Practice Cold Read
Directions Read the following selections. Then answer the questions that follow.
From The Cat Who Lived in a Drainpipe by Joan Aiken
Three hundred years ago, in the times when men wore swords and rode
on horses, when ladies carried fans and traveled in carriages, when ships had sails
and kings lived in castles, and you could buy a large loaf of bread for a
penny, there lived three cats in Venice.
Venice is a very peculiar town, built on about a hundred islands. The
streets in between the houses are canals full of water. Only in the narrowest
alleys and lanes can you walk on dry ground. If you want to go across town you
take a gondola. If a housewife wants to visit her neighbor on the other side of
the street, she has to row herself over, unless there is a bridge by her house.
10 Children and cats in Venice learn to swim almost as soon as they learn to walk.
The three cats I am going to tell you about were called Nero, Sandro,
and Seppi.
Nero was large and pitch black and very tough indeed. His master was a
chimney sweep called Benno Fosco. Nero helped with the sweeping. In Venice,
chimneys are swept from above. The sweep, standing on the roof, lets down a
long bunch of twigs like a witch's broom to knock out the soot. Nero and his
master climbed all over the roofs of Venice with heir brooms and their bags full
of soot. If a chimney was narrow or very choked up, Nero would go down first,
at top speed, like a diver, boring out the soot with his sharp claws and his
20 powerful paws and sweeping it loose behind him with his strong, whiplike tail.
It was lucky that Nero was black, so that the soot didn't show on his fur;
he was always absolutely wadded with soot and left a cloud of it behind him as
he walked about. And if his master rubbed behind his ears, out came another
black cloud. No one, apart from Benno Fosco, would ever have dared to stroke
Nero; he might have bitten the finger off anybody who tried. When the chimney
sweep poled his gondola along the canals, loaded with sacks of soot, Nero sat on
one of the bags, right at the front, looking like a big fat figurehead carved out
of coal. Mostly he stayed silent, but every once in a while he let out a single low,
threatening howl: Ow-wow-ow-ow-ow! It meant, Does anybody feel like a fight?
30 And when he did so, the other cats along the waterside, sitting on windowsills or
doorsteps or on bridges or other boats, would half close their eyes, shrug, and
keep quite quiet until he had gone by. Nobody ever felt inclined to fight with
Nero.
Sandro was quite a different kind of cat. His long, soft fur was a darkorange color, like a French marigold. His expression was always calm and
sleepy and very refined; he spent most of his days dozing on a red velvet
cushion in the boudoir of his mistress, who was a princess and lived in a palace
in one of the grandest streets. Two or three times a day, the princess used to
comb Sandro with a silver comb. While doing so she would exclaim admiringly,
40 "Bello Sandro! Bello gatto! Beautiful cat!" Sandro never paid the least
attention to this, but merely went on dozing harder than ever, with his nose
pushed well in under his tail. The only exercise he took during the hours of
daylight was an occasional short spell of washing. But at night, when his
mistress, the Princess Cappella, was asleep, he went out over the roofs of Venice.
Seppi, the third cat, was quite different again from either of the others.
For a start, he was much smaller. Seppi belonged to nobody; he had been born
in a worm-eaten fish basket, and he lived in a broken drainpipe. His mother,
unfortunately, had fallen off a fishing boat and been drowned when he was a
kitten; from that day on, Seppi never grew any bigger. He lived on fish heads
50 and moldy scraps of macaroni stolen from garbage heaps. He was an ugly little
cat, black and white in patches of various sizes, with one black paw and three
white, a black mask across his white face, and a saddle of black from
shoulders to tail. One ear was black with a white lining, and one white with a black tip; one
eye was yellow, and one blue. Also, he had suffered from a mishap to his tail;
most of it was missing, leaving only a short black stump. It made him look like a
rabbit and ruined his balance. Where other cats could leap gracefully onto
narrow ledges or walk easily along slender rails, Seppi had to concentrate with
all his might or he was liable to overshoot and topple off edges. But he practiced
at balancing most patiently, and when he did fall he always landed lightly; he
60 was so skinny that he weighed little more than a duster. Every day he clambered
gaily and dangerously all over the roofs and walls and pinnacles and boats and
bridges of Venice; he was always hungry but he was always hopeful, too, and
full of energy and curiosity. People laughed at him and shouted "Pulcinello"
as he went trotting by on his own business, because, in his black mask, he looked
so like a clown.
