Toiya Original ISEE Upper Level Practice Test 3 — Reading Comprehension.
Question 1
ISEE · Upper Level English · isee-upper-english-reading-comprehension
Reflective Essay Passage: An Account of One's Own Life When I wrote the following pages, or rather the bulk of them, I lived alone, in the woods, a mile from any neighbor, in a house which I had built myself, on the shore of Walden Pond, in Concord, Massachusetts, and earned my living by the labor of my hands only. I lived there two years and two months. At present I am a sojourner in civilized life again. I should not obtrude my affairs so much on the notice of my readers if very particular inquiries had not been made by my townsmen concerning my mode of life. Some have asked what I got to eat; if I did not feel lonesome; if I was not afraid; and the like. Others have been curious to learn what portion of my income I devoted to charitable purposes, and some, who have large families, how many poor children I maintained. I will therefore ask those of my readers who feel no particular interest in me to pardon me if I undertake to answer some of these questions in this book. In most books, the I , or first person, is omitted; in this it will be retained. We commonly do not remember that it is, after all, always the first person that is speaking. I should not talk so much about myself if there were anybody else whom I knew as well. Moreover, I, on my side, require of every writer a simple and sincere account of his own life, and not merely what he has heard of other men's lives; some such account as he would send to his kindred from a distant land. Perhaps these pages are more particularly addressed to poor students. As for the rest of my readers, they will accept such portions as apply to them. I trust that none will stretch the seams in putting on the coat, for it may do good service to him whom it fits. Public-domain source: Henry David Thoreau, Walden , 'Economy' (1854). Read the source text . The principal purpose of the passage is to A. justify Thoreau's decision to give a personal, first-person account of his life B. persuade all readers to support themselves by manual labor C. answer each practical question asked by Thoreau's townsmen D. argue that books addressed to students should exclude other readers
Question 2
ISEE · Upper Level English · isee-upper-english-reading-comprehension
Reflective Essay Passage: An Account of One's Own Life When I wrote the following pages, or rather the bulk of them, I lived alone, in the woods, a mile from any neighbor, in a house which I had built myself, on the shore of Walden Pond, in Concord, Massachusetts, and earned my living by the labor of my hands only. I lived there two years and two months. At present I am a sojourner in civilized life again. I should not obtrude my affairs so much on the notice of my readers if very particular inquiries had not been made by my townsmen concerning my mode of life. Some have asked what I got to eat; if I did not feel lonesome; if I was not afraid; and the like. Others have been curious to learn what portion of my income I devoted to charitable purposes, and some, who have large families, how many poor children I maintained. I will therefore ask those of my readers who feel no particular interest in me to pardon me if I undertake to answer some of these questions in this book. In most books, the I , or first person, is omitted; in this it will be retained. We commonly do not remember that it is, after all, always the first person that is speaking. I should not talk so much about myself if there were anybody else whom I knew as well. Moreover, I, on my side, require of every writer a simple and sincere account of his own life, and not merely what he has heard of other men's lives; some such account as he would send to his kindred from a distant land. Perhaps these pages are more particularly addressed to poor students. As for the rest of my readers, they will accept such portions as apply to them. I trust that none will stretch the seams in putting on the coat, for it may do good service to him whom it fits. Public-domain source: Henry David Thoreau, Walden , 'Economy' (1854). Read the source text . The series of questions in the second paragraph primarily functions to A. show that Thoreau's townsmen doubted he had lived at Walden Pond B. identify the curiosity that prompted Thoreau to discuss his private affairs C. introduce the subjects of the remaining chapters in exact order D. contrast practical questions with Thoreau's interest in literature
Question 3
ISEE · Upper Level English · isee-upper-english-reading-comprehension
Reflective Essay Passage: An Account of One's Own Life When I wrote the following pages, or rather the bulk of them, I lived alone, in the woods, a mile from any neighbor, in a house which I had built myself, on the shore of Walden Pond, in Concord, Massachusetts, and earned my living by the labor of my hands only. I lived there two years and two months. At present I am a sojourner in civilized life again. I should not obtrude my affairs so much on the notice of my readers if very particular inquiries had not been made by my townsmen concerning my mode of life. Some have asked what I got to eat; if I did not feel lonesome; if I was not afraid; and the like. Others have been curious to learn what portion of my income I devoted to charitable purposes, and some, who have large families, how many poor children I maintained. I will therefore ask those of my readers who feel no particular interest in me to pardon me if I undertake to answer some of these questions in this book. In most books, the I , or first person, is omitted; in this it will be retained. We commonly do not remember that it is, after all, always the first person that is speaking. I should not talk so much about myself if there were anybody else whom I knew as well. Moreover, I, on my side, require of every writer a simple and sincere account of his own life, and not merely what he has heard of other men's lives; some such account as he would send to his kindred from a distant land. Perhaps these pages are more particularly addressed to poor students. As for the rest of my readers, they will accept such portions as apply to them. I trust that none will stretch the seams in putting on the coat, for it may do good service to him whom it fits. Public-domain source: Henry David Thoreau, Walden , 'Economy' (1854). Read the source text . Which statement is supported by the passage? A. Thoreau remained entirely separated from civilized life while writing. B. Thoreau lived for more than two years in a house he built himself. C. Thoreau supported several poor children during his stay at Walden. D. Thoreau wrote the book mainly to answer questions from distant relatives.
Question 4
ISEE · Upper Level English · isee-upper-english-reading-comprehension
Reflective Essay Passage: An Account of One's Own Life When I wrote the following pages, or rather the bulk of them, I lived alone, in the woods, a mile from any neighbor, in a house which I had built myself, on the shore of Walden Pond, in Concord, Massachusetts, and earned my living by the labor of my hands only. I lived there two years and two months. At present I am a sojourner in civilized life again. I should not obtrude my affairs so much on the notice of my readers if very particular inquiries had not been made by my townsmen concerning my mode of life. Some have asked what I got to eat; if I did not feel lonesome; if I was not afraid; and the like. Others have been curious to learn what portion of my income I devoted to charitable purposes, and some, who have large families, how many poor children I maintained. I will therefore ask those of my readers who feel no particular interest in me to pardon me if I undertake to answer some of these questions in this book. In most books, the I , or first person, is omitted; in this it will be retained. We commonly do not remember that it is, after all, always the first person that is speaking. I should not talk so much about myself if there were anybody else whom I knew as well. Moreover, I, on my side, require of every writer a simple and sincere account of his own life, and not merely what he has heard of other men's lives; some such account as he would send to his kindred from a distant land. Perhaps these pages are more particularly addressed to poor students. As for the rest of my readers, they will accept such portions as apply to them. I trust that none will stretch the seams in putting on the coat, for it may do good service to him whom it fits. Public-domain source: Henry David Thoreau, Walden , 'Economy' (1854). Read the source text . As used in the second paragraph, obtrude most nearly means A. bring forward too prominently B. conceal from careful readers C. describe with complete accuracy D. judge without sufficient evidence
Question 5
ISEE · Upper Level English · isee-upper-english-reading-comprehension
Reflective Essay Passage: An Account of One's Own Life When I wrote the following pages, or rather the bulk of them, I lived alone, in the woods, a mile from any neighbor, in a house which I had built myself, on the shore of Walden Pond, in Concord, Massachusetts, and earned my living by the labor of my hands only. I lived there two years and two months. At present I am a sojourner in civilized life again. I should not obtrude my affairs so much on the notice of my readers if very particular inquiries had not been made by my townsmen concerning my mode of life. Some have asked what I got to eat; if I did not feel lonesome; if I was not afraid; and the like. Others have been curious to learn what portion of my income I devoted to charitable purposes, and some, who have large families, how many poor children I maintained. I will therefore ask those of my readers who feel no particular interest in me to pardon me if I undertake to answer some of these questions in this book. In most books, the I , or first person, is omitted; in this it will be retained. We commonly do not remember that it is, after all, always the first person that is speaking. I should not talk so much about myself if there were anybody else whom I knew as well. Moreover, I, on my side, require of every writer a simple and sincere account of his own life, and not merely what he has heard of other men's lives; some such account as he would send to his kindred from a distant land. Perhaps these pages are more particularly addressed to poor students. As for the rest of my readers, they will accept such portions as apply to them. I trust that none will stretch the seams in putting on the coat, for it may do good service to him whom it fits. Public-domain source: Henry David Thoreau, Walden , 'Economy' (1854). Read the source text . By advising readers not to 'stretch the seams in putting on the coat,' Thoreau suggests that they should A. read his entire account before deciding whether it is sincere B. imitate his life at Walden as closely as their means permit C. apply only the portions of his account that genuinely fit their circumstances D. give the book to a student if its language seems too difficult
