- Sign In
- Tutor Bios
-
Test Prep
GRADUATE SCHOOL
Search 50+ Tests
Loading Page
-
Academic Tutoring
foreign languages
elementary tutoring
Search 350+ Subjects
Loading Page
- About
Create an account to track your scores
and create your own practice tests:
All Common Core: 6th Grade English Language Arts Resources
Adapted from The Adventures of Tom Sawyer by Mark Twain (Samuel Clemens) (1876)
Saturday morning was come, and all the summer world was bright and fresh, and brimming with life. Tom appeared on the sidewalk with a bucket of whitewash and a long-handled brush. He surveyed the fence, and all gladness left him and a deep melancholy settled down upon his spirit. Thirty yards of board fence nine feet high. Life to him seemed hollow, and existence but a burden. Sighing, he dipped his brush and passed it along the topmost plank; repeated the operation; did it again; compared the insignificant whitewashed streak with the far-reaching continent of unwhitewashed fence, and sat down on a tree-box discouraged.
He began to think of the fun he had planned for this day, and his sorrows multiplied. Soon the boys would come tripping along on all sorts of delicious expeditions, and they would make a world of fun of him for having to work—the very thought of it burnt him like fire. At this dark and hopeless moment an inspiration burst upon him! Nothing less than a great, magnificent inspiration.
He took up his brush and went tranquilly to work. Ben Rogers hove in sight presently—the very boy, of all boys, whose ridicule he had been dreading. Ben’s gait was the hop-skip-and-jump—proof enough that his heart was light and his anticipations high. He was eating an apple, and giving a long, melodious whoop, at intervals, followed by a deep-toned ding-dong-dong, ding-dong-dong, for he was personating a steamboat. As he drew near, he slackened speed, took the middle of the street, leaned far over to star-board and rounded to ponderously and with laborious pomp and circumstance—for he was personating the Big Missouri, and considered himself to be drawing nine feet of water. He was boat and captain and engine-bells combined, so he had to imagine himself standing on his own hurricane-deck giving the orders and executing them:
“Stop her, sir! Ting-a-ling-ling!” The headway ran almost out, and he drew up slowly toward the sidewalk.
Tom went on whitewashing—paid no attention to the steamboat. Ben stared a moment and then said: “Hi-yi! You’re up a stump, ain’t you!”
No answer. Tom surveyed his last touch with the eye of an artist, then he gave his brush another gentle sweep and surveyed the result, as before. Ben ranged up alongside of him. Tom’s mouth watered for the apple, but he stuck to his work. Ben said:
“Hello, old chap, you got to work, hey?”
Tom wheeled suddenly and said:
“Why, it’s you, Ben! I warn’t noticing.”
“Say—I’m going in a-swimming, I am. Don’t you wish you could? But of course you’d druther work—wouldn’t you? Course you would!”
Tom contemplated the boy a bit, and said:
“What do you call work?”
“Why, ain’t that work?”
Tom resumed his whitewashing, and answered carelessly:
“Well, maybe it is, and maybe it ain’t. All I know, is, it suits Tom Sawyer.”
“Oh come, now, you don’t mean to let on that you like it?”
The brush continued to move.
“Like it? Well, I don’t see why I oughtn’t to like it. Does a boy get a chance to whitewash a fence every day?”
That put the thing in a new light. Ben stopped nibbling his apple. Tom swept his brush daintily back and forth—stepped back to note the effect—added a touch here and there—criticized the effect again—Ben watching every move and getting more and more interested, more and more absorbed. Presently he said:
“Say, Tom, let me whitewash a little.”
Tom considered, was about to consent; but he altered his mind:
“No—no—I reckon it wouldn’t hardly do, Ben. You see, Aunt Polly’s awful particular about this fence—right here on the street, you know—but if it was the back fence I wouldn’t mind and she wouldn’t. Yes, she’s awful particular about this fence; it’s got to be done very careful; I reckon there ain’t one boy in a thousand, maybe two thousand, that can do it the way it’s got to be done.”
“No—is that so? Oh come, now—lemme, just try. Only just a little—I’d let you, if you was me, Tom.”
“Ben, I’d like to; but Aunt Polly—well, Jim wanted to do it, but she wouldn’t let him; Sid wanted to do it, and she wouldn’t let Sid. Now don’t you see how I’m fixed? If you was to tackle this fence and anything was to happen to it—”
“Oh, shucks, I’ll be just as careful. Now lemme try. Say—I’ll give you the core of my apple.”