These three cats, Nero, Sandro, and Seppi, were not precisely friends.
Nero was too tough to need friends, and Sandro too lazy. And both were
inclined to look down their noses at Seppi, who was such a common little gutter
cat and so much younger and smaller as well.
70
But one bond joined all three of them together, and that was music.
They were all passionately fond of it. Regularly, every Friday evening, they
assembled together for a singing session. They always met in the same place, on
a wooden humpbacked bridge over a quiet backwater. And there, all night, in all
weather except snow, they would hold their concert, until the first light of the
rising sun began to dapple the canal water like pink lettuce leaves.
This was why Nero and Sandro were prepared to tolerate Seppi and
overlook his clownlike appearance and vulgar ways and lack of tail. In spite of
his being so small, he had a remarkably loud voice, and furthermore he could
sing higher up the scale than any other cat in Venice.
80
Their program of singing was always the same. Nero began, because his
voice was the deepest. Squatting on the top step of the bridge, like a big
shapeless black lump, with elbows and whiskers sticking out sideways, he would
slowly let out four or five howls, all on the same deep, gritty, throbbing bass
note, like an old mill wheel creaking: How, row, row, row, row.
Then there would be a long, silent pause, until Sandro was ready to sing
his part of the trio, which was a slow, sorrowful, wailing tenor cry, not unlike the
hoot of a ship's siren a great way off in the fog: Harayyyyyyyyyyyyy?
Afterward, all three cats would sit silent and motionless, without even
the twitch of a whisker, for so great a stretch of time that any listener might be
90 fooled into thinking that they had finished their concert and gone home to bed.
But not a bit of it. All of a sudden little Seppi would let out such an earpiercingly shrill scream—Freeeeeeeeeeeee!—that birds, even at dead of night,
would wake and twitter in protest under the eaves of nearby houses, dogs would
bark for two miles around, while any person walking rather close to a canal in
that district would almost certainly be so startled that he fell into the water. Even
Sandro and Nero never became completely accustomed to Seppi's shriek; each
time, after he had sung his part, they would gaze at him almost respectfully for a
few moments.
Then they would repeat the recital, always in the same order, with Nero
100 singing first and Seppi coming in at the end, and long pauses in between the
solo parts. At the very end, there would be a short chorus, with all singing together.
Very occasionally, a strange cat might make an attempt to join their
group, but neither Sandro nor Nero would dream of permitting this. Sandro
would let out a terrifying hiss, and Nero would shoot from his place on the top
step and give the impertinent candidate such a clip on the ear with a sooty paw
that he would fly for his life and think himself lucky to escape with his ears and tail.
In this way, the concerts were held every Friday night. Half the cats of
110 Venice came to listen and sat in admiring silence, at a respectful distance.
Then, at sunrise, the three singers would silently part and go their various
ways: Nero flitting over the rooftops to the first job of the day; Seppi trotting
off through a network of narrow lanes and alleys, where he might hope to find a
fish tail or a couple of inches of cast-off spaghetti; Sandro gracefully waving his
golden tail and summoning a boat to take him back to the palace where he
lived. All the gondoliers who plied their boats for hire along the Venetian canals
knew the Princess Cappella and her cat; Sandro never had the least trouble in
finding a gondola to take him home. Any boatman who picked him up knew
that a fee of three golden ducats would be paid without question by the butler
120 who opened the door.So matters went on for many months.
Copyright (c) 1977 by Joan Aiken Enterprises Ltd. Reprinted by permission of Brandt and Hochman Literary Agents, Inc.
____
1.
Monitor your understanding of lines 14–20. Nero goes down narrow chimneys because he is
a. trying to help Fosco
b. looking for fights
c. bored with work
d. searching for food
____
2.
Based on lines 35–44, you can make the inference that Sandro values
a. being groomed with a comb
b. compliments from people
c. the luxuries that wealth affords
d. Princess Cappella's company
____
3.