Question 6
ISEE · Upper Level English · isee-upper-english-reading-comprehension
Reflective Essay Passage: An Account of One's Own Life When I wrote the following pages, or rather the bulk of them, I lived alone, in the woods, a mile from any neighbor, in a house which I had built myself, on the shore of Walden Pond, in Concord, Massachusetts, and earned my living by the labor of my hands only. I lived there two years and two months. At present I am a sojourner in civilized life again. I should not obtrude my affairs so much on the notice of my readers if very particular inquiries had not been made by my townsmen concerning my mode of life. Some have asked what I got to eat; if I did not feel lonesome; if I was not afraid; and the like. Others have been curious to learn what portion of my income I devoted to charitable purposes, and some, who have large families, how many poor children I maintained. I will therefore ask those of my readers who feel no particular interest in me to pardon me if I undertake to answer some of these questions in this book. In most books, the I , or first person, is omitted; in this it will be retained. We commonly do not remember that it is, after all, always the first person that is speaking. I should not talk so much about myself if there were anybody else whom I knew as well. Moreover, I, on my side, require of every writer a simple and sincere account of his own life, and not merely what he has heard of other men's lives; some such account as he would send to his kindred from a distant land. Perhaps these pages are more particularly addressed to poor students. As for the rest of my readers, they will accept such portions as apply to them. I trust that none will stretch the seams in putting on the coat, for it may do good service to him whom it fits. Public-domain source: Henry David Thoreau, Walden , 'Economy' (1854). Read the source text . Thoreau's attitude toward the personal inquiries of his townsmen is best described as A. deeply offended and openly hostile B. embarrassed and eager to apologize C. indifferent and determined to ignore them D. mildly defensive but willing to respond
Question 7
ISEE · Upper Level English · isee-upper-english-reading-comprehension
The Sweeping Examination As soon as possible after reaching the grounds of the Hampton Institute, I presented myself before the head teacher for an assignment to a class. Having been so long without proper food, a bath, and a change of clothing, I did not, of course, make a very favourable impression upon her, and I could see at once that there were doubts in her mind about the wisdom of admitting me as a student. I felt that I could hardly blame her if she got the idea that I was a worthless loafer or tramp. For some time she did not refuse to admit me, neither did she decide in my favour, and I continued to linger about her, and to impress her in all the ways I could with my worthiness. In the meantime I saw her admitting other students, and that added greatly to my discomfort, for I felt, deep down in my heart, that I could do as well as they, if I could only get a chance to show what was in me. After some hours had passed, the head teacher said to me: “The adjoining recitation-room needs sweeping. Take the broom and sweep it.” It occurred to me at once that here was my chance. Never did I receive an order with more delight. I knew that I could sweep, for Mrs. Ruffner had thoroughly taught me how to do that when I lived with her. I swept the recitation-room three times. Then I got a dusting-cloth and dusted it four times. All the woodwork around the walls, every bench, table, and desk, I went over four times with my dusting-cloth. Besides, every piece of furniture had been moved and every closet and corner in the room had been thoroughly cleaned. I had the feeling that in a large measure my future depended upon the impression I made upon the teacher in the cleaning of that room. When I was through, I reported to the head teacher. She was a “Yankee” woman who knew just where to look for dirt. She went into the room and inspected the floor and closets; then she took her handkerchief and rubbed it on the woodwork about the walls, and over the table and benches. When she was unable to find one bit of dirt on the floor, or a particle of dust on any of the furniture, she quietly remarked, “I guess you will do to enter this institution.” I was one of the happiest souls on Earth. The sweeping of that room was my college examination, and never did any youth pass an examination for entrance into Harvard or Yale that gave him more genuine satisfaction. I have passed several examinations since then, but I have always felt that this was the best one I ever passed. Excerpt from Booker T. Washington, Up from Slavery (1901), Chapter III, public domain. 7. The passage is mainly about A. the history and founding of the Hampton Institute B. the narrator's long journey to reach the school C. the rules students had to follow at Hampton D. how a simple cleaning task became the narrator's entrance examination
Question 8
ISEE · Upper Level English · isee-upper-english-reading-comprehension
The Sweeping Examination As soon as possible after reaching the grounds of the Hampton Institute, I presented myself before the head teacher for an assignment to a class. Having been so long without proper food, a bath, and a change of clothing, I did not, of course, make a very favourable impression upon her, and I could see at once that there were doubts in her mind about the wisdom of admitting me as a student. I felt that I could hardly blame her if she got the idea that I was a worthless loafer or tramp. For some time she did not refuse to admit me, neither did she decide in my favour, and I continued to linger about her, and to impress her in all the ways I could with my worthiness. In the meantime I saw her admitting other students, and that added greatly to my discomfort, for I felt, deep down in my heart, that I could do as well as they, if I could only get a chance to show what was in me. After some hours had passed, the head teacher said to me: “The adjoining recitation-room needs sweeping. Take the broom and sweep it.” It occurred to me at once that here was my chance. Never did I receive an order with more delight. I knew that I could sweep, for Mrs. Ruffner had thoroughly taught me how to do that when I lived with her. I swept the recitation-room three times. Then I got a dusting-cloth and dusted it four times. All the woodwork around the walls, every bench, table, and desk, I went over four times with my dusting-cloth. Besides, every piece of furniture had been moved and every closet and corner in the room had been thoroughly cleaned. I had the feeling that in a large measure my future depended upon the impression I made upon the teacher in the cleaning of that room. When I was through, I reported to the head teacher. She was a “Yankee” woman who knew just where to look for dirt. She went into the room and inspected the floor and closets; then she took her handkerchief and rubbed it on the woodwork about the walls, and over the table and benches. When she was unable to find one bit of dirt on the floor, or a particle of dust on any of the furniture, she quietly remarked, “I guess you will do to enter this institution.” I was one of the happiest souls on Earth. The sweeping of that room was my college examination, and never did any youth pass an examination for entrance into Harvard or Yale that gave him more genuine satisfaction. I have passed several examinations since then, but I have always felt that this was the best one I ever passed. Excerpt from Booker T. Washington, Up from Slavery (1901), Chapter III, public domain. 8. The head teacher was unsure about admitting the narrator at first mainly because A. he had failed a written entrance test B. the school had no more room for students C. his tired, unwashed appearance made a poor impression D. he could not pay his tuition
Question 9
ISEE · Upper Level English · isee-upper-english-reading-comprehension
The Sweeping Examination As soon as possible after reaching the grounds of the Hampton Institute, I presented myself before the head teacher for an assignment to a class. Having been so long without proper food, a bath, and a change of clothing, I did not, of course, make a very favourable impression upon her, and I could see at once that there were doubts in her mind about the wisdom of admitting me as a student. I felt that I could hardly blame her if she got the idea that I was a worthless loafer or tramp. For some time she did not refuse to admit me, neither did she decide in my favour, and I continued to linger about her, and to impress her in all the ways I could with my worthiness. In the meantime I saw her admitting other students, and that added greatly to my discomfort, for I felt, deep down in my heart, that I could do as well as they, if I could only get a chance to show what was in me. After some hours had passed, the head teacher said to me: “The adjoining recitation-room needs sweeping. Take the broom and sweep it.” It occurred to me at once that here was my chance. Never did I receive an order with more delight. I knew that I could sweep, for Mrs. Ruffner had thoroughly taught me how to do that when I lived with her. I swept the recitation-room three times. Then I got a dusting-cloth and dusted it four times. All the woodwork around the walls, every bench, table, and desk, I went over four times with my dusting-cloth. Besides, every piece of furniture had been moved and every closet and corner in the room had been thoroughly cleaned. I had the feeling that in a large measure my future depended upon the impression I made upon the teacher in the cleaning of that room. When I was through, I reported to the head teacher. She was a “Yankee” woman who knew just where to look for dirt. She went into the room and inspected the floor and closets; then she took her handkerchief and rubbed it on the woodwork about the walls, and over the table and benches. When she was unable to find one bit of dirt on the floor, or a particle of dust on any of the furniture, she quietly remarked, “I guess you will do to enter this institution.” I was one of the happiest souls on Earth. The sweeping of that room was my college examination, and never did any youth pass an examination for entrance into Harvard or Yale that gave him more genuine satisfaction. I have passed several examinations since then, but I have always felt that this was the best one I ever passed. Excerpt from Booker T. Washington, Up from Slavery (1901), Chapter III, public domain. 9. When told to sweep the recitation room, the narrator regarded the order as A. an insult to his ability B. a punishment for arriving late C. a chance to show what he could do D. a test of his physical strength
Question 10
ISEE · Upper Level English · isee-upper-english-reading-comprehension
