Taking the SAT® I: Reasoning Test
Verbal Test Sections
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SECTION 2
Time — 30 minutes
35 Questions
Directions:For each question in this section, select the best answer from among the choices given and fill in the corresponding oval on the answer sheet.
1.The critics reacted to the new book with enthusiasm:
not one of their reviews was -------.
(A)  derogatory    (B)  professional    (C)  episodic
(D)  didactic    (E)  unsolicited
2.Marie Curie’s more ------- achievements often -------
the contributions of her daughter, Irène Joliet-Curie,
even though each woman won a Nobel Prize for
Chemistry.
(A)perplexing . . clarify
(B)famous . . overshadow
(C)pioneering . . duplicate
(D)neglected . . invalidate
(E)inspiring . . complement
3.Oddly, a mere stranger managed to ------- Joanna’s
disappointment, while even her closest friends
remained oblivious.
(A)  arouse    (B)  perceive    (C)  warrant
(D)  discredit    (E)  misrepresent
4.Although they never referred to it -------, the two actors
had a ------- agreement never to mention the film that had almost ended their careers.
(A)vaguely . . clandestine
(B)systematically . . presumptuous
(C)longingly . . haphazard
(D)obliquely . . verbose
(E)directly . . tacit
5.Company employees were quite pleased with their
efficient new work area because it provided an ideal
climate ------- increased productivity.
(A)  inimical to    (B)  conducive to
(C)  shadowed by    (D)  stifled by
(E)  precipitated by
6.Crumbling masonry is ------- of the ------- that long
exposure to the elements causes to architecture.
(A)refutation . . damage
(B)reflective . . uniformity
(C)indicative . . amelioration
(D)denial . . weathering
(E)evidence . . havoc
7.At bedtime the security blanket served the child as
------- with seemingly magical powers to ward off
frightening phantasms.
(A)  an arsenal    (B)  an incentive    (C)  a talisman
(D)  a trademark    (E)  a harbinger
8.Military victories brought tributes to the Aztec empire
and, concomitantly, made it -------, for Aztecs increas-ingly lived off the vanquished.
(A)  indecisive    (B)  pragmatic    (C)  parasitic
(D)  beneficent    (E)  hospitable
9.Unlike sedentary people, ------- often feel a sense of
rootlessness instigated by the very traveling that
defines them.
(A)  athletes    (B)  lobbyists    (C)  itinerants
(D)  dilettantes    (E)  idealists
10.The researchers were ------- in recording stories of
the town’s African American community during the
Depression, preserving even the smallest details.
(A)  obstreperous    (B)  apprehensive
(C)  compensatory    (D)  radicalized
(E)  painstaking
42
Taking the SAT I: Reasoning Test
11.WOOD : ROTTEN ::
(A)soil : sandy (B)water : frozen (C)paper : crumpled (D)bread : moldy (E)glass : broken 12.RIDDLE : SOLUTION ::
(A)legend : key (B)puzzle : skill (C)question : answer (D)joke : amusement (E)problem : dilemma 13.CUFF : WRIST ::
(A)cast : arm (B)collar : neck (C)belt : trousers (D)mask : face (E)zipper : jacket 14.FREIGHTER : CARGO ::
(A)suitcase : clothing (B)elevator : building (C)theater : audience (D)ship : anchor
(E)supermarket : groceries
15.SYMPHONY : INSTRUMENTALISTS ::
(A)jingle : rhymes (B)illusion : viewers (C)palace : rooms (D)poem : verses (E)play : actors 16.INTERSECTION : STREETS ::
(A)collision : automobiles (B)crosswalk : lights (C)corner : blocks (D)traffic : roads
(E)junction : highways
17.REPUGNANCE : DISTASTE ::
(A)confidence : insecurity (B)horror : fear
(C)anger : forgiveness (D)misfortune : pity (E)trauma : recovery 18.MOLT : SKIN ::
(A)shear : wool (B)shed : hair
(C)stimulate : nerve (D)fracture : bone (E)prune : tree 19.COURSE : SWERVE ::
(A)ritual : observe (B)consensus : agree (C)topic : digress (D)arrival : depart (E)signature : endorse 20.TABLE : DATA ::
(A)ledger : transactions (B)microscope : specimens (C)flask : liquids
(D)chart : presentations (E)experiment : facts 21.GLUTTON : VORACIOUS ::
(A)stickler : fussy (B)snob : congenial (C)host : kindly
(D)defector : national (E)tourist : residential 22.IMMATERIAL : RELEVANCE ::
(A)unnatural : norm
(B)superficial : profundity (C)improbable : skepticism (D)polished : refinement (E)questionable : rebuttal 23.DRONE : INFLECTION ::
(A)shriek : screaming (B)thunder : subtlety (C)hush : encouragement (D)carp : castigation (E)sip : thirst
Taking the SAT I: Reasoning Test
43
The two passages below are followed by questions based on their content and on the relationship between the two passages.Answer the questions on the basis of what is stated or implied in the passages and in any introductory material that may be provided.