You can make the inference that Sandro
a. prefers walking to riding in gondolas
b. likes to be the center of attention
c. has many friends in Venice
d. generally thinks only of himself
____
4.
Which of the following questions could you ask to best monitor your understanding of lines 45–65?
a. What is Seppi's singing like?
b. Who owns and takes care of Seppi?
c. How many friends does Seppi have?
d. Where does Seppi perform?
____
5.
Monitor your understanding of Seppi. What causes him to concentrate on his walking?
a. His damaged tail makes it hard for him to keep his balance.
b. He does not want other cats to make fun of the way he walks.
c. He is afraid that people will laugh at him if he falls.
d. He wants to increase his chances of finding food.
____
6.
The characteristic of Seppi that makes people laugh is his
a. balancing skill
b. black clownlike mask
c. endless curiosity
d. short stump of a tail
____
7.
Which of the following inferences could you make from lines 66–69?
a. Nero and Sandro are snobbish.
b. Seppi does not have friends.
c. Nero wants only tough friends.
d. Sandro's friends are wealthy.
____
8.
Which of the following conclusions could you draw from the events in lines 70–110?
a. All of Venice hates the concerts, except other cats.
b. Every cat in Venice wants to join the singing group.
c. Nero, Sandro, and Seppi bond over their love of music.
d. Sandro has a tenor voice because he is a longhaired cat.
____
9.
Nero and Sandro are motivated to hiss at other cats because they
a. like to pick fights after the concerts
b. want to keep their singing group a trio
c. have high musical standards
d. do not want any disturbances
____
10.
How do you know that the story is told in third-person omniscient point of view?
a. The narrator is a main character in the story.
b. You know the thoughts and feelings of all the characters.
c. Sandro's thoughts and feelings are most important.
d. The narrator is one of the cats in the story.
____
11.
If the story were told in the first-person point of view, you would probably
a. learn less about the narrator's feelings
b. have more confidence in the narrator
c. learn more about all of the cats
d. feel as if the narrator were talking to you
from The Veterinarians' Guide to Your Cat's Symptoms
Michael S. Garvey, Ann E. Hohenhaus, Katherine A. Houpt, John E. Pinckney, Melissa S. Wallace, and Elizabeth
Randolph
Feline Communication
Cats use body language and facial expressions to communicate with
other cats and with humans. For example, a cat that is greeting a person or
another cat will hold her tail high, raised up in the air. One that is frightened will
crouch, ears flattened to head, and she will salivate and spit. See the following
chart of some of the most common feline postures and facial expressions.
FELINE BODY LANGUAGE
Vocalization
Cats make a number of different sounds that they use to communicate
with other cats and with humans. They meow in greeting and to demand
attention from their owners; growl and hiss in fear and anger; and
caterwaul—the latter is usually a cat-to-cat communication between fighting
tomcats. There is a similar call a cat gives when carrying prey. It is also like the
sound a cat will make before vomiting up a hair ball. Adult cats do not usually
purr when alone, but they do purr as a means of communicating with an owner,
20 just as kittens purr to their mothers.
The sound owners hear most frequently from pet cats are meowing and
murmuring. There are breed differences in cat "voices." Siamese and Abyssinians, for
instance, have very loud, raucous, and insistent meows, while Persians' meows are softer.
Some owners encourage their cats to meow, or meow back to them, on signal. The
demanding meow signifying "let me out," "feed me," and so forth is easily
recognizable. Behaviorists don't know exactly why some cats meow to their owners for
no apparent reason.
From The Veterinarians' Guide to Your Cat's Symptoms by Elizabeth Randolph. Copyright (c) 1999 by Elizabeth Randolph
and Lowenstein Associates, Inc. Illustrations copyright (c) 1999 by Rick Reason. Used by permission of Villard Books, a
division of Random House, Inc.
____ 12.
Which of the following statements is the main idea of the selection?
a. Cats communicate through body language and vocalization
b. Owners often have trouble understanding their cats.
c. Some breeds speak in louder "voices" than do other breeds.
d. Cat-to-cat communication is different from cat-to-owner communication.