The Sweeping Examination As soon as possible after reaching the grounds of the Hampton Institute, I presented myself before the head teacher for an assignment to a class. Having been so long without proper food, a bath, and a change of clothing, I did not, of course, make a very favourable impression upon her, and I could see at once that there were doubts in her mind about the wisdom of admitting me as a student. I felt that I could hardly blame her if she got the idea that I was a worthless loafer or tramp. For some time she did not refuse to admit me, neither did she decide in my favour, and I continued to linger about her, and to impress her in all the ways I could with my worthiness. In the meantime I saw her admitting other students, and that added greatly to my discomfort, for I felt, deep down in my heart, that I could do as well as they, if I could only get a chance to show what was in me. After some hours had passed, the head teacher said to me: “The adjoining recitation-room needs sweeping. Take the broom and sweep it.” It occurred to me at once that here was my chance. Never did I receive an order with more delight. I knew that I could sweep, for Mrs. Ruffner had thoroughly taught me how to do that when I lived with her. I swept the recitation-room three times. Then I got a dusting-cloth and dusted it four times. All the woodwork around the walls, every bench, table, and desk, I went over four times with my dusting-cloth. Besides, every piece of furniture had been moved and every closet and corner in the room had been thoroughly cleaned. I had the feeling that in a large measure my future depended upon the impression I made upon the teacher in the cleaning of that room. When I was through, I reported to the head teacher. She was a “Yankee” woman who knew just where to look for dirt. She went into the room and inspected the floor and closets; then she took her handkerchief and rubbed it on the woodwork about the walls, and over the table and benches. When she was unable to find one bit of dirt on the floor, or a particle of dust on any of the furniture, she quietly remarked, “I guess you will do to enter this institution.” I was one of the happiest souls on Earth. The sweeping of that room was my college examination, and never did any youth pass an examination for entrance into Harvard or Yale that gave him more genuine satisfaction. I have passed several examinations since then, but I have always felt that this was the best one I ever passed. Excerpt from Booker T. Washington, Up from Slavery (1901), Chapter III, public domain. 10. The detail that the teacher rubbed her handkerchief over the woodwork and furniture shows that she A. was preparing to clean the room herself B. inspected the room with great care C. had not noticed the narrator's work D. was signaling that he had failed
Question 11
ISEE · Upper Level English · isee-upper-english-reading-comprehension
The Sweeping Examination As soon as possible after reaching the grounds of the Hampton Institute, I presented myself before the head teacher for an assignment to a class. Having been so long without proper food, a bath, and a change of clothing, I did not, of course, make a very favourable impression upon her, and I could see at once that there were doubts in her mind about the wisdom of admitting me as a student. I felt that I could hardly blame her if she got the idea that I was a worthless loafer or tramp. For some time she did not refuse to admit me, neither did she decide in my favour, and I continued to linger about her, and to impress her in all the ways I could with my worthiness. In the meantime I saw her admitting other students, and that added greatly to my discomfort, for I felt, deep down in my heart, that I could do as well as they, if I could only get a chance to show what was in me. After some hours had passed, the head teacher said to me: “The adjoining recitation-room needs sweeping. Take the broom and sweep it.” It occurred to me at once that here was my chance. Never did I receive an order with more delight. I knew that I could sweep, for Mrs. Ruffner had thoroughly taught me how to do that when I lived with her. I swept the recitation-room three times. Then I got a dusting-cloth and dusted it four times. All the woodwork around the walls, every bench, table, and desk, I went over four times with my dusting-cloth. Besides, every piece of furniture had been moved and every closet and corner in the room had been thoroughly cleaned. I had the feeling that in a large measure my future depended upon the impression I made upon the teacher in the cleaning of that room. When I was through, I reported to the head teacher. She was a “Yankee” woman who knew just where to look for dirt. She went into the room and inspected the floor and closets; then she took her handkerchief and rubbed it on the woodwork about the walls, and over the table and benches. When she was unable to find one bit of dirt on the floor, or a particle of dust on any of the furniture, she quietly remarked, “I guess you will do to enter this institution.” I was one of the happiest souls on Earth. The sweeping of that room was my college examination, and never did any youth pass an examination for entrance into Harvard or Yale that gave him more genuine satisfaction. I have passed several examinations since then, but I have always felt that this was the best one I ever passed. Excerpt from Booker T. Washington, Up from Slavery (1901), Chapter III, public domain. 11. The teacher's remark, “I guess you will do to enter this institution,” is best described as A. a quiet, understated approval B. an enthusiastic celebration C. a reluctant refusal D. a sarcastic joke
Question 12
ISEE · Upper Level English · isee-upper-english-reading-comprehension
The Sweeping Examination As soon as possible after reaching the grounds of the Hampton Institute, I presented myself before the head teacher for an assignment to a class. Having been so long without proper food, a bath, and a change of clothing, I did not, of course, make a very favourable impression upon her, and I could see at once that there were doubts in her mind about the wisdom of admitting me as a student. I felt that I could hardly blame her if she got the idea that I was a worthless loafer or tramp. For some time she did not refuse to admit me, neither did she decide in my favour, and I continued to linger about her, and to impress her in all the ways I could with my worthiness. In the meantime I saw her admitting other students, and that added greatly to my discomfort, for I felt, deep down in my heart, that I could do as well as they, if I could only get a chance to show what was in me. After some hours had passed, the head teacher said to me: “The adjoining recitation-room needs sweeping. Take the broom and sweep it.” It occurred to me at once that here was my chance. Never did I receive an order with more delight. I knew that I could sweep, for Mrs. Ruffner had thoroughly taught me how to do that when I lived with her. I swept the recitation-room three times. Then I got a dusting-cloth and dusted it four times. All the woodwork around the walls, every bench, table, and desk, I went over four times with my dusting-cloth. Besides, every piece of furniture had been moved and every closet and corner in the room had been thoroughly cleaned. I had the feeling that in a large measure my future depended upon the impression I made upon the teacher in the cleaning of that room. When I was through, I reported to the head teacher. She was a “Yankee” woman who knew just where to look for dirt. She went into the room and inspected the floor and closets; then she took her handkerchief and rubbed it on the woodwork about the walls, and over the table and benches. When she was unable to find one bit of dirt on the floor, or a particle of dust on any of the furniture, she quietly remarked, “I guess you will do to enter this institution.” I was one of the happiest souls on Earth. The sweeping of that room was my college examination, and never did any youth pass an examination for entrance into Harvard or Yale that gave him more genuine satisfaction. I have passed several examinations since then, but I have always felt that this was the best one I ever passed. Excerpt from Booker T. Washington, Up from Slavery (1901), Chapter III, public domain. 12. The narrator compares the sweeping to an examination for Harvard or Yale in order to A. suggest that Hampton was a better school than Harvard B. stress how much the simple test meant to him C. reveal that he later attended Yale D. explain what subjects Hampton examined students in
Question 13
ISEE · Upper Level English · isee-upper-english-reading-comprehension
A Feathered Puzzle from the Limestone In 1861, quarry workers near the town of Solnhofen in southern Germany split open a slab of fine-grained limestone and found the outline of a single feather. Within months, a nearly complete skeleton turned up in the same rock. It belonged to an animal about the size of a raven, and it was unlike anything scientists had seen before. They named it Archaeopteryx , meaning “ancient wing.” The Solnhofen limestone formed about 150 million years ago, during the Late Jurassic period, in shallow lagoons whose still, salty water held little oxygen. Few scavengers could survive there, so animals that drifted to the bottom were buried in fine mud before they could be torn apart. That is why the rock preserved even the faint impressions of feathers. Archaeopteryx was a mosaic. Like modern birds, it had feathered wings and a wishbone. Like small meat-eating dinosaurs, it had teeth in its jaws, three clawed fingers on each hand, and a long, bony tail. The find came only two years after Charles Darwin published On the Origin of Species , and supporters of Darwin quickly pointed to the creature as evidence that one group of animals could change, over long periods, into another. About a dozen skeletons have been found since, all from the same region. Scientists still argue about how well Archaeopteryx could fly. Its wing feathers had the uneven shape that helps modern birds fly, but its shoulders lacked some features that power the strong flapping of living birds. Many researchers now think it could take off and fly short distances, perhaps between trees, but not soar for long. Discoveries in China over the past thirty years have complicated the picture. Fossils there show that many dinosaurs that could not fly at all had feathers. As a result, Archaeopteryx no longer stands alone as the link between dinosaurs and birds. Instead, it is one branch on a crowded family tree—though still, for many people, the most famous one. 13. The main purpose of this passage is to A. explain how limestone forms in shallow lagoons. B. argue that Darwin’s ideas were proved by a single fossil. C. describe a fossil animal and what it has revealed about the history of birds. D. compare fossils found in Germany with those found in China.
