an end with Estella, and she beggared me. She threw the cards down on the table when she had won them all, as if she despised them for having been won of me.

"When shall I have you here again?" said Miss Havisham. "Let me think."

I was beginning to remind her that to-day was Wednesday, when she checked me with her former impatient movement of the fingers of her right hand.

"There, there! I know nothing of days of the week; I know nothing of weeks of the year. Come again after six days. You hear?"

"Yes, ma'am."

"Estella, take him down. Let him have something to eat, and let him roam and look about him while he eats. Go, Pip."

I followed the candle down, as I had followed the candle up, and she stood it in the place where we had found it. Until she opened the side entrance, I had fancied, without thinking about it, that it must necessarily be night-time. The rush of the daylight quite confounded me, and made me feel as if I had been in the candlelight of the strange room many hours.

"You are to wait here, you boy," said Estella; and disappeared and closed the door.

I took the opportunity of being alone in the courtyard to look at my coarse hands and my common boots. My opinion of those accessories was not favorable. They had never troubled me before, but they troubled me now, as vulgar appendages. I determined to ask Joe why he had ever taught me to call those picture-cards Jacks, which ought to be called knaves. I wished Joe had been rather more genteelly brought up, and then I should have been so too.

In the context of this passage, the word admission most nearly means .

Adapted from Middlemarch: A Study of Provincial Life by George Eliot (1874)

Dorothea trembled while she read this letter; then she fell on her knees, buried her face, and sobbed. She could not pray; under the rush of solemn emotion in which thoughts became vague and images floated uncertainly, she could but cast herself, with a childlike sense of reclining, in the lap of a divine consciousness which sustained her own. She remained in that attitude till it was time to dress for dinner.

How could it occur to her to examine the letter, to look at it critically as a profession of love? Her whole soul was possessed by the fact that a fuller life was opening before her: she was a neophyte about to enter on a higher grade of initiation. She was going to have room for the energies which stirred uneasily under the dimness and pressure of her own ignorance and the petty peremptoriness of the world’s habits.

Now she would be able to devote herself to large yet definite duties; now she would be allowed to live continually in the light of a mind that she could reverence. This hope was not unmixed with the glow of proud delight—the joyous maiden surprise that she was chosen by the man whom her admiration had chosen. All Dorothea’s passion was transfused through a mind struggling towards an ideal life; the radiance of her transfigured girlhood fell on the first object that came within its level. The impetus with which inclination became resolution was heightened by those little events of the day which had roused her discontent with the actual conditions of her life.

The underlined word “attitude” in the first paragraph most nearly means __________.

Adapted from Middlemarch: A Study of Provincial Life by George Eliot (1874)

Dorothea trembled while she read this letter; then she fell on her knees, buried her face, and sobbed. She could not pray; under the rush of solemn emotion in which thoughts became vague and images floated uncertainly, she could but cast herself, with a childlike sense of reclining, in the lap of a divine consciousness which sustained her own. She remained in that attitude till it was time to dress for dinner.

How could it occur to her to examine the letter, to look at it critically as a profession of love? Her whole soul was possessed by the fact that a fuller life was opening before her: she was a neophyte about to enter on a higher grade of initiation. She was going to have room for the energies which stirred uneasily under the dimness and pressure of her own ignorance and the petty peremptoriness of the world’s habits.

Now she would be able to devote herself to large yet definite duties; now she would be allowed to live continually in the light of a mind that she could reverence. This hope was not unmixed with the glow of proud delight—the joyous maiden surprise that she was chosen by the man whom her admiration had chosen. All Dorothea’s passion was transfused through a mind struggling towards an ideal life; the radiance of her transfigured girlhood fell on the first object that came within its level. The impetus with which inclination became resolution was heightened by those little events of the day which had roused her discontent with the actual conditions of her life.

In the context of the paragraph, what does the underlined word “object” in the third paragraph refer to?

Adapted from The Picture of Dorian Gray by Oscar Wilde (1890)

The studio was filled with the rich odour of roses, and when the light summer wind stirred amidst the trees of the garden, there came through the open door the heavy scent of the lilac, or the more delicate perfume of the pink-flowering thorn.