____
13.
What is the key idea of lines 2–6?
a. You can tell a cat is scared by the position of her ears.
b. Cats will often greet people or other cats.
c. Cats communicate with their faces and bodies.
d. The best way to understand animal behavior is to make a chart.
____
14.
What is the key idea of lines 20–26?
a. Cat behaviorists cannot explain everything.
b. Siamese and Abyssinian cats have loud "voices."
c. Male cats are sometimes referred to as tomcats.
d. Cats usually meow and murmur to their owners.
____
15.
Interpret the graphic aid in the selection.
a. cat might chatter when it
b. is investigating a sound
c. needs food or attention
d. sees prey that is out of reach
____
16.
According to the chart, a cat might murmur when it sees prey it cannot reach
a. sees prey it cannot reach
b. is greeting its owner
c. throws up a hair ball
d. meets a strange animal
____ 17.
Which question could you ask yourself to monitor your understanding of the information about cats'
tails in the chart?
a. Are there any types of cats that do not have tails?
b. What other kinds of animals use their tails in the same way?
c. How do cats usually react when their tails get wet?
d. How does a cat's feelings affect the way its tail looks?
____
18.
Based on the excerpt, you can make the inference that two caterwauling cats are most likely
a. fighting
c. stalking
b. eating
d. running
Directions Answer the following questions about both selections.
____
19.
Which character trait of cats is described in both selections?
a. They like to pick fights with other cats.
b. They communicate in different ways.
c. They love singing at concerts.
d. They need lots of attention.
____
20.
Which of the following conclusions could you draw from both selections?
a. All cats enjoy being pampered.
b. Owners can recognize their cats' voices.
c. Cats have their own language.
d. Many cats appreciate hard work.
Directions Use your knowledge of multiple-meaning words to answer the following questions. The line numbers will
help you find the words in the selections.
____
21.
In line 68 of The Cat Who Lived in a Drainpipe, the word common means
a. most widely known
b. of inferior quality
c. occurring most frequently
d. shared by many
____
22.
In line 79 of The Cat Who Lived in a Drainpipe, the word scale means
a. fish skin
c. musical tone series
b. weighing device
d. rust flake
____
23.
In line 106 of The Cat Who Lived in a Drainpipe the word clip means
a. device for fastening
b. act of cutting short
c. brief section of film
d. short, sharp blow
____
24.
In line 16 of The Veterinarians' Guide to Your Cat's Symptoms, the word call refers to
a. greeting
c. demand
b. signal
d. sound
Directions Use the following Latin and Greek words to help you answer the questions.
____ 25.
Which sentence uses the word precisely
a. He precisely accepted the award.
b. Precisely, she thought of an idea.
c. Sam precisely got good grades.
d. She expressed her thoughts precisely.
____ 26.
Tolerate means to
a. put up with
c. watch closely
b. carry a burden
d. use a scale
____ 27.
The correct meaning of prolonged is correctly?
a. untrained
c. extended
b. secured
d. completed
____ 28.
A mentor is
a. a friend
c. an attorney
b. a guardian
d. an officer
Directions Read the passage and answer the questions that follow.
(1) I have two dogs. (2) I have a Jack Russell terrier and a Shetland sheepdog.
(3) I think that they have personalities just as people do. (4) Toby is a Jack Russell
and is the older of the two dogs. (5) He is spunky and craves attention. (6) He is
light and has spots. (7) Ralphy, the Shetland sheepdog, or Sheltie, is shy, hates
crowds, and loves the outdoors. (8) He is brown, reddish, and white. (9) He
follows Toby around. (10) He wants to do everything Toby does. (11) He wants to
be wherever Toby is. (12) They behave like brothers. (13) Toby gets annoyed with
Ralphy, and Ralphy looks up to Toby.
(14) Ralphy and Toby have many differences, but they also have some
similarities. (15) Both like to go on rides and chew on bones. (16) Both sleep in
my room at night. (17) Ralphy sleeps at the end of the bed, and Toby sleeps next
to my head. (18) They both hate taking baths. (19) They run and hide as soon as I
take off their collars. (20) They both bark at strangers. (21) They do this when
someone knocks on the front door. (22) The vacuum cleaner scares them. (23)
It makes a noise when I use it. (24) Ralphy and Toby love toys. (25) They love
bright-colored ones that make noises.