“Well, here—No, Ben, now don’t. I’m afeard—”
“I’ll give you all of it!”
Tom gave up the brush with reluctance in his face, but alacrity in his heart. And while the late steamer Big Missouri worked and sweated in the sun, the retired artist sat on a barrel in the shade close by, dangled his legs, munched his apple, and planned the slaughter of more innocents. There was no lack of material; boys happened along every little while; they came to jeer, but remained to whitewash. By the time Ben was tired, Tom had traded the next chance to Billy Fisher for a kite, in good repair; and when he played out, Johnny Miller bought in for a dead rat and a string to swing it with—and so on, and so on, hour after hour. And when the middle of the afternoon came, from being a poor poverty-stricken boy in the morning, Tom was literally rolling in wealth. And when the middle of the afternoon came, from being a poor poverty-stricken boy in the morning, Tom was literally rolling in wealth. He had besides the things before mentioned, twelve marbles, a piece of blue bottle-glass to look through, a spool cannon, a key that wouldn't unlock anything, a fragment of chalk, a glass stopper of a decanter, a tin soldier, a couple of tadpoles, six fire-crackers, a kitten with only one eye, a brass door-knob, a dog-collar—but no dog—the handle of a knife, four pieces of orange-peel, and a dilapidated old window sash.
He had had a nice, good, idle time all the while—plenty of company—and the fence had three coats of whitewash on it! If he hadn’t run out of whitewash he would have bankrupted every boy in the village.
When Tom asks Ben “Does a boy get a chance to whitewash a fence every day?”, what can we infer his motives are?
Tom asks this question because he hopes Ben will go ask someone else if he or she will help Tom paint the fence.
Tom asks this question to try to convince himself that fence-painting is a fun task.
Tom is asking the question rhetorically to make fence-painting look like a special, rare event.
Tom is asking about fence-painting so Ben will keep talking to him while he paints the entire fence.
Tom is asking Ben this question because he does not know the answer.
When Tom asks Ben “Does a boy get a chance to whitewash a fence every day?”, what can we infer his motives are?
Tom asks this question because he hopes Ben will go ask someone else if he or she will help Tom paint the fence.
Tom asks this question to try to convince himself that fence-painting is a fun task.
Tom is asking about fence-painting so Ben will keep talking to him while he paints the entire fence.
Tom is asking Ben this question because he does not know the answer.
Tom is asking the question rhetorically to make fence-painting look like a special, rare event.
To figure out Tom's motives in asking "Does a boy get a chance to whitewash a fence every day?", we need to consider the scene that leads up to this statement as well as its effects. The preceding part of the scene demonstrates how Tom has to whitewash a fence on Saturday and doesn't want to work. He gets a great (but ambiguous!) idea about how to get out of work. Then, Ben comes along, pretending to be a steamboat and trying to make fun of Tom for having to work. In talking with Ben, Tom suggests that whitewashing the fence isn't work and that he enjoys it. It's at this point that Tom asks the question in question:
(Ben) “Oh come, now, you don’t mean to let on that you like it?”
The brush continued to move.
(Tom) “Like it? Well, I don’t see why I oughtn’t to like it. Does a boy get a chance to whitewash a fence every day?”
What happens next?
That put the thing in a new light. Ben stopped nibbling his apple. Tom swept his brush daintily back and forth—stepped back to note the effect—added a touch here and there—criticized the effect again—Ben watching every move and getting more and more interested, more and more absorbed. Presently he said:
“Say, Tom, let me whitewash a little.”
Aha—by portraying his work in such a positive light, Tom switches Ben's perspective on it and makes it seem like a special activity. It's after this switch in perspective that Tom is able to get Ben to give him his apple for the privilege of getting to do his work for him. Based on this evidence, we can infer that Tom's great idea is to convince someone else (Ben) to whitewash the fence for him, and that he asked the question to make fence-painting look fun and exciting. The story supports this idea because after the question, the narrator immediately says, "That put the thing in a new light." The correct answer is "Tom is asking the question rhetorically to make fence-painting look like a special, rare event."
