Day 2 Y5 English Trial Test

Read the extracts below then answer the questions.

Extract A: From “The Ocean at the End of the Lane” by Neil Gaiman

I had been driving towards a house that had not existed for decades.

I thought of turning around, then, as I drove down a wide street that had once been a flint lane beside a barley field, of turning back and leaving the past undisturbed. But I was curious.

The old house, the one I had lived in for seven years, from when I was five until I was twelve, that house had been knocked down and was lost for good. The new house, the one my parents had built at the bottom of the garden, between the azalea bushes and the green circle in the grass we called the fairy ring, that had been sold thirty years ago.

I slowed the car as I saw the new house. It would always be the new house in my head. I pulled up into the driveway, observing the way they had built out on the mid-seventies architecture. I had forgotten that the bricks of the house were chocolate brown. The new people had made my mother’s tiny balcony into a two-storey sunroom. I stared at the house, remembering less than I had expected about my teenage years: no good times, no bad times. I’d lived in that place, for a while, as a teenager. It didn’t seem to be any part of who I was now.

I backed the car out of their driveway.

Extract B: From “Whispers in the Whispering Pines” by Olivia Woods

And the layers of paper curled and rolled off and dropped onto the floor – and, quite perfectly preserved, half a dozen different patterns were revealed: imitation wood grain (the sixties?), brown zigzags (the fifties?) – then a bold Art Deco style in cobalt and scarlet (the twenties?). Under that, large Morris-style chocolate ferns and flowers, and beneath that a solid layer of thick custard-coloured paint. Each layer – imperfectly glued, faded, merged — revealed another.

‘What smells so horrible? ‘ said Jake, wrinkling his nose.

‘The glue, I think,’ Jonathan said. ‘Probably made from bones.’

‘Wicked!’ said Raphael and then, frowning, ‘But would vegetarians have used it?’

‘Weren‘t really any vegetarians then.’

‘Just think,’ I said, as another William Morris-style lily showed us its black, almost funereally rimmed edges, ‘how long since anyone saw these patterns. I wonder when each one was covered up.’

‘Which one was the Haywards’ wallpaper?’ asked Chloë.

‘I imagine that‘s something we‘ll never know. ‘

But even a little information is seductive. Once you know names, you start to see things. It‘s impossible not to – impossible to resist. I know almost nothing real of Henry Hayward but my imagination has already begun to whisper. And I admit it. I’ve begun to listen. He’s tall, whiskery, gingery-haired (Hayward is definitely a gingery name). And maybe a bit of a punter, inclined to slope off to the races at Epsom or Goodwood, though he never loses too much – he has it in check. His wife Charlotte is much shorter, plumper and more self-effacing – a terrible worrier, especially about what other people say. Sometimes she thinks she only sees herself through other people’s eyes. Take away that critical, slightly warped perspective and she’s really not quite sure who she is – not that she’d ever think of expressing such a flighty idea to anyone.

For questions 1 – 8, choose the option (A, B, C, or D) which you think best answers the question.

What theme is common to both extracts in terms of physical spaces and memories?

Read the extracts below then answer the questions.

Extract A: From “The Ocean at the End of the Lane” by Neil Gaiman

I had been driving towards a house that had not existed for decades.

I thought of turning around, then, as I drove down a wide street that had once been a flint lane beside a barley field, of turning back and leaving the past undisturbed. But I was curious.

The old house, the one I had lived in for seven years, from when I was five until I was twelve, that house had been knocked down and was lost for good. The new house, the one my parents had built at the bottom of the garden, between the azalea bushes and the green circle in the grass we called the fairy ring, that had been sold thirty years ago.

I slowed the car as I saw the new house. It would always be the new house in my head. I pulled up into the driveway, observing the way they had built out on the mid-seventies architecture. I had forgotten that the bricks of the house were chocolate brown. The new people had made my mother’s tiny balcony into a two-storey sunroom. I stared at the house, remembering less than I had expected about my teenage years: no good times, no bad times. I’d lived in that place, for a while, as a teenager. It didn’t seem to be any part of who I was now.

I backed the car out of their driveway.

Extract B: From “Whispers in the Whispering Pines” by Olivia Woods

And the layers of paper curled and rolled off and dropped onto the floor – and, quite perfectly preserved, half a dozen different patterns were revealed: imitation wood grain (the sixties?), brown zigzags (the fifties?) – then a bold Art Deco style in cobalt and scarlet (the twenties?). Under that, large Morris-style chocolate ferns and flowers, and beneath that a solid layer of thick custard-coloured paint. Each layer – imperfectly glued, faded, merged — revealed another.

‘What smells so horrible? ‘ said Jake, wrinkling his nose.

‘The glue, I think,’ Jonathan said. ‘Probably made from bones.’

‘Wicked!’ said Raphael and then, frowning, ‘But would vegetarians have used it?’

‘Weren‘t really any vegetarians then.’

‘Just think,’ I said, as another William Morris-style lily showed us its black, almost funereally rimmed edges, ‘how long since anyone saw these patterns. I wonder when each one was covered up.’

‘Which one was the Haywards’ wallpaper?’ asked Chloë.

‘I imagine that‘s something we‘ll never know. ‘

But even a little information is seductive. Once you know names, you start to see things. It‘s impossible not to – impossible to resist. I know almost nothing real of Henry Hayward but my imagination has already begun to whisper. And I admit it. I’ve begun to listen. He’s tall, whiskery, gingery-haired (Hayward is definitely a gingery name). And maybe a bit of a punter, inclined to slope off to the races at Epsom or Goodwood, though he never loses too much – he has it in check. His wife Charlotte is much shorter, plumper and more self-effacing – a terrible worrier, especially about what other people say. Sometimes she thinks she only sees herself through other people’s eyes. Take away that critical, slightly warped perspective and she’s really not quite sure who she is – not that she’d ever think of expressing such a flighty idea to anyone.

For questions 1 – 8, choose the option (A, B, C, or D) which you think best answers the question.

How does the narrator in Extract A’s reflection on their old house differ from the characters’ exploration of wallpaper in Extract B?

Read the extracts below then answer the questions.

Extract A: From “The Ocean at the End of the Lane” by Neil Gaiman

I had been driving towards a house that had not existed for decades.

I thought of turning around, then, as I drove down a wide street that had once been a flint lane beside a barley field, of turning back and leaving the past undisturbed. But I was curious.

The old house, the one I had lived in for seven years, from when I was five until I was twelve, that house had been knocked down and was lost for good. The new house, the one my parents had built at the bottom of the garden, between the azalea bushes and the green circle in the grass we called the fairy ring, that had been sold thirty years ago.

I slowed the car as I saw the new house. It would always be the new house in my head. I pulled up into the driveway, observing the way they had built out on the mid-seventies architecture. I had forgotten that the bricks of the house were chocolate brown. The new people had made my mother’s tiny balcony into a two-storey sunroom. I stared at the house, remembering less than I had expected about my teenage years: no good times, no bad times. I’d lived in that place, for a while, as a teenager. It didn’t seem to be any part of who I was now.

I backed the car out of their driveway.

Extract B: From “Whispers in the Whispering Pines” by Olivia Woods

And the layers of paper curled and rolled off and dropped onto the floor – and, quite perfectly preserved, half a dozen different patterns were revealed: imitation wood grain (the sixties?), brown zigzags (the fifties?) – then a bold Art Deco style in cobalt and scarlet (the twenties?). Under that, large Morris-style chocolate ferns and flowers, and beneath that a solid layer of thick custard-coloured paint. Each layer – imperfectly glued, faded, merged — revealed another.

‘What smells so horrible? ‘ said Jake, wrinkling his nose.

‘The glue, I think,’ Jonathan said. ‘Probably made from bones.’

‘Wicked!’ said Raphael and then, frowning, ‘But would vegetarians have used it?’

‘Weren‘t really any vegetarians then.’

‘Just think,’ I said, as another William Morris-style lily showed us its black, almost funereally rimmed edges, ‘how long since anyone saw these patterns. I wonder when each one was covered up.’

