AP-LiC.3 Prose MC Practice

In the third sentence of the first paragraph, the narrator’s description of Mrs. De Ropp as “those three-fifths of the world that are necessary and disagreeable and real” suggests that

• Mrs. De Ropp is a sensible individual who earns Conradin’s respect

• Mrs. De Ropp is a strict person who fails to appreciate Conradin’s creative spirit

• Mrs. De Ropp has no real understanding of Conradin’s medical condition

• Conradin, unlike Mrs. De Ropp, views the world through a rational and precise lens

• Conradin has no understanding of the value system that Mrs. De Ropp upholds

Tags

CCSS.RL.5.6

CCSS.RL.6.6

CCSS.RL.7.6

CCSS.RL.8.6

The second paragraph (“Mrs. De Ropp . . . entrance”) suggests that Conradin is able to cope with his situation primarily by

• telling himself that he does not dislike Mrs. De Ropp

• isolating himself physically from Mrs. De Ropp

• retreating to the security of an interior world

• taking great pleasure in antagonizing Mrs. De Ropp

• having the awareness that Mrs. De Ropp does not share his hatred

Tags

CCSS.RL.2.10

CCSS.RL.2.2

CCSS.RL.2.3

CCSS.RL.4.3

CCSS.RL.4.4

In the third sentence of the final paragraph, the “disused tool-shed” functions primarily as a setting in which Conradin

• plots his revenge against Mrs. De Ropp

• learns to appreciate the natural world

• fails to escape from his everyday challenges

• routinely socializes with children his own age

• discovers meaningful solitude

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CCSS.RL.2.10

CCSS.RL.2.2

CCSS.RL.2.3

CCSS.RL.4.3

CCSS.RL.4.4

Which of the following effects does the “large polecat-ferret” mentioned toward the end of the final paragraph have on the development of Conradin’s character?

• It causes Conradin increased anxiety because he knows Mrs. De Ropp would not approve of it.

• It presents Conradin with a moral predicament because he obtained it in an underhanded way.

• It forces Conradin to give up the “Houdan hen” as the primary object of his “affection” (paragraph 3).

• It fulfills Conradin’s imaginative ideal because he is able to transform it into “a god and a religion” (paragraph 3).

• It encourages Conradin to consider reforming his negative attitude toward Mrs. De Ropp.

Tags

CCSS.RL.2.10

CCSS.RL.2.2

CCSS.RL.2.3

CCSS.RL.4.3

CCSS.RL.4.4

Toward the end of the final paragraph, Conradin’s “exchange” of “a long-secreted hoard of small silver” with the butcher-boy is significant because it

• reveals the great store of wealth to which Conradin has access

• develops the idea that Conradin finds joy in acts that would be displeasing to Mrs. De Ropp

• establishes the fact that Conradin has meaningful and well-established friendships

• underscores Conradin’s main desire to live on the margins of society, ignoring its rules and customs

• introduces an element of criminality into the passage that seems wholly out of character for Conradin

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CCSS.RL.11-12.2

CCSS.RL.9-10.2

CCSS.RI. 9-10.1

CCSS.RI.11-12.1

CCSS.RL.8.1

Which lines from the passage would best support a reader’s claim that one of the central themes of the passage is independence?

• “Without his imagination, which was rampant under the spur of loneliness, he would have succumbed long ago” (paragraph 1)

• “Such few pleasures as he could contrive for himself gained an added relish from the likelihood that they would be displeasing to his guardian, and from the realm of his imagination she was locked out—an unclean thing, which should find no entrance” (paragraph 2)

• “In the dull, cheerless garden, overlooked by so many windows that were ready to open with a message not to do this or that, or a reminder that medicines were due, he found little attraction” (paragraph 3)

• “He had peopled it with a legion of familiar phantoms, evoked partly from fragments of history and partly from his own brain, but it also boasted two inmates of flesh and blood” (paragraph 3)

• “Its very presence in the tool-shed was a secret and fearful joy, to be kept scrupulously from the knowledge of the Woman, as he privately dubbed his cousin” (paragraph 3)

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CCSS.RL.11-12.2

CCSS.RL.9-10.2

CCSS.RL.8.2

CCSS.RI. 9-10.9

CCSS.RI.11-12.9

In the first paragraph, Tom’s claim that he is “the opposite of a stage magician” and that he tells the “truth in the pleasant disguise of illusion” suggests that he

• views dramatic performance as an insignificant art form

• finds entertainers to be inauthentic and unconvincing

• will tell the “truth” in a way that his audience can accept

• thinks his audience lacks the ability to discern the “truth”

• intends to keep the “truth” a secret from his audience

Tags

CCSS.RL.5.6

CCSS.RL.6.6

CCSS.RL.7.6

CCSS.RL.8.6

In the second and third paragraphs, the specific references to time (“the thirties”) and place (“Spain,” “Chicago, Cleveland, Saint Louis”) primarily serve to

• reinforce the notion that the play is part of a “world of reality” (paragraph 5) that will be reconstructed from “memory” (paragraph 4)

• support the notion that the play is firmly a “sentimental” play and not a “realistic” play (paragraph 4)

• suggest that Tom is a worldly narrator who will share his travel experiences with his audience

• show that Tom is a “poet” (paragraph 5) who is mainly interested in social and political subjects

• reveal that Tom is a nostalgic narrator who wishes he could live in the past

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CCSS.RL.11-12.10

CCSS.RL.11-12.3

CCSS.RL.8.10

CCSS.RL.9-10.10

CCSS.RL.9-10.10. RL.11-12.10

According to Tom, the presence of the “gentleman caller” mentioned in the fifth paragraph reinforces a conflict between

• dissatisfaction and contentment

• productivity and idleness

• waiting and fulfillment

• reason and emotion

• superficiality and authenticity

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CCSS.RL.11-12.2

CCSS.RL.9-10.2

CCSS.RL.8.2

CCSS.RI. 9-10.2

CCSS.RI.11-12.2

In the fifth paragraph, Tom’s description of the “gentleman caller” has which effect?

• It forces Tom to reconsider his attitude toward the other characters in the play.

• It prompts Tom to admit that he is prone to attaching figurative meaning to characters.

• It reveals that Tom has begun to fear that outsiders pose a threat to the family.

• It highlights Tom’s refusal to accept reality when it challenges his illusions.

• It suggests Tom’s steadfast belief that his father will eventually return to the family.