Adapted from The Adventures of Tom Sawyer by Mark Twain (Samuel Clemens) (1876)
Saturday morning was come, and all the summer world was bright and fresh, and brimming with life. Tom appeared on the sidewalk with a bucket of whitewash and a long-handled brush. He surveyed the fence, and all gladness left him and a deep melancholy settled down upon his spirit. Thirty yards of board fence nine feet high. Life to him seemed hollow, and existence but a burden. Sighing, he dipped his brush and passed it along the topmost plank; repeated the operation; did it again; compared the insignificant whitewashed streak with the far-reaching continent of unwhitewashed fence, and sat down on a tree-box discouraged.
He began to think of the fun he had planned for this day, and his sorrows multiplied. Soon the boys would come tripping along on all sorts of delicious expeditions, and they would make a world of fun of him for having to work—the very thought of it burnt him like fire. At this dark and hopeless moment an inspiration burst upon him! Nothing less than a great, magnificent inspiration.
He took up his brush and went tranquilly to work. Ben Rogers hove in sight presently—the very boy, of all boys, whose ridicule he had been dreading. Ben’s gait was the hop-skip-and-jump—proof enough that his heart was light and his anticipations high. He was eating an apple, and giving a long, melodious whoop, at intervals, followed by a deep-toned ding-dong-dong, ding-dong-dong, for he was personating a steamboat. As he drew near, he slackened speed, took the middle of the street, leaned far over to star-board and rounded to ponderously and with laborious pomp and circumstance—for he was personating the Big Missouri, and considered himself to be drawing nine feet of water. He was boat and captain and engine-bells combined, so he had to imagine himself standing on his own hurricane-deck giving the orders and executing them:
“Stop her, sir! Ting-a-ling-ling!” The headway ran almost out, and he drew up slowly toward the sidewalk.
Tom went on whitewashing—paid no attention to the steamboat. Ben stared a moment and then said: “Hi-yi! You’re up a stump, ain’t you!”
No answer. Tom surveyed his last touch with the eye of an artist, then he gave his brush another gentle sweep and surveyed the result, as before. Ben ranged up alongside of him. Tom’s mouth watered for the apple, but he stuck to his work. Ben said:
“Hello, old chap, you got to work, hey?”
Tom wheeled suddenly and said:
“Why, it’s you, Ben! I warn’t noticing.”
“Say—I’m going in a-swimming, I am. Don’t you wish you could? But of course you’d druther work—wouldn’t you? Course you would!”
Tom contemplated the boy a bit, and said:
“What do you call work?”
“Why, ain’t that work?”
Tom resumed his whitewashing, and answered carelessly:
“Well, maybe it is, and maybe it ain’t. All I know, is, it suits Tom Sawyer.”
“Oh come, now, you don’t mean to let on that you like it?”
The brush continued to move.
“Like it? Well, I don’t see why I oughtn’t to like it. Does a boy get a chance to whitewash a fence every day?”
That put the thing in a new light. Ben stopped nibbling his apple. Tom swept his brush daintily back and forth—stepped back to note the effect—added a touch here and there—criticized the effect again—Ben watching every move and getting more and more interested, more and more absorbed. Presently he said:
“Say, Tom, let me whitewash a little.”
Tom considered, was about to consent; but he altered his mind:
“No—no—I reckon it wouldn’t hardly do, Ben. You see, Aunt Polly’s awful particular about this fence—right here on the street, you know—but if it was the back fence I wouldn’t mind and she wouldn’t. Yes, she’s awful particular about this fence; it’s got to be done very careful; I reckon there ain’t one boy in a thousand, maybe two thousand, that can do it the way it’s got to be done.”
“No—is that so? Oh come, now—lemme, just try. Only just a little—I’d let you, if you was me, Tom.”
“Ben, I’d like to; but Aunt Polly—well, Jim wanted to do it, but she wouldn’t let him; Sid wanted to do it, and she wouldn’t let Sid. Now don’t you see how I’m fixed? If you was to tackle this fence and anything was to happen to it—”
“Oh, shucks, I’ll be just as careful. Now lemme try. Say—I’ll give you the core of my apple.”
“Well, here—No, Ben, now don’t. I’m afeard—”
“I’ll give you all of it!”