Questions 24-35 are based on the following passages.The two passages below discuss the detective story.Passage 1 was written by Dorothy Sayers (1893-1957),a British literary critic and writer of detective stories.
Passage 2 was written by Raymond Chandler (1888-1959),an American writer of detective stories.Passage 1
As the detective ceases to be impenetrable and infallible and becomes a person touched with feeling for our infirmi-ties, so the rigid technique of the art necessarily expands a little. In its severest form, the detective story is a pure and analytical exercise and, as such, may be a highly finished 5
work of art, within its highly artificial limits. There is one respect, at least, in which the detective story has an advan-tage over every other kind of novel. It possesses an Aristo-telian perfection of beginning, middle, and end. A definite and single problem is set, worked out, and solved; its 10
conclusion is not arbitrarily conditioned by marriage or death. It has the rounded (though limited) perfection of a
triolet.1
The farther it escapes from pure analysis, the more difficulty it has in achieving artistic unity.
It does not, and by hypothesis never can, attain the loft-15
iest level of literary achievement. Though it deals with the most desperate effects of rage, jealousy, and revenge, it rarely touches the heights and depths of human passion.
It presents us only with a fait accompli ,2
and looks upon death with a dispassionate eye. It does not show us the 20
inner workings of the murderer’s mind—it must not, for the identity of the criminal is hidden until the end of the book. The victim is shown as a subject for analysis rather than as a husband and father. A too-violent emotion flung into the glittering mechanism of the detective story jars the 25
movement by disturbing its delicate balance. The most successful writers are those who contrive to keep the story running from beginning to end upon the same emotional level, and it is better to err in the direction of too little feeling than too much.30
Passage 2
In her introduction to the first Omnibus of Crime ,Dorothy Sayers wrote that the detective story “does not,and by hypothesis never can, attain the loftiest level of literary achievement.” And she suggested somewhere else that this is because it is a “literature of escape” and not “a
35literature of expression.” I do not know what the loftiest level of literary achievement is; neither did Aeschylus or Shakespeare; neither did Miss Sayers. Other things being equal, which they never are, books with a more powerful theme will provoke a more powerful performance. Yet
40some very dull books have been written about God, and some very fine ones about how to make a living and stay
fairly honest. It is always a matter of who writes the stuff,and what the individual has to write it with. As for litera-ture of expression and literature of escape, this is critics’45
jargon, a use of abstract words as if they had absolute meanings. Everything written with vitality expresses that vitality; there are no dull subjects, only dull minds. All people who read escape from something else into what lies behind the printed page; the quality of the dream may be 50
argued, but its release has become a functional necessity.All people must escape at times from the d
eadly rhythm of their private thoughts. It is part of the process of life among thinking beings. It is one of the things that distinguish them from the three-toed sloth. I hold no particular brief for the 55
detective story as the ideal escape. I merely say that all reading for pleasure is escape, whether it be Greek or The Diary of the Forgotten Man . To say otherwise is to be an intellectual snob, and a juvenile at the art of living.
