Paper 1 Reading

PICASSO, Pablo The soles 1940 Oil on canvas

Scottish National Gallery of Mo dern Art
Picasso tended to paint those things that surrounded him, and in the early spring of
1940, he painted several fi sh stilllifes while he was staying in the fishing port of Royan .
The ostensible.subject of th e painting is a fishmonger's slab with a crab, and a pair of
scales containing two or three soles. In spite of their predicament these sea creatures
look very much still alive. It is not very easy to read the painting because Picasso ha s
treated the compositi(:m in terms of a flat pattern of overlapping and interlocking
transparent planes. Thi s, the thin delicatel y brushed paint, and the coo\,
undelno nstrative co lo urs give the painting the appearance of an underwater wo rld of
slow-moving calm and harm ony. But this is disturbed by what seems to be an
impending battle between the fi sh, baring their teeth, and the crab, with its open claws.
Those sharp, pointed forms are echoed by the scales. Even the chain going round one
of the fi sh takes on a more sinister aspect. There is an undercurrent of menace and
barely suppressed violence that gives the picture a symboli c edge.

25 The writer suggests that the idea behind this painting

A was not typical of Picasso's work.
B is not immediately obvious.
e is revealed by Picasso's painting technique.
o was influenced by contemporary taste.

26 The writer says the creatures in the painting look as if

A they have just been caught.
B they have been trying to escape.
e they are stili swimming in the sea.
o they are aboGt to fig ht each other.

9
Test 1

Part 3

You are going to read an extract from the autobiography of the lyricist Tim Rice. Seven paragraphs
have been removed from the extract. Choose from the paragraphs A- H the one wh ich fits each gap
(27-33). There is one extra paragraph which you do not need to use.

Mark your answers on the separate answer sheet.

TIM RICE
I was ushered into th e young man's drawing room, an out on being a sidekick to a chap who was clearly
oasis of cultured sanity surrounded by what appeared going to take the musical theatre by storm, probably
to be a quite shambolic cluster of rooms in which the by next week.
less enterprising members of the family operated.
Moving from the kitchen to his parlour was an upgrade
from economy to business class.
The next day, back at my desk in the office where I
was trai ning to become a solicitor, the brief certainty I
had enjoyed of a life in show business with Andrew
His name was Andrew Lloyd Webber. He had won a Lloyd Webber had faded somewhat. I would of course
scholarship to Magdalen College, Oxford, to read continue to keep an eye on the small ads in Melody
history, and he had nine months to kill before going up, Maker for groups needing a vocalist, and would turn
during which time he intended to become England's out a few more three-chord songs tailored not to
answer to the composer Richard Rodgers. expose the limitations of my voice, but it was still odds-
on that eventually I would stagger through my exams
and wind up a respectable lawyer by the time I was
twenty-five.
Consequently, when Andrew suggested a
completely new insane ambition for me, i.e. to
become as famous a lyricist as Oscar Hammerstein,
I had no qualms about giving it a go. This was partly But in the meantime I felt I had nothing to lose by
because within ten minutes of our introduction, he seeing Andrew again. It would be fun to go and see a
was at the piano and had played me three tunes he musical with him, to write words that aped musical
had composed - I could tell that he was good. Very lyricists rather than pop stars. And Andrew was a
good. fascinat ing individual who talked of Good Food
Guides and Victorian architecture, besides supporting
Leyton Orient football team.

I had little to impress him with in return, other than

instant praise for his music and a bona fide, actually
released, seven-inch single of a song I had written The idea was the life of Dr Thomas Barnardo, the
(both words and music) with which an unknown pop nineteenth century philanthropist who founded the
group had dealt the final blow to their moribund career orphanages that bear his name. His story was a
by recording three months previously. We parted, worthy one indeed, but not one that tru ly fired my
promising to meet again and to write something imagination. The hero was too squeaky-clean, at least
together. I was still more interested in the charts than in Andrew's vers ion of his life, and the enterprise was
in the West End theatre, but told myself on the bus unoriginal in both conception and execution, owing far
back to my flat that I had just met somebody of rare too much to Lionel Bart's hit show, Oliver.
ability and determination, and I would be mad to miss

10
 Paper 1 Readmg

milny insl,mces gave me the title as well , most 01

1'33''] which had presumably been thought up by his ax-
wordsmith school pal who had already had a go. I
I set to work with enormous enthusiasm, in particular skipped a day al the sol icitors' office, fakin g illness. to
tor those songs thai were intended to be funny_ write my fi rst batch of theatrical lyrics. I did nOI know
Andrew outlined the plot, played me the tunes and in it that day but I had changed careers.

A And even ilthe twu ul us failed 10 challenge the top E I wasn't convinced by the idea for a musical that
musical composers suocessfully, then we could he had been working on lor the past year, but in
lry 10 knock the Beelles and Rolling Stones off 1965 I was rare ly conv inced aboul anything. His
the ir perches later, in Ihe summer. The Everly talent was beyond question and he claimed 10
Brothers had just made a comeback and would have all the contacts. I was soon back in his
clear ly be in need of some new milleriOlI. drawing room.

B By then I would have surely grown oul 01 pop F My own ambitions were just as insane as his; I
mUSiC as my lather had confidently predicted I wanted to be a pop sta r, for all the healthy reasons
would by the time I was twenty-one. This was - women, money and fame. The difference
worrying - if he was light I only had a few more between Andrew and myself W;IS th;'!t my dreams
months of enjoying it. were never life or death to me, though it's easy to
say thai now. They might have become so had I
C As he confidently continued to bash out selections tailed.
from some of the many shows he had written and
produced <;II school, I was reminded 01 many 01 the G On the other hand , Andrew's conviction of his
besl show albums from my parenls' LP coll(l{;1ion. score's precocious brilliance was infectious and
He needed a new lyricist for the outside world. not totally unjustified. What did I know about
musicals? As David Land, later to be my agent lor
D But it seemed to me that plenty of other blokes over a qu;'!rter uf a century. memorably (and
around my <lge (twenty) <;Ind not overburdened repeated ly) said, if there 's a demand lor one
with talent were making it and I wished to be of hamblJrger bar on the block, there is room fo r two.
their number. There were even guys from my We could be thc second hamburger joint.
home town and from public schoot in the pop
ch;Jrts - SIJrely I had Ihe qualifications. H Here was the largest col lection of records I had
ever seen, the first stereo record player and tuner
I had comB across i;lnd the astonishing evidence
that a teenager existed who had spent money on
Georgian wil le glasses, pictures and furn iture.