Question 14
ISEE · Upper Level English · isee-upper-english-reading-comprehension
A Feathered Puzzle from the Limestone In 1861, quarry workers near the town of Solnhofen in southern Germany split open a slab of fine-grained limestone and found the outline of a single feather. Within months, a nearly complete skeleton turned up in the same rock. It belonged to an animal about the size of a raven, and it was unlike anything scientists had seen before. They named it Archaeopteryx , meaning “ancient wing.” The Solnhofen limestone formed about 150 million years ago, during the Late Jurassic period, in shallow lagoons whose still, salty water held little oxygen. Few scavengers could survive there, so animals that drifted to the bottom were buried in fine mud before they could be torn apart. That is why the rock preserved even the faint impressions of feathers. Archaeopteryx was a mosaic. Like modern birds, it had feathered wings and a wishbone. Like small meat-eating dinosaurs, it had teeth in its jaws, three clawed fingers on each hand, and a long, bony tail. The find came only two years after Charles Darwin published On the Origin of Species , and supporters of Darwin quickly pointed to the creature as evidence that one group of animals could change, over long periods, into another. About a dozen skeletons have been found since, all from the same region. Scientists still argue about how well Archaeopteryx could fly. Its wing feathers had the uneven shape that helps modern birds fly, but its shoulders lacked some features that power the strong flapping of living birds. Many researchers now think it could take off and fly short distances, perhaps between trees, but not soar for long. Discoveries in China over the past thirty years have complicated the picture. Fossils there show that many dinosaurs that could not fly at all had feathers. As a result, Archaeopteryx no longer stands alone as the link between dinosaurs and birds. Instead, it is one branch on a crowded family tree—though still, for many people, the most famous one. 14. According to the passage, the Solnhofen fossils are unusually detailed because A. the animals were buried in deep ocean trenches. B. few scavengers could disturb animals that sank to the lagoon floor. C. the limestone formed very quickly during a volcanic eruption. D. the lagoons were full of oxygen that slowed decay.
Question 15
ISEE · Upper Level English · isee-upper-english-reading-comprehension
A Feathered Puzzle from the Limestone In 1861, quarry workers near the town of Solnhofen in southern Germany split open a slab of fine-grained limestone and found the outline of a single feather. Within months, a nearly complete skeleton turned up in the same rock. It belonged to an animal about the size of a raven, and it was unlike anything scientists had seen before. They named it Archaeopteryx , meaning “ancient wing.” The Solnhofen limestone formed about 150 million years ago, during the Late Jurassic period, in shallow lagoons whose still, salty water held little oxygen. Few scavengers could survive there, so animals that drifted to the bottom were buried in fine mud before they could be torn apart. That is why the rock preserved even the faint impressions of feathers. Archaeopteryx was a mosaic. Like modern birds, it had feathered wings and a wishbone. Like small meat-eating dinosaurs, it had teeth in its jaws, three clawed fingers on each hand, and a long, bony tail. The find came only two years after Charles Darwin published On the Origin of Species , and supporters of Darwin quickly pointed to the creature as evidence that one group of animals could change, over long periods, into another. About a dozen skeletons have been found since, all from the same region. Scientists still argue about how well Archaeopteryx could fly. Its wing feathers had the uneven shape that helps modern birds fly, but its shoulders lacked some features that power the strong flapping of living birds. Many researchers now think it could take off and fly short distances, perhaps between trees, but not soar for long. Discoveries in China over the past thirty years have complicated the picture. Fossils there show that many dinosaurs that could not fly at all had feathers. As a result, Archaeopteryx no longer stands alone as the link between dinosaurs and birds. Instead, it is one branch on a crowded family tree—though still, for many people, the most famous one. 15. Which statement is supported by the passage? A. Archaeopteryx could soar for long distances like modern birds. B. Archaeopteryx was the first animal ever found with feathers. C. Archaeopteryx fossils have been found on several continents. D. Archaeopteryx had features of both birds and dinosaurs.
Question 16
ISEE · Upper Level English · isee-upper-english-reading-comprehension
A Feathered Puzzle from the Limestone In 1861, quarry workers near the town of Solnhofen in southern Germany split open a slab of fine-grained limestone and found the outline of a single feather. Within months, a nearly complete skeleton turned up in the same rock. It belonged to an animal about the size of a raven, and it was unlike anything scientists had seen before. They named it Archaeopteryx , meaning “ancient wing.” The Solnhofen limestone formed about 150 million years ago, during the Late Jurassic period, in shallow lagoons whose still, salty water held little oxygen. Few scavengers could survive there, so animals that drifted to the bottom were buried in fine mud before they could be torn apart. That is why the rock preserved even the faint impressions of feathers. Archaeopteryx was a mosaic. Like modern birds, it had feathered wings and a wishbone. Like small meat-eating dinosaurs, it had teeth in its jaws, three clawed fingers on each hand, and a long, bony tail. The find came only two years after Charles Darwin published On the Origin of Species , and supporters of Darwin quickly pointed to the creature as evidence that one group of animals could change, over long periods, into another. About a dozen skeletons have been found since, all from the same region. Scientists still argue about how well Archaeopteryx could fly. Its wing feathers had the uneven shape that helps modern birds fly, but its shoulders lacked some features that power the strong flapping of living birds. Many researchers now think it could take off and fly short distances, perhaps between trees, but not soar for long. Discoveries in China over the past thirty years have complicated the picture. Fossils there show that many dinosaurs that could not fly at all had feathers. As a result, Archaeopteryx no longer stands alone as the link between dinosaurs and birds. Instead, it is one branch on a crowded family tree—though still, for many people, the most famous one. 16. The discoveries in China are presented as A. proof that Archaeopteryx could not fly. B. a reason to doubt that the Solnhofen fossils are real. C. examples of dinosaurs that flew better than birds. D. evidence that feathers were common among dinosaurs.
Question 17
ISEE · Upper Level English · isee-upper-english-reading-comprehension
A Feathered Puzzle from the Limestone In 1861, quarry workers near the town of Solnhofen in southern Germany split open a slab of fine-grained limestone and found the outline of a single feather. Within months, a nearly complete skeleton turned up in the same rock. It belonged to an animal about the size of a raven, and it was unlike anything scientists had seen before. They named it Archaeopteryx , meaning “ancient wing.” The Solnhofen limestone formed about 150 million years ago, during the Late Jurassic period, in shallow lagoons whose still, salty water held little oxygen. Few scavengers could survive there, so animals that drifted to the bottom were buried in fine mud before they could be torn apart. That is why the rock preserved even the faint impressions of feathers. Archaeopteryx was a mosaic. Like modern birds, it had feathered wings and a wishbone. Like small meat-eating dinosaurs, it had teeth in its jaws, three clawed fingers on each hand, and a long, bony tail. The find came only two years after Charles Darwin published On the Origin of Species , and supporters of Darwin quickly pointed to the creature as evidence that one group of animals could change, over long periods, into another. About a dozen skeletons have been found since, all from the same region. Scientists still argue about how well Archaeopteryx could fly. Its wing feathers had the uneven shape that helps modern birds fly, but its shoulders lacked some features that power the strong flapping of living birds. Many researchers now think it could take off and fly short distances, perhaps between trees, but not soar for long. Discoveries in China over the past thirty years have complicated the picture. Fossils there show that many dinosaurs that could not fly at all had feathers. As a result, Archaeopteryx no longer stands alone as the link between dinosaurs and birds. Instead, it is one branch on a crowded family tree—though still, for many people, the most famous one. 17. The author’s tone in this passage is best described as A. doubtful. B. outraged. C. nostalgic. D. informative.