‘Which one was the Haywards’ wallpaper?’ asked Chloë.

‘I imagine that‘s something we‘ll never know. ‘

But even a little information is seductive. Once you know names, you start to see things. It‘s impossible not to – impossible to resist. I know almost nothing real of Henry Hayward but my imagination has already begun to whisper. And I admit it. I’ve begun to listen. He’s tall, whiskery, gingery-haired (Hayward is definitely a gingery name). And maybe a bit of a punter, inclined to slope off to the races at Epsom or Goodwood, though he never loses too much – he has it in check. His wife Charlotte is much shorter, plumper and more self-effacing – a terrible worrier, especially about what other people say. Sometimes she thinks she only sees herself through other people’s eyes. Take away that critical, slightly warped perspective and she’s really not quite sure who she is – not that she’d ever think of expressing such a flighty idea to anyone.

For questions 1 – 8, choose the option (A, B, C, or D) which you think best answers the question.

In both extracts, how do the physical changes in the settings reflect the passage of time?

Read the extracts below then answer the questions.

Extract A: From “The Ocean at the End of the Lane” by Neil Gaiman

I had been driving towards a house that had not existed for decades.

I thought of turning around, then, as I drove down a wide street that had once been a flint lane beside a barley field, of turning back and leaving the past undisturbed. But I was curious.

The old house, the one I had lived in for seven years, from when I was five until I was twelve, that house had been knocked down and was lost for good. The new house, the one my parents had built at the bottom of the garden, between the azalea bushes and the green circle in the grass we called the fairy ring, that had been sold thirty years ago.

I slowed the car as I saw the new house. It would always be the new house in my head. I pulled up into the driveway, observing the way they had built out on the mid-seventies architecture. I had forgotten that the bricks of the house were chocolate brown. The new people had made my mother’s tiny balcony into a two-storey sunroom. I stared at the house, remembering less than I had expected about my teenage years: no good times, no bad times. I’d lived in that place, for a while, as a teenager. It didn’t seem to be any part of who I was now.

I backed the car out of their driveway.

Extract B: From “Whispers in the Whispering Pines” by Olivia Woods

And the layers of paper curled and rolled off and dropped onto the floor – and, quite perfectly preserved, half a dozen different patterns were revealed: imitation wood grain (the sixties?), brown zigzags (the fifties?) – then a bold Art Deco style in cobalt and scarlet (the twenties?). Under that, large Morris-style chocolate ferns and flowers, and beneath that a solid layer of thick custard-coloured paint. Each layer – imperfectly glued, faded, merged — revealed another.

‘What smells so horrible? ‘ said Jake, wrinkling his nose.

‘The glue, I think,’ Jonathan said. ‘Probably made from bones.’

‘Wicked!’ said Raphael and then, frowning, ‘But would vegetarians have used it?’

‘Weren‘t really any vegetarians then.’

‘Just think,’ I said, as another William Morris-style lily showed us its black, almost funereally rimmed edges, ‘how long since anyone saw these patterns. I wonder when each one was covered up.’

‘Which one was the Haywards’ wallpaper?’ asked Chloë.

‘I imagine that‘s something we‘ll never know. ‘

But even a little information is seductive. Once you know names, you start to see things. It‘s impossible not to – impossible to resist. I know almost nothing real of Henry Hayward but my imagination has already begun to whisper. And I admit it. I’ve begun to listen. He’s tall, whiskery, gingery-haired (Hayward is definitely a gingery name). And maybe a bit of a punter, inclined to slope off to the races at Epsom or Goodwood, though he never loses too much – he has it in check. His wife Charlotte is much shorter, plumper and more self-effacing – a terrible worrier, especially about what other people say. Sometimes she thinks she only sees herself through other people’s eyes. Take away that critical, slightly warped perspective and she’s really not quite sure who she is – not that she’d ever think of expressing such a flighty idea to anyone.

For questions 1 – 8, choose the option (A, B, C, or D) which you think best answers the question.

How does the narrator in Extract A’s feelings towards their old house differ from the characters’ fascination with wallpaper patterns in Extract B?

Read the extracts below then answer the questions.

Extract A: From “The Ocean at the End of the Lane” by Neil Gaiman

I had been driving towards a house that had not existed for decades.

I thought of turning around, then, as I drove down a wide street that had once been a flint lane beside a barley field, of turning back and leaving the past undisturbed. But I was curious.

The old house, the one I had lived in for seven years, from when I was five until I was twelve, that house had been knocked down and was lost for good. The new house, the one my parents had built at the bottom of the garden, between the azalea bushes and the green circle in the grass we called the fairy ring, that had been sold thirty years ago.

I slowed the car as I saw the new house. It would always be the new house in my head. I pulled up into the driveway, observing the way they had built out on the mid-seventies architecture. I had forgotten that the bricks of the house were chocolate brown. The new people had made my mother’s tiny balcony into a two-storey sunroom. I stared at the house, remembering less than I had expected about my teenage years: no good times, no bad times. I’d lived in that place, for a while, as a teenager. It didn’t seem to be any part of who I was now.

I backed the car out of their driveway.

Extract B: From “Whispers in the Whispering Pines” by Olivia Woods

And the layers of paper curled and rolled off and dropped onto the floor – and, quite perfectly preserved, half a dozen different patterns were revealed: imitation wood grain (the sixties?), brown zigzags (the fifties?) – then a bold Art Deco style in cobalt and scarlet (the twenties?). Under that, large Morris-style chocolate ferns and flowers, and beneath that a solid layer of thick custard-coloured paint. Each layer – imperfectly glued, faded, merged — revealed another.

‘What smells so horrible? ‘ said Jake, wrinkling his nose.

‘The glue, I think,’ Jonathan said. ‘Probably made from bones.’

‘Wicked!’ said Raphael and then, frowning, ‘But would vegetarians have used it?’

‘Weren‘t really any vegetarians then.’

‘Just think,’ I said, as another William Morris-style lily showed us its black, almost funereally rimmed edges, ‘how long since anyone saw these patterns. I wonder when each one was covered up.’

‘Which one was the Haywards’ wallpaper?’ asked Chloë.

‘I imagine that‘s something we‘ll never know. ‘

But even a little information is seductive. Once you know names, you start to see things. It‘s impossible not to – impossible to resist. I know almost nothing real of Henry Hayward but my imagination has already begun to whisper. And I admit it. I’ve begun to listen. He’s tall, whiskery, gingery-haired (Hayward is definitely a gingery name). And maybe a bit of a punter, inclined to slope off to the races at Epsom or Goodwood, though he never loses too much – he has it in check. His wife Charlotte is much shorter, plumper and more self-effacing – a terrible worrier, especially about what other people say. Sometimes she thinks she only sees herself through other people’s eyes. Take away that critical, slightly warped perspective and she’s really not quite sure who she is – not that she’d ever think of expressing such a flighty idea to anyone.

For questions 1 – 8, choose the option (A, B, C, or D) which you think best answers the question.

How do the characters in both extracts relate to their respective settings?

Read the extracts below then answer the questions.

Extract A: From “The Ocean at the End of the Lane” by Neil Gaiman

I had been driving towards a house that had not existed for decades.

I thought of turning around, then, as I drove down a wide street that had once been a flint lane beside a barley field, of turning back and leaving the past undisturbed. But I was curious.

The old house, the one I had lived in for seven years, from when I was five until I was twelve, that house had been knocked down and was lost for good. The new house, the one my parents had built at the bottom of the garden, between the azalea bushes and the green circle in the grass we called the fairy ring, that had been sold thirty years ago.

I slowed the car as I saw the new house. It would always be the new house in my head. I pulled up into the driveway, observing the way they had built out on the mid-seventies architecture. I had forgotten that the bricks of the house were chocolate brown. The new people had made my mother’s tiny balcony into a two-storey sunroom. I stared at the house, remembering less than I had expected about my teenage years: no good times, no bad times. I’d lived in that place, for a while, as a teenager. It didn’t seem to be any part of who I was now.

