Reading Comprehension

Extract A: The Picture of Dorian Gray (Excerpt) by Oscar Wilde

When he entered, she looked at him, and an expression of infinite joy came over her. ‘How badly I acted to-night, Dorian!’ she cried. 

‘Horribly!’ he answered, gazing at her in amazement,— ‘horribly! It was dreadful. Are you ill? You have no idea what it was. You have no idea what I suffered.’ 

The girl smiled. ‘Dorian,’ she answered, lingering over his name with long-drawn music in her voice, as though it were sweeter than honey to the red petals of her lips,— ‘Dorian, you should have understood. But you understand now, don’t you?’ 

‘Understand what?’ he asked, angrily. 

‘Why I was so bad to-night. Why I shall always be bad. Why I shall never act well again.’ 

He shrugged his shoulders. ‘You are ill, I suppose. When you are ill you shouldn’t act. You make yourself ridiculous. My friends were bored. I was bored.’ 

She seemed not to listen to him. She was transfigured with joy. An ecstasy of happiness dominated her. 

He flung himself down on the sofa, and turned away his face. ‘You have ended my love,’ he muttered. 

She looked at him in wonder, and laughed. He gave no answer. She came across to him, and stroked his hair with her little fingers. She knelt down and pressed his hands to her lips. He drew them away, and a shudder ran through him. 

Then he leaped up, and went to the door. ‘Yes,’ he cried, ‘you have ended my love. You used to stir my imagination. Now you don’t even stir my curiosity. You simply produce no effect. I loved you because you were wonderful, because you had genius and intellect, because you realised the dreams of great poets and gave shape and substance to the shadows of art. You have thrown it all away. You are shallow. My God! how mad I was to love you! What a fool I have been! You are nothing to me now. I will never see you again. I will never think of you. I will never mention your name. You don’t know what you were to me, once. Why, once …. Oh, I can’t bear to think of it! I wish I had never laid eyes upon you! You have spoiled the romance of my life. How little you can know of love, if you say it mars your art! What are you without your art? Nothing. I would have made you famous, splendid, magnificent. The world would have worshipped you, and you would have belonged to me. What are you now? A third-rate actress with a pretty face.’ 

The girl grew white, and trembled. She clinched her hands together, and her voice seemed to catch in her throat. ‘You are not serious, Dorian?’ she murmured. ‘You are acting.’ ‘Acting! I leave that to you. You do it so well,’ he answered, bitterly. She rose from her knees, and, with a piteous expression of pain in her face, came across the room to him. She put her hand upon his arm, and looked into his eyes. He thrust her back. ‘Don’t touch me!’ he cried. 

Extract B: The Great Gatsby (Excerpt) by Scott Fitzgerald

‘I’ve got something to tell YOU, old sport,——’ began Gatsby. But Daisy guessed at his intention.

‘Please don’t!’ she interrupted helplessly. ‘Please let’s all go home. Why don’t we all go home?’

‘That’s a good idea.’ I got up. ‘Come on, Tom. Nobody wants a drink.’

‘I want to know what Mr. Gatsby has to tell me.’

‘Your wife doesn’t love you,’ said Gatsby. ‘She’s never loved you. She loves me.’

‘You must be crazy!’ exclaimed Tom automatically. Gatsby sprang to his feet, vivid with excitement.

‘She never loved you, do you hear?’ he cried. ‘She only married you because I was poor and she was tired of waiting for me. It was a terrible mistake, but in her heart she never loved anyone except me!’

At this point Jordan and I tried to go but Tom and Gatsby insisted with competitive firmness that we remain—as though neither of them had anything to conceal and it would be a privilege to partake vicariously of their emotions.

‘Sit down Daisy.’ Tom’s voice groped unsuccessfully for the paternal note. ‘What’s been going on? I want to hear all about it.’

‘I told you what’s been going on,’ said Gatsby. ‘Going on for five years—and you didn’t know.’

‘You never loved him.’

She hesitated. Her eyes fell on Jordan and me with a sort of appeal, as though she realised at last what she was doing—and as though she had never, all along, intended doing anything at all. But it was done now. It was too late.

‘I never loved him,’ she said, with perceptible reluctance.

‘Not at Kapiolani?’ demanded Tom suddenly.

‘No.’

From the ballroom beneath, muffled and suffocating chords were drifting up on hot waves of air.

‘Not that day I carried you down from the Punch Bowl to keep your shoes dry?’ There was a husky tenderness in his tone. ‘… Daisy?’

‘Please don’t.’ Her voice was cold, but the rancour was gone from it. She looked at Gatsby. ‘There, Jay,’ she said— but her hand as she tried to light a cigarette was trembling. Suddenly she threw the cigarette and the burning match on the carpet.

‘Oh, you want too much!’ she cried to Gatsby. ‘I love you now—isn’t that enough? I can’t help what’s past.’ 

‘You loved me TOO?’ he repeated.

‘Even that’s a lie,’ said Tom savagely. ‘She didn’t know you were alive. Why,—there are things between Daisy and me that you’ll never know, things that neither of us can ever forget.’ 

The words seemed to bite physically into Gatsby. 

‘I want to speak to Daisy alone,’ he insisted. ‘She’s all excited now——‘ 

‘Even alone I can’t say I never loved Tom,’ she admitted in a pitiful voice. ‘It wouldn’t be true.’ 

‘Of course it wouldn’t,’ agreed Tom. 

She turned to her husband. 

‘As if it mattered to you,’ she said. 

‘Of course it matters. I’m going to take better care of you from now on.’ 

‘You don’t understand,’ said Gatsby, with a touch of panic. ‘You’re not going to take care of her any more.’

‘I’m not?’ Tom opened his eyes wide and laughed. He could afford to control himself now. ‘Why’s that?’ 

‘Daisy’s leaving you.’ 

‘Nonsense.’ 

‘I am, though,’ she said with a visible effort. 

‘She’s not leaving me!’ Tom’s words suddenly leaned down over Gatsby. ‘Certainly not for a common swindler who’d have to steal the ring he put on her finger.’

What is the similarity between the two extracts’ main characters?

Extract A: The Picture of Dorian Gray (Excerpt) by Oscar Wilde

When he entered, she looked at him, and an expression of infinite joy came over her. ‘How badly I acted to-night, Dorian!’ she cried. 

‘Horribly!’ he answered, gazing at her in amazement,— ‘horribly! It was dreadful. Are you ill? You have no idea what it was. You have no idea what I suffered.’ 

The girl smiled. ‘Dorian,’ she answered, lingering over his name with long-drawn music in her voice, as though it were sweeter than honey to the red petals of her lips,— ‘Dorian, you should have understood. But you understand now, don’t you?’ 

‘Understand what?’ he asked, angrily. 

‘Why I was so bad to-night. Why I shall always be bad. Why I shall never act well again.’ 

He shrugged his shoulders. ‘You are ill, I suppose. When you are ill you shouldn’t act. You make yourself ridiculous. My friends were bored. I was bored.’ 

She seemed not to listen to him. She was transfigured with joy. An ecstasy of happiness dominated her. 

He flung himself down on the sofa, and turned away his face. ‘You have ended my love,’ he muttered. 

She looked at him in wonder, and laughed. He gave no answer. She came across to him, and stroked his hair with her little fingers. She knelt down and pressed his hands to her lips. He drew them away, and a shudder ran through him. 

Then he leaped up, and went to the door. ‘Yes,’ he cried, ‘you have ended my love. You used to stir my imagination. Now you don’t even stir my curiosity. You simply produce no effect. I loved you because you were wonderful, because you had genius and intellect, because you realised the dreams of great poets and gave shape and substance to the shadows of art. You have thrown it all away. You are shallow. My God! how mad I was to love you! What a fool I have been! You are nothing to me now. I will never see you again. I will never think of you. I will never mention your name. You don’t know what you were to me, once. Why, once …. Oh, I can’t bear to think of it! I wish I had never laid eyes upon you! You have spoiled the romance of my life. How little you can know of love, if you say it mars your art! What are you without your art? Nothing. I would have made you famous, splendid, magnificent. The world would have worshipped you, and you would have belonged to me. What are you now? A third-rate actress with a pretty face.’ 