(26) The differences and similarities between my dogs are what make them
special to me. (27) Their cute little quirks make me laugh. (28) I feel that my
fun-loving dogs enrich my life. (29) I think dogs make great pets.
____ 29.
Which sentence identifies the subjects being compared and contrasted?
a. sentence 1
c. sentence 5
b. sentence 2
d. sentence 6
____
30.
How should the writer avoid confusion in this comparison-contrast essay?
a. Support the key ideas with only quotes and statistics.
b. Clearly state the subjects being compared or contrasted.
c. Include the opinions of an experienced veterinarian.
d. Focus on similarities or differences, but not both.
____
31.
Which precise adjective best modifies crowds in sentence 7?
a. sparkling
c. swarming
b. various
d. hungry
____
32.
Choose the best way to add emphasis to sentences 9 and 10, using repetition.
a. He always, always follows Toby around and always, always does what Toby does.
b. Ralphy follows Toby. He wants to do everything like Toby.
c. He closely follows Toby so he can closely imitate everything Toby does.
d. Ralphy always follows Toby around. Ralphy wants to do everything Toby does.
____
33.
Choose the best way to vary the beginnings of sentences 9 and 10.
a. Ralphy follows Toby around. Everything that Toby does, Ralphy wants to do.
b. The Sheltie follows Toby around. The Sheltie wants to do everything Toby does.
c. Ralphy follows Toby around. Ralphy wants to do everything Toby does.
d. He, Ralphy, follows Toby around. He wants to do everything Toby does.
____
34.
Choose the best way to add supporting details to sentences 15 and 16.
a. Both like to go on car rides in the country and chew on delicious bones. Both of them
sleep in my bedroom at night.
b. Both like to go on rides and chew on their bones. Both of them sleep
c. soundly in my small bedroom at night.
d. Both like to go on long rides in the country and chew on white bones. At night, both of
them sleep in my room.
e. Both like to go on long car rides and chew on rawhide bones. Both of them sleep soundly
in my small bedroom at night.
____
35.
To add interest to the passage, the writer should vary the beginnings of sentences
a. 3 and 4
c. 15 and 16
b. 11 and 12
d. 23 and 24
____
36.
Choose the best way to add emphasis to sentences 18 and 19, using repetition.
a. They both hate taking baths. They hate taking baths so much that they run and hide as
soon as I take off their collars.
b. Ralphy and Toby hate taking baths. Ralphy and Toby run and hide as soon as I take off
their collars.
c. Ralphy and Toby hate taking baths. Both dogs run and hide as soon as I take off their
collars.
d. They both really, really hate taking baths. Ralphy and Toby run and hide as soon as I take
off their collars.
____
37.
To add interest to the passage, the writer should vary the beginnings of sentences
a. 14 and 15
c. 19 and 20
b. 16 and 17
d. 20 and 21
____
38.
Which precise adjective best modifies vacuum cleaner in sentence 22?
a. pretty
c. giant
b. disgusting
d. silly
____
39.
Choose the best way to rewrite sentences 22 and 23, using an adjective clause.
a. The vacuum cleaner, which roars when I use it, scares them.
b. The vacuum cleaner scares them because it makes a noise when I use it.
c. The noisy vacuum cleaner scares them when I use it.
d. The vacuum cleaner scares them when I use it and it makes a noise.
____
Practice Cold Read
Answer Section
MULTIPLE CHOICE
1.
TOP:
ANS:
A
Unit 2 Test B/C
2.
ANS:
C
PTS:
1
NOT:
mllit9_2007
PTS:
1
STA:
LA 9.1.4.5 | LA 9.7.11.5 | LA 9.7.14.3
NOT:
mllit9_2007
3.
ANS:
B
PTS:
1
STA:
LA 9.1.4.5 | LA 9.7.11.5 | LA 9.7.14.3
NOT:
mllit9_2007
4.
STA:
TOP:
REF:
TOP:
Unit 2 Test B/C
5.