I backed the car out of their driveway.

Extract B: From “Whispers in the Whispering Pines” by Olivia Woods

And the layers of paper curled and rolled off and dropped onto the floor – and, quite perfectly preserved, half a dozen different patterns were revealed: imitation wood grain (the sixties?), brown zigzags (the fifties?) – then a bold Art Deco style in cobalt and scarlet (the twenties?). Under that, large Morris-style chocolate ferns and flowers, and beneath that a solid layer of thick custard-coloured paint. Each layer – imperfectly glued, faded, merged — revealed another.

‘What smells so horrible? ‘ said Jake, wrinkling his nose.

‘The glue, I think,’ Jonathan said. ‘Probably made from bones.’

‘Wicked!’ said Raphael and then, frowning, ‘But would vegetarians have used it?’

‘Weren‘t really any vegetarians then.’

‘Just think,’ I said, as another William Morris-style lily showed us its black, almost funereally rimmed edges, ‘how long since anyone saw these patterns. I wonder when each one was covered up.’

‘Which one was the Haywards’ wallpaper?’ asked Chloë.

‘I imagine that‘s something we‘ll never know. ‘

But even a little information is seductive. Once you know names, you start to see things. It‘s impossible not to – impossible to resist. I know almost nothing real of Henry Hayward but my imagination has already begun to whisper. And I admit it. I’ve begun to listen. He’s tall, whiskery, gingery-haired (Hayward is definitely a gingery name). And maybe a bit of a punter, inclined to slope off to the races at Epsom or Goodwood, though he never loses too much – he has it in check. His wife Charlotte is much shorter, plumper and more self-effacing – a terrible worrier, especially about what other people say. Sometimes she thinks she only sees herself through other people’s eyes. Take away that critical, slightly warped perspective and she’s really not quite sure who she is – not that she’d ever think of expressing such a flighty idea to anyone.

For questions 1 – 8, choose the option (A, B, C, or D) which you think best answers the question.

What role do the settings play in the characters’ understanding of their own identities?

Read the extracts below then answer the questions.

Extract A: From “The Ocean at the End of the Lane” by Neil Gaiman

I had been driving towards a house that had not existed for decades.

I thought of turning around, then, as I drove down a wide street that had once been a flint lane beside a barley field, of turning back and leaving the past undisturbed. But I was curious.

The old house, the one I had lived in for seven years, from when I was five until I was twelve, that house had been knocked down and was lost for good. The new house, the one my parents had built at the bottom of the garden, between the azalea bushes and the green circle in the grass we called the fairy ring, that had been sold thirty years ago.

I slowed the car as I saw the new house. It would always be the new house in my head. I pulled up into the driveway, observing the way they had built out on the mid-seventies architecture. I had forgotten that the bricks of the house were chocolate brown. The new people had made my mother’s tiny balcony into a two-storey sunroom. I stared at the house, remembering less than I had expected about my teenage years: no good times, no bad times. I’d lived in that place, for a while, as a teenager. It didn’t seem to be any part of who I was now.

I backed the car out of their driveway.

Extract B: From “Whispers in the Whispering Pines” by Olivia Woods

And the layers of paper curled and rolled off and dropped onto the floor – and, quite perfectly preserved, half a dozen different patterns were revealed: imitation wood grain (the sixties?), brown zigzags (the fifties?) – then a bold Art Deco style in cobalt and scarlet (the twenties?). Under that, large Morris-style chocolate ferns and flowers, and beneath that a solid layer of thick custard-coloured paint. Each layer – imperfectly glued, faded, merged — revealed another.

‘What smells so horrible? ‘ said Jake, wrinkling his nose.

‘The glue, I think,’ Jonathan said. ‘Probably made from bones.’

‘Wicked!’ said Raphael and then, frowning, ‘But would vegetarians have used it?’

‘Weren‘t really any vegetarians then.’

‘Just think,’ I said, as another William Morris-style lily showed us its black, almost funereally rimmed edges, ‘how long since anyone saw these patterns. I wonder when each one was covered up.’

‘Which one was the Haywards’ wallpaper?’ asked Chloë.

‘I imagine that‘s something we‘ll never know. ‘

But even a little information is seductive. Once you know names, you start to see things. It‘s impossible not to – impossible to resist. I know almost nothing real of Henry Hayward but my imagination has already begun to whisper. And I admit it. I’ve begun to listen. He’s tall, whiskery, gingery-haired (Hayward is definitely a gingery name). And maybe a bit of a punter, inclined to slope off to the races at Epsom or Goodwood, though he never loses too much – he has it in check. His wife Charlotte is much shorter, plumper and more self-effacing – a terrible worrier, especially about what other people say. Sometimes she thinks she only sees herself through other people’s eyes. Take away that critical, slightly warped perspective and she’s really not quite sure who she is – not that she’d ever think of expressing such a flighty idea to anyone.

For questions 1 – 8, choose the option (A, B, C, or D) which you think best answers the question.

How does the theme of time and preservation differ in the two passages?

Read the extracts below then answer the questions.

Extract A: From “The Ocean at the End of the Lane” by Neil Gaiman

I had been driving towards a house that had not existed for decades.

I thought of turning around, then, as I drove down a wide street that had once been a flint lane beside a barley field, of turning back and leaving the past undisturbed. But I was curious.

The old house, the one I had lived in for seven years, from when I was five until I was twelve, that house had been knocked down and was lost for good. The new house, the one my parents had built at the bottom of the garden, between the azalea bushes and the green circle in the grass we called the fairy ring, that had been sold thirty years ago.

I slowed the car as I saw the new house. It would always be the new house in my head. I pulled up into the driveway, observing the way they had built out on the mid-seventies architecture. I had forgotten that the bricks of the house were chocolate brown. The new people had made my mother’s tiny balcony into a two-storey sunroom. I stared at the house, remembering less than I had expected about my teenage years: no good times, no bad times. I’d lived in that place, for a while, as a teenager. It didn’t seem to be any part of who I was now.

I backed the car out of their driveway.

Extract B: From “Whispers in the Whispering Pines” by Olivia Woods

And the layers of paper curled and rolled off and dropped onto the floor – and, quite perfectly preserved, half a dozen different patterns were revealed: imitation wood grain (the sixties?), brown zigzags (the fifties?) – then a bold Art Deco style in cobalt and scarlet (the twenties?). Under that, large Morris-style chocolate ferns and flowers, and beneath that a solid layer of thick custard-coloured paint. Each layer – imperfectly glued, faded, merged — revealed another.

‘What smells so horrible? ‘ said Jake, wrinkling his nose.

‘The glue, I think,’ Jonathan said. ‘Probably made from bones.’

‘Wicked!’ said Raphael and then, frowning, ‘But would vegetarians have used it?’

‘Weren‘t really any vegetarians then.’

‘Just think,’ I said, as another William Morris-style lily showed us its black, almost funereally rimmed edges, ‘how long since anyone saw these patterns. I wonder when each one was covered up.’

‘Which one was the Haywards’ wallpaper?’ asked Chloë.

‘I imagine that‘s something we‘ll never know. ‘

But even a little information is seductive. Once you know names, you start to see things. It‘s impossible not to – impossible to resist. I know almost nothing real of Henry Hayward but my imagination has already begun to whisper. And I admit it. I’ve begun to listen. He’s tall, whiskery, gingery-haired (Hayward is definitely a gingery name). And maybe a bit of a punter, inclined to slope off to the races at Epsom or Goodwood, though he never loses too much – he has it in check. His wife Charlotte is much shorter, plumper and more self-effacing – a terrible worrier, especially about what other people say. Sometimes she thinks she only sees herself through other people’s eyes. Take away that critical, slightly warped perspective and she’s really not quite sure who she is – not that she’d ever think of expressing such a flighty idea to anyone.

For questions 1 – 8, choose the option (A, B, C, or D) which you think best answers the question.

In what way do the characters in Extract B differ from the narrator in Extract A in terms of their connection to the past?