From the corner of the divan of Persian saddle-bags on which he was lying, smoking, as usual, innumerable cigarettes, Lord Henry Wotton could just catch the gleam of the honey-sweet and honey-colored blossoms of the laburnum, whose tremulous branches seemed hardly able to bear the burden of a beauty so flame-like as theirs.

In the center of the room, clamped to an upright easel, stood the full-length portrait of a young man of extraordinary personal beauty, and in front of it, some little distance away, was sitting the artist himself, Basil Hallward, whose sudden disappearance some years ago caused, at the time, such public excitement, and gave rise to so many strange conjectures.

As he looked at the gracious and comely form he had so skilfully mirrored in his art, a smile of pleasure passed across his face, and seemed about to linger there. But he suddenly started up, and, closing his eyes, placed his fingers upon the lids, as though he sought to imprison within his brain some curious dream from which he feared he might awake.

"It is your best work, Basil, the best thing you have ever done," said Lord Henry, languidly. "You must certainly send it next year to the Grosvenor. The Academy is too large and too vulgar. The Grosvenor is the only place."

"I don't think I will send it anywhere," he answered, tossing his head back in that odd way that used to make his friends laugh at him at Oxford. "No: I won't send it anywhere."

Lord Henry elevated his eyebrows, and looked at him in amazement through the thin blue wreaths of smoke that curled up in such fanciful whorls from his heavy cigarette. "Not send it anywhere? My dear fellow, why? Have you any reason? What odd chaps you painters are! You do anything in the world to gain a reputation. As soon as you have one, you seem to want to throw it away. It is silly of you, for there is only one thing in the world worse than being talked about, and that is not being talked about. A portrait like this would set you far above all the young men in England, and make the old men quite jealous, if old men are ever capable of any emotion."

"I know you will laugh at me," he replied, "but I really can't exhibit it. I have put too much of myself into it."

Lord Henry stretched his long legs out on the divan and shook with laughter.

"Yes, I knew you would laugh; but it is quite true, all the same."

"Too much of yourself in it! Upon my word, Basil, I didn't know you were so vain; and I really can't see any resemblance between you, with your rugged strong face and your coal-black hair, and this young Adonis, who looks as if he was made of ivory and rose-leaves. Why, my dear Basil, he is a Narcissus, and you—well, of course you have an intellectual expression, and all that. But beauty, real beauty, ends where an intellectual expression begins. Intellect is in itself an exaggeration, and destroys the harmony of any face. The moment one sits down to think, one becomes all nose, or all forehead, or something horrid. Look at the successful men in any of the learned professions. How perfectly hideous they are! Except, of course, in the church. But then in the church they don't think. A bishop keeps on saying at the age of eighty what he was told to say when he was a boy of eighteen, and consequently he always looks absolutely delightful. Your mysterious young friend, whose name you have never told me, but whose picture really fascinates me, never thinks. I feel quite sure of that. He is a brainless, beautiful thing, who should be always here in winter when we have no flowers to look at, and always here in summer when we want something to chill our intelligence. Don't flatter yourself, Basil: you are not in the least like him.”

Based on the way in which they are discussed in the passage, “the Academy” and “the Grosvenor” are __________.

Adapted from "Notes from Underground" in White Nights and Other Stories by Fyodor Dostoevsky (trans. Garnett, 1918 ed.)