11
 T", 1

Part 4

You are going to read an extract from a novel. For questions 34-40, choose the answer
(A , B, C or D) which you think lits best according 10 the text.

Mark your answers on the separate answer sheet.

I (hose this pla<::e to live, belie ving r would find blobbed with melting chewing g([m. The walk down
anonymity among those who did not ca re if the to the shops and back. The little park with lis
plaster and glass and painlwork 01 rented houses fountain. and loneliness si tting beSide mc on the
splintered and dcce.ycd, who were not repro..1.chcd bench.
by gardens gone 10 seed and rolling $01115. In thaI 'Actually, I'm going down to Stonebridge
hope. a s in mos t th ings, I wa~ proved wron g. I'~ople tomorrow. rYe been mellnlng 10 !13k you If you'd Iced
In the shops, who arc living thei r real lives, even if the ca ts." My heart starts .ncing as I spenk.
you aren't, soon start to Te(;ognise you. Next door's 'Of course I will.' Ja2 s"'ys. '1[ I'm around." knowing,
lull-blown roses pouring over the fence a re as I did, that she would be. 'So where wIll you s' ny?
persistent reminders that Ihe gardens were loved Some bijou Band 131'
once. ·No. 1"11 be staying wit h my oldest friend, Ruby, at
Usually. I stay inside trying to forget that there Is the Rising Sun. We've known each oth er since we
a summer going on out rh ere, but tonight, 1 am were eight." It isn't true that I shall stay there, but
watching the $wilt$ flying in the transparent space then [ spend my life dealing with fi ction of one sort
betw~n the tr~tops and roofs. I have cut back or another.
rosemary and lemon balm to make a space for 1'1 'Colng back to your roots. So what do you think of
chai r and my arms and hands are tingling with it so far? My Op\l.~?"
stings and scratches. It Is 1'1 narrow London garden, My silence on the subjecl has forced Jaz to
where plants must grow taU or sprawling to survive. enquire about her manuscript, The Cruelty of Red
'Been doing a wot of deari ng, I see: Vans. which lies hall-heartedly half-read on my desk.
Ifs my upstairs neighbour, JitZ, leaning out of the I like the title and tell her so. I call see how red
window, the author of several unpublished vans could be cruel. always bringing presents and
manuscripts I am sometimes called upon to mail-order goodies to other houses and deliverIng
dissemble abou t In my capacity as an English returned manuscripts in jilly bags to hers.
teache r. I have a copy of the latest in my p(lsse.~sion Something prompts me to speak honcstly for once.
now. 'Lei me give you a little tip. de.1T,· t hegin.
'How's the work going, Jaz?' 'What?' She is affronted.
'For goodness sake. In no other professIon is one "Tr y writing ",bout nice people for a change, pretty
called on to account for oneself a thousand limes a pwple who at least aspire to being good: a touch
day by ever y Tom, Dick or Harry.' Her voice talls 011, less solipSism, a bit more fiction . .. '
then rallies. 'Tell you what, Ann. I've got SOmething 'Teachers!" Jaz Is a muti nous schoolgirl about 10
to drink in the fridge. I'll bring It down.' sn atch back a poorly mil.ked ess",y.
I don', wan t Jaz In the garden. and I sec now, dully, '1!flyself keep 11 journal. I have for yea rs. in which
that it looks mangled and bereft. The only access 10 I write down somethIng good. however small or
this garden Is through my flat lmd Jaz is ba[lging 0[1 trivial. about each day.' My words sound as prissy
my door. 'So, you' re on holiday now, you jammy so- as myoid-fashioned prInt dress.
and-so.' She sprawls, In shorts and vest, on the chair ·K.....e p a jour nal! Nice people! Get a li fe. Ann.'
while I drop a cus h!on onto what had once been a Oh, I've got a lile. rve got my work. and I go oul
little lawn. 'Cheers.' she says In her delusion of sometimes and fly home again, sitting on the tube
youth, '1 should've gone into teaching - 11 writer with my nose in a book.
doesn't have holidays. Still, you know what lhey say. When at last we go inside, my calm kit chen gives
those who can, do. those who can't, teach.' a moment's reassurance , lhen out 01 the blue comes
And there are those who can nelthcr wrtte nor the image of my school geography teacher Miss
leach. T3rranline. who muSI have been about the age I am
'So, what plans for the hols1' now, closing an ancient re ptilian eyclid in a
All my pos t pon ~d dread 01 Ihe school year 's monstrous win k as she tells llS, "i"ve had my
endIng engulfs me. Empty days. Hot pavements moments' We neOlfly died .

12
 Paper 1 Reading

34 The place the narrator chose to live has no! met her expectations because
A residents do not look after the area.
B she did not anticipate the difficulties of her lifestyle.
e usual patterns of interaction have not stopped.
D she has not found people who share her tastes.

35 What does Jaz's response to the question about her work indicate?

A She resents being compared to a man.

B She resents being asked it continually.
e She understands the narrator means no harm by it.
D She knows what reply she is expected to give.

36 From the narrator's point of view, Jaz's ability as a writer

A mirrors her own.

B demonstrates little potential.
e is likely to improve with help.
D reveals considerable talent.

37 What advice does Ann give Jaz?

A She should be more inventive.

B She should analyse her own situation.
e She should read more literature.
D She should describe people she knows.

38 How does Jaz react to what she is told?

A She secretly recognises the value of the advice.

B She is hostile to what she hears.
e She resents being treated like a schoolgirl.
D She criticises Ann's choice of profession.

39 How does Ann view her present life?

A She appreciates its benefits.

B She enjoys the time available for reading.
e She knows she should go out more often.
D She is aware of its true nature.

40 Thinking of Miss Tarrantine makes Ann

A see an amusing side to herself.

B realise 'how unattractive Miss Tarrantine was.
e appreciate how different her life is from Miss Tarrantine's.
D recognise how she appears to others.

13
Test 2

Part 3

You are going to read an introduction to a book. Seven paragraphs have been removed from the
extract. Choose from the paragraphs A- H the one which fits each gap (27-33). There is one extra
paragraph which you do not need to use.

Mark your answers on the separate answer sheet.