Read the poem ‘Song of the Sky’ below by poet Maria Rodriguez, then answer the questions.

Song of the Sky

Up in the vast expanse where the blue meets day,
a silent song of the sky begins to play.
The clouds, like notes, in a cosmic ballet,
dance to the rhythm, slowly drift away.

The sun conducts with its golden ray,                                    5
a symphony of hues in the twilight’s sway.
As dusk descends and stars have their say,
the moon hums along in the night’s display.

In the quiet of dawn, where dreams may lie,
the song of the sky whispers a lullaby.                                 10
A canvas of colours, a panoramic dye,
each sunrise and sunset, a celestial “goodbye.”

For questions (9-14), choose the option (A, B, C, or D) which you think best answers the question.

What aspect of the sky is compared to a cosmic ballet in the first verse?

Read the poem ‘Song of the Sky’ below by poet Maria Rodriguez, then answer the questions.

Song of the Sky

Up in the vast expanse where the blue meets day,
a silent song of the sky begins to play.
The clouds, like notes, in a cosmic ballet,
dance to the rhythm, slowly drift away.

The sun conducts with its golden ray,                                    5
a symphony of hues in the twilight’s sway.
As dusk descends and stars have their say,
the moon hums along in the night’s display.

In the quiet of dawn, where dreams may lie,
the song of the sky whispers a lullaby.                                 10
A canvas of colours, a panoramic dye,
each sunrise and sunset, a celestial “goodbye.”

For questions (9-14), choose the option (A, B, C, or D) which you think best answers the question.

What does the sun do with its golden ray in the fifth verse?

Read the poem ‘Song of the Sky’ below by poet Maria Rodriguez, then answer the questions.

Song of the Sky

Up in the vast expanse where the blue meets day,
a silent song of the sky begins to play.
The clouds, like notes, in a cosmic ballet,
dance to the rhythm, slowly drift away.

The sun conducts with its golden ray,                                    5
a symphony of hues in the twilight’s sway.
As dusk descends and stars have their say,
the moon hums along in the night’s display.

In the quiet of dawn, where dreams may lie,
the song of the sky whispers a lullaby.                                 10
A canvas of colours, a panoramic dye,
each sunrise and sunset, a celestial “goodbye.”

For questions (9-14), choose the option (A, B, C, or D) which you think best answers the question.

In the third verse, what is the relationship between the clouds and the notes?

Read the poem ‘Song of the Sky’ below by poet Maria Rodriguez, then answer the questions.

Song of the Sky

Up in the vast expanse where the blue meets day,
a silent song of the sky begins to play.
The clouds, like notes, in a cosmic ballet,
dance to the rhythm, slowly drift away.

The sun conducts with its golden ray,                                    5
a symphony of hues in the twilight’s sway.
As dusk descends and stars have their say,
the moon hums along in the night’s display.

In the quiet of dawn, where dreams may lie,
the song of the sky whispers a lullaby.                                 10
A canvas of colours, a panoramic dye,
each sunrise and sunset, a celestial “goodbye.”

For questions (9-14), choose the option (A, B, C, or D) which you think best answers the question.

According to the poem, what role does the moon play in the night’s display?

Read the poem ‘Song of the Sky’ below by poet Maria Rodriguez, then answer the questions.

Song of the Sky

Up in the vast expanse where the blue meets day,
a silent song of the sky begins to play.
The clouds, like notes, in a cosmic ballet,
dance to the rhythm, slowly drift away.

The sun conducts with its golden ray,                                    5
a symphony of hues in the twilight’s sway.
As dusk descends and stars have their say,
the moon hums along in the night’s display.

In the quiet of dawn, where dreams may lie,
the song of the sky whispers a lullaby.                                 10
A canvas of colours, a panoramic dye,
each sunrise and sunset, a celestial “goodbye.”

For questions (9-14), choose the option (A, B, C, or D) which you think best answers the question.

What is the predominant colour associated with the sun in the twilight’s sway?

Read the poem ‘Song of the Sky’ below by poet Maria Rodriguez, then answer the questions.

Song of the Sky

Up in the vast expanse where the blue meets day,
a silent song of the sky begins to play.
The clouds, like notes, in a cosmic ballet,
dance to the rhythm, slowly drift away.

The sun conducts with its golden ray,                                    5
a symphony of hues in the twilight’s sway.
As dusk descends and stars have their say,
the moon hums along in the night’s display.

In the quiet of dawn, where dreams may lie,
the song of the sky whispers a lullaby.                                 10
A canvas of colours, a panoramic dye,
each sunrise and sunset, a celestial “goodbye.”

For questions (9-14), choose the option (A, B, C, or D) which you think best answers the question.

What happens in the quiet of dawn according to the poem?

Read the passage below, then answer the questions.

Six sentences have been removed from the text. Choose from the sentences (A – G) the one which fits each gap (15 – 20). There is one extra sentence which you do not need to use.

Urban Cycling: A Sustainable Choice

Urban cycling has gained popularity as a sustainable and healthy mode of transportation in many cities around the world. It goes beyond being a mere recreational activity and serves as an effective means of reducing carbon emissions and promoting personal well-being.

15 ………… With dedicated cycling lanes and bike-sharing programs, cities encourage residents to choose bicycles for their daily commute. These initiatives not only contribute to lowering air pollution but also alleviate traffic congestion, making urban areas more livable.

Cycling offers various health benefits, both physical and mental. 16 ………… Regular cycling improves cardiovascular fitness, reduces the risk of chronic diseases, and helps in maintaining a healthy weight. Additionally, the act of cycling in an urban environment can be a stress-relieving and mood-enhancing activity.

17 ………… In recent years, cities have implemented infrastructure improvements to enhance the safety of cyclists. Installing bike racks, creating bike-friendly pathways, and raising awareness about road-sharing etiquette are steps taken to make urban cycling a safer experience.

18 ………… Despite the positive aspects of urban cycling, challenges persist. Lack of secure parking facilities, concerns about traffic safety, and the need for better integration with public transportation systems are some issues that need attention.

19 ………… To ensure the continued growth of urban cycling, it is crucial for cities to invest in comprehensive cycling infrastructure, address safety concerns, and promote cycling as an accessible and sustainable mode of transportation.

20 ………… Unfortunately, not all urban areas have embraced cycling as a viable means of transportation. Overcoming cultural and infrastructural barriers is essential for fostering a cycling-friendly urban environment.

Therefore, initiatives that promote awareness about the benefits of urban cycling and advocate for supportive policies play a key role in creating healthier and more sustainable cities.

Fill in Gap #15

Read the passage below, then answer the questions.

Six sentences have been removed from the text. Choose from the sentences (A – G) the one which fits each gap (15 – 20). There is one extra sentence which you do not need to use.

Urban Cycling: A Sustainable Choice

Urban cycling has gained popularity as a sustainable and healthy mode of transportation in many cities around the world. It goes beyond being a mere recreational activity and serves as an effective means of reducing carbon emissions and promoting personal well-being.

15 ………… With dedicated cycling lanes and bike-sharing programs, cities encourage residents to choose bicycles for their daily commute. These initiatives not only contribute to lowering air pollution but also alleviate traffic congestion, making urban areas more livable.

Cycling offers various health benefits, both physical and mental. 16 ………… Regular cycling improves cardiovascular fitness, reduces the risk of chronic diseases, and helps in maintaining a healthy weight. Additionally, the act of cycling in an urban environment can be a stress-relieving and mood-enhancing activity.

17 ………… In recent years, cities have implemented infrastructure improvements to enhance the safety of cyclists. Installing bike racks, creating bike-friendly pathways, and raising awareness about road-sharing etiquette are steps taken to make urban cycling a safer experience.

18 ………… Despite the positive aspects of urban cycling, challenges persist. Lack of secure parking facilities, concerns about traffic safety, and the need for better integration with public transportation systems are some issues that need attention.

19 ………… To ensure the continued growth of urban cycling, it is crucial for cities to invest in comprehensive cycling infrastructure, address safety concerns, and promote cycling as an accessible and sustainable mode of transportation.