I think that what was really gnawing at Dorothy Sayers’60
mind was the realization that her kind of detective story was an arid formula that could not even satisfy its own implications. It was second-rate literature because it was not about the things that could make first-rate literature.If it started out to be about real people (and she could 65
write about them—her minor characters show that), they must very soon do unreal things in order to conform to the artificial pattern required by the plot. When they did unreal things, they ceased to be real themselves. They became puppets and cardboard lovers and papier-mâché70
vaguelyvillains and detectives of exquisite and impossible gentility.The only kind of writer who could be happy with these properties was the one who did not know what reality was.Dorothy Sayers’ own stories show that she was annoyed by this triteness:  the weakest element in them is the part that 75
makes them detective stories, the strongest the part that could be removed without touching the “problem of logic and deduction.” Yet she could not or would not give her characters their heads and let them make their own mystery.
1A poetic stanza form 2
Accomplished fact
24.In Passage 1, a necessary limitation that Sayers finds in
the detective story is its
(A)exclusive concern with the criminal (B)use of illogical plot developments (C)emphasis on violent behavior (D)careless use of language
(E)
failure to explore emotions and motivations
Line
44
Taking the SAT I: Reasoning Test
25.In the first paragraph of Passage 1, Sayers praises the
detective story for
(A)the suspense it provides
(B)its adherence to a well-defined pattern (C)its lack of artificiality
(D)the complexity of its situations and characters (E)
its uniquely straightforward style
26.Sayers says that “it is better to err in the direction of
too little feeling than too much” (lines 29-30) because she believes that
(A)the story should focus on the solution of a problem (B)real emotions appear contrived in a detective story (C)  a complex plot can provide enough emotional
satisfaction to readers
(D)the expression of too much emotion implies that
the feelings are false
(E)violent passion is not really the cause of most
crimes 27.According to Sayers, as the characters in a detective
story are made more real, the story becomes
(A)more obviously factual
(B)more likely to meet with critical approval (C)more open to varying interpretations (D)less emotionally satisfying (E)
less viable as a detective story
28.In the first paragraph of Passage 2, Chandler regards
the distinction between “literature of escape” and “literature of expression” as
(A)more useful for beginning writers than for
experienced ones
(B)helpful in establishing the true place of the
detective story within the realm of literature (C)  a concept that is less appropriate for critics than
for creative writers
(D)an example of literary criticism that means less
than it appears to
(E)an example of the separation of a story’s structure
from its content 29.Chandler indicates that the detective story is like other
types of literature in that it
(A)offers an alternative to the reader’s own inner
world
(B)evokes a feeling of excitement in the reader (C)is meant to be instructive as well as entertaining (D)permits the reader to understand the motives of
fictional characters
(E)accurately reflects a writer’s deepest personal
concerns
30.In context, “properties” (line 73) most nearly means
(A)special capabilities (B)pieces of real estate (C)articles used on stage (D)characteristics (E)
titles
31.The primary implication of Chandler’s final sentence
(lines 78-79) is that
(A)Sayers’ characters are far more interesting than
Sayers herself
(B)the mystery in Sayers’ novels owes too much to
her concern with character development
(C)too little prior planning went into the writing of
Sayers’ novels
(D)authors who are themselves mysterious are able to
write good detective stories
(E)plot evolves from character in a well-written
detective story 32.What positive element in a good detective story does
each passage emphasize?
(A)Passage 1 emphasizes artistic unity; Passage 2
emphasizes a concern for realism.
(B)Passage 1 emphasizes tragic potential; Passage 2
emphasizes literary greatness.
(C)Passage 1 emphasizes emotional impact; Passage 2
emphasizes formal precision.
(D)Passage 1 emphasizes originality of plot; Passage 2
emphasizes ornate style.
(E)Passage 1 emphasizes character development;
Passage 2 emphasizes escape from reality.33.Passage 2 suggests that Chandler would most likely
view the writers described by Sayers in lines 26-30with
(A)awe (B)envy
(C)disapproval (D)amusement (E)
tolerance

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