Advertising on trial
If you work for an advertising ag ency, the early years spent on advertising, the re's some truth in saying that
of the 1990s may well have been the toughest of your the buck then stops with the ad -peopte. It is certainly
profess ional life. The recession in busi ness was bad true that if the 80s was the decade in wh ich
enough. It was longer, deeper and more severe than advertising never had it so good, the start of th e 90s
anticipated by even the most pessimistic, hitting saw the industry enduring its wo rst downturn for a
industrialised nations as hard as anything else for generation. This was, of course, partly a direct
thirty years. consequence of the economic climate at th e time.

'--~2_7 1'----_ __ _ _ _ 1 f 30 I
Eve ry single business in the country was affected, And , generally, in the absence of concrete,
some - the vehicle and building trades - finding convinci ng and quantitative evidence to the contrary,
themselves 30 per cent down. A lot of people - a lot they had to conclude that the benefits of advertising
of companies - in a lot of countries suffe red. Of might be questionable. At a time when enthusiasm to
co urse, adve rtising peop le are sca rcely unique in account for every dollar spent was naturally high, it
losing their jobs in such difficult tim es, but of all those was simply not clear enough to many cl ient
still in employment, they often feel particularty under companies exactly what they were getting for the
pressure. larg e su ms of money they were spending, exactly
what return they were seeing on their investment.
Advertising - ever a business to excite the suspicions
of the sceptic - was, as a consequence, more than
And yet, alongside these psychological and financial ever before on trial.
imperatives lies an almost paradoxical rise in the
perceived importance of the marketing process. The
notion that companies should be making su re they are
prodllcing services and goods that their customers Now, while none of this should el icit sympathy for a
want, as opposed to merely what it is convenient for thoroug,tlly tough business, it does mean that many
them to provide, is not a new one. Still , it's scarcely of those advertising people still in work continue to
unfair to say that it has been only over the past ten or face precisely the same problems as their clients:
fifteen years that many compan ies seem to have put how to do more with less. If this is, in itself, sufficiently
the idea intentionally, rather than fortuitou sly, into trying , a number of other factors have made the
practice. production of effective advertising particularly
t 29 1 1 r-
di_:_i:_UI,-
t. _ __ _ _ _ __ _ _ _ __ _ --,

All these things have pleasingly increased the status

of marketing peopl e, while simultaneously adding to
I'---'I'----------------~
These i nc l ~de , for example, the dramatic
their burden. Marketing is increasingly regarded as demograp'hic changes facing much of the West; the
that which it is not a universal panacea. With burgeoning power of the retaile r; the changing needs
approximately half of most marketing budgets being and desires of consumers; the rise of sponsorship;

36
 Pape,. 1 Reading

the increasingly onerous legal· restrictions on This means that while conferences and seminars may
advertising . And, of course , for some companies provide some useful information, the books currently
there is the new challenge of advertising abroad. available on advertising, and how to do it, really don't.
Tog ether with the economic situation, it is these Those that are available tend to treat the process of
matters which have forced many of those producing advertising with too much respect. To give
responsible for advertising to revisit Lord the impression that the work advertising agencies
Leverhulme's commonplace that: 'Only half my produce is invariably of the highest quality, deeply
advertising works. The trouble is I don't know which considered and remarkable value for money, is
half.' Because now more than ever before , the neither true nor likely to help those employees of the
pressure is on to increase the proportion of client company who are ultimately responsible .
advertising that works .

33

A Thus, client companies almost everywhere took E It is not terribly surprising that, at the moment,
the view of one of their leaders quoted in the help for those who want or need to do just that is
British trade magazine Campaign: 'We want better far from freely available. Generally, companies
strategies, better targeting, better creativity, better and the advertising agencies they use have been
media placement, better thi nking. We aim to far too busy simply coping with these
ensure we get advertising agencies' best people circumstances to wish to talk or write about them,
on our business and then ensure they are whi le those that have succeeded in keeping their
motivated to work their fingers to the bone, heads above water are often understandably
producing outstanding work for us.' anxious to keep the secrets of their success to
themselves.
B The consequences have been that marketing
activ ities have at last begun to be given the F Seen, as they are, to spearhead efforts to support
attention they deserve by management, that the bottom line, they suppose themselves to be
these people have acquired a little learning about under close enough scrutiny from their
the subject, and that a few brands have actually colleagues, let alone their bosses. Moreover, they
begun to be genuinely marketed. are also faced with the very considerable problem
of increaSingly being asked to do their ever more
C Ultimately, th e poverty of the current advertising difficult jobs with smaller and smaller budgets.
scene is due to the nature of the relationship They have been to ld that less must be more.
between agencies and thei r clients. The best way
of getting better advertising lies partly in G Some of these are a direct consequence of the
improving this, and partly in adopting a more recession discussed earlier: the controve rsy over
empirical approach to the whole advertising production costs, and the disinclination to take the
process. sort of risks that are ironically often t ~e essence
of good advertising. Other events would have
o However, there was also evidence of more deep· happened irrespective of local or global economic
seated change which would not simpl y be waved conditions.
away as, and when, economic prospects
brightened. Th e fact was that whi le this recess ion H In Britain, it meant in t 991 alone that wh ile gross
naturally caused potential clients to review, domestic product (G DP) declined, interest rates
reconsider and often cut their budgets at the time, remained punitively high, consumer spending on
it also made them examine more closely than ever almost everything other than staples fell, more
before the economics of advertising. than half a million people lost their jobs, and some
75,000 homes were repossessed.

37
Test 2

Part 4

You are going to read an extract from a novel. For questions 34-40, choose the answer
(A, B, C or 0) which you think fits best according to the text.

Mark your answers on the separate answer sheet.