20 ………… Unfortunately, not all urban areas have embraced cycling as a viable means of transportation. Overcoming cultural and infrastructural barriers is essential for fostering a cycling-friendly urban environment.

Therefore, initiatives that promote awareness about the benefits of urban cycling and advocate for supportive policies play a key role in creating healthier and more sustainable cities.

Fill in Gap #16

Read the passage below, then answer the questions.

Six sentences have been removed from the text. Choose from the sentences (A – G) the one which fits each gap (15 – 20). There is one extra sentence which you do not need to use.

Urban Cycling: A Sustainable Choice

Urban cycling has gained popularity as a sustainable and healthy mode of transportation in many cities around the world. It goes beyond being a mere recreational activity and serves as an effective means of reducing carbon emissions and promoting personal well-being.

15 ………… With dedicated cycling lanes and bike-sharing programs, cities encourage residents to choose bicycles for their daily commute. These initiatives not only contribute to lowering air pollution but also alleviate traffic congestion, making urban areas more livable.

Cycling offers various health benefits, both physical and mental. 16 ………… Regular cycling improves cardiovascular fitness, reduces the risk of chronic diseases, and helps in maintaining a healthy weight. Additionally, the act of cycling in an urban environment can be a stress-relieving and mood-enhancing activity.

17 ………… In recent years, cities have implemented infrastructure improvements to enhance the safety of cyclists. Installing bike racks, creating bike-friendly pathways, and raising awareness about road-sharing etiquette are steps taken to make urban cycling a safer experience.

18 ………… Despite the positive aspects of urban cycling, challenges persist. Lack of secure parking facilities, concerns about traffic safety, and the need for better integration with public transportation systems are some issues that need attention.

19 ………… To ensure the continued growth of urban cycling, it is crucial for cities to invest in comprehensive cycling infrastructure, address safety concerns, and promote cycling as an accessible and sustainable mode of transportation.

20 ………… Unfortunately, not all urban areas have embraced cycling as a viable means of transportation. Overcoming cultural and infrastructural barriers is essential for fostering a cycling-friendly urban environment.

Therefore, initiatives that promote awareness about the benefits of urban cycling and advocate for supportive policies play a key role in creating healthier and more sustainable cities.

Fill in Gap #17

Read the passage below, then answer the questions.

Six sentences have been removed from the text. Choose from the sentences (A – G) the one which fits each gap (15 – 20). There is one extra sentence which you do not need to use.

Urban Cycling: A Sustainable Choice

Urban cycling has gained popularity as a sustainable and healthy mode of transportation in many cities around the world. It goes beyond being a mere recreational activity and serves as an effective means of reducing carbon emissions and promoting personal well-being.

15 ………… With dedicated cycling lanes and bike-sharing programs, cities encourage residents to choose bicycles for their daily commute. These initiatives not only contribute to lowering air pollution but also alleviate traffic congestion, making urban areas more livable.

Cycling offers various health benefits, both physical and mental. 16 ………… Regular cycling improves cardiovascular fitness, reduces the risk of chronic diseases, and helps in maintaining a healthy weight. Additionally, the act of cycling in an urban environment can be a stress-relieving and mood-enhancing activity.

17 ………… In recent years, cities have implemented infrastructure improvements to enhance the safety of cyclists. Installing bike racks, creating bike-friendly pathways, and raising awareness about road-sharing etiquette are steps taken to make urban cycling a safer experience.

18 ………… Despite the positive aspects of urban cycling, challenges persist. Lack of secure parking facilities, concerns about traffic safety, and the need for better integration with public transportation systems are some issues that need attention.

19 ………… To ensure the continued growth of urban cycling, it is crucial for cities to invest in comprehensive cycling infrastructure, address safety concerns, and promote cycling as an accessible and sustainable mode of transportation.

20 ………… Unfortunately, not all urban areas have embraced cycling as a viable means of transportation. Overcoming cultural and infrastructural barriers is essential for fostering a cycling-friendly urban environment.

Therefore, initiatives that promote awareness about the benefits of urban cycling and advocate for supportive policies play a key role in creating healthier and more sustainable cities.

Fill in Gap #18

Read the passage below, then answer the questions.

Six sentences have been removed from the text. Choose from the sentences (A – G) the one which fits each gap (15 – 20). There is one extra sentence which you do not need to use.

Urban Cycling: A Sustainable Choice

Urban cycling has gained popularity as a sustainable and healthy mode of transportation in many cities around the world. It goes beyond being a mere recreational activity and serves as an effective means of reducing carbon emissions and promoting personal well-being.

15 ………… With dedicated cycling lanes and bike-sharing programs, cities encourage residents to choose bicycles for their daily commute. These initiatives not only contribute to lowering air pollution but also alleviate traffic congestion, making urban areas more livable.

Cycling offers various health benefits, both physical and mental. 16 ………… Regular cycling improves cardiovascular fitness, reduces the risk of chronic diseases, and helps in maintaining a healthy weight. Additionally, the act of cycling in an urban environment can be a stress-relieving and mood-enhancing activity.

17 ………… In recent years, cities have implemented infrastructure improvements to enhance the safety of cyclists. Installing bike racks, creating bike-friendly pathways, and raising awareness about road-sharing etiquette are steps taken to make urban cycling a safer experience.

18 ………… Despite the positive aspects of urban cycling, challenges persist. Lack of secure parking facilities, concerns about traffic safety, and the need for better integration with public transportation systems are some issues that need attention.

19 ………… To ensure the continued growth of urban cycling, it is crucial for cities to invest in comprehensive cycling infrastructure, address safety concerns, and promote cycling as an accessible and sustainable mode of transportation.

20 ………… Unfortunately, not all urban areas have embraced cycling as a viable means of transportation. Overcoming cultural and infrastructural barriers is essential for fostering a cycling-friendly urban environment.

Therefore, initiatives that promote awareness about the benefits of urban cycling and advocate for supportive policies play a key role in creating healthier and more sustainable cities.

Fill in Gap #19

Read the passage below, then answer the questions.

Six sentences have been removed from the text. Choose from the sentences (A – G) the one which fits each gap (15 – 20). There is one extra sentence which you do not need to use.

Urban Cycling: A Sustainable Choice

Urban cycling has gained popularity as a sustainable and healthy mode of transportation in many cities around the world. It goes beyond being a mere recreational activity and serves as an effective means of reducing carbon emissions and promoting personal well-being.

15 ………… With dedicated cycling lanes and bike-sharing programs, cities encourage residents to choose bicycles for their daily commute. These initiatives not only contribute to lowering air pollution but also alleviate traffic congestion, making urban areas more livable.

Cycling offers various health benefits, both physical and mental. 16 ………… Regular cycling improves cardiovascular fitness, reduces the risk of chronic diseases, and helps in maintaining a healthy weight. Additionally, the act of cycling in an urban environment can be a stress-relieving and mood-enhancing activity.

17 ………… In recent years, cities have implemented infrastructure improvements to enhance the safety of cyclists. Installing bike racks, creating bike-friendly pathways, and raising awareness about road-sharing etiquette are steps taken to make urban cycling a safer experience.

18 ………… Despite the positive aspects of urban cycling, challenges persist. Lack of secure parking facilities, concerns about traffic safety, and the need for better integration with public transportation systems are some issues that need attention.

19 ………… To ensure the continued growth of urban cycling, it is crucial for cities to invest in comprehensive cycling infrastructure, address safety concerns, and promote cycling as an accessible and sustainable mode of transportation.

20 ………… Unfortunately, not all urban areas have embraced cycling as a viable means of transportation. Overcoming cultural and infrastructural barriers is essential for fostering a cycling-friendly urban environment.

Therefore, initiatives that promote awareness about the benefits of urban cycling and advocate for supportive policies play a key role in creating healthier and more sustainable cities.

Fill in Gap #20

Read the four extracts below on the theme of sustainability.