Question 18
ISEE · Upper Level English · isee-upper-english-reading-comprehension
A Feathered Puzzle from the Limestone In 1861, quarry workers near the town of Solnhofen in southern Germany split open a slab of fine-grained limestone and found the outline of a single feather. Within months, a nearly complete skeleton turned up in the same rock. It belonged to an animal about the size of a raven, and it was unlike anything scientists had seen before. They named it Archaeopteryx , meaning “ancient wing.” The Solnhofen limestone formed about 150 million years ago, during the Late Jurassic period, in shallow lagoons whose still, salty water held little oxygen. Few scavengers could survive there, so animals that drifted to the bottom were buried in fine mud before they could be torn apart. That is why the rock preserved even the faint impressions of feathers. Archaeopteryx was a mosaic. Like modern birds, it had feathered wings and a wishbone. Like small meat-eating dinosaurs, it had teeth in its jaws, three clawed fingers on each hand, and a long, bony tail. The find came only two years after Charles Darwin published On the Origin of Species , and supporters of Darwin quickly pointed to the creature as evidence that one group of animals could change, over long periods, into another. About a dozen skeletons have been found since, all from the same region. Scientists still argue about how well Archaeopteryx could fly. Its wing feathers had the uneven shape that helps modern birds fly, but its shoulders lacked some features that power the strong flapping of living birds. Many researchers now think it could take off and fly short distances, perhaps between trees, but not soar for long. Discoveries in China over the past thirty years have complicated the picture. Fossils there show that many dinosaurs that could not fly at all had feathers. As a result, Archaeopteryx no longer stands alone as the link between dinosaurs and birds. Instead, it is one branch on a crowded family tree—though still, for many people, the most famous one. 18. In the third paragraph, the word “mosaic” most nearly means A. a decorative tile picture. B. a broken fragment. C. a mixture of different parts. D. a rare ancient object.
Question 19
ISEE · Upper Level English · isee-upper-english-reading-comprehension
Standing Inside the Wave The first time I saw Katsushika Hokusai’s Under the Wave off Kanagawa , I flinched. The great wave curls over the page like a clawed hand, its foam breaking into fingers that seem about to close on the three narrow boats below. I felt the cold spray before I remembered that I was standing in a quiet museum, looking at a sheet of paper no larger than a newspaper page. How does a print so small make a viewer feel so small? Part of the answer is placement. Hokusai set the horizon low and pushed the wave to the edge of the frame, so that it towers over everything, including Mount Fuji, which sits tiny and still in the distance. The tallest mountain in Japan becomes, for a moment, just another bump on the sea. The eye, trained to treat mountains as large and waves as small, has its expectations reversed. Another part is color. Around 1831, when the print was made, a bright synthetic pigment called Prussian blue had begun arriving in Japan from Europe. Unlike older plant-based blues, it did not fade quickly, and it could be printed in deep, even tones. Hokusai used it boldly, letting the darker blues gather in the hollow of the wave so that the water seems to have weight. What strikes me most, though, is the stillness at the center. The rowers do not appear to panic. They bend low over their oars, heads down, moving with the sea rather than against it. Fuji, framed within the curve of the wave, does not move at all. The picture holds terror and calm in the same instant, and I find that I cannot look at one without seeing the other. Hokusai was about seventy when he made the print, and he had been drawing for most of his life. He reportedly said that he hoped to keep improving until he died. Standing in front of the wave, I believe him. It is the work of an artist who had stopped trying to show how the world looks and had started showing how it feels. 19. The primary purpose of the passage is to A. explain how woodblock prints were made in Japan. B. argue that Hokusai was the greatest artist of his time. C. examine how specific choices in a print shape the author’s experience of it. D. describe the history of Prussian blue pigment.
Question 20
ISEE · Upper Level English · isee-upper-english-reading-comprehension
Standing Inside the Wave The first time I saw Katsushika Hokusai’s Under the Wave off Kanagawa , I flinched. The great wave curls over the page like a clawed hand, its foam breaking into fingers that seem about to close on the three narrow boats below. I felt the cold spray before I remembered that I was standing in a quiet museum, looking at a sheet of paper no larger than a newspaper page. How does a print so small make a viewer feel so small? Part of the answer is placement. Hokusai set the horizon low and pushed the wave to the edge of the frame, so that it towers over everything, including Mount Fuji, which sits tiny and still in the distance. The tallest mountain in Japan becomes, for a moment, just another bump on the sea. The eye, trained to treat mountains as large and waves as small, has its expectations reversed. Another part is color. Around 1831, when the print was made, a bright synthetic pigment called Prussian blue had begun arriving in Japan from Europe. Unlike older plant-based blues, it did not fade quickly, and it could be printed in deep, even tones. Hokusai used it boldly, letting the darker blues gather in the hollow of the wave so that the water seems to have weight. What strikes me most, though, is the stillness at the center. The rowers do not appear to panic. They bend low over their oars, heads down, moving with the sea rather than against it. Fuji, framed within the curve of the wave, does not move at all. The picture holds terror and calm in the same instant, and I find that I cannot look at one without seeing the other. Hokusai was about seventy when he made the print, and he had been drawing for most of his life. He reportedly said that he hoped to keep improving until he died. Standing in front of the wave, I believe him. It is the work of an artist who had stopped trying to show how the world looks and had started showing how it feels. 20. It can be inferred from the passage that A. Hokusai did not know that Mount Fuji was the tallest mountain in Japan. B. Hokusai’s decisions about size and position were deliberate. C. the print was made larger than most prints of its time. D. the rowers in the print are about to be swept away.
Question 21
ISEE · Upper Level English · isee-upper-english-reading-comprehension
Standing Inside the Wave The first time I saw Katsushika Hokusai’s Under the Wave off Kanagawa , I flinched. The great wave curls over the page like a clawed hand, its foam breaking into fingers that seem about to close on the three narrow boats below. I felt the cold spray before I remembered that I was standing in a quiet museum, looking at a sheet of paper no larger than a newspaper page. How does a print so small make a viewer feel so small? Part of the answer is placement. Hokusai set the horizon low and pushed the wave to the edge of the frame, so that it towers over everything, including Mount Fuji, which sits tiny and still in the distance. The tallest mountain in Japan becomes, for a moment, just another bump on the sea. The eye, trained to treat mountains as large and waves as small, has its expectations reversed. Another part is color. Around 1831, when the print was made, a bright synthetic pigment called Prussian blue had begun arriving in Japan from Europe. Unlike older plant-based blues, it did not fade quickly, and it could be printed in deep, even tones. Hokusai used it boldly, letting the darker blues gather in the hollow of the wave so that the water seems to have weight. What strikes me most, though, is the stillness at the center. The rowers do not appear to panic. They bend low over their oars, heads down, moving with the sea rather than against it. Fuji, framed within the curve of the wave, does not move at all. The picture holds terror and calm in the same instant, and I find that I cannot look at one without seeing the other. Hokusai was about seventy when he made the print, and he had been drawing for most of his life. He reportedly said that he hoped to keep improving until he died. Standing in front of the wave, I believe him. It is the work of an artist who had stopped trying to show how the world looks and had started showing how it feels. 21. Based on the passage, the author would most likely agree that A. the best art must use expensive materials. B. artists usually do their best work while young. C. a work of art can express feelings more powerfully than an accurate copy. D. viewers should study a print’s history before looking at it.
Question 22
ISEE · Upper Level English · isee-upper-english-reading-comprehension
Standing Inside the Wave The first time I saw Katsushika Hokusai’s Under the Wave off Kanagawa , I flinched. The great wave curls over the page like a clawed hand, its foam breaking into fingers that seem about to close on the three narrow boats below. I felt the cold spray before I remembered that I was standing in a quiet museum, looking at a sheet of paper no larger than a newspaper page. How does a print so small make a viewer feel so small? Part of the answer is placement. Hokusai set the horizon low and pushed the wave to the edge of the frame, so that it towers over everything, including Mount Fuji, which sits tiny and still in the distance. The tallest mountain in Japan becomes, for a moment, just another bump on the sea. The eye, trained to treat mountains as large and waves as small, has its expectations reversed. Another part is color. Around 1831, when the print was made, a bright synthetic pigment called Prussian blue had begun arriving in Japan from Europe. Unlike older plant-based blues, it did not fade quickly, and it could be printed in deep, even tones. Hokusai used it boldly, letting the darker blues gather in the hollow of the wave so that the water seems to have weight. What strikes me most, though, is the stillness at the center. The rowers do not appear to panic. They bend low over their oars, heads down, moving with the sea rather than against it. Fuji, framed within the curve of the wave, does not move at all. The picture holds terror and calm in the same instant, and I find that I cannot look at one without seeing the other. Hokusai was about seventy when he made the print, and he had been drawing for most of his life. He reportedly said that he hoped to keep improving until he died. Standing in front of the wave, I believe him. It is the work of an artist who had stopped trying to show how the world looks and had started showing how it feels. 22. In the first paragraph, the description of the wave as “like a clawed hand” is an example of A. a statistic that supports an argument. B. an exaggeration meant to mock the print. C. a simile that conveys a sense of threat. D. a definition of a technical term.