It was a good thing, in fact, that Apollon distracted my attention at that time by his rudeness. He drove me beyond all patience! He was the bane of my life, the curse laid upon me by Providence. We had been squabbling continually for years, and I hated him. My God, how I hated him! I believe I had never hated anyone in my life as I hated him, especially at some moments. He was an elderly, dignified man, who worked part of his time as a tailor. But for some unknown reason he despised me beyond all measure, and looked down upon me insufferably. Though, indeed, he looked down upon everyone. Simply to glance at that flaxen, smoothly brushed head, at the tuft of hair he combed up on his forehead and oiled with sunflower oil, at that dignified mouth, compressed into the shape of the letter V, made one feel one was confronting a man who never doubted of himself. He was a pedant, to the most extreme point, the greatest pedant I had met on earth, and with that had a vanity only befitting Alexander of Macedon. He was in love with every button on his coat, every nail on his fingers—absolutely in love with them, and he looked it! In his behaviour to me he was a perfect tyrant, he spoke very little to me, and if he chanced to glance at me he gave me a firm, majestically self-confident and invariably ironical look that drove me sometimes to fury. He did his work with the air of doing me the greatest favour, though he did scarcely anything for me, and did not, indeed, consider himself bound to do anything. There could be no doubt that he looked upon me as the greatest fool on earth, and that “he did not get rid of me” was simply that he could get wages from me every month. He consented to do nothing for me for seven roubles a month. Many sins should be forgiven me for what I suffered from him. My hatred reached such a point that sometimes his very step almost threw me into convulsions. What I loathed particularly was his lisp. His tongue must have been a little too long or something of that sort, for he continually lisped, and seemed to be very proud of it, imagining that it greatly added to his dignity. He spoke in a slow, measured tone, with his hands behind his back and his eyes fixed on the ground. He maddened me particularly when he read aloud the psalms to himself behind his partition. Many a battle I waged over that reading! But he was awfully fond of reading aloud in the evenings, in a slow, even, sing-song voice, as though over the dead. It is interesting that that is how he has ended: he hires himself out to read the psalms over the dead, and at the same time he kills rats and makes blacking. But at that time I could not get rid of him, it was as though he were chemically combined with my existence. Besides, nothing would have induced him to consent to leave me. I could not live in furnished lodgings: my lodging was my private solitude, my shell, my cave, in which I concealed myself from all mankind, and Apollon seemed to me, for some reason, an integral part of that flat, and for seven years I could not turn him away.

The underlined word "confronting" most nearly means __________.

Adapted from "Notes from Underground" in White Nights and Other Stories by Fyodor Dostoevsky (trans. Garnett, 1918 ed.)

It was a good thing, in fact, that Apollon distracted my attention at that time by his rudeness. He drove me beyond all patience! He was the bane of my life, the curse laid upon me by Providence. We had been squabbling continually for years, and I hated him. My God, how I hated him! I believe I had never hated anyone in my life as I hated him, especially at some moments. He was an elderly, dignified man, who worked part of his time as a tailor. But for some unknown reason he despised me beyond all measure, and looked down upon me insufferably. Though, indeed, he looked down upon everyone. Simply to glance at that flaxen, smoothly brushed head, at the tuft of hair he combed up on his forehead and oiled with sunflower oil, at that dignified mouth, compressed into the shape of the letter V, made one feel one was confronting a man who never doubted of himself. He was a pedant, to the most extreme point, the greatest pedant I had met on earth, and with that had a vanity only befitting Alexander of Macedon. He was in love with every button on his coat, every nail on his fingers—absolutely in love with them, and he looked it! In his behaviour to me he was a perfect tyrant, he spoke very little to me, and if he chanced to glance at me he gave me a firm, majestically self-confident and invariably ironical look that drove me sometimes to fury. He did his work with the air of doing me the greatest favour, though he did scarcely anything for me, and did not, indeed, consider himself bound to do anything. There could be no doubt that he looked upon me as the greatest fool on earth, and that “he did not get rid of me” was simply that he could get wages from me every month. He consented to do nothing for me for seven roubles a month. Many sins should be forgiven me for what I suffered from him. My hatred reached such a point that sometimes his very step almost threw me into convulsions. What I loathed particularly was his lisp. His tongue must have been a little too long or something of that sort, for he continually lisped, and seemed to be very proud of it, imagining that it greatly added to his dignity. He spoke in a slow, measured tone, with his hands behind his back and his eyes fixed on the ground. He maddened me particularly when he read aloud the psalms to himself behind his partition. Many a battle I waged over that reading! But he was awfully fond of reading aloud in the evenings, in a slow, even, sing-song voice, as though over the dead. It is interesting that that is how he has ended: he hires himself out to read the psalms over the dead, and at the same time he kills rats and makes blacking. But at that time I could not get rid of him, it was as though he were chemically combined with my existence. Besides, nothing would have induced him to consent to leave me. I could not live in furnished lodgings: my lodging was my private solitude, my shell, my cave, in which I concealed myself from all mankind, and Apollon seemed to me, for some reason, an integral part of that flat, and for seven years I could not turn him away.