The girl grew white, and trembled. She clinched her hands together, and her voice seemed to catch in her throat. ‘You are not serious, Dorian?’ she murmured. ‘You are acting.’ ‘Acting! I leave that to you. You do it so well,’ he answered, bitterly. She rose from her knees, and, with a piteous expression of pain in her face, came across the room to him. She put her hand upon his arm, and looked into his eyes. He thrust her back. ‘Don’t touch me!’ he cried. 

Extract B: The Great Gatsby (Excerpt) by Scott Fitzgerald

‘I’ve got something to tell YOU, old sport,——’ began Gatsby. But Daisy guessed at his intention.

‘Please don’t!’ she interrupted helplessly. ‘Please let’s all go home. Why don’t we all go home?’

‘That’s a good idea.’ I got up. ‘Come on, Tom. Nobody wants a drink.’

‘I want to know what Mr. Gatsby has to tell me.’

‘Your wife doesn’t love you,’ said Gatsby. ‘She’s never loved you. She loves me.’

‘You must be crazy!’ exclaimed Tom automatically. Gatsby sprang to his feet, vivid with excitement.

‘She never loved you, do you hear?’ he cried. ‘She only married you because I was poor and she was tired of waiting for me. It was a terrible mistake, but in her heart she never loved anyone except me!’

At this point Jordan and I tried to go but Tom and Gatsby insisted with competitive firmness that we remain—as though neither of them had anything to conceal and it would be a privilege to partake vicariously of their emotions.

‘Sit down Daisy.’ Tom’s voice groped unsuccessfully for the paternal note. ‘What’s been going on? I want to hear all about it.’

‘I told you what’s been going on,’ said Gatsby. ‘Going on for five years—and you didn’t know.’

‘You never loved him.’

She hesitated. Her eyes fell on Jordan and me with a sort of appeal, as though she realised at last what she was doing—and as though she had never, all along, intended doing anything at all. But it was done now. It was too late.

‘I never loved him,’ she said, with perceptible reluctance.

‘Not at Kapiolani?’ demanded Tom suddenly.

‘No.’

From the ballroom beneath, muffled and suffocating chords were drifting up on hot waves of air.

‘Not that day I carried you down from the Punch Bowl to keep your shoes dry?’ There was a husky tenderness in his tone. ‘… Daisy?’

‘Please don’t.’ Her voice was cold, but the rancour was gone from it. She looked at Gatsby. ‘There, Jay,’ she said— but her hand as she tried to light a cigarette was trembling. Suddenly she threw the cigarette and the burning match on the carpet.

‘Oh, you want too much!’ she cried to Gatsby. ‘I love you now—isn’t that enough? I can’t help what’s past.’ 

‘You loved me TOO?’ he repeated.

‘Even that’s a lie,’ said Tom savagely. ‘She didn’t know you were alive. Why,—there are things between Daisy and me that you’ll never know, things that neither of us can ever forget.’ 

The words seemed to bite physically into Gatsby. 

‘I want to speak to Daisy alone,’ he insisted. ‘She’s all excited now——‘ 

‘Even alone I can’t say I never loved Tom,’ she admitted in a pitiful voice. ‘It wouldn’t be true.’ 

‘Of course it wouldn’t,’ agreed Tom. 

She turned to her husband. 

‘As if it mattered to you,’ she said. 

‘Of course it matters. I’m going to take better care of you from now on.’ 

‘You don’t understand,’ said Gatsby, with a touch of panic. ‘You’re not going to take care of her any more.’

‘I’m not?’ Tom opened his eyes wide and laughed. He could afford to control himself now. ‘Why’s that?’ 

‘Daisy’s leaving you.’ 

‘Nonsense.’ 

‘I am, though,’ she said with a visible effort. 

‘She’s not leaving me!’ Tom’s words suddenly leaned down over Gatsby. ‘Certainly not for a common swindler who’d have to steal the ring he put on her finger.’

How do the objectives of the two main characters in the two excerpts differ?

Extract A: The Picture of Dorian Gray (Excerpt) by Oscar Wilde

When he entered, she looked at him, and an expression of infinite joy came over her. ‘How badly I acted to-night, Dorian!’ she cried. 

‘Horribly!’ he answered, gazing at her in amazement,— ‘horribly! It was dreadful. Are you ill? You have no idea what it was. You have no idea what I suffered.’ 

The girl smiled. ‘Dorian,’ she answered, lingering over his name with long-drawn music in her voice, as though it were sweeter than honey to the red petals of her lips,— ‘Dorian, you should have understood. But you understand now, don’t you?’ 

‘Understand what?’ he asked, angrily. 

‘Why I was so bad to-night. Why I shall always be bad. Why I shall never act well again.’ 

He shrugged his shoulders. ‘You are ill, I suppose. When you are ill you shouldn’t act. You make yourself ridiculous. My friends were bored. I was bored.’ 

She seemed not to listen to him. She was transfigured with joy. An ecstasy of happiness dominated her. 

He flung himself down on the sofa, and turned away his face. ‘You have ended my love,’ he muttered. 

She looked at him in wonder, and laughed. He gave no answer. She came across to him, and stroked his hair with her little fingers. She knelt down and pressed his hands to her lips. He drew them away, and a shudder ran through him. 

Then he leaped up, and went to the door. ‘Yes,’ he cried, ‘you have ended my love. You used to stir my imagination. Now you don’t even stir my curiosity. You simply produce no effect. I loved you because you were wonderful, because you had genius and intellect, because you realised the dreams of great poets and gave shape and substance to the shadows of art. You have thrown it all away. You are shallow. My God! how mad I was to love you! What a fool I have been! You are nothing to me now. I will never see you again. I will never think of you. I will never mention your name. You don’t know what you were to me, once. Why, once …. Oh, I can’t bear to think of it! I wish I had never laid eyes upon you! You have spoiled the romance of my life. How little you can know of love, if you say it mars your art! What are you without your art? Nothing. I would have made you famous, splendid, magnificent. The world would have worshipped you, and you would have belonged to me. What are you now? A third-rate actress with a pretty face.’ 

The girl grew white, and trembled. She clinched her hands together, and her voice seemed to catch in her throat. ‘You are not serious, Dorian?’ she murmured. ‘You are acting.’ ‘Acting! I leave that to you. You do it so well,’ he answered, bitterly. She rose from her knees, and, with a piteous expression of pain in her face, came across the room to him. She put her hand upon his arm, and looked into his eyes. He thrust her back. ‘Don’t touch me!’ he cried. 

Extract B: The Great Gatsby (Excerpt) by Scott Fitzgerald

‘I’ve got something to tell YOU, old sport,——’ began Gatsby. But Daisy guessed at his intention.

‘Please don’t!’ she interrupted helplessly. ‘Please let’s all go home. Why don’t we all go home?’

‘That’s a good idea.’ I got up. ‘Come on, Tom. Nobody wants a drink.’

‘I want to know what Mr. Gatsby has to tell me.’

‘Your wife doesn’t love you,’ said Gatsby. ‘She’s never loved you. She loves me.’

‘You must be crazy!’ exclaimed Tom automatically. Gatsby sprang to his feet, vivid with excitement.

‘She never loved you, do you hear?’ he cried. ‘She only married you because I was poor and she was tired of waiting for me. It was a terrible mistake, but in her heart she never loved anyone except me!’

At this point Jordan and I tried to go but Tom and Gatsby insisted with competitive firmness that we remain—as though neither of them had anything to conceal and it would be a privilege to partake vicariously of their emotions.