Question 23
ISEE · Upper Level English · isee-upper-english-reading-comprehension
Standing Inside the Wave The first time I saw Katsushika Hokusai’s Under the Wave off Kanagawa , I flinched. The great wave curls over the page like a clawed hand, its foam breaking into fingers that seem about to close on the three narrow boats below. I felt the cold spray before I remembered that I was standing in a quiet museum, looking at a sheet of paper no larger than a newspaper page. How does a print so small make a viewer feel so small? Part of the answer is placement. Hokusai set the horizon low and pushed the wave to the edge of the frame, so that it towers over everything, including Mount Fuji, which sits tiny and still in the distance. The tallest mountain in Japan becomes, for a moment, just another bump on the sea. The eye, trained to treat mountains as large and waves as small, has its expectations reversed. Another part is color. Around 1831, when the print was made, a bright synthetic pigment called Prussian blue had begun arriving in Japan from Europe. Unlike older plant-based blues, it did not fade quickly, and it could be printed in deep, even tones. Hokusai used it boldly, letting the darker blues gather in the hollow of the wave so that the water seems to have weight. What strikes me most, though, is the stillness at the center. The rowers do not appear to panic. They bend low over their oars, heads down, moving with the sea rather than against it. Fuji, framed within the curve of the wave, does not move at all. The picture holds terror and calm in the same instant, and I find that I cannot look at one without seeing the other. Hokusai was about seventy when he made the print, and he had been drawing for most of his life. He reportedly said that he hoped to keep improving until he died. Standing in front of the wave, I believe him. It is the work of an artist who had stopped trying to show how the world looks and had started showing how it feels. 23. The author mentions that Prussian blue “did not fade quickly” in order to A. argue that European art was superior to Japanese art. B. suggest that the print has lost most of its color. C. show that plant-based blues were brighter. D. explain why Hokusai could use deep, lasting tones of blue.
Question 24
ISEE · Upper Level English · isee-upper-english-reading-comprehension
Standing Inside the Wave The first time I saw Katsushika Hokusai’s Under the Wave off Kanagawa , I flinched. The great wave curls over the page like a clawed hand, its foam breaking into fingers that seem about to close on the three narrow boats below. I felt the cold spray before I remembered that I was standing in a quiet museum, looking at a sheet of paper no larger than a newspaper page. How does a print so small make a viewer feel so small? Part of the answer is placement. Hokusai set the horizon low and pushed the wave to the edge of the frame, so that it towers over everything, including Mount Fuji, which sits tiny and still in the distance. The tallest mountain in Japan becomes, for a moment, just another bump on the sea. The eye, trained to treat mountains as large and waves as small, has its expectations reversed. Another part is color. Around 1831, when the print was made, a bright synthetic pigment called Prussian blue had begun arriving in Japan from Europe. Unlike older plant-based blues, it did not fade quickly, and it could be printed in deep, even tones. Hokusai used it boldly, letting the darker blues gather in the hollow of the wave so that the water seems to have weight. What strikes me most, though, is the stillness at the center. The rowers do not appear to panic. They bend low over their oars, heads down, moving with the sea rather than against it. Fuji, framed within the curve of the wave, does not move at all. The picture holds terror and calm in the same instant, and I find that I cannot look at one without seeing the other. Hokusai was about seventy when he made the print, and he had been drawing for most of his life. He reportedly said that he hoped to keep improving until he died. Standing in front of the wave, I believe him. It is the work of an artist who had stopped trying to show how the world looks and had started showing how it feels. 24. As used in the fourth paragraph, the word “holds” most nearly means A. grips. B. delays. C. owns. D. contains.
Question 25
ISEE · Upper Level English · isee-upper-english-reading-comprehension
The Fungus That Steers Ants In the rain forests of Thailand and Brazil, an ant may leave its nest, climb a plant stem, and clamp its jaws onto the underside of a leaf. It will never let go. Days later, a thin stalk sprouts from the back of its head. The ant has been taken over by a fungus, Ophiocordyceps unilateralis , and its strange final climb is part of the fungus’s plan for survival. The fungus begins as a spore that lands on a carpenter ant foraging on the forest floor. The spore sticks to the ant’s outer shell, works its way inside, and begins to grow. Over the next week or so, fungal cells spread through the ant’s body. The ant keeps working at first, but eventually it begins to wander away from the trails its sisters use. Then it climbs. The height and timing of the climb are remarkably consistent. In one study, infected ants clamped onto leaves about 25 centimeters above the ground, where the temperature and humidity suit the fungus well. Many bit down around midday. After the ant dies, the fungus grows its stalk, and spores rain down onto the forest floor, where new foragers will walk. For years, scientists assumed that the fungus must invade the ant’s brain. A 2017 study found something different. Using powerful microscopes, researchers saw fungal cells wrapped around the ant’s muscle fibers throughout its body, while the brain itself appeared largely untouched. One possibility is that the fungus controls the ant’s movements by acting on its muscles directly, but exactly how it times the climb and the bite remains unknown. The relationship is an old one. Fossil leaves from Germany, about 48 million years old, show the same kind of bite scars along their veins. Healthy ants are not defenseless, either: some colonies carry sick nestmates far from the nest, which may limit how far the fungus can spread. The contest between the ant and the fungus, it seems, has been going on for a very long time. 25. The author primarily discusses which aspect of Ophiocordyceps unilateralis ? A. how it controls the behavior of the ants it infects B. how it is used in medicine C. where its fossils have been found D. how it harms plants in the rain forest
Question 26
ISEE · Upper Level English · isee-upper-english-reading-comprehension
The Fungus That Steers Ants In the rain forests of Thailand and Brazil, an ant may leave its nest, climb a plant stem, and clamp its jaws onto the underside of a leaf. It will never let go. Days later, a thin stalk sprouts from the back of its head. The ant has been taken over by a fungus, Ophiocordyceps unilateralis , and its strange final climb is part of the fungus’s plan for survival. The fungus begins as a spore that lands on a carpenter ant foraging on the forest floor. The spore sticks to the ant’s outer shell, works its way inside, and begins to grow. Over the next week or so, fungal cells spread through the ant’s body. The ant keeps working at first, but eventually it begins to wander away from the trails its sisters use. Then it climbs. The height and timing of the climb are remarkably consistent. In one study, infected ants clamped onto leaves about 25 centimeters above the ground, where the temperature and humidity suit the fungus well. Many bit down around midday. After the ant dies, the fungus grows its stalk, and spores rain down onto the forest floor, where new foragers will walk. For years, scientists assumed that the fungus must invade the ant’s brain. A 2017 study found something different. Using powerful microscopes, researchers saw fungal cells wrapped around the ant’s muscle fibers throughout its body, while the brain itself appeared largely untouched. One possibility is that the fungus controls the ant’s movements by acting on its muscles directly, but exactly how it times the climb and the bite remains unknown. The relationship is an old one. Fossil leaves from Germany, about 48 million years old, show the same kind of bite scars along their veins. Healthy ants are not defenseless, either: some colonies carry sick nestmates far from the nest, which may limit how far the fungus can spread. The contest between the ant and the fungus, it seems, has been going on for a very long time. 26. According to the passage, the fungus first enters an ant by A. the ant eating an infected leaf. B. a spore that sticks to the ant’s shell and grows inward. C. the bite of another infected ant. D. fungal threads in the ant’s nest.
Question 27
ISEE · Upper Level English · isee-upper-english-reading-comprehension
The Fungus That Steers Ants In the rain forests of Thailand and Brazil, an ant may leave its nest, climb a plant stem, and clamp its jaws onto the underside of a leaf. It will never let go. Days later, a thin stalk sprouts from the back of its head. The ant has been taken over by a fungus, Ophiocordyceps unilateralis , and its strange final climb is part of the fungus’s plan for survival. The fungus begins as a spore that lands on a carpenter ant foraging on the forest floor. The spore sticks to the ant’s outer shell, works its way inside, and begins to grow. Over the next week or so, fungal cells spread through the ant’s body. The ant keeps working at first, but eventually it begins to wander away from the trails its sisters use. Then it climbs. The height and timing of the climb are remarkably consistent. In one study, infected ants clamped onto leaves about 25 centimeters above the ground, where the temperature and humidity suit the fungus well. Many bit down around midday. After the ant dies, the fungus grows its stalk, and spores rain down onto the forest floor, where new foragers will walk. For years, scientists assumed that the fungus must invade the ant’s brain. A 2017 study found something different. Using powerful microscopes, researchers saw fungal cells wrapped around the ant’s muscle fibers throughout its body, while the brain itself appeared largely untouched. One possibility is that the fungus controls the ant’s movements by acting on its muscles directly, but exactly how it times the climb and the bite remains unknown. The relationship is an old one. Fossil leaves from Germany, about 48 million years old, show the same kind of bite scars along their veins. Healthy ants are not defenseless, either: some colonies carry sick nestmates far from the nest, which may limit how far the fungus can spread. The contest between the ant and the fungus, it seems, has been going on for a very long time. 27. The author indicates which of the following about the ants’ final climb? A. It happens at random times of day. B. It always ends at the top of the tallest tree. C. It follows a consistent pattern of height and timing. D. It helps the ant escape from the fungus.