Tom gave up the brush with reluctance in his face, but alacrity in his heart. And while the late steamer Big Missouri worked and sweated in the sun, the retired artist sat on a barrel in the shade close by, dangled his legs, munched his apple, and planned the slaughter of more innocents. There was no lack of material; boys happened along every little while; they came to jeer, but remained to whitewash. By the time Ben was tired, Tom had traded the next chance to Billy Fisher for a kite, in good repair; and when he played out, Johnny Miller bought in for a dead rat and a string to swing it with—and so on, and so on, hour after hour. And when the middle of the afternoon came, from being a poor poverty-stricken boy in the morning, Tom was literally rolling in wealth. And when the middle of the afternoon came, from being a poor poverty-stricken boy in the morning, Tom was literally rolling in wealth. He had besides the things before mentioned, twelve marbles, a piece of blue bottle-glass to look through, a spool cannon, a key that wouldn't unlock anything, a fragment of chalk, a glass stopper of a decanter, a tin soldier, a couple of tadpoles, six fire-crackers, a kitten with only one eye, a brass door-knob, a dog-collar—but no dog—the handle of a knife, four pieces of orange-peel, and a dilapidated old window sash.
He had had a nice, good, idle time all the while—plenty of company—and the fence had three coats of whitewash on it! If he hadn’t run out of whitewash he would have bankrupted every boy in the village.
Which of the following best describes the dialogue in this scene?
Formal and fancy
Switching dramatically from formal and fancy to informal and casual
Casual and informal
Switching dramatically from informal and casual to formal and fancy
Using lots of foreign words borrowed from other languages
Which of the following best describes the dialogue in this scene?
Formal and fancy
Switching dramatically from formal and fancy to informal and casual
Switching dramatically from informal and casual to formal and fancy
Using lots of foreign words borrowed from other languages
Casual and informal
The dialogue in this scene is the conversation that Tom and Ben have, not the surrounding descriptions: the descriptions are the narrator's prose, to which this question is not referring. How do Tom and Ben talk to each other? The language they use is not very formal or fancy: it uses a lot of nonstandard English like “warn’t,” “druther,” “aint,” and "afeard." This is consistent throughout the whole passage: at no point do they characters shift to speaking in a notably different, more formal style. Their conversation is consistently casual throughout. Thus, the best answer is "casual and informal."
Report an issue with this question
If you've found an issue with this question, please let us know. With the help of the community we can continue to improve our educational resources.
DMCA Complaint
If you believe that content available by means of the Website (as defined in our Terms of Service) infringes one or more of your copyrights, please notify us by providing a written notice (“Infringement Notice”) containing the information described below to the designated agent listed below. If Varsity Tutors takes action in response to an Infringement Notice, it will make a good faith attempt to contact the party that made such content available by means of the most recent email address, if any, provided by such party to Varsity Tutors.
Your Infringement Notice may be forwarded to the party that made the content available or to third parties such as ChillingEffects.org.
Please be advised that you will be liable for damages (including costs and attorneys’ fees) if you materially misrepresent that a product or activity is infringing your copyrights. Thus, if you are not sure content located on or linked-to by the Website infringes your copyright, you should consider first contacting an attorney.
Please follow these steps to file a notice:
You must include the following:
A physical or electronic signature of the copyright owner or a person authorized to act on their behalf; An identification of the copyright claimed to have been infringed; A description of the nature and exact location of the content that you claim to infringe your copyright, in \ sufficient detail to permit Varsity Tutors to find and positively identify that content; for example we require a link to the specific question (not just the name of the question) that contains the content and a description of which specific portion of the question – an image, a link, the text, etc – your complaint refers to; Your name, address, telephone number and email address; and A statement by you: (a) that you believe in good faith that the use of the content that you claim to infringe your copyright is not authorized by law, or by the copyright owner or such owner’s agent; (b) that all of the information contained in your Infringement Notice is accurate, and (c) under penalty of perjury, that you are either the copyright owner or a person authorized to act on their behalf.
Send your complaint to our designated agent at:
Charles Cohn
Varsity Tutors LLC
101 S. Hanley Rd, Suite 300
St. Louis, MO 63105
Or fill out the form below:
Certified Tutor
Certified Tutor
![Learning Tools by Varsity Tutors](https://vt-vtwa-app-assets.varsitytutors.com/assets/problems/og_image_practice_problems-9cd7cd1b01009043c4576617bc620d0d5f9d58294f59b6d6556fd8365f7440cf.jpg)