‘Sit down Daisy.’ Tom’s voice groped unsuccessfully for the paternal note. ‘What’s been going on? I want to hear all about it.’

‘I told you what’s been going on,’ said Gatsby. ‘Going on for five years—and you didn’t know.’

‘You never loved him.’

She hesitated. Her eyes fell on Jordan and me with a sort of appeal, as though she realised at last what she was doing—and as though she had never, all along, intended doing anything at all. But it was done now. It was too late.

‘I never loved him,’ she said, with perceptible reluctance.

‘Not at Kapiolani?’ demanded Tom suddenly.

‘No.’

From the ballroom beneath, muffled and suffocating chords were drifting up on hot waves of air.

‘Not that day I carried you down from the Punch Bowl to keep your shoes dry?’ There was a husky tenderness in his tone. ‘… Daisy?’

‘Please don’t.’ Her voice was cold, but the rancour was gone from it. She looked at Gatsby. ‘There, Jay,’ she said— but her hand as she tried to light a cigarette was trembling. Suddenly she threw the cigarette and the burning match on the carpet.

‘Oh, you want too much!’ she cried to Gatsby. ‘I love you now—isn’t that enough? I can’t help what’s past.’ 

‘You loved me TOO?’ he repeated.

‘Even that’s a lie,’ said Tom savagely. ‘She didn’t know you were alive. Why,—there are things between Daisy and me that you’ll never know, things that neither of us can ever forget.’ 

The words seemed to bite physically into Gatsby. 

‘I want to speak to Daisy alone,’ he insisted. ‘She’s all excited now——‘ 

‘Even alone I can’t say I never loved Tom,’ she admitted in a pitiful voice. ‘It wouldn’t be true.’ 

‘Of course it wouldn’t,’ agreed Tom. 

She turned to her husband. 

‘As if it mattered to you,’ she said. 

‘Of course it matters. I’m going to take better care of you from now on.’ 

‘You don’t understand,’ said Gatsby, with a touch of panic. ‘You’re not going to take care of her any more.’

‘I’m not?’ Tom opened his eyes wide and laughed. He could afford to control himself now. ‘Why’s that?’ 

‘Daisy’s leaving you.’ 

‘Nonsense.’ 

‘I am, though,’ she said with a visible effort. 

‘She’s not leaving me!’ Tom’s words suddenly leaned down over Gatsby. ‘Certainly not for a common swindler who’d have to steal the ring he put on her finger.’

Which is NOT a theme found in the extracts?

Extract A: The Picture of Dorian Gray (Excerpt) by Oscar Wilde

When he entered, she looked at him, and an expression of infinite joy came over her. ‘How badly I acted to-night, Dorian!’ she cried. 

‘Horribly!’ he answered, gazing at her in amazement,— ‘horribly! It was dreadful. Are you ill? You have no idea what it was. You have no idea what I suffered.’ 

The girl smiled. ‘Dorian,’ she answered, lingering over his name with long-drawn music in her voice, as though it were sweeter than honey to the red petals of her lips,— ‘Dorian, you should have understood. But you understand now, don’t you?’ 

‘Understand what?’ he asked, angrily. 

‘Why I was so bad to-night. Why I shall always be bad. Why I shall never act well again.’ 

He shrugged his shoulders. ‘You are ill, I suppose. When you are ill you shouldn’t act. You make yourself ridiculous. My friends were bored. I was bored.’ 

She seemed not to listen to him. She was transfigured with joy. An ecstasy of happiness dominated her. 

He flung himself down on the sofa, and turned away his face. ‘You have ended my love,’ he muttered. 

She looked at him in wonder, and laughed. He gave no answer. She came across to him, and stroked his hair with her little fingers. She knelt down and pressed his hands to her lips. He drew them away, and a shudder ran through him. 

Then he leaped up, and went to the door. ‘Yes,’ he cried, ‘you have ended my love. You used to stir my imagination. Now you don’t even stir my curiosity. You simply produce no effect. I loved you because you were wonderful, because you had genius and intellect, because you realised the dreams of great poets and gave shape and substance to the shadows of art. You have thrown it all away. You are shallow. My God! how mad I was to love you! What a fool I have been! You are nothing to me now. I will never see you again. I will never think of you. I will never mention your name. You don’t know what you were to me, once. Why, once …. Oh, I can’t bear to think of it! I wish I had never laid eyes upon you! You have spoiled the romance of my life. How little you can know of love, if you say it mars your art! What are you without your art? Nothing. I would have made you famous, splendid, magnificent. The world would have worshipped you, and you would have belonged to me. What are you now? A third-rate actress with a pretty face.’ 

The girl grew white, and trembled. She clinched her hands together, and her voice seemed to catch in her throat. ‘You are not serious, Dorian?’ she murmured. ‘You are acting.’ ‘Acting! I leave that to you. You do it so well,’ he answered, bitterly. She rose from her knees, and, with a piteous expression of pain in her face, came across the room to him. She put her hand upon his arm, and looked into his eyes. He thrust her back. ‘Don’t touch me!’ he cried. 

Extract B: The Great Gatsby (Excerpt) by Scott Fitzgerald

‘I’ve got something to tell YOU, old sport,——’ began Gatsby. But Daisy guessed at his intention.

‘Please don’t!’ she interrupted helplessly. ‘Please let’s all go home. Why don’t we all go home?’

‘That’s a good idea.’ I got up. ‘Come on, Tom. Nobody wants a drink.’

‘I want to know what Mr. Gatsby has to tell me.’

‘Your wife doesn’t love you,’ said Gatsby. ‘She’s never loved you. She loves me.’

‘You must be crazy!’ exclaimed Tom automatically. Gatsby sprang to his feet, vivid with excitement.

‘She never loved you, do you hear?’ he cried. ‘She only married you because I was poor and she was tired of waiting for me. It was a terrible mistake, but in her heart she never loved anyone except me!’

At this point Jordan and I tried to go but Tom and Gatsby insisted with competitive firmness that we remain—as though neither of them had anything to conceal and it would be a privilege to partake vicariously of their emotions.

‘Sit down Daisy.’ Tom’s voice groped unsuccessfully for the paternal note. ‘What’s been going on? I want to hear all about it.’

‘I told you what’s been going on,’ said Gatsby. ‘Going on for five years—and you didn’t know.’

‘You never loved him.’

She hesitated. Her eyes fell on Jordan and me with a sort of appeal, as though she realised at last what she was doing—and as though she had never, all along, intended doing anything at all. But it was done now. It was too late.

‘I never loved him,’ she said, with perceptible reluctance.

‘Not at Kapiolani?’ demanded Tom suddenly.

‘No.’

From the ballroom beneath, muffled and suffocating chords were drifting up on hot waves of air.

‘Not that day I carried you down from the Punch Bowl to keep your shoes dry?’ There was a husky tenderness in his tone. ‘… Daisy?’

‘Please don’t.’ Her voice was cold, but the rancour was gone from it. She looked at Gatsby. ‘There, Jay,’ she said— but her hand as she tried to light a cigarette was trembling. Suddenly she threw the cigarette and the burning match on the carpet.

‘Oh, you want too much!’ she cried to Gatsby. ‘I love you now—isn’t that enough? I can’t help what’s past.’ 

‘You loved me TOO?’ he repeated.

‘Even that’s a lie,’ said Tom savagely. ‘She didn’t know you were alive. Why,—there are things between Daisy and me that you’ll never know, things that neither of us can ever forget.’ 

The words seemed to bite physically into Gatsby. 

‘I want to speak to Daisy alone,’ he insisted. ‘She’s all excited now——‘ 

‘Even alone I can’t say I never loved Tom,’ she admitted in a pitiful voice. ‘It wouldn’t be true.’ 

‘Of course it wouldn’t,’ agreed Tom. 

She turned to her husband. 

‘As if it mattered to you,’ she said. 