Extract A:
Sustainability is akin to a woven tapestry, a grand tapestry of our collective impact on the environment. Each thread represents a unique element contributing to the overall pattern – from the utilisation of renewable energy sources to the implementation of eco-friendly agricultural practices. In this intricate tapestry, the diverse threads symbolise the interconnectedness of our choices. Just as a tapestry requires a variety of threads to create a harmonious pattern, sustainability calls for a spectrum of practices. It is through understanding the nuanced relationships between these elements that we can truly appreciate the depth and significance of sustainable living. By weaving together these diverse threads, we contribute to the creation of a resilient and sustainable future.

Extract B:
Within the realm of sustainable agriculture lies the foundation of both food security and environmental preservation. The interconnected system of sustainable agriculture is designed not only to meet the immediate needs of the present but also to safeguard the resources essential for the prosperity of future generations. This intricate system recognizes the delicate balance between cultivating the land for sustenance and preserving its natural vitality. It emphasises practices that minimise environmental impact, promote biodiversity, and ensure the long-term health of our ecosystems. Sustainable agriculture, as a cornerstone of sustainability, reflects the understanding that our actions today shape the landscape of tomorrow.

Extract C:
Sustainable living is a profound dance between human activities and the delicate rhythms of nature. It is a call for a harmonious balance where our choices and actions are in synchrony with the well-being of the planet. This dance involves a deep understanding of the interconnected nature of sustainable living. Each decision made – from consumption patterns to energy use – contributes to the intricate choreography of our environmental impact. The dance of sustainability is not just about minimising negative effects but actively participating in the flourishing of the natural world. It is through this intricate dance that we can forge a path toward a resilient and eco-friendly future.

Extract D:
Sustainability is not an isolated endeavour but a collective responsibility that engages communities in the pursuit of a resilient and eco-friendly future. Embracing sustainable practices goes beyond individual actions; it requires a shared commitment to positive change. By collectively adopting sustainable approaches, communities can become architects of a better future. Whether it’s implementing local initiatives or participating in global sustainability movements, communities play a pivotal role in shaping the narrative of sustainability. Through unity and shared responsibility, we can weave a tapestry of positive change that ensures a harmonious coexistence between humanity and the environment.

For questions (21-30), choose the option (A, B, C, or D) which you think best answers the question.

Which extract emphasises the interconnectedness of sustainable practices in everyday life?

Read the four extracts below on the theme of sustainability.

Extract A:
Sustainability is akin to a woven tapestry, a grand tapestry of our collective impact on the environment. Each thread represents a unique element contributing to the overall pattern – from the utilisation of renewable energy sources to the implementation of eco-friendly agricultural practices. In this intricate tapestry, the diverse threads symbolise the interconnectedness of our choices. Just as a tapestry requires a variety of threads to create a harmonious pattern, sustainability calls for a spectrum of practices. It is through understanding the nuanced relationships between these elements that we can truly appreciate the depth and significance of sustainable living. By weaving together these diverse threads, we contribute to the creation of a resilient and sustainable future.

Extract B:
Within the realm of sustainable agriculture lies the foundation of both food security and environmental preservation. The interconnected system of sustainable agriculture is designed not only to meet the immediate needs of the present but also to safeguard the resources essential for the prosperity of future generations. This intricate system recognizes the delicate balance between cultivating the land for sustenance and preserving its natural vitality. It emphasises practices that minimise environmental impact, promote biodiversity, and ensure the long-term health of our ecosystems. Sustainable agriculture, as a cornerstone of sustainability, reflects the understanding that our actions today shape the landscape of tomorrow.

Extract C:
Sustainable living is a profound dance between human activities and the delicate rhythms of nature. It is a call for a harmonious balance where our choices and actions are in synchrony with the well-being of the planet. This dance involves a deep understanding of the interconnected nature of sustainable living. Each decision made – from consumption patterns to energy use – contributes to the intricate choreography of our environmental impact. The dance of sustainability is not just about minimising negative effects but actively participating in the flourishing of the natural world. It is through this intricate dance that we can forge a path toward a resilient and eco-friendly future.

Extract D:
Sustainability is not an isolated endeavour but a collective responsibility that engages communities in the pursuit of a resilient and eco-friendly future. Embracing sustainable practices goes beyond individual actions; it requires a shared commitment to positive change. By collectively adopting sustainable approaches, communities can become architects of a better future. Whether it’s implementing local initiatives or participating in global sustainability movements, communities play a pivotal role in shaping the narrative of sustainability. Through unity and shared responsibility, we can weave a tapestry of positive change that ensures a harmonious coexistence between humanity and the environment.

For questions (21-30), choose the option (A, B, C, or D) which you think best answers the question.

Which extract discusses the role of sustainable agriculture in ensuring food security and preserving the environment?

Read the four extracts below on the theme of sustainability.

Extract A:
Sustainability is akin to a woven tapestry, a grand tapestry of our collective impact on the environment. Each thread represents a unique element contributing to the overall pattern – from the utilisation of renewable energy sources to the implementation of eco-friendly agricultural practices. In this intricate tapestry, the diverse threads symbolise the interconnectedness of our choices. Just as a tapestry requires a variety of threads to create a harmonious pattern, sustainability calls for a spectrum of practices. It is through understanding the nuanced relationships between these elements that we can truly appreciate the depth and significance of sustainable living. By weaving together these diverse threads, we contribute to the creation of a resilient and sustainable future.

Extract B:
Within the realm of sustainable agriculture lies the foundation of both food security and environmental preservation. The interconnected system of sustainable agriculture is designed not only to meet the immediate needs of the present but also to safeguard the resources essential for the prosperity of future generations. This intricate system recognizes the delicate balance between cultivating the land for sustenance and preserving its natural vitality. It emphasises practices that minimise environmental impact, promote biodiversity, and ensure the long-term health of our ecosystems. Sustainable agriculture, as a cornerstone of sustainability, reflects the understanding that our actions today shape the landscape of tomorrow.

Extract C:
Sustainable living is a profound dance between human activities and the delicate rhythms of nature. It is a call for a harmonious balance where our choices and actions are in synchrony with the well-being of the planet. This dance involves a deep understanding of the interconnected nature of sustainable living. Each decision made – from consumption patterns to energy use – contributes to the intricate choreography of our environmental impact. The dance of sustainability is not just about minimising negative effects but actively participating in the flourishing of the natural world. It is through this intricate dance that we can forge a path toward a resilient and eco-friendly future.

Extract D:
Sustainability is not an isolated endeavour but a collective responsibility that engages communities in the pursuit of a resilient and eco-friendly future. Embracing sustainable practices goes beyond individual actions; it requires a shared commitment to positive change. By collectively adopting sustainable approaches, communities can become architects of a better future. Whether it’s implementing local initiatives or participating in global sustainability movements, communities play a pivotal role in shaping the narrative of sustainability. Through unity and shared responsibility, we can weave a tapestry of positive change that ensures a harmonious coexistence between humanity and the environment.

For questions (21-30), choose the option (A, B, C, or D) which you think best answers the question.

Which extract compares sustainability to a woven tapestry, highlighting the diverse elements needed for a resilient future?

Read the four extracts below on the theme of sustainability.

Extract A:
Sustainability is akin to a woven tapestry, a grand tapestry of our collective impact on the environment. Each thread represents a unique element contributing to the overall pattern – from the utilisation of renewable energy sources to the implementation of eco-friendly agricultural practices. In this intricate tapestry, the diverse threads symbolise the interconnectedness of our choices. Just as a tapestry requires a variety of threads to create a harmonious pattern, sustainability calls for a spectrum of practices. It is through understanding the nuanced relationships between these elements that we can truly appreciate the depth and significance of sustainable living. By weaving together these diverse threads, we contribute to the creation of a resilient and sustainable future.