A
PTS:
1
NOT:
mllit9_2007
B
PTS:
1
TOP:
Unit 2 Test B/C
ANS:
LA 9.1.2.1
APS_act0976aaf18008e5b2_1096
REF:
REF:
Unit 2 Test B/C
APS_act0976aaf18008e5b2_1098
NOT:
REF:
Unit 2 Test B/C
APS_act0976aaf18008e5b2_1097
TOP:
LA 9.7.14.2
Unit 2 Test B/C
APS_act0976aaf18008e5b2_1095
TOP:
PTS:
ANS:
1
REF:
B
6.
STA:
ANS:
REF:
mllit9_2007
APS_act0976aaf18008e5b2_1099
APS_act0976aaf18008e5b2_1100
NOT:
mllit9_2007
7.
ANS:
A
PTS:
1
STA:
LA 9.1.4.5 | LA 9.7.11.5 | LA 9.7.14.3
NOT:
mllit9_2007
8.
ANS:
A
PTS:
1
STA:
LA 9.1.4.5 | LA 9.7.11.5 | LA 9.7.14.3
NOT:
mllit9_2007
9.
TOP:
D
ANS:
A
ANS:
C
Unit 2 Test B/C
14.
TOP:
ANS:
Unit 2 Test B/C
13.
TOP:
B
Unit 2 Test B/C
12.
TOP:
ANS:
Unit 2 Test B/C
11.
TOP:
B
Unit 2 Test B/C
10.
TOP:
ANS:
ANS:
Unit 2 Test B/C
D
REF:
APS_act0976aaf18008e5b2_1101
TOP:
REF:
APS_act0976aaf18008e5b2_1102
TOP:
PTS:
1
REF:
NOT:
mllit9_2007
PTS:
1
NOT:
mllit9_2007
PTS:
1
NOT:
mllit9_2007
PTS:
1
NOT:
mllit9_2007
PTS:
1
NOT:
mllit9_2007
PTS:
1
NOT:
mllit9_2007
REF:
REF:
REF:
REF:
REF:
Unit 2 Test B/C
Unit 2 Test B/C
APS_act0976aaf18008e5b2_1103
APS_act0976aaf18008e5b2_1104
APS_act0976aaf18008e5b2_1105
APS_act0976aaf18008e5b2_1106
APS_act0976aaf18008e5b2_1107
APS_act0976aaf18008e5b2_1108
15.
TOP:
PTS:
1
NOT:
mllit9_2007
PTS:
1
NOT:
mllit9_2007
D
PTS:
1
LA 9.7.14.2
TOP:
Unit 2 Test B/C
18.
A
PTS:
ANS:
B
Unit 2 Test B/C
17.
STA:
D
Unit 2 Test B/C
16.
TOP:
ANS:
ANS:
ANS:
1
STA:
LA 9.1.4.5 | LA 9.7.11.5 | LA 9.7.14.3
NOT:
mllit9_2007
19.
STA:
ANS:
B
PTS:
LA 9.1.2.1
TOP:
Unit 2 Test B/C
20.
C
PTS:
ANS:
1
1
REF:
REF:
REF:
APS_act0976aaf18008e5b2_1109
APS_act0976aaf18008e5b2_1110
APS_act0976aaf18008e5b2_1111
NOT:
REF:
APS_act0976aaf18008e5b2_1112
TOP:
REF:
Unit 2 Test B/C
APS_act0976aaf18008e5b2_1113
NOT:
REF:
mllit9_2007
mllit9_2007
APS_act0976aaf18008e5b2_1114
STA:
LA 9.1.4.5 | LA 9.7.11.5 | LA 9.7.12.1 | LA 9.7.14.3 | LA 9.5.40.2
TOP:
Unit 2 Test B/C
21.
TOP:
ANS:
B
Unit 2 Test B/C
22.
ANS:
C
NOT:
mllit9_2007
PTS:
1
NOT:
mllit9_2007
PTS:
1
REF:
REF:
APS_act0976aaf18008e5b2_1119
APS_act0976aaf18008e5b2_1120
TOP:
Unit 2 Test B/C
NOT:
mllit9_2007
PTS:
1
NOT:
mllit9_2007
PTS:
1
NOT:
mllit9_2007
D
PTS:
1
LA 9.1.1.2
TOP:
Unit 2 Test B/C
26.