The underlined word "interesting" most nearly means __________.

Adapted from Pride and Prejudice by Jane Austen (1813)

She was suddenly roused by the sound of the doorbell, and her spirits were a little fluttered by the idea of its being Colonel Fitzwilliam himself, who had once before called late in the evening, and might now come to inquire particularly after her. But this idea was soon banished, and her spirits were very differently affected, when, to her utter amazement, she saw Mr. Darcy walk into the room. In an hurried manner he immediately began an inquiry after her health, imputing his visit to a wish of hearing that she were better. She answered him with cold civility. He sat down for a few moments, and then getting up, walked about the room. Elizabeth was surprised, but said not a word. After a silence of several minutes, he came towards her in an agitated manner, and thus began:

"In vain I have struggled. It will not do. My feelings will not be repressed. You must allow me to tell you how ardently I admire and love you."

Elizabeth's astonishment was beyond expression. She stared, colored, doubted, and was silent. This he considered sufficient encouragement, and the avowal of all that he felt, and had long felt for her, immediately followed. He spoke well, but there were feelings besides those of the heart to be detailed, and he was not more eloquent on the subject of tenderness than of pride. His sense of her inferiority—of its being a degradation—of the family obstacles which had always opposed to inclination, were dwelt on with a warmth that was very unlikely to recommend his suit.

In spite of her deeply-rooted dislike, she could not be insensible to the compliment of such a man's affection, and though her intentions did not vary for an instant, she was at first sorry for the pain he was to receive; till, roused to resentment by his subsequent language, she lost all compassion in anger. She tried, however, to compose herself to answer him with patience.

He concluded with representing to her the strength of that attachment that, in spite of all his endeavors, he had found impossible to conquer; and with expressing his hope that it would now be rewarded by her acceptance of his hand. As he said this, she could easily see that he had no doubt of a favorable answer. He spoke of apprehension and anxiety, but his countenance expressed real security. Such a circumstance could only exasperate farther, and, when he ceased, the color rose into her cheeks, and she said:

"In such cases as this, it is, I believe, the established mode to express a sense of obligation for the sentiments avowed, however unequally they may be returned. It is natural that obligation should be felt, and if I could feel gratitude, I would now thank you. But I cannot—I have never desired your good opinion, and you have certainly bestowed it most unwillingly. I am sorry to have occasioned pain to anyone. It has been most unconsciously done, however, and I hope will be of short duration. The feelings which, you tell me, have long prevented the acknowledgment of your regard, can have little difficulty in overcoming it after this explanation."

Mr. Darcy, who was leaning against the mantelpiece with his eyes fixed on her face, seemed to catch her words with no less resentment than surprise. His complexion became pale with anger, and the disturbance of his mind was visible in every feature. He was struggling for the appearance of composure, and would not open his lips till he believed himself to have attained it. The pause was to Elizabeth's feelings dreadful. At length, with a voice of forced calmness, he said:

"And this is all the reply which I am to have the honor of expecting! I might, perhaps, wish to be informed why, with so little endeavor at civility, I am thus rejected. But it is of small importance."

"I might as well inquire," replied she, "why with so evident a desire of offending and insulting me, you chose to tell me that you liked me against your will, against your reason, and even against your character? Was not this some excuse for incivility, if I was uncivil? But I have other provocations. You know I have. Had not my feelings decided against you—had they been indifferent, or had they even been favorable, do you think that any consideration would tempt me to accept the man who has been the means of ruining, perhaps forever, the happiness of a most beloved sister?"

As she pronounced these words, Mr. Darcy changed color; but the emotion was short, and he listened without attempting to interrupt her while she continued.

In the context of the underlined first line, "particularly"most nearly means "__________."

