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The following is an excerpt from Night and Day, a novel by Virginia Woolf that was first published in 1919. The novel tells the story of two main female characters in London in the early 20th century.
It was a Sunday evening in October, and in common with many other young ladies of her class, Katharine Hilbery was pouring out tea. Perhaps a fifth part of her mind was thus occupied, and the remaining parts leapt over the little barrier of day which interposed between Monday morning and this rather subdued moment, and played with the things one does voluntarily and normally in the daylight. But although she was silent, she was evidently mistress of a situation which was familiar enough to her, and inclined to let it take its way for the six hundredth time, perhaps, without bringing into play any of her unoccupied faculties. A single glance was enough to show that Mrs. Hilbery was so rich in the gifts which make tea-parties of elderly distinguished people successful, that she scarcely needed any help from her daughter, provided that the tiresome business of teacups and bread and butter was discharged for her.
Considering that the little party had been seated round the tea-table for less than twenty minutes, the animation observable on their faces, and the amount of sound they were producing collectively, were very creditable to the hostess. It suddenly came into Katharine’s mind that if some one opened the door at this moment he would think that they were enjoying themselves; he would think, “What an extremely nice house to come into!” and instinctively she laughed, and said something to increase the noise, for the credit of the house presumably, since she herself had not been feeling exhilarated. At the very same moment, rather to her amusement, the door was flung open, and a young man entered the room. Katharine, as she shook hands with him, asked him, in her own mind, “Now, do you think we’re enjoying ourselves enormously?”... “Mr. Denham, mother,” she said aloud, for she saw that her mother had forgotten his name.
That fact was perceptible to Mr. Denham also, and increased the awkwardness which inevitably attends the entrance of a stranger into a room full of people much at their ease, and all launched upon sentences. At the same time, it seemed to Mr. Denham as if a thousand softly padded doors had closed between him and the street outside. A fine mist, the etherealized essence of the fog, hung visibly in the wide and rather empty space of the drawing-room, all silver where the candles were grouped on the tea-table, and ruddy again in the firelight. With the omnibuses and cabs still running in his head, and his body still tingling with his quick walk along the streets and in and out of traffic and foot-passengers, this drawing-room seemed very remote and still; and the faces of the elderly people were mellowed, at some distance from each other, and had a bloom on them owing to the fact that the air in the drawing-room was thickened by blue grains of mist. Mr. Denham had come in as Mr. Fortescue, the eminent novelist, reached the middle of a very long sentence. He kept this suspended while the newcomer sat down, and Mrs. Hilbery deftly joined the severed parts with several remarks.
Katharine stirred her tea, and seemed to speculate, so Denham thought, upon the duty of filling somebody else’s cup, but she was really wondering how she was going to keep this strange young man in harmony with the rest. She observed that he was compressing his teacup, so that there was danger lest the thin china might cave inwards. She could see that he was nervous; one would expect a bony young man with his face slightly reddened by the wind, and his hair not altogether smooth, to be nervous in such a party. Further, he probably disliked this kind of thing, and had come out of curiosity, or because her father had invited him–anyhow, he would not be easily combined with the rest.
Katharine Hilbery uses the quote in the underlined sentence primarily in order to:
show how much better this gathering is than most others.
indicate her disdain for the other guests at the house.
contrast her feelings of the gathering with the outward appearance.
emphasize how wonderful the gathering has turned out to be.
The following is an excerpt from Night and Day, a novel by Virginia Woolf that was first published in 1919. The novel tells the story of two main female characters in London in the early 20th century.
It was a Sunday evening in October, and in common with many other young ladies of her class, Katharine Hilbery was pouring out tea. Perhaps a fifth part of her mind was thus occupied, and the remaining parts leapt over the little barrier of day which interposed between Monday morning and this rather subdued moment, and played with the things one does voluntarily and normally in the daylight. But although she was silent, she was evidently mistress of a situation which was familiar enough to her, and inclined to let it take its way for the six hundredth time, perhaps, without bringing into play any of her unoccupied faculties. A single glance was enough to show that Mrs. Hilbery was so rich in the gifts which make tea-parties of elderly distinguished people successful, that she scarcely needed any help from her daughter, provided that the tiresome business of teacups and bread and butter was discharged for her.