‘Of course it matters. I’m going to take better care of you from now on.’ 

‘You don’t understand,’ said Gatsby, with a touch of panic. ‘You’re not going to take care of her any more.’

‘I’m not?’ Tom opened his eyes wide and laughed. He could afford to control himself now. ‘Why’s that?’ 

‘Daisy’s leaving you.’ 

‘Nonsense.’ 

‘I am, though,’ she said with a visible effort. 

‘She’s not leaving me!’ Tom’s words suddenly leaned down over Gatsby. ‘Certainly not for a common swindler who’d have to steal the ring he put on her finger.’

What moods prevail in both excerpts?

Extract A: The Picture of Dorian Gray (Excerpt) by Oscar Wilde

When he entered, she looked at him, and an expression of infinite joy came over her. ‘How badly I acted to-night, Dorian!’ she cried. 

‘Horribly!’ he answered, gazing at her in amazement,— ‘horribly! It was dreadful. Are you ill? You have no idea what it was. You have no idea what I suffered.’ 

The girl smiled. ‘Dorian,’ she answered, lingering over his name with long-drawn music in her voice, as though it were sweeter than honey to the red petals of her lips,— ‘Dorian, you should have understood. But you understand now, don’t you?’ 

‘Understand what?’ he asked, angrily. 

‘Why I was so bad to-night. Why I shall always be bad. Why I shall never act well again.’ 

He shrugged his shoulders. ‘You are ill, I suppose. When you are ill you shouldn’t act. You make yourself ridiculous. My friends were bored. I was bored.’ 

She seemed not to listen to him. She was transfigured with joy. An ecstasy of happiness dominated her. 

He flung himself down on the sofa, and turned away his face. ‘You have ended my love,’ he muttered. 

She looked at him in wonder, and laughed. He gave no answer. She came across to him, and stroked his hair with her little fingers. She knelt down and pressed his hands to her lips. He drew them away, and a shudder ran through him. 

Then he leaped up, and went to the door. ‘Yes,’ he cried, ‘you have ended my love. You used to stir my imagination. Now you don’t even stir my curiosity. You simply produce no effect. I loved you because you were wonderful, because you had genius and intellect, because you realised the dreams of great poets and gave shape and substance to the shadows of art. You have thrown it all away. You are shallow. My God! how mad I was to love you! What a fool I have been! You are nothing to me now. I will never see you again. I will never think of you. I will never mention your name. You don’t know what you were to me, once. Why, once …. Oh, I can’t bear to think of it! I wish I had never laid eyes upon you! You have spoiled the romance of my life. How little you can know of love, if you say it mars your art! What are you without your art? Nothing. I would have made you famous, splendid, magnificent. The world would have worshipped you, and you would have belonged to me. What are you now? A third-rate actress with a pretty face.’ 

The girl grew white, and trembled. She clinched her hands together, and her voice seemed to catch in her throat. ‘You are not serious, Dorian?’ she murmured. ‘You are acting.’ ‘Acting! I leave that to you. You do it so well,’ he answered, bitterly. She rose from her knees, and, with a piteous expression of pain in her face, came across the room to him. She put her hand upon his arm, and looked into his eyes. He thrust her back. ‘Don’t touch me!’ he cried. 

Extract B: The Great Gatsby (Excerpt) by Scott Fitzgerald

‘I’ve got something to tell YOU, old sport,——’ began Gatsby. But Daisy guessed at his intention.

‘Please don’t!’ she interrupted helplessly. ‘Please let’s all go home. Why don’t we all go home?’

‘That’s a good idea.’ I got up. ‘Come on, Tom. Nobody wants a drink.’

‘I want to know what Mr. Gatsby has to tell me.’

‘Your wife doesn’t love you,’ said Gatsby. ‘She’s never loved you. She loves me.’

‘You must be crazy!’ exclaimed Tom automatically. Gatsby sprang to his feet, vivid with excitement.

‘She never loved you, do you hear?’ he cried. ‘She only married you because I was poor and she was tired of waiting for me. It was a terrible mistake, but in her heart she never loved anyone except me!’

At this point Jordan and I tried to go but Tom and Gatsby insisted with competitive firmness that we remain—as though neither of them had anything to conceal and it would be a privilege to partake vicariously of their emotions.

‘Sit down Daisy.’ Tom’s voice groped unsuccessfully for the paternal note. ‘What’s been going on? I want to hear all about it.’

‘I told you what’s been going on,’ said Gatsby. ‘Going on for five years—and you didn’t know.’

‘You never loved him.’

She hesitated. Her eyes fell on Jordan and me with a sort of appeal, as though she realised at last what she was doing—and as though she had never, all along, intended doing anything at all. But it was done now. It was too late.

‘I never loved him,’ she said, with perceptible reluctance.

‘Not at Kapiolani?’ demanded Tom suddenly.

‘No.’

From the ballroom beneath, muffled and suffocating chords were drifting up on hot waves of air.

‘Not that day I carried you down from the Punch Bowl to keep your shoes dry?’ There was a husky tenderness in his tone. ‘… Daisy?’

‘Please don’t.’ Her voice was cold, but the rancour was gone from it. She looked at Gatsby. ‘There, Jay,’ she said— but her hand as she tried to light a cigarette was trembling. Suddenly she threw the cigarette and the burning match on the carpet.

‘Oh, you want too much!’ she cried to Gatsby. ‘I love you now—isn’t that enough? I can’t help what’s past.’ 

‘You loved me TOO?’ he repeated.

‘Even that’s a lie,’ said Tom savagely. ‘She didn’t know you were alive. Why,—there are things between Daisy and me that you’ll never know, things that neither of us can ever forget.’ 

The words seemed to bite physically into Gatsby. 

‘I want to speak to Daisy alone,’ he insisted. ‘She’s all excited now——‘ 

‘Even alone I can’t say I never loved Tom,’ she admitted in a pitiful voice. ‘It wouldn’t be true.’ 

‘Of course it wouldn’t,’ agreed Tom. 

She turned to her husband. 

‘As if it mattered to you,’ she said. 

‘Of course it matters. I’m going to take better care of you from now on.’ 

‘You don’t understand,’ said Gatsby, with a touch of panic. ‘You’re not going to take care of her any more.’

‘I’m not?’ Tom opened his eyes wide and laughed. He could afford to control himself now. ‘Why’s that?’ 

‘Daisy’s leaving you.’ 

‘Nonsense.’ 

‘I am, though,’ she said with a visible effort. 

‘She’s not leaving me!’ Tom’s words suddenly leaned down over Gatsby. ‘Certainly not for a common swindler who’d have to steal the ring he put on her finger.’

What can be inferred about the women on both extracts?

I cautious, scanned my little life by Emily Dickinson

I cautious, scanned my little life –

I winnowed what would fade

From what would last till Heads like mine

Should be a’dreaming laid.

I put the latter in a Barn – 5

The former, blew away.

I went one winter morning

And lo – my priceless Hay

Was not upon the “Scaffold” –

Was not upon the “Beam” – 10

And from a thriving Farmer –

A Cynic, I became.

Whether a Thief did it –

Whether it was the wind –

Whether Deity’s guiltless – 15

My business is, to find!

So I begin to ransack!

How is it Hearts, with Thee?

Art thou within the little Barn

Love provided Thee? 20

What did the poet compare herself to in the poem’s first and second stanzas?

I cautious, scanned my little life by Emily Dickinson

I cautious, scanned my little life –

I winnowed what would fade

From what would last till Heads like mine

Should be a’dreaming laid.

I put the latter in a Barn – 5

The former, blew away.

I went one winter morning

And lo – my priceless Hay

Was not upon the “Scaffold” –

Was not upon the “Beam” – 10

And from a thriving Farmer –

A Cynic, I became.

Whether a Thief did it –

Whether it was the wind –

Whether Deity’s guiltless – 15

My business is, to find!