Ra lph unlocked the door to his flat and as he entered the da rk, motionless ha ll experienced that
momentary qualm of ownership which even after th ree yea rs still lightly besieged him sometimes when he
returned alone at the end of the day. When he had fi rst bought the fl at, he used to come home in an eager,
questi oning mood - often as early as he co uld - wo nderin g what it had been doing duri ng the hours he
had been away. It had represented a form of welcome to him, a region in which his focu s was undisputed
and reliable. H e supposed that he sho uld have wor ried abo ut intruders or burst drains in that moment of
reunion, but his fl at had always been sitti ng waiting fo r him with an expression of independence or of
neglect, depending on whether he'd left it tidy or not. In the end he had begun to rega rd it merely as ano ther
cloistered annexe of himself, a space into which the stuffy cham bers of his heart and head had grad ually
overspilled their contents.
H e had grown im patient wi th its inability to be transformed . There was, of course, the small, angula r
pudd le of letters which sometimes gathered by the door and the red eye of the a nswering machine which
co uld occasionally be fo und resuscitated and blinking with life when he returned. And he was grateful that
the glassy eyes of his windows had n't been smas hed nor the contents ravished with violence, mind yo u, he
wo ndered what the flat wo uld loo k like afterwards.
From the dreary distance of his shabby third-fl oor office on the H olloway Road, Ralph often looked
forwa rd to his three or four solitary eveni ngs at home each week. Once he had fl ed the fab ricated wo rld of
the office and felt the memory of hi mself begin patchily to return on his bus journey home, he no longer
needed to be on his own, a fact which seemed contin ually to elude hi m in his social calculations. Sitting
ex posed at his desk he wo uld crave isolation, unlimited time alone amongst his possessions, but the relief
of escape drained him and he would vai nly wai t fo r some sense of selfhood to return. Instead , there was
merely a resounding emp ti ness, which made him suspect during his long ho urs of loneliness that the alien
exercise of doing work which did not suit him had fo rced him to cha nge, moving him further a nd further
from what he liked to think of as himself. He would often read or listen to music as the night deepened
outside, fam iliar habits which now, however, he would find himself asking for whom or what he did them.
H is points of reference had grow n d im, his signposts muddied: sensations and ideas would arrive and then
get lost, circulating around the junctio ns o f his mind, unable to find a connection.
There had been a time, he supposed, when he had not felt this powerless, when, had he but perceived his
own wo rth, he might have escaped; but he had been so eager to fix himself up with something that he had
been swept along by this great desire fo r something, and he had foll owed ( he first course which presented
itself as if it had been ord ained that he should do so.
He had tried, of cou rse, afte r he left unive rsity, to fo rmulate some plan fo r his own betterment, but it
hadn't really surprised him to find, when he searched himself fo r ambi tion, merely the desire unobtrusively
to survive. He had applied for the types of jobs which had become familiar to him through the talk of his
peers, had latched himself wearily on to their fut ures and jogged behi nd as they rushed towa rds them,
unable to imagine that he might be put to some use which would manufacture as its by-product his own
happiness.
H e had attended his only interview gratefully, and in the fever of examination did not think to test the
position - an inexplicit ed itorial role on a free local newspaper - for its own merits. Relieved at having
pulled off twenty minutes of pleasant conversation with Neil, his boss, he had not considered the future
of lengthy encounters by which he was now daily assaulted. Neil had o ffered him the job there a nd then,
tell ing him he was the only grad uate who had applied; a revelation wh ich at the time Ralph had obscurely
taken as a compliment.

38
 l~aper I Reading

34 What do wo loarn in the first paragraph about Ralph's current attitude towards his flat?

A He resents the responsibilities ownership of it involves.

B He regrets that he cannot put more effort into its upkeep.
C He is aware that he has imposed his personality on it.
D He sees it as an area over which he has supreme authority.

35 What do we learn lrom Ralph's thoughts about his answering machine?

A He takes some comfort from its presence.

S He dislikes its intrusive Aature.
C It increases his feelings of isolation.
D It contributes to his sense of security.

36 According to the author, Ralph's dosire to be alone is

A self-indulgent.
B conceited.
C self-destructive.
o misguided.

37 Ralph suspects that his work

A has restricted his other interests.

B should be a more sociable experience.
C is too complex for his limited abilities.
o has had a negative effect on his personality.

38 Ralph's initial concern aller university had been 10

A improve his future prospects.

B keep sight of his long-term goals.
C avoid any early mistakes.
o follow his own interests.

39 What approach did Ralph take in looking for a job?

A He tried to apply faster than other applicants.

B He unthinkingty adopted the ideas of others.
C He rehearsed for interviews with his friends.
o He focused on areas in which he had some experience.

40 What do we learn about Ralph 's interview with Neil?

A Neil took pains to make Ralph feel relaxed.

B Ralph failed to find out about the job concerned .
C It was much shorter than Ralph had expected.
o The two men shared similar educational backgrounds.

39
Test 3

Part 3

You are going to read an extract from a novel. Seven paragraphs have been removed from the
extract. Choose from the paragraphs A- H the one which fits each gap (27-33), There is one extra
paragraph which you do not need to use,

Mark your answers on the separate answer sheet.

THE W ELL
I had read som ewhere that from a sulficienlly deep ill the spots, d;uk coins 01 dirty well water lallen from
hole, one could SC{! lhe slars, if the dav were clear. I my soaking clothes on to the dry. grey cobbles. AI my
had persuadod you to help me with my scheme; you Icct. in Ihc darkness, the water had formed a little
watched. eyes wide, list to moulh, as I winched up Ihe pool.
well buckol, steadied il on the wall and then climbed
' If'~"\I7IO"1'N"\\)"W\ me OI7wn.YnaO m;Jt'tnol.lglino Slow
for the buckel's much increased weigh\. your lack of
strength or inclination to Jusl stand back and let What This had quickly become more serious than I'd
would happen, happen. You held Ihe handle, taking anticipilled, escalating with dizzying rapidity from a
some ollhe strain as I pushed the bucket all the sida great prank born of a brilliant brainwave to
01 Ihe well's slone surround. Freed of the wall's somelhing tha t would not be put to rest without some
suppor t, I plunged immediately. You gave a litlle serious, painlul and lasling punishment being

=-
shriek and made one attempt to brake the handle, inflicted on somebody, almost certainly myself. I
then you lei it go. I fell into the well. I cracked my cursed myself lor not thinking Ihls through. From
head. cralty plan, to downfall, to wheeze, to calamity; all in

~
At the lime I was at first just dazed, then Irightened,
.I "'r~'j.--------~
a few minutes.