Extract B:
Within the realm of sustainable agriculture lies the foundation of both food security and environmental preservation. The interconnected system of sustainable agriculture is designed not only to meet the immediate needs of the present but also to safeguard the resources essential for the prosperity of future generations. This intricate system recognizes the delicate balance between cultivating the land for sustenance and preserving its natural vitality. It emphasises practices that minimise environmental impact, promote biodiversity, and ensure the long-term health of our ecosystems. Sustainable agriculture, as a cornerstone of sustainability, reflects the understanding that our actions today shape the landscape of tomorrow.

Extract C:
Sustainable living is a profound dance between human activities and the delicate rhythms of nature. It is a call for a harmonious balance where our choices and actions are in synchrony with the well-being of the planet. This dance involves a deep understanding of the interconnected nature of sustainable living. Each decision made – from consumption patterns to energy use – contributes to the intricate choreography of our environmental impact. The dance of sustainability is not just about minimising negative effects but actively participating in the flourishing of the natural world. It is through this intricate dance that we can forge a path toward a resilient and eco-friendly future.

Extract D:
Sustainability is not an isolated endeavour but a collective responsibility that engages communities in the pursuit of a resilient and eco-friendly future. Embracing sustainable practices goes beyond individual actions; it requires a shared commitment to positive change. By collectively adopting sustainable approaches, communities can become architects of a better future. Whether it’s implementing local initiatives or participating in global sustainability movements, communities play a pivotal role in shaping the narrative of sustainability. Through unity and shared responsibility, we can weave a tapestry of positive change that ensures a harmonious coexistence between humanity and the environment.

For questions (21-30), choose the option (A, B, C, or D) which you think best answers the question.

Which extract explores the concept of sustainable living as a harmonious balance between human activities and nature?

Read the four extracts below on the theme of sustainability.

Extract A:
Sustainability is akin to a woven tapestry, a grand tapestry of our collective impact on the environment. Each thread represents a unique element contributing to the overall pattern – from the utilisation of renewable energy sources to the implementation of eco-friendly agricultural practices. In this intricate tapestry, the diverse threads symbolise the interconnectedness of our choices. Just as a tapestry requires a variety of threads to create a harmonious pattern, sustainability calls for a spectrum of practices. It is through understanding the nuanced relationships between these elements that we can truly appreciate the depth and significance of sustainable living. By weaving together these diverse threads, we contribute to the creation of a resilient and sustainable future.

Extract B:
Within the realm of sustainable agriculture lies the foundation of both food security and environmental preservation. The interconnected system of sustainable agriculture is designed not only to meet the immediate needs of the present but also to safeguard the resources essential for the prosperity of future generations. This intricate system recognizes the delicate balance between cultivating the land for sustenance and preserving its natural vitality. It emphasises practices that minimise environmental impact, promote biodiversity, and ensure the long-term health of our ecosystems. Sustainable agriculture, as a cornerstone of sustainability, reflects the understanding that our actions today shape the landscape of tomorrow.

Extract C:
Sustainable living is a profound dance between human activities and the delicate rhythms of nature. It is a call for a harmonious balance where our choices and actions are in synchrony with the well-being of the planet. This dance involves a deep understanding of the interconnected nature of sustainable living. Each decision made – from consumption patterns to energy use – contributes to the intricate choreography of our environmental impact. The dance of sustainability is not just about minimising negative effects but actively participating in the flourishing of the natural world. It is through this intricate dance that we can forge a path toward a resilient and eco-friendly future.

Extract D:
Sustainability is not an isolated endeavour but a collective responsibility that engages communities in the pursuit of a resilient and eco-friendly future. Embracing sustainable practices goes beyond individual actions; it requires a shared commitment to positive change. By collectively adopting sustainable approaches, communities can become architects of a better future. Whether it’s implementing local initiatives or participating in global sustainability movements, communities play a pivotal role in shaping the narrative of sustainability. Through unity and shared responsibility, we can weave a tapestry of positive change that ensures a harmonious coexistence between humanity and the environment.

For questions (21-30), choose the option (A, B, C, or D) which you think best answers the question.

Which extract advocates for the importance of sustainable energy sources and their role in combating climate change?

Read the four extracts below on the theme of sustainability.

Extract A:
Sustainability is akin to a woven tapestry, a grand tapestry of our collective impact on the environment. Each thread represents a unique element contributing to the overall pattern – from the utilisation of renewable energy sources to the implementation of eco-friendly agricultural practices. In this intricate tapestry, the diverse threads symbolise the interconnectedness of our choices. Just as a tapestry requires a variety of threads to create a harmonious pattern, sustainability calls for a spectrum of practices. It is through understanding the nuanced relationships between these elements that we can truly appreciate the depth and significance of sustainable living. By weaving together these diverse threads, we contribute to the creation of a resilient and sustainable future.

Extract B:
Within the realm of sustainable agriculture lies the foundation of both food security and environmental preservation. The interconnected system of sustainable agriculture is designed not only to meet the immediate needs of the present but also to safeguard the resources essential for the prosperity of future generations. This intricate system recognizes the delicate balance between cultivating the land for sustenance and preserving its natural vitality. It emphasises practices that minimise environmental impact, promote biodiversity, and ensure the long-term health of our ecosystems. Sustainable agriculture, as a cornerstone of sustainability, reflects the understanding that our actions today shape the landscape of tomorrow.

Extract C:
Sustainable living is a profound dance between human activities and the delicate rhythms of nature. It is a call for a harmonious balance where our choices and actions are in synchrony with the well-being of the planet. This dance involves a deep understanding of the interconnected nature of sustainable living. Each decision made – from consumption patterns to energy use – contributes to the intricate choreography of our environmental impact. The dance of sustainability is not just about minimising negative effects but actively participating in the flourishing of the natural world. It is through this intricate dance that we can forge a path toward a resilient and eco-friendly future.

Extract D:
Sustainability is not an isolated endeavour but a collective responsibility that engages communities in the pursuit of a resilient and eco-friendly future. Embracing sustainable practices goes beyond individual actions; it requires a shared commitment to positive change. By collectively adopting sustainable approaches, communities can become architects of a better future. Whether it’s implementing local initiatives or participating in global sustainability movements, communities play a pivotal role in shaping the narrative of sustainability. Through unity and shared responsibility, we can weave a tapestry of positive change that ensures a harmonious coexistence between humanity and the environment.

For questions (21-30), choose the option (A, B, C, or D) which you think best answers the question.

Which extract describes sustainability as a collective responsibility, involving communities in creating a resilient and eco-friendly future?

Read the four extracts below on the theme of sustainability.

Extract A:
Sustainability is akin to a woven tapestry, a grand tapestry of our collective impact on the environment. Each thread represents a unique element contributing to the overall pattern – from the utilisation of renewable energy sources to the implementation of eco-friendly agricultural practices. In this intricate tapestry, the diverse threads symbolise the interconnectedness of our choices. Just as a tapestry requires a variety of threads to create a harmonious pattern, sustainability calls for a spectrum of practices. It is through understanding the nuanced relationships between these elements that we can truly appreciate the depth and significance of sustainable living. By weaving together these diverse threads, we contribute to the creation of a resilient and sustainable future.

Extract B:
Within the realm of sustainable agriculture lies the foundation of both food security and environmental preservation. The interconnected system of sustainable agriculture is designed not only to meet the immediate needs of the present but also to safeguard the resources essential for the prosperity of future generations. This intricate system recognizes the delicate balance between cultivating the land for sustenance and preserving its natural vitality. It emphasises practices that minimise environmental impact, promote biodiversity, and ensure the long-term health of our ecosystems. Sustainable agriculture, as a cornerstone of sustainability, reflects the understanding that our actions today shape the landscape of tomorrow.

Extract C:
Sustainable living is a profound dance between human activities and the delicate rhythms of nature. It is a call for a harmonious balance where our choices and actions are in synchrony with the well-being of the planet. This dance involves a deep understanding of the interconnected nature of sustainable living. Each decision made – from consumption patterns to energy use – contributes to the intricate choreography of our environmental impact. The dance of sustainability is not just about minimising negative effects but actively participating in the flourishing of the natural world. It is through this intricate dance that we can forge a path toward a resilient and eco-friendly future.