Adapted from Pride and Prejudice by Jane Austen (1813)

She was suddenly roused by the sound of the doorbell, and her spirits were a little fluttered by the idea of its being Colonel Fitzwilliam himself, who had once before called late in the evening, and might now come to inquire particularly after her. But this idea was soon banished, and her spirits were very differently affected, when, to her utter amazement, she saw Mr. Darcy walk into the room. In an hurried manner he immediately began an inquiry after her health, imputing his visit to a wish of hearing that she were better. She answered him with cold civility. He sat down for a few moments, and then getting up, walked about the room. Elizabeth was surprised, but said not a word. After a silence of several minutes, he came towards her in an agitated manner, and thus began:

"In vain I have struggled. It will not do. My feelings will not be repressed. You must allow me to tell you how ardently I admire and love you."

Elizabeth's astonishment was beyond expression. She stared, colored, doubted, and was silent. This he considered sufficient encouragement, and the avowal of all that he felt, and had long felt for her, immediately followed. He spoke well, but there were feelings besides those of the heart to be detailed, and he was not more eloquent on the subject of tenderness than of pride. His sense of her inferiority—of its being a degradation—of the family obstacles which had always opposed to inclination, were dwelt on with a warmth that was very unlikely to recommend his suit.

In spite of her deeply-rooted dislike, she could not be insensible to the compliment of such a man's affection, and though her intentions did not vary for an instant, she was at first sorry for the pain he was to receive; till, roused to resentment by his subsequent language, she lost all compassion in anger. She tried, however, to compose herself to answer him with patience.

He concluded with representing to her the strength of that attachment that, in spite of all his endeavors, he had found impossible to conquer; and with expressing his hope that it would now be rewarded by her acceptance of his hand. As he said this, she could easily see that he had no doubt of a favorable answer. He spoke of apprehension and anxiety, but his countenance expressed real security. Such a circumstance could only exasperate farther, and, when he ceased, the color rose into her cheeks, and she said:

"In such cases as this, it is, I believe, the established mode to express a sense of obligation for the sentiments avowed, however unequally they may be returned. It is natural that obligation should be felt, and if I could feel gratitude, I would now thank you. But I cannot—I have never desired your good opinion, and you have certainly bestowed it most unwillingly. I am sorry to have occasioned pain to anyone. It has been most unconsciously done, however, and I hope will be of short duration. The feelings which, you tell me, have long prevented the acknowledgment of your regard, can have little difficulty in overcoming it after this explanation."

Mr. Darcy, who was leaning against the mantelpiece with his eyes fixed on her face, seemed to catch her words with no less resentment than surprise. His complexion became pale with anger, and the disturbance of his mind was visible in every feature. He was struggling for the appearance of composure, and would not open his lips till he believed himself to have attained it. The pause was to Elizabeth's feelings dreadful. At length, with a voice of forced calmness, he said:

"And this is all the reply which I am to have the honor of expecting! I might, perhaps, wish to be informed why, with so little endeavor at civility, I am thus rejected. But it is of small importance."

"I might as well inquire," replied she, "why with so evident a desire of offending and insulting me, you chose to tell me that you liked me against your will, against your reason, and even against your character? Was not this some excuse for incivility, if I was uncivil? But I have other provocations. You know I have. Had not my feelings decided against you—had they been indifferent, or had they even been favorable, do you think that any consideration would tempt me to accept the man who has been the means of ruining, perhaps forever, the happiness of a most beloved sister?"

As she pronounced these words, Mr. Darcy changed color; but the emotion was short, and he listened without attempting to interrupt her while she continued.

In this passage, the underlined word "warmth" in the third paragraph is closest in meaning to "__________."

Adapted from A Room with a View by E. M. Forster (1908)

Mr. Beebe was right. Lucy never knew her desires so clearly as after music. She had not really appreciated the clergyman's wit, nor the suggestive twitterings of Miss Alan. Conversation was tedious; she wanted something big, and she believed that it would have come to her on the wind-swept platform of an electric tram. This she might not attempt. It was unladylike. Why? Why were most big things unladylike? Charlotte had once explained to her why. It was not that ladies were inferior to men; it was that they were different. Their mission was to inspire others to achievement rather than to achieve themselves. Indirectly, by means of tact and a spotless name, a lady could accomplish much. But if she rushed into the fray herself she would be first censured, then despised, and finally ignored. Poems had been written to illustrate this point.