C_'_°-lL_ __ _ _ _ _ __ _ _ _ _ _ _..J
then retieved. then finally both angry al you for letting Silting up, comforted, my head in my weeping
me lall and afraid of what Mo!herwould say.You called moillcr's bosom, I wenl'Phew' and said 'Oh dear' and
down, asking it I was all right. I opened my mouth 10 smiled bravely and claimed lhal I had lound a secret
shout, and Ihen you called again, a nate 01 rising tunnel from the bonom of the well to Ihe moal, and
panic in your voice. and with those words stopped crawled and swum along it until I got oul, climbed up
mine in my throa1. I lay sHit. eyelids cracked enough to the bridge and tottered, exhausted, through the
wa tch you through the fo liage of laslms. You passageway.
disappeared, calling out for help. I waited a momen!. 1r"l"·;,"".;·l'L-".~--------------,
then quickly hauled and pushed my way to the lop,
then pulled myself over Ihe edge and lallded on the
courtyard cobbles. Thinking I was pluggil'lQ a gap, In fact only adding
another log fo my pyre, r said thai the secret
] passage had lallen in after me; lhere wouldn't be ally
point in, say, sending somebody down to look lor it.
Mother and Father bolh appeared along with you and In fael the whole well wag dangerous. I'd barely
old Arthur; Mother shrieked. flapping her hands. escaped wilh my life, I looked into my fathers eyes
Father shouted and laid Arthur 10 haul on the winch and it was like looking into a dark tunne l with no
handle. You stood back, looking pale and Shocked , stars at the end.
watching. I was bowed in Ihe shadows. A liro 01 fierce
el ation lilled me. Then I saw the line of drops I'd lell.
from the well to where I now slood. I looked in horror

62
 Pape,. 1 Reading

My words died in my thrQat. 'Don't be ridiculous , boy; In that pity was a rebuke as severe and wound ing as
he said, investing more contempt in those few words that my father had administered, and in as much that
than I'd have thought a whole language capable of it confirmed that this was the mature judgement of my
convey ing. He rose smoothly to his feet and walked actions and my father's, not some aberration I might
away. be able to discount or ignore, it affected me even more
profoundly.

A I looked back into the"";;ourtyard, to where Father E That was what racked me, spread upon the
was now shining a flashlight down into the well castle's stones; that was what gripped me like a
and peering into the gloom. The drops I had left cold fist inside a nd squeezed those cold and bitter
shone in the sunlight. I could not believe that tears of grief from me and could not be comforted
nobody had seen them. Mother was screaming by Mother's soothing strokes and gentle pats and
hysterically now; a sharp, jarring noise that I had soft cooings.
never heard before. It shook my soul , suffused my
consc ience. What was I to do? I had had my F The plan came to me like a lifebelt to a drowning
revenge on yo u, but where did I go from here? man. I gathered all my courage and left my hiding
pl ace, coming staggering out and bl inking. I cried
B To this day I th ink I was almost getting away with out faintly, one hand to my brow, then yelled out a
it until Father appeared squatting in front of me. little louder when my first cry went unheeded . I
He had me repeat my story. I did so, hesitating. His stumbled on a little further, then collapsed
eyes narrowed. dramatically on the cobbles.

C It did not occur to me then that I had succeeded, G I could hear raised , alarmed voices com ing from
in a sense, in my plan . What I saw were lights, the castle's main door. I ran the opposite way,
strange, inchoate and bizarre. It was only later that down to the passage leading to the moat bridge,
I connected the visual symptoms of that fall and and hid in the shadows there.
impact with the stylised stars and planets I was
used to seeing drawn in a cartoon panel H Arthur looked down at me, his expression regretful
whenever a comic character suffered a similar and troubled, shaking his head or looking like he
whack. wanted to, not because I had had a terrifying
adventure and then been unjustly disbelieved by
o It was as though he was seeing me for the first my own father, but because he too could see
time, and as though I was looking down a secret through my forlorn and hapless lie, and worried for
passage through time, to an adult perspective, to the soul, the character, the future moral standing
the way the world and cocky, lying children's of any ch ild so shameless - and so incompetent-
stories wou ld look to me when I was his age. in its too easily resorted-to lying.

63
 Part 4

>u are going to read an extract from a book on art. For questions 34-40, choose the answe r
" B, C or 0) which you think fits best according to the text.

ark you r answers on the separate answer sheet.