So I begin to ransack!

How is it Hearts, with Thee?

Art thou within the little Barn

Love provided Thee? 20

What did the author put in a barn?

I cautious, scanned my little life by Emily Dickinson

I cautious, scanned my little life –

I winnowed what would fade

From what would last till Heads like mine

Should be a’dreaming laid.

I put the latter in a Barn – 5

The former, blew away.

I went one winter morning

And lo – my priceless Hay

Was not upon the “Scaffold” –

Was not upon the “Beam” – 10

And from a thriving Farmer –

A Cynic, I became.

Whether a Thief did it –

Whether it was the wind –

Whether Deity’s guiltless – 15

My business is, to find!

So I begin to ransack!

How is it Hearts, with Thee?

Art thou within the little Barn

Love provided Thee? 20

What does “priceless Hay” represent in the poem?

I cautious, scanned my little life by Emily Dickinson

I cautious, scanned my little life –

I winnowed what would fade

From what would last till Heads like mine

Should be a’dreaming laid.

I put the latter in a Barn – 5

The former, blew away.

I went one winter morning

And lo – my priceless Hay

Was not upon the “Scaffold” –

Was not upon the “Beam” – 10

And from a thriving Farmer –

A Cynic, I became.

Whether a Thief did it –

Whether it was the wind –

Whether Deity’s guiltless – 15

My business is, to find!

So I begin to ransack!

How is it Hearts, with Thee?

Art thou within the little Barn

Love provided Thee? 20

What literary device is used in the line “I winnowed what would fade”?

I cautious, scanned my little life by Emily Dickinson

I cautious, scanned my little life –

I winnowed what would fade

From what would last till Heads like mine

Should be a’dreaming laid.

I put the latter in a Barn – 5

The former, blew away.

I went one winter morning

And lo – my priceless Hay

Was not upon the “Scaffold” –

Was not upon the “Beam” – 10

And from a thriving Farmer –

A Cynic, I became.

Whether a Thief did it –

Whether it was the wind –

Whether Deity’s guiltless – 15

My business is, to find!

So I begin to ransack!

How is it Hearts, with Thee?

Art thou within the little Barn

Love provided Thee? 20

What is the main theme of the poem?

There are sentences that have been removed from the article. Choose the correct letter below that contains the sentence that best fits in the paragraph. Take note that there is an extra sentence which you do not need to use.

How Do Dreams Work?

Although it can be difficult to define a dream, for the sake of this article, we shall refer to dreams as our sleep-related thoughts that we remember after we awake. Thus, daydreaming is not the same as sleeping dreams, which are primarily visual (made up of scenes and faces; sound, taste, and smell are rare in dreams). Dreams might be anything from downright bizarre to relatively uninteresting snapshots of a recent occurrence.

Sleep plays a crucial role in memory, according to researchers. Memories are transferred from the hippocampus. This makes it simpler to recall the memories in the future. 11…………………… You might repeatedly watch your favourite part in a movie if you want to remember all the words to it. The brain functions in a similar manner; during sleep, neurons that were active during learning become active once more and review the information. This aids in more permanent memory storage. We could experience memory replay in our dreams. Does the fact that dreams aid in memory processing imply that if you don’t dream, your memories aren’t being processed? 12…………………… 

A remote associates task, in which three unrelated words are displayed and the person is asked to think of a word they have in common, was employed by scientists to gauge creative problem solving. For instance, until you learn they are all connected to ‘sweet’, the terms ‘heart’, ‘sixteen’, and ‘cookies’ appear to be unconnected (sweetheart, sweet sixteen, and cookies are sweet). 13…………………… They discovered that taking a nap helped participants think about the remote solution more effectively.

Typically, dreams are emotional. According to one study, most nightmares are frightful, irate, or depressing.  Simply because we tend to remember emotionally charged events more vividly than neutral events, dreams may appear to be emotionally charged. For instance, a normal school day is less memorable than the day you bought a puppy in real life. 14…………………… It’s also likely that dreams contain strong emotions because one function of dreams is to aid in the processing of our emotions. Sad dreams are more likely to occur if you had a bad day. However, sleep also elevates mood; getting some sleep after a fight or depressing incident will cheer you up.

Threat simulation theory suggests that dreams may also help us get ready for emotionally charged situations. One mother, for instance, decided to enrol her little daughter in swim lessons after recalling a dream in which the child, who was unable to swim, fell into a swimming pool. 15…………………… 

Researchers can assess dreams in a variety of ways, including by asking questions and utilising MRI. These findings demonstrate that the fascinating dreams we remember when we wake up are a result of brain activity that occurs while we sleep. These dreams assist us in processing our emotions, remembering details, and becoming more creative.

There are sentences that have been removed from the article. Choose the correct letter below that contains the sentence that best fits in the paragraph. Take note that there is an extra sentence which you do not need to use.

How Do Dreams Work?

Although it can be difficult to define a dream, for the sake of this article, we shall refer to dreams as our sleep-related thoughts that we remember after we awake. Thus, daydreaming is not the same as sleeping dreams, which are primarily visual (made up of scenes and faces; sound, taste, and smell are rare in dreams). Dreams might be anything from downright bizarre to relatively uninteresting snapshots of a recent occurrence.

Sleep plays a crucial role in memory, according to researchers. Memories are transferred from the hippocampus. This makes it simpler to recall the memories in the future. 11…………………… You might repeatedly watch your favourite part in a movie if you want to remember all the words to it. The brain functions in a similar manner; during sleep, neurons that were active during learning become active once more and review the information. This aids in more permanent memory storage. We could experience memory replay in our dreams. Does the fact that dreams aid in memory processing imply that if you don’t dream, your memories aren’t being processed? 12…………………… 

A remote associates task, in which three unrelated words are displayed and the person is asked to think of a word they have in common, was employed by scientists to gauge creative problem solving. For instance, until you learn they are all connected to ‘sweet’, the terms ‘heart’, ‘sixteen’, and ‘cookies’ appear to be unconnected (sweetheart, sweet sixteen, and cookies are sweet). 13…………………… They discovered that taking a nap helped participants think about the remote solution more effectively.

Typically, dreams are emotional. According to one study, most nightmares are frightful, irate, or depressing.  Simply because we tend to remember emotionally charged events more vividly than neutral events, dreams may appear to be emotionally charged. For instance, a normal school day is less memorable than the day you bought a puppy in real life. 14…………………… It’s also likely that dreams contain strong emotions because one function of dreams is to aid in the processing of our emotions. Sad dreams are more likely to occur if you had a bad day. However, sleep also elevates mood; getting some sleep after a fight or depressing incident will cheer you up.

Threat simulation theory suggests that dreams may also help us get ready for emotionally charged situations. One mother, for instance, decided to enrol her little daughter in swim lessons after recalling a dream in which the child, who was unable to swim, fell into a swimming pool. 15…………………… 

Researchers can assess dreams in a variety of ways, including by asking questions and utilising MRI. These findings demonstrate that the fascinating dreams we remember when we wake up are a result of brain activity that occurs while we sleep. These dreams assist us in processing our emotions, remembering details, and becoming more creative.

There are sentences that have been removed from the article. Choose the correct letter below that contains the sentence that best fits in the paragraph. Take note that there is an extra sentence which you do not need to use.

How Do Dreams Work?

Although it can be difficult to define a dream, for the sake of this article, we shall refer to dreams as our sleep-related thoughts that we remember after we awake. Thus, daydreaming is not the same as sleeping dreams, which are primarily visual (made up of scenes and faces; sound, taste, and smell are rare in dreams). Dreams might be anything from downright bizarre to relatively uninteresting snapshots of a recent occurrence.