There is much that is immortal in this medieval lady. The dragons have gone, and so have the knights, but still she lingers in our midst. She reigned in many an early Victorian castle, and was Queen of much early Victorian song. It is sweet to protect her in the intervals of business, sweet to pay her honor when she has cooked our dinner well. But alas! the creature grows degenerate. In her heart also there are springing up strange desires. She too is enamored of heavy winds, and vast panoramas, and green expanses of the sea. She has marked the kingdom of this world, how full it is of wealth, and beauty, and war—a radiant crust, built around the central fires, spinning towards the receding heavens. Men, declaring that she inspires them to it, move joyfully over the surface, having the most delightful meetings with other men, happy, not because they are masculine, but because they are alive. Before the show breaks up she would like to drop the august title of the Eternal Woman, and go there as her transitory self.

Lucy does not stand for the medieval lady, who was rather an ideal to which she was bidden to lift her eyes when feeling serious. Nor has she any system of revolt. Here and there a restriction annoyed her particularly, and she would transgress it, and perhaps be sorry that she had done so. This afternoon she was peculiarly restive. She would really like to do something of which her well-wishers disapproved. As she might not go on the electric tram, she went to Alinari's shop.

In the second paragraph, the underlined word “marked" most nearly means __________.

Excerpted from The Picture of Dorian Gray by Oscar Wilde (1890)

Hallward got up from the seat and walked up and down the garden. After some time he came back. "Harry," he said, "Dorian Gray is to me simply a motive in art. You might see nothing in him. I see everything in him. He is never more present in my work than when no image of him is there. He is a suggestion, as I have said, of a new manner. I find him in the curves of certain lines, in the loveliness and subtleties of certain colours. That is all."

"Then why won't you exhibit his portrait?" asked Lord Henry.

"Because, without intending it, I have put into it some expression of all this curious artistic idolatry, of which, of course, I have never cared to speak to him. He knows nothing about it. He shall never know anything about it. But the world might guess it, and I will not bare my soul to their shallow prying eyes. My heart shall never be put under their microscope. There is too much of myself in the thing, Harry—too much of myself!"

"Poets are not so scrupulous as you are. They know how useful passion is for publication. Nowadays a broken heart will run to many editions."

"I hate them for it," cried Hallward. "An artist should create beautiful things, but should put nothing of his own life into them. We live in an age when men treat art as if it were meant to be a form of autobiography. We have lost the abstract sense of beauty. Some day I will show the world what it is; and for that reason the world shall never see my portrait of Dorian Gray."

"I think you are wrong, Basil, but I won't argue with you. It is only the intellectually lost who ever argue. Tell me, is Dorian Gray very fond of you?"

The painter considered for a few moments. "He likes me," he answered after a pause; "I know he likes me. Of course I flatter him dreadfully. I find a strange pleasure in saying things to him that I know I shall be sorry for having said. As a rule, he is charming to me, and we sit in the studio and talk of a thousand things. Now and then, however, he is horribly thoughtless, and seems to take a real delight in giving me pain. Then I feel, Harry, that I have given away my whole soul to some one who treats it as if it were a flower to put in his coat, a bit of decoration to charm his vanity, an ornament for a summer's day."

What does “dreadfully” most closely mean in context?

From "The Cask of Amontillado" by Edgar Allan Poe (1846):

The thousand injuries of Fortunato I had borne as I best could, but when he ventured upon insult I vowed revenge. You, who so well know the nature of my soul, will not suppose, however, that I gave utterance to a threat. At length I would be avenged; this was a point definitively settled — but the very definitiveness with which it was resolved precluded the idea of risk. I must not only punish but punish with impunity. A wrong is unredressed when retribution overtakes its redresser. It is equally unredressed when the avenger fails to make himself felt as such to him who has done the wrong.

It must be understood that neither by word nor deed had I given Fortunato cause to doubt my good will. I continued, as was my wont, to smile in his face, and he did not perceive that my smile now was at the thought of his immolation.