AESTHETICS
By one of the ironic perversities that oflen attend the there follmvs a conclusion which is at first Sight
course of affairs, the existence of the works o f art upon surprising. In order ro understand the meaning of
which formation o f aesthetic theory depends has anistic products, we have to forget them for a time, to
become an obstruction to theory about them. For one turn aside from them and have recourse to the
reason: these v.iorks are products that exist externally ordinary forces and conditions of experience that we
and phYSically. In common conception , th e work of art do not usually rega rd as aesthetic. We must arrive at the
is often identified with the building , book, painting. theory of art by means of a detour. For theory is
or statue in its existence apan from human experience. concerned with understanding and insight. 1l is , of
Since the actual work of art is what the product does course, quite possi ble to enjoy flowers in their
"'''ith and in experience, the result is not favourable to coloured form and delicate fragrance without
understanding. In addition, the ver y perfection of knm...ing anything about plants theoretically. But if one
some of these prod ucts, the p restige they possess sets out to understand the flowering of plants, o ne is
because of a long history of unquestioned admiration, committed to finding o ut something about the
creates conventions that get in the \vay of fresh insight. interactions of soil. air, water and SlU1light that
When an art product once attains classic status, it condition the growth of plants.
somehow becomes isolated from the human In order to understand the aesthetic in its ultimate and
conditions under which it was brought into bein g and approved forms, o ne m ust begin with it in the raw; in
from the human consequences it engenders in actua l th e evems and scenes that hold the attentive eye and
life experience. ear, arousing one's imerest and affording enjoyment as
When artistic obj ecLS are separated from both one looks and listens. Yet so extensive and· subtly
conditions of origin and operation in experience, a pervasive are the ideas that set art itself upon a remote
~'::.....'--..
~~~~~~~~~~~'%....~....~ ~~'~~~~~~~""%'Sk.~~~~
tbeir general signifi cance , with which aesthetic theory than pleased if told that they enjoyed their casual
deals. Art is remitted to a separate reah~, wh ere it is Cut recreations, in part at least, because of th eir aesthetic
off from that association ,""ith the materials and aims quality. The arts which today have most Vitality for the
of every other form of human effort and achievement. average person are things he or she does not take to be
A primary task is dlUS imposed upon one w ho arts: for instance, the movies, jazz, comic strips. and,
undertakes to ,""rite upon the philosophy of the fine t<X> frequently, lu rid newspaper accomllS of the ""'eek's
arts. This task is to restore continuity between the events. For, w hel'i what they know as art is relegated to
refined and intensified forms of experience that are the museum and gallery, the unconquerabl e impulse
works of art and the everyday events, doi.ngs, and to\vards experiences enjoyable in themselves finds
sufferings that are universally recognised to constitute such outlet as the daily environment prOVides . Many
experience. Mou ntain peaks do not float unsupported ; people who protest against the museum conception of
they do not even just rest upon the earth. They are the art still share the fanacy from which that concep tion
earth in one o f its manifest operations. It is the springs. For the popular notion comes from a
business of those w ho are concerned widl the theory separation of art from the objects and scenes of
of the earth , geographers and geologists, to make th is ordinary experien ce that many theorists and crilics
fact evident in its various implications. The theorist pride themselves upon holding and even elaborating.
who \"lould deal philosophically with fine art has a like The times when select and distinguished ob jects are
task to accompli!>h. do!>ely cOl1llected'wilh the products of usual vocations
If one is willin g to gran t this position, even if only arc the tim es when appreciation of the fanner is most
by way of temporary experiment, one will see (hat rife and most keen.

64
 Paper 1 Reading

34 What 'ironic perversity' ;s referred to ;n line I?

A The formation of aesthetic theory depends on the exislence of works of art.

B The very existence of works of art interteres with thinking about them.
e Too wide a range of objects are considered to be works of art.
o Works of art have a tendency to generate misunderstandings.

35 According to the writer, what happens when an art product attains classic status?

A The difficulties involved in its creation are underestimated.

B The prestige it enjoys begins to attract criticism.
C It loses its connection with common experience.
o It ceases to have a provocative effect on observers.

36 What is the 'primary task' referred to in line 271

A making sure that art does not surrender its role in society
B encouraging ordinary people to realise the significance of art
C Shedding light on the aesthetic aims of artists
o explaining the link between art and ordinary lite

37 The writer mentions mountain peaks to demonstrate that

A works of art do not exist in isolation.

B writers on art face a d[fficult challenge.
C art has much in common with other disciplines.
o theorists have a responsibi1ity to be accurate.

38 Why is the conclusion about understanding artistic products in paragraph 3 described as

surprising?

A 1\ ignores certain types of art products.

B It involves the use of unexpected criteria.
e It undervalues the emotional response to art.
o It con flicts with the opinions of theorists on fine art.

39 What does the writer intend us to learn from the reference to flowers?

A Art can be enjoyed without being explained.

B Only committed individuals can learn to appreciate art.
e True works of art are only created in suitable conditions.
o Failure to enjoy art makes a theoretical understanding difficult.

40 According to the writer, setting art on a remote pedestal has meant that

A people enjoy works of art less than they would otherwise do.
B casual recreations are proforrod to tho study of art.
e aesthetic qualities in other areas of life go unnoticed.
o peopfe are happy 10 consign art to museums and galleries.
65
Test 4

Part 3

You are going to read an extract from a novel. Seven paragraphs have been removed from the
extract. Choose from the paragraphs A- H the one which fi ts each gap (27-33) . There is one extra
paragraph which you do not need to usc.

Mark your answers on t he separate answer s heet.

The Wrong Country

Uncle chose lor them a pac!<age holiday at a very 'We haven·t ch;;mged our minds. There's been a
reasooa tie price: a flight from Gatwic!< AIrport. twetve mistake.'