Sleep plays a crucial role in memory, according to researchers. Memories are transferred from the hippocampus. This makes it simpler to recall the memories in the future. 11…………………… You might repeatedly watch your favourite part in a movie if you want to remember all the words to it. The brain functions in a similar manner; during sleep, neurons that were active during learning become active once more and review the information. This aids in more permanent memory storage. We could experience memory replay in our dreams. Does the fact that dreams aid in memory processing imply that if you don’t dream, your memories aren’t being processed? 12…………………… 

A remote associates task, in which three unrelated words are displayed and the person is asked to think of a word they have in common, was employed by scientists to gauge creative problem solving. For instance, until you learn they are all connected to ‘sweet’, the terms ‘heart’, ‘sixteen’, and ‘cookies’ appear to be unconnected (sweetheart, sweet sixteen, and cookies are sweet). 13…………………… They discovered that taking a nap helped participants think about the remote solution more effectively.

Typically, dreams are emotional. According to one study, most nightmares are frightful, irate, or depressing.  Simply because we tend to remember emotionally charged events more vividly than neutral events, dreams may appear to be emotionally charged. For instance, a normal school day is less memorable than the day you bought a puppy in real life. 14…………………… It’s also likely that dreams contain strong emotions because one function of dreams is to aid in the processing of our emotions. Sad dreams are more likely to occur if you had a bad day. However, sleep also elevates mood; getting some sleep after a fight or depressing incident will cheer you up.

Threat simulation theory suggests that dreams may also help us get ready for emotionally charged situations. One mother, for instance, decided to enrol her little daughter in swim lessons after recalling a dream in which the child, who was unable to swim, fell into a swimming pool. 15…………………… 

Researchers can assess dreams in a variety of ways, including by asking questions and utilising MRI. These findings demonstrate that the fascinating dreams we remember when we wake up are a result of brain activity that occurs while we sleep. These dreams assist us in processing our emotions, remembering details, and becoming more creative.

There are sentences that have been removed from the article. Choose the correct letter below that contains the sentence that best fits in the paragraph. Take note that there is an extra sentence which you do not need to use.

How Do Dreams Work?

Although it can be difficult to define a dream, for the sake of this article, we shall refer to dreams as our sleep-related thoughts that we remember after we awake. Thus, daydreaming is not the same as sleeping dreams, which are primarily visual (made up of scenes and faces; sound, taste, and smell are rare in dreams). Dreams might be anything from downright bizarre to relatively uninteresting snapshots of a recent occurrence.

Sleep plays a crucial role in memory, according to researchers. Memories are transferred from the hippocampus. This makes it simpler to recall the memories in the future. 11…………………… You might repeatedly watch your favourite part in a movie if you want to remember all the words to it. The brain functions in a similar manner; during sleep, neurons that were active during learning become active once more and review the information. This aids in more permanent memory storage. We could experience memory replay in our dreams. Does the fact that dreams aid in memory processing imply that if you don’t dream, your memories aren’t being processed? 12…………………… 

A remote associates task, in which three unrelated words are displayed and the person is asked to think of a word they have in common, was employed by scientists to gauge creative problem solving. For instance, until you learn they are all connected to ‘sweet’, the terms ‘heart’, ‘sixteen’, and ‘cookies’ appear to be unconnected (sweetheart, sweet sixteen, and cookies are sweet). 13…………………… They discovered that taking a nap helped participants think about the remote solution more effectively.

Typically, dreams are emotional. According to one study, most nightmares are frightful, irate, or depressing.  Simply because we tend to remember emotionally charged events more vividly than neutral events, dreams may appear to be emotionally charged. For instance, a normal school day is less memorable than the day you bought a puppy in real life. 14…………………… It’s also likely that dreams contain strong emotions because one function of dreams is to aid in the processing of our emotions. Sad dreams are more likely to occur if you had a bad day. However, sleep also elevates mood; getting some sleep after a fight or depressing incident will cheer you up.

Threat simulation theory suggests that dreams may also help us get ready for emotionally charged situations. One mother, for instance, decided to enrol her little daughter in swim lessons after recalling a dream in which the child, who was unable to swim, fell into a swimming pool. 15…………………… 

Researchers can assess dreams in a variety of ways, including by asking questions and utilising MRI. These findings demonstrate that the fascinating dreams we remember when we wake up are a result of brain activity that occurs while we sleep. These dreams assist us in processing our emotions, remembering details, and becoming more creative.

There are sentences that have been removed from the article. Choose the correct letter below that contains the sentence that best fits in the paragraph. Take note that there is an extra sentence which you do not need to use.

How Do Dreams Work?

Although it can be difficult to define a dream, for the sake of this article, we shall refer to dreams as our sleep-related thoughts that we remember after we awake. Thus, daydreaming is not the same as sleeping dreams, which are primarily visual (made up of scenes and faces; sound, taste, and smell are rare in dreams). Dreams might be anything from downright bizarre to relatively uninteresting snapshots of a recent occurrence.

Sleep plays a crucial role in memory, according to researchers. Memories are transferred from the hippocampus. This makes it simpler to recall the memories in the future. 11…………………… You might repeatedly watch your favourite part in a movie if you want to remember all the words to it. The brain functions in a similar manner; during sleep, neurons that were active during learning become active once more and review the information. This aids in more permanent memory storage. We could experience memory replay in our dreams. Does the fact that dreams aid in memory processing imply that if you don’t dream, your memories aren’t being processed? 12…………………… 

A remote associates task, in which three unrelated words are displayed and the person is asked to think of a word they have in common, was employed by scientists to gauge creative problem solving. For instance, until you learn they are all connected to ‘sweet’, the terms ‘heart’, ‘sixteen’, and ‘cookies’ appear to be unconnected (sweetheart, sweet sixteen, and cookies are sweet). 13…………………… They discovered that taking a nap helped participants think about the remote solution more effectively.

Typically, dreams are emotional. According to one study, most nightmares are frightful, irate, or depressing.  Simply because we tend to remember emotionally charged events more vividly than neutral events, dreams may appear to be emotionally charged. For instance, a normal school day is less memorable than the day you bought a puppy in real life. 14…………………… It’s also likely that dreams contain strong emotions because one function of dreams is to aid in the processing of our emotions. Sad dreams are more likely to occur if you had a bad day. However, sleep also elevates mood; getting some sleep after a fight or depressing incident will cheer you up.

Threat simulation theory suggests that dreams may also help us get ready for emotionally charged situations. One mother, for instance, decided to enrol her little daughter in swim lessons after recalling a dream in which the child, who was unable to swim, fell into a swimming pool. 15…………………… 

Researchers can assess dreams in a variety of ways, including by asking questions and utilising MRI. These findings demonstrate that the fascinating dreams we remember when we wake up are a result of brain activity that occurs while we sleep. These dreams assist us in processing our emotions, remembering details, and becoming more creative.

Which extract mentions about a bear with dark eyes and nostrils, but has a white coat that extends from the roots of their hair to the tips?

Which extract mentions about a bear whose diet is low in nutrients and who, as a result, spends a great deal of time eating?

Which extract mentions about a bear frequently observed climbing trees and destroying beehives?

Which extract mentions about a bear with the greatest global distribution?

Which extract mentions about a bear that reacts to being threatened by standing up straight and displaying its strong foreclaws?

The History of Pastry

As typical, ancient and classical periods are when many of the world’s finest works of art originated. In addition to hieroglyphics and papyrus, the ancient Greeks also developed philosophy and democracy, the Romans developed military strategies and aqueducts, and it is believed that all of these civilizations also consumed various sorts of pastry. It is thought that the ancient Egyptians, Greeks, and Romans all employed a filo-type pastry (a straightforward mixture of flour and oil) to create honey cakes, fruit pastries, sweet tarts, and dumplings stuffed with dates and nuts using the natural sweeteners available at the time. These delicious snacks have been documented in works such as Aristophanes’ comedic plays or on ancient tomb paintings.