Considering that the little party had been seated round the tea-table for less than twenty minutes, the animation observable on their faces, and the amount of sound they were producing collectively, were very creditable to the hostess. It suddenly came into Katharine’s mind that if some one opened the door at this moment he would think that they were enjoying themselves; he would think, “What an extremely nice house to come into!” and instinctively she laughed, and said something to increase the noise, for the credit of the house presumably, since she herself had not been feeling exhilarated. At the very same moment, rather to her amusement, the door was flung open, and a young man entered the room. Katharine, as she shook hands with him, asked him, in her own mind, “Now, do you think we’re enjoying ourselves enormously?”... “Mr. Denham, mother,” she said aloud, for she saw that her mother had forgotten his name.
That fact was perceptible to Mr. Denham also, and increased the awkwardness which inevitably attends the entrance of a stranger into a room full of people much at their ease, and all launched upon sentences. At the same time, it seemed to Mr. Denham as if a thousand softly padded doors had closed between him and the street outside. A fine mist, the etherealized essence of the fog, hung visibly in the wide and rather empty space of the drawing-room, all silver where the candles were grouped on the tea-table, and ruddy again in the firelight. With the omnibuses and cabs still running in his head, and his body still tingling with his quick walk along the streets and in and out of traffic and foot-passengers, this drawing-room seemed very remote and still; and the faces of the elderly people were mellowed, at some distance from each other, and had a bloom on them owing to the fact that the air in the drawing-room was thickened by blue grains of mist. Mr. Denham had come in as Mr. Fortescue, the eminent novelist, reached the middle of a very long sentence. He kept this suspended while the newcomer sat down, and Mrs. Hilbery deftly joined the severed parts with several remarks.
Katharine stirred her tea, and seemed to speculate, so Denham thought, upon the duty of filling somebody else’s cup, but she was really wondering how she was going to keep this strange young man in harmony with the rest. She observed that he was compressing his teacup, so that there was danger lest the thin china might cave inwards. She could see that he was nervous; one would expect a bony young man with his face slightly reddened by the wind, and his hair not altogether smooth, to be nervous in such a party. Further, he probably disliked this kind of thing, and had come out of curiosity, or because her father had invited him–anyhow, he would not be easily combined with the rest.
Katharine Hilbery uses the quote in the underlined sentence primarily in order to:
show how much better this gathering is than most others.
indicate her disdain for the other guests at the house.
emphasize how wonderful the gathering has turned out to be.
contrast her feelings of the gathering with the outward appearance.
The quote in the highlighted sentence has not been spoken aloud. Instead, Katharine uses the quote to show that while shaking hands and other normal social interactions were ensuing, internally she was apprehensive and uncertain about the gathering. This aligns well with our correct answer, “contrast her feelings of the gathering with the outward appearance.” Katharine uses this line to show that the feigned appearance of enjoyment and casual conversation was just that - made up in an effort to seem as though everyone was casually having a good time at the gathering and did not feel the awkwardness of the arrival of the new guest. This function is furthered when we get a better sense of the tone using the context surrounding the sentence in question.
This passage is adapted from “Flagship Species and Their Role in the Conservation Movement” (2020)
Until recently, two schools of thought have dominated the field of establishing “flagship” endangered species for marketing and awareness campaigns. These flagship species make up the subset of endangered species conservation experts utilize to elicit public support - both financial and legal - for fauna conservation as a whole.
The first concerns how recognizable the general public, the audience of most large-scale funding campaigns, finds a particular species, commonly termed its “public awareness.” This school of thought was built on the foundation that if an individual recognizes a species from prior knowledge, cultural context, or previous conservational and educational encounters (in a zoo environment or classroom setting, for instance) that individual would be more likely to note and respond to the severity of its endangered status. However, recently emerging flagship species such as the pangolin have challenged the singularity of this factor.