nights in Venice, rho fairyland city, in the Pensionc The receptionist shook his head. He did not know
Concordia. When Keith and Dawne went together 10 about a mistake.
the travel agency to make the booking, Ihe counter 'The man who made the booking: Dawne
clerk explained thaI lhe other members 01 that interrupted, 'was bald, with gtasses and a
particular package were a school group from the moustache.' She gave the name of the travet agency
south coast, all of them learning Italian. But something in London.
went wrong.
r1
2-7 '-1 - - -- ------,J I.."?,lJ
L~_.l_ _ _ __ __ __ _ __ _rl Again she gave the name of lhe travel agency and
I
At Gatwick they had handed the ir t icket~ to a girl in described the bald·headed counter clerk, mentioning
the yell:>w-and-red Your-Kind-of-Holiday uniform. his specTacles and his moustache. Keith interrupTed
She'd addressed them by name. had checked the her. 'It seems we got Into \he wrong group. We
details 0'1 their tickets and said thai thai was lovely. reported to the Your-Kind-ol-Holiday girl and left it all
An hour later It hac! surprised them to hear elderly to her.'
people on the plane talking in North of England We should have known when they weren't from
accents. Keilh said there musl have been a Dover.' D<lwne contribu ted. 'We heard them talkin g
cancellation, or possibly the Italian class was on a about Darling:on.'
second plane. Keith made an impatient sound. He wished she·d
j 28 ~ I le:7 the talki1g 10 him.

But the nexl morning. when il became apporent thaI [lob,' 1 - - - -----------
Ihey were being offered lhem for Ihe duration of their 'Now, what I am endoavouring to say 10 you good
holiday. they became alarmed. people is that atl. tickets and labels arc naturally
We have the lake, and the water birds,' Ihe similar, the yellow with the two red bands.' Mrs Franks
receptionist smilingly eKplaincd. 'And we may take Ihe suddenly laughed. 'So if you simply follOWed other
sleamer to Inlerlaken.' people with Ihe yellow-aoo-red label you might
'An error has been made: Keith informed the man. imagine you could end up In II wildlife parkl But of
keeping the register 01 his vo ice even, for it was course: she added soothingly, 'that couldn't happen in
essential to be calm. He W<lS aware 01 his wile's a million years.'
agitated breathing dose beside him.

'Your groop is booked twelve nights in the Edelwci~s

J 'She seems quile kind: Dawne whispered, 'that
woman .' Keith wasn:t listening. He tried to go over in
Hotel. To make an alteration now, sir, if you have his mind every sinQle IhinQ that had occurred: handing
changed your minds - ' the girl the tickets. Sitting down to wait, and then the

88
 Paper 1 Readillg

girl leading the way to Ihe pia!le, and then the pilut's say lu orle another thai there was an irony in Ihe
voice we lcoming them aboard. and the air hostess catastrophe thai had occurred. On their first holiday
with the smooth black hair going round to see that since their honeymoon they'd landed themselvtls in a
everyone's sca t helt was foslened. package tour 01 elderly people when the whole point
0\ the holiday was to escape the needs and demands
of the elderly. In his bossy woy Uncle had said so
himself wh en they'd tried to persuade him to
Keith wolked out 01 the reception orca ond Dawne <lccomp<lny them.
followed him. On the forecourt of the hotel they didn't

•
A 'We noticed you al Golwick; Keith soid. 'We E Either in the travel agency or ot the check-in desk,
knew you were in charge of things.' or in some anonymous computer, a small calam ity
'And I noticed you. I counled you, although I wos conce ived. Dawne ood Keith ended up in a
dare say you didn't see me doing that. Now, let me hotel called th e Edelweiss, in Room 212,
expl<lin 10 you. There <lrc m<lny pl<lccs Your-Kind- somewhere in Switzerland.
of-H oliday sends its clients to. many different
holidays at diHerent prices. There <l re. for F 'We're oot meant to be in Switzerland ,' Keith
instance, villa holidays for the adventurous under- doggedly perSisted.
thirty-fives. There are treks to Turkey, and treks for 'Well. let's iusl see, shall we?'
singles 10 the Himalayas.' Unexpectedly, Mrs Franks turned and went away,
leaving them standing. The receptionist was no
B 'We we re meant to be in Venice. In Ihe longer behind the reception desk. The sound of
Pensione Concordia.' typing could be heard.
'I do not know Ihe name, sir. This is
Switzerland: G 'Some problem. have we?' a woman said.
'A coach is 10 take us on. An official said so on beaming at Keith. She was the slout woman he
the plane. She was here last night, that woman.' had referred to as an oHicial. They'd seen her
talking to the yel low-and-red girl at Gatwick. On
C 'Nice to have some young people along,' an Ihe plane she'd wa lked up and down the aisle.
elderly man's voice interrupted Keith's thoughts. smiling at people.
'Nolloge the name is.'The old man's wile was wilh 'My name is Franks: she was saying now. "I'm
him, both of them looking as if they were in their married to the man with the bad leg:
eighties. They'd slept like logs, she s<lid, best 'Are you in charge, Mrs Franks?' Dawne
night's sleep they'd had for years. which of course enquired. 'Only we' re in the wrong hotel.'
would be due to the Iilkeside air.
'That's nice: Dawne said. H They ordered two drinks. and then two more. 'The
coach'l! take us on,' a stout woman with
D The last of Ihe elderly people slowly made their spectacles announced when they touched down.
way from the dining room, saying good night as 'Keep all together now: There'd been no mention
they wen!. A day would come, Dawne thought, of an overnight stop in the brochure, but when the
when they wou ld go 10 Venico on their own coach drew in at its destination, Ke ith explained
initiative. with people like the class trom Dover. that that was clearly what this was. As they
She imagined them in the Pensione Concordia, slepped Oul of the coach it was close on midnight
not one of the m a day older than themselves. latigued and travel-slained. they did not feel like
questioning their right to the beds they were
offered.

89
Test 4

Part 4

You are going to read an extract /rom a newspaper article. For questions 34-40, choose the answer
(A, B, C or 0 ) which you think fits best according to tho tox!.

Mark your answers on the separate answer sheet.

I-IE WAS A PEOPLE PERSON

Ame,.kull exeudfues are adopting the polar e.>:pIOrt.'l"" Enwst Shack:lcfon as a model of good. IllUILOyI!"~nl.
E!WL£.- d PrIt:c report_~.

MOSt pi.""plc in Brilain mowwhoSir Ernest Sh~cklcton W""' the,r shtp, S!u.ckleton m<ld~ the co" r~gcous "ud difficult
and h~,-e ~ rough ide~ of wh.1 he <.liU.Amenca. hoY.~, hu decision lotum bu·k.
onty IUSI dl<;(O'o·crt."d him - ... hhough Ihe Won Strt01 Jo.,,,.,,J'$ I,,~ <;risis,uys M~cGngor, peoplew~nt tol;.no.. SO,m."Ol1c
d~plion of Shicllelon cullcr Ihis }..... u u ·m Antuctic is In chuge. Whcrc~ now tbe tt"dern:y IS for /lU.ugen; to