Extract D:
Sustainability is not an isolated endeavour but a collective responsibility that engages communities in the pursuit of a resilient and eco-friendly future. Embracing sustainable practices goes beyond individual actions; it requires a shared commitment to positive change. By collectively adopting sustainable approaches, communities can become architects of a better future. Whether it’s implementing local initiatives or participating in global sustainability movements, communities play a pivotal role in shaping the narrative of sustainability. Through unity and shared responsibility, we can weave a tapestry of positive change that ensures a harmonious coexistence between humanity and the environment.

For questions (21-30), choose the option (A, B, C, or D) which you think best answers the question.

Which extract delves into the significance of sustainable consumption and its impact on reducing waste and environmental degradation?

Read the four extracts below on the theme of sustainability.

Extract A:
Sustainability is akin to a woven tapestry, a grand tapestry of our collective impact on the environment. Each thread represents a unique element contributing to the overall pattern – from the utilisation of renewable energy sources to the implementation of eco-friendly agricultural practices. In this intricate tapestry, the diverse threads symbolise the interconnectedness of our choices. Just as a tapestry requires a variety of threads to create a harmonious pattern, sustainability calls for a spectrum of practices. It is through understanding the nuanced relationships between these elements that we can truly appreciate the depth and significance of sustainable living. By weaving together these diverse threads, we contribute to the creation of a resilient and sustainable future.

Extract B:
Within the realm of sustainable agriculture lies the foundation of both food security and environmental preservation. The interconnected system of sustainable agriculture is designed not only to meet the immediate needs of the present but also to safeguard the resources essential for the prosperity of future generations. This intricate system recognizes the delicate balance between cultivating the land for sustenance and preserving its natural vitality. It emphasises practices that minimise environmental impact, promote biodiversity, and ensure the long-term health of our ecosystems. Sustainable agriculture, as a cornerstone of sustainability, reflects the understanding that our actions today shape the landscape of tomorrow.

Extract C:
Sustainable living is a profound dance between human activities and the delicate rhythms of nature. It is a call for a harmonious balance where our choices and actions are in synchrony with the well-being of the planet. This dance involves a deep understanding of the interconnected nature of sustainable living. Each decision made – from consumption patterns to energy use – contributes to the intricate choreography of our environmental impact. The dance of sustainability is not just about minimising negative effects but actively participating in the flourishing of the natural world. It is through this intricate dance that we can forge a path toward a resilient and eco-friendly future.

Extract D:
Sustainability is not an isolated endeavour but a collective responsibility that engages communities in the pursuit of a resilient and eco-friendly future. Embracing sustainable practices goes beyond individual actions; it requires a shared commitment to positive change. By collectively adopting sustainable approaches, communities can become architects of a better future. Whether it’s implementing local initiatives or participating in global sustainability movements, communities play a pivotal role in shaping the narrative of sustainability. Through unity and shared responsibility, we can weave a tapestry of positive change that ensures a harmonious coexistence between humanity and the environment.

For questions (21-30), choose the option (A, B, C, or D) which you think best answers the question.

Which extract illustrates the concept of sustainability as an ongoing process, akin to a journey that requires continuous commitment and adaptation?

Read the four extracts below on the theme of sustainability.

Extract A:
Sustainability is akin to a woven tapestry, a grand tapestry of our collective impact on the environment. Each thread represents a unique element contributing to the overall pattern – from the utilisation of renewable energy sources to the implementation of eco-friendly agricultural practices. In this intricate tapestry, the diverse threads symbolise the interconnectedness of our choices. Just as a tapestry requires a variety of threads to create a harmonious pattern, sustainability calls for a spectrum of practices. It is through understanding the nuanced relationships between these elements that we can truly appreciate the depth and significance of sustainable living. By weaving together these diverse threads, we contribute to the creation of a resilient and sustainable future.

Extract B:
Within the realm of sustainable agriculture lies the foundation of both food security and environmental preservation. The interconnected system of sustainable agriculture is designed not only to meet the immediate needs of the present but also to safeguard the resources essential for the prosperity of future generations. This intricate system recognizes the delicate balance between cultivating the land for sustenance and preserving its natural vitality. It emphasises practices that minimise environmental impact, promote biodiversity, and ensure the long-term health of our ecosystems. Sustainable agriculture, as a cornerstone of sustainability, reflects the understanding that our actions today shape the landscape of tomorrow.

Extract C:
Sustainable living is a profound dance between human activities and the delicate rhythms of nature. It is a call for a harmonious balance where our choices and actions are in synchrony with the well-being of the planet. This dance involves a deep understanding of the interconnected nature of sustainable living. Each decision made – from consumption patterns to energy use – contributes to the intricate choreography of our environmental impact. The dance of sustainability is not just about minimising negative effects but actively participating in the flourishing of the natural world. It is through this intricate dance that we can forge a path toward a resilient and eco-friendly future.

Extract D:
Sustainability is not an isolated endeavour but a collective responsibility that engages communities in the pursuit of a resilient and eco-friendly future. Embracing sustainable practices goes beyond individual actions; it requires a shared commitment to positive change. By collectively adopting sustainable approaches, communities can become architects of a better future. Whether it’s implementing local initiatives or participating in global sustainability movements, communities play a pivotal role in shaping the narrative of sustainability. Through unity and shared responsibility, we can weave a tapestry of positive change that ensures a harmonious coexistence between humanity and the environment.

For questions (21-30), choose the option (A, B, C, or D) which you think best answers the question.

Which extract draws parallels between the harmony of sustainable practices and the ongoing narrative of preserving biodiversity?

Read the four extracts below on the theme of sustainability.

Extract A:
Sustainability is akin to a woven tapestry, a grand tapestry of our collective impact on the environment. Each thread represents a unique element contributing to the overall pattern – from the utilisation of renewable energy sources to the implementation of eco-friendly agricultural practices. In this intricate tapestry, the diverse threads symbolise the interconnectedness of our choices. Just as a tapestry requires a variety of threads to create a harmonious pattern, sustainability calls for a spectrum of practices. It is through understanding the nuanced relationships between these elements that we can truly appreciate the depth and significance of sustainable living. By weaving together these diverse threads, we contribute to the creation of a resilient and sustainable future.

Extract B:
Within the realm of sustainable agriculture lies the foundation of both food security and environmental preservation. The interconnected system of sustainable agriculture is designed not only to meet the immediate needs of the present but also to safeguard the resources essential for the prosperity of future generations. This intricate system recognizes the delicate balance between cultivating the land for sustenance and preserving its natural vitality. It emphasises practices that minimise environmental impact, promote biodiversity, and ensure the long-term health of our ecosystems. Sustainable agriculture, as a cornerstone of sustainability, reflects the understanding that our actions today shape the landscape of tomorrow.

Extract C:
Sustainable living is a profound dance between human activities and the delicate rhythms of nature. It is a call for a harmonious balance where our choices and actions are in synchrony with the well-being of the planet. This dance involves a deep understanding of the interconnected nature of sustainable living. Each decision made – from consumption patterns to energy use – contributes to the intricate choreography of our environmental impact. The dance of sustainability is not just about minimising negative effects but actively participating in the flourishing of the natural world. It is through this intricate dance that we can forge a path toward a resilient and eco-friendly future.

Extract D:
Sustainability is not an isolated endeavour but a collective responsibility that engages communities in the pursuit of a resilient and eco-friendly future. Embracing sustainable practices goes beyond individual actions; it requires a shared commitment to positive change. By collectively adopting sustainable approaches, communities can become architects of a better future. Whether it’s implementing local initiatives or participating in global sustainability movements, communities play a pivotal role in shaping the narrative of sustainability. Through unity and shared responsibility, we can weave a tapestry of positive change that ensures a harmonious coexistence between humanity and the environment.

For questions (21-30), choose the option (A, B, C, or D) which you think best answers the question.

Which extract discusses the role of sustainable practices as providing a framework for organising mutual support, creating a tapestry of global environmental solidarity?