The Romans first developed a simple pastry dough that was applied on meats before they were cooked. It was never intended to be eaten and was subsequently thrown away. The simple paste made from flour, oil, and water was used as a barrier to keep the meat moist and also protect the outside from burning. It appears that the lack of butter or lard to provide the richness we know with pastry today was the greatest obstacle ancient bakers faced.

It’s not until the late Mediaeval period that we start to see fuller pastry recipes that resemble the shortcrust and puff versions we are more familiar with. The Forme of Cury, the earliest known English-language cookbook, mentions the creation of chastletes and coffins, the earliest forms of pies and tarts. It is believed to have been composed towards the end of the fourteenth century. Many of these early recipes, especially those from the fourteenth to the fifteenth centuries, require egg yolks and saffron to give the dough colour. From this, hot water crust pastry was developed, and hand-formed game pies were popular as table centrepieces and frequently connected to banquets and galas.

Pastry-making rose in popularity in the seventeenth century; British bakers took great delight in the methods and ornate designs they utilised, and they were further inspired by the innovations in culinary taking place across the Channel. Puff pastry was apparently created by French painter and apprentice cook, Claude Gelée, in about 1645, when he unintentionally produced a laminated dough when attempting to make a type of rolled butter cake for his sick father. The earliest known British version is recorded with  a manuscript from 1692, Hannah Bisaker describes how to make puff pastry and instructs the reader to “lay some Butter in little pieces’ ‘ over the flour mixture before folding and rolling three times. 

Once pastry-making was a common practice in British kitchens, other regional varieties started to emerge. The most well-known savoury options are the Melton Mowbray pork pie and the Cornish pasty, both of which have protected food status due to their rich culinary heritage. The pig pie has a raised heated water crust pastry with a pork filling and a set jelly, or aspic, similar to the early game pies. These are believed to have grown mainly in the 1700s in and around the Melton region as a result of the rise of foxhunting and cheesemaking. Increasing cheese output resulted in a surplus of whey, which made excellent pig chow and increased local hog production—an unusual match. When visiting huntsmen observed these conveniently packed in pastry for workers, word of these tiny pies spread farther afield.

In just a few hundred years, pastry has travelled quite a distance from its humble beginnings to become a show-stopping centrepiece. Today, it is utilised more as a delectable culinary canvas for increasingly imaginative toppings and fillings, while it was once merely a tool. With pies and pasties, quiches and tarts available with nearly any filling or flavour; from traditional recipes to modern fusion concoctions, it’s almost mind-boggling the options accessible now. It’s hard to think the Romans used to throw their pastry away.

According to the text, the Romans were among the earliest civilizations to develop the basic pastry dough. How did the Romans first use this?

The History of Pastry

As typical, ancient and classical periods are when many of the world’s finest works of art originated. In addition to hieroglyphics and papyrus, the ancient Greeks also developed philosophy and democracy, the Romans developed military strategies and aqueducts, and it is believed that all of these civilizations also consumed various sorts of pastry. It is thought that the ancient Egyptians, Greeks, and Romans all employed a filo-type pastry (a straightforward mixture of flour and oil) to create honey cakes, fruit pastries, sweet tarts, and dumplings stuffed with dates and nuts using the natural sweeteners available at the time. These delicious snacks have been documented in works such as Aristophanes’ comedic plays or on ancient tomb paintings.

The Romans first developed a simple pastry dough that was applied on meats before they were cooked. It was never intended to be eaten and was subsequently thrown away. The simple paste made from flour, oil, and water was used as a barrier to keep the meat moist and also protect the outside from burning. It appears that the lack of butter or lard to provide the richness we know with pastry today was the greatest obstacle ancient bakers faced.

It’s not until the late Mediaeval period that we start to see fuller pastry recipes that resemble the shortcrust and puff versions we are more familiar with. The Forme of Cury, the earliest known English-language cookbook, mentions the creation of chastletes and coffins, the earliest forms of pies and tarts. It is believed to have been composed towards the end of the fourteenth century. Many of these early recipes, especially those from the fourteenth to the fifteenth centuries, require egg yolks and saffron to give the dough colour. From this, hot water crust pastry was developed, and hand-formed game pies were popular as table centrepieces and frequently connected to banquets and galas.

Pastry-making rose in popularity in the seventeenth century; British bakers took great delight in the methods and ornate designs they utilised, and they were further inspired by the innovations in culinary taking place across the Channel. Puff pastry was apparently created by French painter and apprentice cook, Claude Gelée, in about 1645, when he unintentionally produced a laminated dough when attempting to make a type of rolled butter cake for his sick father. The earliest known British version is recorded with  a manuscript from 1692, Hannah Bisaker describes how to make puff pastry and instructs the reader to “lay some Butter in little pieces’ ‘ over the flour mixture before folding and rolling three times. 

Once pastry-making was a common practice in British kitchens, other regional varieties started to emerge. The most well-known savoury options are the Melton Mowbray pork pie and the Cornish pasty, both of which have protected food status due to their rich culinary heritage. The pig pie has a raised heated water crust pastry with a pork filling and a set jelly, or aspic, similar to the early game pies. These are believed to have grown mainly in the 1700s in and around the Melton region as a result of the rise of foxhunting and cheesemaking. Increasing cheese output resulted in a surplus of whey, which made excellent pig chow and increased local hog production—an unusual match. When visiting huntsmen observed these conveniently packed in pastry for workers, word of these tiny pies spread farther afield.

In just a few hundred years, pastry has travelled quite a distance from its humble beginnings to become a show-stopping centrepiece. Today, it is utilised more as a delectable culinary canvas for increasingly imaginative toppings and fillings, while it was once merely a tool. With pies and pasties, quiches and tarts available with nearly any filling or flavour; from traditional recipes to modern fusion concoctions, it’s almost mind-boggling the options accessible now. It’s hard to think the Romans used to throw their pastry away.

What diction did the author use in writing the article?

The History of Pastry

As typical, ancient and classical periods are when many of the world’s finest works of art originated. In addition to hieroglyphics and papyrus, the ancient Greeks also developed philosophy and democracy, the Romans developed military strategies and aqueducts, and it is believed that all of these civilizations also consumed various sorts of pastry. It is thought that the ancient Egyptians, Greeks, and Romans all employed a filo-type pastry (a straightforward mixture of flour and oil) to create honey cakes, fruit pastries, sweet tarts, and dumplings stuffed with dates and nuts using the natural sweeteners available at the time. These delicious snacks have been documented in works such as Aristophanes’ comedic plays or on ancient tomb paintings.

The Romans first developed a simple pastry dough that was applied on meats before they were cooked. It was never intended to be eaten and was subsequently thrown away. The simple paste made from flour, oil, and water was used as a barrier to keep the meat moist and also protect the outside from burning. It appears that the lack of butter or lard to provide the richness we know with pastry today was the greatest obstacle ancient bakers faced.

It’s not until the late Mediaeval period that we start to see fuller pastry recipes that resemble the shortcrust and puff versions we are more familiar with. The Forme of Cury, the earliest known English-language cookbook, mentions the creation of chastletes and coffins, the earliest forms of pies and tarts. It is believed to have been composed towards the end of the fourteenth century. Many of these early recipes, especially those from the fourteenth to the fifteenth centuries, require egg yolks and saffron to give the dough colour. From this, hot water crust pastry was developed, and hand-formed game pies were popular as table centrepieces and frequently connected to banquets and galas.

Pastry-making rose in popularity in the seventeenth century; British bakers took great delight in the methods and ornate designs they utilised, and they were further inspired by the innovations in culinary taking place across the Channel. Puff pastry was apparently created by French painter and apprentice cook, Claude Gelée, in about 1645, when he unintentionally produced a laminated dough when attempting to make a type of rolled butter cake for his sick father. The earliest known British version is recorded with  a manuscript from 1692, Hannah Bisaker describes how to make puff pastry and instructs the reader to “lay some Butter in little pieces’ ‘ over the flour mixture before folding and rolling three times. 