Alongside public awareness, conservation experts have long considered a factor they refer to as a “keystone species” designation in the flagstone selection process. Keystone species are those species that play an especially vital role in their respective habitats or ecosystems. While this metric is invaluable to the environmentalists in charge of designating funds received, recent data has expressed the more minor role a keystone species designation seems to play in the motivations of the public.
Recent scholarship has questioned both the singularity and the extent to which the above classifications impact the decision making of the general public. Though more complicated to measure, a third designation, known as a species’ “charisma,” is now the yardstick by which most flagship species are formally classified. Addressing the charisma of a species involves establishing and collecting data concerning its ecological (interactions with humans/the environments of humans), aesthetic (appealing to human emotions through physical appearance and immediately related behaviors), and corporeal (affection and socialization with humans over the short- and long-terms) characteristics. This process has been understandably criticized by some for its costs and failure to incorporate the severity of an endangered species’ status into designation, but its impact on the public has been irrefutable. While keystone and public awareness designations are still often applied in the field because of their practicality and comparative simplicity, charisma is now commonly accepted as the most accurate metric with which to judge a species’ flagship potential.
Which of the following is cited in the passage as an important use of the keystone species designation?
Marketing platforms
Charisma measurement
Endangered species identification
Funding allocation
This passage is adapted from “Flagship Species and Their Role in the Conservation Movement” (2020)
Until recently, two schools of thought have dominated the field of establishing “flagship” endangered species for marketing and awareness campaigns. These flagship species make up the subset of endangered species conservation experts utilize to elicit public support - both financial and legal - for fauna conservation as a whole.
The first concerns how recognizable the general public, the audience of most large-scale funding campaigns, finds a particular species, commonly termed its “public awareness.” This school of thought was built on the foundation that if an individual recognizes a species from prior knowledge, cultural context, or previous conservational and educational encounters (in a zoo environment or classroom setting, for instance) that individual would be more likely to note and respond to the severity of its endangered status. However, recently emerging flagship species such as the pangolin have challenged the singularity of this factor.
Alongside public awareness, conservation experts have long considered a factor they refer to as a “keystone species” designation in the flagstone selection process. Keystone species are those species that play an especially vital role in their respective habitats or ecosystems. While this metric is invaluable to the environmentalists in charge of designating funds received, recent data has expressed the more minor role a keystone species designation seems to play in the motivations of the public.
Recent scholarship has questioned both the singularity and the extent to which the above classifications impact the decision making of the general public. Though more complicated to measure, a third designation, known as a species’ “charisma,” is now the yardstick by which most flagship species are formally classified. Addressing the charisma of a species involves establishing and collecting data concerning its ecological (interactions with humans/the environments of humans), aesthetic (appealing to human emotions through physical appearance and immediately related behaviors), and corporeal (affection and socialization with humans over the short- and long-terms) characteristics. This process has been understandably criticized by some for its costs and failure to incorporate the severity of an endangered species’ status into designation, but its impact on the public has been irrefutable. While keystone and public awareness designations are still often applied in the field because of their practicality and comparative simplicity, charisma is now commonly accepted as the most accurate metric with which to judge a species’ flagship potential.
Which of the following is cited in the passage as an important use of the keystone species designation?
Marketing platforms
Charisma measurement
Endangered species identification
Funding allocation
In the passage, the author cites that “While this [keystone designation] metric is important to the environmentalists in charge of distributing funds received, recent data has expressed the more minor role a keystone species designation seems to play in the motivations of the public.” So the keystone designation is important because it helps environmentalists understand how to best allocate funding when attempting to help protect endangered species by understanding which species are most vital to their ecosystems. The designation doesn’t help identify endangered species… we’re looking at identifying flagship species among a pool of species that are all endangered! The keystone designation is also not a part of the charisma measurement, and there is no mention in the passage that the designation informs what types of marketing organizations use.
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