He had a weak point — this Fortunato — although in other regards he was a man to be respected and even feared. He prided himself upon his connoisseurship in wine. Few Italians have the true virtuoso spirit. For the most part their enthusiasm is adopted to suit the time and opportunity, to practice imposture upon the British and Austrian millionaires. In painting and gemmary, Fortunato, like his countrymen, was a quack, but in the matter of old wines he was sincere. In this respect I did not differ from him materially; — I was skilful in the Italian vintages myself, and bought largely whenever I could.

It was about dusk, one evening during the supreme madness of the carnival season, that I encountered my friend. He accosted me with excessive warmth, for he had been drinking much. The man wore motley. He had on a tight-fitting parti-striped dress, and his head was surmounted by the conical cap and bells. I was so pleased to see him that I thought I should never have done wringing his hand.

I said to him — “My dear Fortunato, you are luckily met. How remarkably well you are looking to-day. But I have received a pipe of what passes for Amontillado, and I have my doubts.”

“How?” said he. “Amontillado? A pipe? Impossible! And in the middle of the carnival!”

“I have my doubts,” I replied; “and I was silly enough to pay the full Amontillado price without consulting you in the matter. You were not to be found, and I was fearful of losing a bargain.”

“Amontillado!”

“I have my doubts.”

“Amontillado!”

“And I must satisfy them.”

“Amontillado!”

“As you are engaged, I am on my way to Luchresi. If any one has a critical turn it is he. He will tell me ——”

“Luchresi cannot tell Amontillado from Sherry.”

“And yet some fools will have it that his taste is a match for your own.”

“Come, let us go.”

“Whither?”

“To your vaults.”

In the line, "I must not only punish but punish with impunity," the word "impunity" is closest in meaning to what?

Adapted from "The Cask of Amontillado" by Edgar Allan Poe (1846)

The thousand injuries of Fortunato I had borne as I best could, but when he ventured upon insult I vowed revenge. You, who so well know the nature of my soul, will not suppose, however, that I gave utterance to a threat. At length I would be avenged; this was a point definitively settled — but the very definitiveness with which it was resolved precluded the idea of risk. I must not only punish but punish with impunity. A wrong is unredressed when retribution overtakes its redresser. It is equally unredressed when the avenger fails to make himself felt as such to him who has done the wrong.

It must be understood that neither by word nor deed had I given Fortunato cause to doubt my good will. I continued, as was my wont, to smile in his face, and he did not perceive that my smile now was at the thought of his immolation.

He had a weak point — this Fortunato — although in other regards he was a man to be respected and even feared. He prided himself upon his connoisseurship in wine. Few Italians have the true virtuoso spirit. For the most part their enthusiasm is adopted to suit the time and opportunity, to practice imposture upon the British and Austrian millionaires. In painting and gemmary, Fortunato, like his countrymen, was a quack, but in the matter of old wines he was sincere. In this respect I did not differ from him materially; — I was skillful in the Italian vintages myself, and bought largely whenever I could.

It was about dusk, one evening during the supreme madness of the carnival season, that I encountered my friend. He accosted me with excessive warmth, for he had been drinking much. The man wore motley. He had on a tight-fitting parti-striped dress, and his head was surmounted by the conical cap and bells. I was so pleased to see him that I thought I should never have done wringing his hand.

I said to him — “My dear Fortunato, you are luckily met. How remarkably well you are looking to-day. But I have received a pipe of what passes for Amontillado, and I have my doubts.”

“How?” said he. “Amontillado? A pipe? Impossible! And in the middle of the carnival!”

“I have my doubts,” I replied; “and I was silly enough to pay the full Amontillado price without consulting you in the matter. You were not to be found, and I was fearful of losing a bargain.”

“Amontillado!”

“I have my doubts.”

“Amontillado!”

“And I must satisfy them.”

“Amontillado!”

“As you are engaged, I am on my way to Luchresi. If any one has a critical turn it is he. He will tell me ——”

“Luchresi cannot tell Amontillado from Sherry.”

“And yet some fools will have it that his taste is a match for your own.”

“Come, let us go.”

“Whither?”

“To your vaults.”

In the line, "I continued, as was my wont, to smile in his face, and he did not perceive that my smile now was at the thought of his immolation," the word wont is closest in meaning to what?