A
PTS:
LA 9.1.1.2
TOP:
Unit 2 Test B/C
27.
C
PTS:
LA 9.1.1.2
TOP:
Unit 2 Test B/C
28.
B
PTS:
LA 9.1.1.2
TOP:
Unit 2 Test B/C
29.
B
PTS:
1
NOT:
mllit9_2007
B
PTS:
1
TOP:
Unit 2 Test B/C
23.
TOP:
STA:
STA:
STA:
TOP:
D
ANS:
ANS:
ANS:
ANS:
ANS:
Unit 2 Test B/C
30.
STA:
ANS:
Unit 2 Test B/C
25.
STA:
D
Unit 2 Test B/C
24.
TOP:
ANS:
ANS:
LA 9.2.16.1
1
1
1
REF:
REF:
REF:
APS_act0976aaf18008e5b2_1121
APS_act0976aaf18008e5b2_1122
APS_act0976aaf18008e5b2_1123
NOT:
REF:
APS_act0976aaf18008e5b2_1124
NOT:
REF:
REF:
mllit9_2007
APS_act0976aaf18008e5b2_1126
NOT:
REF:
mllit9_2007
APS_act0976aaf18008e5b2_1125
NOT:
REF:
mllit9_2007
mllit9_2007
APS_act0976aaf18008e5b2_1127
APS_act0976aaf18008e5b2_1128
NOT:
mllit9_2007
31.
ANS:
C
PTS:
STA:
LA 9.2.17.2 | LA 9.2.18.5
NOT:
mllit9_2007
32.
ANS:
C
PTS:
STA:
LA 9.2.17.2 | LA 9.2.18.5
NOT:
mllit9_2007
33.
ANS:
A
PTS:
STA:
LA 9.2.18.5 | LA 9.2.20.3
NOT:
mllit9_2007
34.
ANS:
E
PTS:
STA:
LA 9.2.17.2 | LA 9.2.18.5
NOT:
mllit9_2007
35.
ANS:
C
PTS:
STA:
LA 9.2.18.5 | LA 9.2.20.3
NOT:
mllit9_2007
36.
ANS:
A
PTS:
STA:
LA 9.2.17.2 | LA 9.2.18.5
NOT:
mllit9_2007
1
REF:
APS_act0976aaf18008e5b2_1130
TOP:
Unit 2 Test B/C
1
REF:
TOP:
Unit 2 Test B/C
1
REF:
TOP:
Unit 2 Test B/C
1
REF:
TOP:
Unit 2 Test B/C
1
REF:
TOP:
Unit 2 Test B/C
1
REF:
TOP:
Unit 2 Test B/C
APS_act0976aaf18008e5b2_1131
APS_act0976aaf18008e5b2_1132
APS_act0976aaf18008e5b2_1133
APS_act0976aaf18008e5b2_1134
APS_act0976aaf18008e5b2_1135
37.
ANS:
D
PTS:
STA:
LA 9.2.18.5 | LA 9.2.20.3
NOT:
mllit9_2007
38.
ANS:
C
PTS:
STA:
LA 9.2.17.2 | LA 9.2.18.5
NOT:
mllit9_2007
39.
ANS:
A
PTS:
STA:
LA 9.2.18.5 | LA 9.3.22.3
NOT:
mllit9_2007
1
REF:
APS_act0976aaf18008e5b2_1136
TOP:
Unit 2 Test B/C
1
REF:
TOP:
Unit 2 Test B/C
1
REF:
TOP:
Unit 2 Test B/C
1
REF:
TOP:
Unit 2 Test B/C
APS_act0976aaf18008e5b2_1137
APS_act0976aaf18008e5b2_1138
MULTIPLE RESPONSE
40.
ANS:
A, B
PTS:
STA:
LA 9.2.18.5 | LA 9.3.22.3
NOT:
mllit9_2007
APS_act0976aaf18008e5b2_1129