apl~r wiwso: fe ... lS wem ~J1 but unnoticed for n~l orlhe duel.: lnd squirm, Sludlclon W<lS prepared to stand up ~nd _
20lh century" is u.king Ihing~ 100 ru. BUI nuw tlteAmerk",~ acapl rcspomibility. Hi. 191+ P.ltp<:<ll1ion W~$ rhe one that
"'c m~kin!!, up for lust lime WIth powerful CIlIIHlsi ... sm. became the SlUff oflege.nd. HI. ship. the Eoouranct. drifted for
B!ogr~phl~ ~nd .. ccountS of tIle ,·oy... ge of Ihe EDd"NDCt uc in nine mOIHl1S in Ih" p.1ck ice ind was finally eru.he<! by iu:
producllon ~nd ~recxp.:<:I~d lospring ofT theshel\"~~s r.. fo( A~ WIlI::n 11 fin~lty wcm dowll. Shad:lclon told his nlO!1l.
u Ihey lI"e$lacl.:ed: theAmerlGin MuscumofNalur.Li Hlslory .weshould ~Il C\·e"1U~lIr re~dl ~ely proovido:d ,lu.I yon con_
il;; mounllng'" gr.l.nd ahlbillon; and Columbli Tr1SI~r is tinue 10 do your Ulmost <lnd ro Irufo( lI1e' . From ;illlhe
pn:pMtn& a film Nscd on ShlCl.:ll'ron 's life il<XOUnts ind diorite( Ihe men kepI. il is deat thor the,..., w>s
SomeAmcr;an mi'Lagers h~ve.llse adopled ShKkll'lon "~v~r I ume that Ihc Boss w~, ,,01 In chHgc. 'Sh~~·kkt<)I1
~~ i~un ~nd eUIll I,lu. Hi.~~df-~ppOilll~daj.>U'itles re\:Ollnt the Ihoughl evcrything thruu!!,h . pl,mned for every t.vent" .lity.
deullsofhls deeds with ~,,~: th~y extnctl~ru In k~4~r­ kqJl his men contimllily Informed ~nd sought ti:cir upi,,-
.ship and communiC.l.tions as p.1uhk;; (Of spin dOClors: and ions: uy. M~cGrcgor ·He WiS ildapt;tblc. wilhng 10 let go
;mlde" refer 10 Nch other "-lo '.pt'iling Sh~d.l<:lon· The w~n :IOmo:thing wu losr ind 5urr ifresh we\e buill ~
d"tumino:d. resourceful Shad::leton. "';Ilt his reindeer eifealve ~I nf prlndplC! here .h~. Sh.i~kll'ton iIlusr rilles.
slec:plnR h.lg ((ur inside) Uld blubber slove h.n bc-come ~ Clkllls un ...date to hts slor)· wilhoUi fec1ln& Ihcy·re being
mod<:l fur 1I11xi~rn min~g~menr consu)u.flls. criticise<!:
Jim M~r.Gr"gor. the IIranaging p~rmer of Abt:rnOlhy Sh~kJctuu believed thaI an explorer n('('d~ optimism.
Ma~-Grcgor Frank in New York. rook Sh,U:lI~lUll fur ~ role phySIClI enclnr.ncc ~nd patience. ·Oneoflheh~rdest things
model yean ago. His (,..111 .po:<:i.Ji>e; in ·comm"n;c;lIiuu to duin dcspenlesuail~ Is nOlhlng.esp..... i.lly mArnencl.l
~ ()f mergen and acqui~lrlons .. ud corpunte cn!ie5·. cullure thll is f~nitlGilly opposo..>d 10 IdLLlIli: Illne wn thmgs
Such u? Such u 'Ihis firm·s pUnt blew up' or ·lulf1M. w.... rk_ OUI.' says Ml.cGrcgor. 'If you buy bonds ~nd s.ress wrong 0"
forC(: tl"-lo IV gu·. \Yh.ilc nO! forgenlng Ih~1 Sluck\el.OlI ••",'0:<1 the inle=. Ti'CS. you hill!!, hI till!re lnd l:'"<:nluaUy you·1I get
lime In pullllC rcbrions for" Glbgow st~1 works. II m~y Ix: your moncy back.To "'fix 11'" and ~11 up would mCin 0 huge
l triJlc difficult to spot inm.nlly the rdevil"c~ uf eking OUt loss. Eq\Ll.lly, don'r ~ ~(r~i<1 tu chang~ your plans !ftheY ·le
the 1~'1 hlr of ~\b;moss In $ub-zcro lelllp"nmrd In putTing a not working. If ~ neW p'hxiu(t·s ~ SImler. don·, kl-ep selling
spin un a w,riv~tives tndlng di.u.~ler for Ihe Intt"'~t
'Even If" comp'uy IIW1l.go:s lIS crises ooUlirullr. It con Sh.icllelon led by O:lmple. On 1M mylge bilel.: fronl the
nill du llul ofl=m by communlc~ting b.i.d1y ~bout willi it's EnduRmCt. he noticed Hurley. the expedilion photogr~phCJ".
doing: 5.1~ M~cGn:g()f. 'Sll.lcklelon is a model for m~n~ge­ glmd<:». He fon:o:<I his own on Hurley. Solying Ifh<": din,,·t
ment becau!>eof h!s qualities ~~~ 1t:~der ~Iln communicatur. put them on he would Ihmw thelll (,... erbo;ud. Someone else
lie h3d hj~ "~hl es in order. He wu ~t hi. beSt wh~n he and ~mel1locrcd him Juiu!! the.~m~ thing wtrh a h;~c" ir when
rhose dCpt'uw,lIr on him had a great d~lllo lose such as tiLey "-ere near starving on the 1905 expeditiun: 'H~ said he "d
their liYfl.. In some w~ys the mOSl fascin~llng d«lsion IN,'e it in !he '1.now.Millions of pounds could" 'I h~vt: ho" ght
Sh.cl.:klun IILode wu 10 lum h:ld:: when only 97 miles frum Ulll bLOCU": As Caroline Alcnndu•• utilOf of E.odllAlD«, Lhc
the South Polc.Th~ltripe~p"in~>d his cr" ,ilbihly for 'M next hum.n .«:Ounl of that o:xpeWnon. gys:"The puhlic~ppelire
one." the hves of Ius men were p.or~mou"t· This refers 10 for heroic ende.ovour I~ incr~~sillg. Sh~dclclOn exposes the
Shad,l~ron'$ expe.:illlotltO ,.:..:h the South Pole In 1908 faci that then: is nuthinH·htroll; going on now. Evcrything
when. 97 miles shurt of Ihelr ohJective. wirh unfureseen d5l! falls ~way and he I~ lrfl sunding. the !!,euuin~ embodi
delay.~ duJnlng thCir supplies .u!d Iirruled time 10 get h.l.ck to mem or thc id~als UUI we are se Wistful for now .. d.~:

90
 Paper 1 Reading

34 The writer says in the firSt paragraph that American enthusiasm for Shackleton reveals
A a certain amount of ignorance concerning his existing reputation .
S a tendency to exaggerate his ach:evements.
C the extent to which all exptorers capture the public imagination.
o their strong desire to learn trom the past.

35 In the second paragraph, the writer implies that some American managers
A have based their view of Shackleton on inaccurate information.
S regard Shackleton as-a man who was ahead of his time.
C are mocked for thei r enthu siasm for Shackleton.
D misunderstand what Shackleton actually did.

36 What does the writer say in the third paragraph about using Shackleton as a role model ?
A It is wise to take Shackleton's experiences outside Ihe field 01 exploration into
consideration.
B It is more appropriate in some business circumstances than in others.
C Connecting Shackleton's experiences with Ihose of managers requires some imagination.
o People who do so often find it hard to explain why he is relevant.

37 According to Jim MacGregor, Shackleton's decision to end the t 908 expedition illustrates

A his ability to foresee the effect his actions would have on his reputation.
B his willingness to accept responsibility for mistakes that were not his laull.
C his ability to put the interesls of others above his personal ambitions.
D his willingness to make decisions that others might critiCise him for.

38 MacGregor uses Shackleton's behaviour during the1914 expedition

A to teach managers the need to make decisions and then stick to them.
B to educate managers without implying that they themselves have shortcomings.
C 10 inspire managers by showing them how highly others think of them.
D to point out to managers the importance of letting others make decisions.

39 According to MacGregor, the culture in America is such that

A failing to take action when it is necessary is commonplace.

B managers freq uently lack confidence in the decisions they make.
C managers impulsively change decisions they have made.
o taking action when it is inadvisable to do 50 is c0f"!'lmonplace.

40 In the linal paragraph. we are told that Shackleton's actions were of a kind that

A many people wish were more prevalenl loday.

B many pBOple cOflsider pleasantly eccentric these days.
C many people regard as no longer worthwhile Ihese days.
D many people try to emulate these days.

91