Once pastry-making was a common practice in British kitchens, other regional varieties started to emerge. The most well-known savoury options are the Melton Mowbray pork pie and the Cornish pasty, both of which have protected food status due to their rich culinary heritage. The pig pie has a raised heated water crust pastry with a pork filling and a set jelly, or aspic, similar to the early game pies. These are believed to have grown mainly in the 1700s in and around the Melton region as a result of the rise of foxhunting and cheesemaking. Increasing cheese output resulted in a surplus of whey, which made excellent pig chow and increased local hog production—an unusual match. When visiting huntsmen observed these conveniently packed in pastry for workers, word of these tiny pies spread farther afield.

In just a few hundred years, pastry has travelled quite a distance from its humble beginnings to become a show-stopping centrepiece. Today, it is utilised more as a delectable culinary canvas for increasingly imaginative toppings and fillings, while it was once merely a tool. With pies and pasties, quiches and tarts available with nearly any filling or flavour; from traditional recipes to modern fusion concoctions, it’s almost mind-boggling the options accessible now. It’s hard to think the Romans used to throw their pastry away.

Which is NOT true about pastries?

I. The Forme of Pastry is the earliest known cookbook in English.

II. A French painter and apprentice cook is believed to have invented puff pastry.

III. Egg yolks and saffron are frequently used in early recipes to give the dough colour.

IV. The first known simple pastry dough was used to make pies.

The History of Pastry

As typical, ancient and classical periods are when many of the world’s finest works of art originated. In addition to hieroglyphics and papyrus, the ancient Greeks also developed philosophy and democracy, the Romans developed military strategies and aqueducts, and it is believed that all of these civilizations also consumed various sorts of pastry. It is thought that the ancient Egyptians, Greeks, and Romans all employed a filo-type pastry (a straightforward mixture of flour and oil) to create honey cakes, fruit pastries, sweet tarts, and dumplings stuffed with dates and nuts using the natural sweeteners available at the time. These delicious snacks have been documented in works such as Aristophanes’ comedic plays or on ancient tomb paintings.

The Romans first developed a simple pastry dough that was applied on meats before they were cooked. It was never intended to be eaten and was subsequently thrown away. The simple paste made from flour, oil, and water was used as a barrier to keep the meat moist and also protect the outside from burning. It appears that the lack of butter or lard to provide the richness we know with pastry today was the greatest obstacle ancient bakers faced.

It’s not until the late Mediaeval period that we start to see fuller pastry recipes that resemble the shortcrust and puff versions we are more familiar with. The Forme of Cury, the earliest known English-language cookbook, mentions the creation of chastletes and coffins, the earliest forms of pies and tarts. It is believed to have been composed towards the end of the fourteenth century. Many of these early recipes, especially those from the fourteenth to the fifteenth centuries, require egg yolks and saffron to give the dough colour. From this, hot water crust pastry was developed, and hand-formed game pies were popular as table centrepieces and frequently connected to banquets and galas.

Pastry-making rose in popularity in the seventeenth century; British bakers took great delight in the methods and ornate designs they utilised, and they were further inspired by the innovations in culinary taking place across the Channel. Puff pastry was apparently created by French painter and apprentice cook, Claude Gelée, in about 1645, when he unintentionally produced a laminated dough when attempting to make a type of rolled butter cake for his sick father. The earliest known British version is recorded with  a manuscript from 1692, Hannah Bisaker describes how to make puff pastry and instructs the reader to “lay some Butter in little pieces’ ‘ over the flour mixture before folding and rolling three times. 

Once pastry-making was a common practice in British kitchens, other regional varieties started to emerge. The most well-known savoury options are the Melton Mowbray pork pie and the Cornish pasty, both of which have protected food status due to their rich culinary heritage. The pig pie has a raised heated water crust pastry with a pork filling and a set jelly, or aspic, similar to the early game pies. These are believed to have grown mainly in the 1700s in and around the Melton region as a result of the rise of foxhunting and cheesemaking. Increasing cheese output resulted in a surplus of whey, which made excellent pig chow and increased local hog production—an unusual match. When visiting huntsmen observed these conveniently packed in pastry for workers, word of these tiny pies spread farther afield.

In just a few hundred years, pastry has travelled quite a distance from its humble beginnings to become a show-stopping centrepiece. Today, it is utilised more as a delectable culinary canvas for increasingly imaginative toppings and fillings, while it was once merely a tool. With pies and pasties, quiches and tarts available with nearly any filling or flavour; from traditional recipes to modern fusion concoctions, it’s almost mind-boggling the options accessible now. It’s hard to think the Romans used to throw their pastry away.

What is the primary goal of the text?

The History of Pastry

As typical, ancient and classical periods are when many of the world’s finest works of art originated. In addition to hieroglyphics and papyrus, the ancient Greeks also developed philosophy and democracy, the Romans developed military strategies and aqueducts, and it is believed that all of these civilizations also consumed various sorts of pastry. It is thought that the ancient Egyptians, Greeks, and Romans all employed a filo-type pastry (a straightforward mixture of flour and oil) to create honey cakes, fruit pastries, sweet tarts, and dumplings stuffed with dates and nuts using the natural sweeteners available at the time. These delicious snacks have been documented in works such as Aristophanes’ comedic plays or on ancient tomb paintings.

The Romans first developed a simple pastry dough that was applied on meats before they were cooked. It was never intended to be eaten and was subsequently thrown away. The simple paste made from flour, oil, and water was used as a barrier to keep the meat moist and also protect the outside from burning. It appears that the lack of butter or lard to provide the richness we know with pastry today was the greatest obstacle ancient bakers faced.

It’s not until the late Mediaeval period that we start to see fuller pastry recipes that resemble the shortcrust and puff versions we are more familiar with. The Forme of Cury, the earliest known English-language cookbook, mentions the creation of chastletes and coffins, the earliest forms of pies and tarts. It is believed to have been composed towards the end of the fourteenth century. Many of these early recipes, especially those from the fourteenth to the fifteenth centuries, require egg yolks and saffron to give the dough colour. From this, hot water crust pastry was developed, and hand-formed game pies were popular as table centrepieces and frequently connected to banquets and galas.

Pastry-making rose in popularity in the seventeenth century; British bakers took great delight in the methods and ornate designs they utilised, and they were further inspired by the innovations in culinary taking place across the Channel. Puff pastry was apparently created by French painter and apprentice cook, Claude Gelée, in about 1645, when he unintentionally produced a laminated dough when attempting to make a type of rolled butter cake for his sick father. The earliest known British version is recorded with  a manuscript from 1692, Hannah Bisaker describes how to make puff pastry and instructs the reader to “lay some Butter in little pieces’ ‘ over the flour mixture before folding and rolling three times. 

Once pastry-making was a common practice in British kitchens, other regional varieties started to emerge. The most well-known savoury options are the Melton Mowbray pork pie and the Cornish pasty, both of which have protected food status due to their rich culinary heritage. The pig pie has a raised heated water crust pastry with a pork filling and a set jelly, or aspic, similar to the early game pies. These are believed to have grown mainly in the 1700s in and around the Melton region as a result of the rise of foxhunting and cheesemaking. Increasing cheese output resulted in a surplus of whey, which made excellent pig chow and increased local hog production—an unusual match. When visiting huntsmen observed these conveniently packed in pastry for workers, word of these tiny pies spread farther afield.

In just a few hundred years, pastry has travelled quite a distance from its humble beginnings to become a show-stopping centrepiece. Today, it is utilised more as a delectable culinary canvas for increasingly imaginative toppings and fillings, while it was once merely a tool. With pies and pasties, quiches and tarts available with nearly any filling or flavour; from traditional recipes to modern fusion concoctions, it’s almost mind-boggling the options accessible now. It’s hard to think the Romans used to throw their pastry away.

Which of the following conclusions can be supported by the text?