Question 28
ISEE · Upper Level English · isee-upper-english-reading-comprehension
The Fungus That Steers Ants In the rain forests of Thailand and Brazil, an ant may leave its nest, climb a plant stem, and clamp its jaws onto the underside of a leaf. It will never let go. Days later, a thin stalk sprouts from the back of its head. The ant has been taken over by a fungus, Ophiocordyceps unilateralis , and its strange final climb is part of the fungus’s plan for survival. The fungus begins as a spore that lands on a carpenter ant foraging on the forest floor. The spore sticks to the ant’s outer shell, works its way inside, and begins to grow. Over the next week or so, fungal cells spread through the ant’s body. The ant keeps working at first, but eventually it begins to wander away from the trails its sisters use. Then it climbs. The height and timing of the climb are remarkably consistent. In one study, infected ants clamped onto leaves about 25 centimeters above the ground, where the temperature and humidity suit the fungus well. Many bit down around midday. After the ant dies, the fungus grows its stalk, and spores rain down onto the forest floor, where new foragers will walk. For years, scientists assumed that the fungus must invade the ant’s brain. A 2017 study found something different. Using powerful microscopes, researchers saw fungal cells wrapped around the ant’s muscle fibers throughout its body, while the brain itself appeared largely untouched. One possibility is that the fungus controls the ant’s movements by acting on its muscles directly, but exactly how it times the climb and the bite remains unknown. The relationship is an old one. Fossil leaves from Germany, about 48 million years old, show the same kind of bite scars along their veins. Healthy ants are not defenseless, either: some colonies carry sick nestmates far from the nest, which may limit how far the fungus can spread. The contest between the ant and the fungus, it seems, has been going on for a very long time. 28. The purpose of the fourth paragraph is to A. describe research that changed an earlier assumption about the fungus. B. explain why the fungus cannot survive outside the rain forest. C. argue that the fungus attacks the ant’s brain first. D. compare the fungus with other parasites.
Question 29
ISEE · Upper Level English · isee-upper-english-reading-comprehension
The Fungus That Steers Ants In the rain forests of Thailand and Brazil, an ant may leave its nest, climb a plant stem, and clamp its jaws onto the underside of a leaf. It will never let go. Days later, a thin stalk sprouts from the back of its head. The ant has been taken over by a fungus, Ophiocordyceps unilateralis , and its strange final climb is part of the fungus’s plan for survival. The fungus begins as a spore that lands on a carpenter ant foraging on the forest floor. The spore sticks to the ant’s outer shell, works its way inside, and begins to grow. Over the next week or so, fungal cells spread through the ant’s body. The ant keeps working at first, but eventually it begins to wander away from the trails its sisters use. Then it climbs. The height and timing of the climb are remarkably consistent. In one study, infected ants clamped onto leaves about 25 centimeters above the ground, where the temperature and humidity suit the fungus well. Many bit down around midday. After the ant dies, the fungus grows its stalk, and spores rain down onto the forest floor, where new foragers will walk. For years, scientists assumed that the fungus must invade the ant’s brain. A 2017 study found something different. Using powerful microscopes, researchers saw fungal cells wrapped around the ant’s muscle fibers throughout its body, while the brain itself appeared largely untouched. One possibility is that the fungus controls the ant’s movements by acting on its muscles directly, but exactly how it times the climb and the bite remains unknown. The relationship is an old one. Fossil leaves from Germany, about 48 million years old, show the same kind of bite scars along their veins. Healthy ants are not defenseless, either: some colonies carry sick nestmates far from the nest, which may limit how far the fungus can spread. The contest between the ant and the fungus, it seems, has been going on for a very long time. 29. Based on the passage, it can reasonably be inferred that A. scientists do not yet fully understand how the fungus directs the ant. B. the fungus can infect humans in the same way. C. healthy ants are unable to protect their colonies. D. the fungus first appeared within the last century.
Question 30
ISEE · Upper Level English · isee-upper-english-reading-comprehension
The Fungus That Steers Ants In the rain forests of Thailand and Brazil, an ant may leave its nest, climb a plant stem, and clamp its jaws onto the underside of a leaf. It will never let go. Days later, a thin stalk sprouts from the back of its head. The ant has been taken over by a fungus, Ophiocordyceps unilateralis , and its strange final climb is part of the fungus’s plan for survival. The fungus begins as a spore that lands on a carpenter ant foraging on the forest floor. The spore sticks to the ant’s outer shell, works its way inside, and begins to grow. Over the next week or so, fungal cells spread through the ant’s body. The ant keeps working at first, but eventually it begins to wander away from the trails its sisters use. Then it climbs. The height and timing of the climb are remarkably consistent. In one study, infected ants clamped onto leaves about 25 centimeters above the ground, where the temperature and humidity suit the fungus well. Many bit down around midday. After the ant dies, the fungus grows its stalk, and spores rain down onto the forest floor, where new foragers will walk. For years, scientists assumed that the fungus must invade the ant’s brain. A 2017 study found something different. Using powerful microscopes, researchers saw fungal cells wrapped around the ant’s muscle fibers throughout its body, while the brain itself appeared largely untouched. One possibility is that the fungus controls the ant’s movements by acting on its muscles directly, but exactly how it times the climb and the bite remains unknown. The relationship is an old one. Fossil leaves from Germany, about 48 million years old, show the same kind of bite scars along their veins. Healthy ants are not defenseless, either: some colonies carry sick nestmates far from the nest, which may limit how far the fungus can spread. The contest between the ant and the fungus, it seems, has been going on for a very long time. 30. As used in the third paragraph, the word “suit” most nearly means A. dress. B. are favorable for. C. sue. D. match in color.
Question 31
ISEE · Upper Level English · isee-upper-english-reading-comprehension
Catching Water from the Clouds Along the coast of northern Chile, in one of the driest places on Earth, it can go years without measurable rain. Yet on many mornings, a thick fog that local people call camanchaca rolls in from the Pacific and drifts over the hills. The fog is made of countless tiny water droplets. For a long time, they simply passed by. Today, in a growing number of dry regions, people catch them. A fog collector is little more than a large panel of fine plastic mesh stretched between two poles and set facing the wind. As fog blows through the mesh, droplets strike the fibers, cling to them, and merge with other droplets until they grow heavy enough to run down into a gutter at the bottom. From there, pipes carry the water to tanks. On a foggy day, a single panel can collect many liters. The idea is not entirely new. On El Hierro, one of the Canary Islands, early inhabitants are said to have gathered water that dripped from the leaves of a large tree that stood in the path of the island’s fog. Modern fog harvesting, however, depends on careful engineering. Researchers test mesh designs to find the spacing and materials that catch the most water, and they place collectors only where measurements show fog is frequent and the wind is steady. Fog collection is not a solution everywhere. It works only where fog is common and reaches the ground, and the amount of water varies from season to season. The nets must be repaired after storms, and communities must maintain the pipes and tanks. Still, in villages in Chile, Peru, and Morocco, fog water has supplied drinking water, watered gardens, and reduced the need to truck water in from far away. People have long tried to coax water from the sky, from rain dances to cloud seeding. Fog harvesting differs in one important way: it does not try to change the weather at all. It simply gathers what the air is already carrying. 31. The primary purpose of this passage is to A. describe a method of collecting water from fog and its uses and limits. B. explain why northern Chile receives so little rain. C. give a history of rain-making ceremonies around the world. D. argue that fog harvesting will end water shortages everywhere.
Question 32
ISEE · Upper Level English · isee-upper-english-reading-comprehension
Catching Water from the Clouds Along the coast of northern Chile, in one of the driest places on Earth, it can go years without measurable rain. Yet on many mornings, a thick fog that local people call camanchaca rolls in from the Pacific and drifts over the hills. The fog is made of countless tiny water droplets. For a long time, they simply passed by. Today, in a growing number of dry regions, people catch them. A fog collector is little more than a large panel of fine plastic mesh stretched between two poles and set facing the wind. As fog blows through the mesh, droplets strike the fibers, cling to them, and merge with other droplets until they grow heavy enough to run down into a gutter at the bottom. From there, pipes carry the water to tanks. On a foggy day, a single panel can collect many liters. The idea is not entirely new. On El Hierro, one of the Canary Islands, early inhabitants are said to have gathered water that dripped from the leaves of a large tree that stood in the path of the island’s fog. Modern fog harvesting, however, depends on careful engineering. Researchers test mesh designs to find the spacing and materials that catch the most water, and they place collectors only where measurements show fog is frequent and the wind is steady. Fog collection is not a solution everywhere. It works only where fog is common and reaches the ground, and the amount of water varies from season to season. The nets must be repaired after storms, and communities must maintain the pipes and tanks. Still, in villages in Chile, Peru, and Morocco, fog water has supplied drinking water, watered gardens, and reduced the need to truck water in from far away. People have long tried to coax water from the sky, from rain dances to cloud seeding. Fog harvesting differs in one important way: it does not try to change the weather at all. It simply gathers what the air is already carrying. 32. Which statement is supported by information from the passage? A. Fog collectors are placed according to measurements of fog and wind. B. Fog collectors work equally well in every season. C. Fog water must be boiled before it can be used for gardens. D. Fog harvesting was invented in Morocco.
Question 33
ISEE · Upper Level English · isee-upper-english-reading-comprehension
Catching Water from the Clouds Along the coast of northern Chile, in one of the driest places on Earth, it can go years without measurable rain. Yet on many mornings, a thick fog that local people call camanchaca rolls in from the Pacific and drifts over the hills. The fog is made of countless tiny water droplets. For a long time, they simply passed by. Today, in a growing number of dry regions, people catch them. A fog collector is little more than a large panel of fine plastic mesh stretched between two poles and set facing the wind. As fog blows through the mesh, droplets strike the fibers, cling to them, and merge with other droplets until they grow heavy enough to run down into a gutter at the bottom. From there, pipes carry the water to tanks. On a foggy day, a single panel can collect many liters. The idea is not entirely new. On El Hierro, one of the Canary Islands, early inhabitants are said to have gathered water that dripped from the leaves of a large tree that stood in the path of the island’s fog. Modern fog harvesting, however, depends on careful engineering. Researchers test mesh designs to find the spacing and materials that catch the most water, and they place collectors only where measurements show fog is frequent and the wind is steady. Fog collection is not a solution everywhere. It works only where fog is common and reaches the ground, and the amount of water varies from season to season. The nets must be repaired after storms, and communities must maintain the pipes and tanks. Still, in villages in Chile, Peru, and Morocco, fog water has supplied drinking water, watered gardens, and reduced the need to truck water in from far away. People have long tried to coax water from the sky, from rain dances to cloud seeding. Fog harvesting differs in one important way: it does not try to change the weather at all. It simply gathers what the air is already carrying. 33. According to the passage, early inhabitants of El Hierro are said to have collected water from A. the leaves of a tree in the path of the fog. B. plastic nets stretched between poles. C. underground springs beneath the island. D. rain gathered in stone tanks.
Question 34
ISEE · Upper Level English · isee-upper-english-reading-comprehension
Catching Water from the Clouds Along the coast of northern Chile, in one of the driest places on Earth, it can go years without measurable rain. Yet on many mornings, a thick fog that local people call camanchaca rolls in from the Pacific and drifts over the hills. The fog is made of countless tiny water droplets. For a long time, they simply passed by. Today, in a growing number of dry regions, people catch them. A fog collector is little more than a large panel of fine plastic mesh stretched between two poles and set facing the wind. As fog blows through the mesh, droplets strike the fibers, cling to them, and merge with other droplets until they grow heavy enough to run down into a gutter at the bottom. From there, pipes carry the water to tanks. On a foggy day, a single panel can collect many liters. The idea is not entirely new. On El Hierro, one of the Canary Islands, early inhabitants are said to have gathered water that dripped from the leaves of a large tree that stood in the path of the island’s fog. Modern fog harvesting, however, depends on careful engineering. Researchers test mesh designs to find the spacing and materials that catch the most water, and they place collectors only where measurements show fog is frequent and the wind is steady. Fog collection is not a solution everywhere. It works only where fog is common and reaches the ground, and the amount of water varies from season to season. The nets must be repaired after storms, and communities must maintain the pipes and tanks. Still, in villages in Chile, Peru, and Morocco, fog water has supplied drinking water, watered gardens, and reduced the need to truck water in from far away. People have long tried to coax water from the sky, from rain dances to cloud seeding. Fog harvesting differs in one important way: it does not try to change the weather at all. It simply gathers what the air is already carrying. 34. As used in the last paragraph, the word “coax” most nearly means A. force violently. B. gently persuade. C. politely refuse. D. carefully measure.
Question 35
ISEE · Upper Level English · isee-upper-english-reading-comprehension
Catching Water from the Clouds Along the coast of northern Chile, in one of the driest places on Earth, it can go years without measurable rain. Yet on many mornings, a thick fog that local people call camanchaca rolls in from the Pacific and drifts over the hills. The fog is made of countless tiny water droplets. For a long time, they simply passed by. Today, in a growing number of dry regions, people catch them. A fog collector is little more than a large panel of fine plastic mesh stretched between two poles and set facing the wind. As fog blows through the mesh, droplets strike the fibers, cling to them, and merge with other droplets until they grow heavy enough to run down into a gutter at the bottom. From there, pipes carry the water to tanks. On a foggy day, a single panel can collect many liters. The idea is not entirely new. On El Hierro, one of the Canary Islands, early inhabitants are said to have gathered water that dripped from the leaves of a large tree that stood in the path of the island’s fog. Modern fog harvesting, however, depends on careful engineering. Researchers test mesh designs to find the spacing and materials that catch the most water, and they place collectors only where measurements show fog is frequent and the wind is steady. Fog collection is not a solution everywhere. It works only where fog is common and reaches the ground, and the amount of water varies from season to season. The nets must be repaired after storms, and communities must maintain the pipes and tanks. Still, in villages in Chile, Peru, and Morocco, fog water has supplied drinking water, watered gardens, and reduced the need to truck water in from far away. People have long tried to coax water from the sky, from rain dances to cloud seeding. Fog harvesting differs in one important way: it does not try to change the weather at all. It simply gathers what the air is already carrying. 35. According to the second paragraph, droplets leave the mesh when they A. evaporate in the morning sun. B. merge into drops heavy enough to run down into a gutter. C. are blown off by a stronger wind. D. are shaken loose by workers.
Question 36
ISEE · Upper Level English · isee-upper-english-reading-comprehension
Catching Water from the Clouds Along the coast of northern Chile, in one of the driest places on Earth, it can go years without measurable rain. Yet on many mornings, a thick fog that local people call camanchaca rolls in from the Pacific and drifts over the hills. The fog is made of countless tiny water droplets. For a long time, they simply passed by. Today, in a growing number of dry regions, people catch them. A fog collector is little more than a large panel of fine plastic mesh stretched between two poles and set facing the wind. As fog blows through the mesh, droplets strike the fibers, cling to them, and merge with other droplets until they grow heavy enough to run down into a gutter at the bottom. From there, pipes carry the water to tanks. On a foggy day, a single panel can collect many liters. The idea is not entirely new. On El Hierro, one of the Canary Islands, early inhabitants are said to have gathered water that dripped from the leaves of a large tree that stood in the path of the island’s fog. Modern fog harvesting, however, depends on careful engineering. Researchers test mesh designs to find the spacing and materials that catch the most water, and they place collectors only where measurements show fog is frequent and the wind is steady. Fog collection is not a solution everywhere. It works only where fog is common and reaches the ground, and the amount of water varies from season to season. The nets must be repaired after storms, and communities must maintain the pipes and tanks. Still, in villages in Chile, Peru, and Morocco, fog water has supplied drinking water, watered gardens, and reduced the need to truck water in from far away. People have long tried to coax water from the sky, from rain dances to cloud seeding. Fog harvesting differs in one important way: it does not try to change the weather at all. It simply gathers what the air is already carrying. 36. It can be inferred from the last paragraph that, unlike cloud seeding, fog harvesting A. has been practiced for thousands of years. B. produces more water than rain-making methods. C. requires chemicals to be released into the air. D. collects water without attempting to alter weather conditions.