COMPREHENSIVE ENGLISH
The University of the State of New York
REGENTS HIGH SCHOOL EXAMINATION
COMPREHENSIVE EXAMINATION
IN
ENGLISH
Tuesday, January 22, 2013 — 1:15 to 4:15 p.m., only
The possession or use of any communications device is strictly prohibited
when taking this examination. If you have or use any communications device,
no matter how briefly, your examination will be invalidated and no score will be
calculated for you.
A separate answer sheet has been provided for you. Follow the instructions
for completing the student information on your answer sheet. You must also fill in
the heading on each page of your essay booklet that has a space for it, and write
your name at the top of each sheet of scrap paper.
The examination has four parts. Part 1 tests listening skills; you are to
answer all eight multiple-choice questions. For Part 2, you are to answer all twelve
multiple-choice questions. For Part 3, you are to answer all five multiple-choice
questions and the two short constructed-response questions. For Part 4, you are
to write one essay response. The two short constructed-response questions and the
essay response should be written in pen.
When you have completed the examination, you must sign the statement
printed at the bottom of the front of the answer sheet, indicating that you had no
unlawful knowledge of the questions or answers prior to the examination and that
you have neither given nor received assistance in answering any of the questions
during the examination. Your answer sheet cannot be accepted if you fail to sign
this declaration.
DO NOT OPEN THIS EXAMINATION BOOKLET UNTIL THE SIGNAL IS GIVEN.
COMPREHENSIVE ENGLISH
Comp. Eng. — Jan. ’13
[2]
NOTES
DO NOT TURN THIS PAGE UNTIL YOU ARE TOLD TO DO SO.
Comp. Eng. — Jan. ’13
[3]
Part 1 (Questions 1–8)
Multiple-Choice Questions
Directions (1–8): Use your notes to answer the following questions about the passage read to you. Select the
best suggested answer to each question and record your answer on the separate answer sheet provided for you.
5 The speaker includes information regarding
Marx’s relationship with Mildred Dilling to show
how Marx
(1) interacted with other actors
(2) mentored younger musicians
(3) learned to read music
(4) impressed professional musicians
1 The account opens with a characterization of
Harpo Marx as someone with
(1) financial goals
(2) suspicious behavior
(3) fleeting fame
(4) contrasting talents
2 In his autobiography, Marx reveals that he
considered Harpo the clown on stage as
(1) a character that he played
(2) an emotionally liberating experience
(3) a symbol of modern man
(4) a physically challenging routine
6 By including the description of Marx as not “an
intellectual, but … brilliant,” the speaker implies
that Marx was
(1) talented, despite a lack of formal education
(2) brave, despite facing many challenges
(3) generous, despite a deprived childhood
(4) private, despite being a movie star
3 By calling Harpo “one of the best ‘ambassadors
for the harp’ the world has known,” the speaker
means that Marx
(1) funded harp lessons for public school
children
(2) introduced the harp to the general public
(3) arranged popular music for harpists
(4) founded international competitions for
harpists
7 Benji Samit’s characterization of Marx as “one of
the kindest men in show business” is a result of
Samit’s experience as a
(1) family friend
(2) Harpo Marx historian
(3) fellow musician
(4) Marx Brothers’ director
8 From the speaker’s point-of-view, Harpo Marx
could be best described as a
(1) successful composer
(2) concert performer
(3) dramatic actor
(4) devoted musician
4 According to the speaker, Marx initially learned
to play the harp in order to
(1) play in a stage orchestra
(2) master a difficult instrument
(3) increase his income
(4) teach his mother
Comp. Eng. — Jan. ’13
[4]
Part 2 (Questions 9–20)
Directions (9–20): Below each passage, there are several multiple-choice questions. Select the best suggested
answer to each question and record your answer on the separate answer sheet provided for you.
Reading Comprehension Passage A
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25
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40
…Despite being overstretched, [Chef] Bugnard [of the Cordon Bleu cooking school]
was infinitely kind, a natural if understated showman, and he was tireless in his
explanations. He drilled us in his careful standards of doing everything the “right way.” He
broke down the steps of a recipe and made them simple. And he did so with a quiet
authority, insisting that we thoroughly analyze texture and flavor: “But how does it taste,
Madame Scheeld?”
One morning he asked, “Who will make oeufs brouillés today?”
The GIs [my fellow students] were silent, so I volunteered for scrambled-egg duty.
Bugnard watched intently as I whipped some eggs and cream into a froth, got the frying pan
very hot, and slipped in a pat of butter, which hissed and browned in the pan.
“Non!” he said in horror, before I could pour the egg mixture into the pan. “That is
absolutely wrong!” …
With a smile, Chef Bugnard cracked two eggs and added a dash of salt and pepper.
“Like this,” he said, gently blending the yolks and whites together with a fork. “Not too
much.”
He smeared the bottom and sides of the frying pan with butter, then gently poured the
eggs in. Keeping the heat low, he stared intently at the pan. Nothing happened. After a long
three minutes, the eggs began to thicken into a custard. Stirring rapidly with the fork,
sliding the pan on and off the burner, Bugnard gently pulled the egg curds together—“Keep
them a little bit loose; this is very important,” he instructed. “Now the cream or butter,” he
said, looking at me with raised eyebrows. “This will stop the cooking, you see?” I nodded,
and he turned the scrambled eggs out onto a plate, sprinkled a bit of parsley around, and
said, “Voilà!” …
It was a remarkable lesson. No dish, not even the humble scrambled egg, was too much
trouble for him. “You never forget a beautiful thing that you have made,” he said. “Even
after you eat it, it stays with you—always.” …
I was in pure, flavorful heaven at the Cordon Bleu. Because I had already
established a good basic knowledge of cookery on my own, the classes acted as a catalyst for
new ideas, and almost immediately my cooking improved. Before I’d started there, I would
often put too many herbs and spices into my dishes. But now I was learning the French
tradition of extracting the full, essential flavors from food—to make, say, a roasted chicken
taste really chickeny. …
But not everything was perfect. Madame Brassart [the school’s owner] had crammed
too many of us into the class, and Bugnard wasn’t able to give the individual
attention I craved. There were times when I had a penetrating question to ask, or a fine
point that burned inside of me, and I simply wasn’t able to make myself heard. All this had
the effect of making me work even harder.
I had always been content to live a butterfly life of fun, with hardly a care in the world.
But at the Cordon Bleu, and in the markets and restaurants of Paris, I suddenly
discovered that cooking was a rich and layered and endlessly fascinating subject. The best
Comp. Eng. — Jan. ’13
[5]
[OVER]
45
way to describe it is to say that I fell in love with French food—the tastes, the processes,
the history, the endless variations, the rigorous discipline, the creativity, the wonderful
people, the equipment, the rituals.
I had never taken anything so seriously in my life—my husband and cat excepted—and
I could hardly bear to be away from the kitchen. ...
—Julia Child and Alex Prud’homme
adapted and excerpted from My Life in France, 2007
Anchor Books
12 As described in the passage, Madame Brassart’s
policies caused the narrator to feel
(1) overworked by unscheduled assignments
(2) frustrated by large class sizes
(3) desperate for financial support
(4) embarrassed to ask for assistance
9 The description of Chef Bugnard as a “natural …
showman” (line 2) indicates that he was a teacher
who
(1) engaged his students
(2) demanded obedience
(3) expected success
(4) discouraged his students
13 When the narrator describes her previous
“butterfly life” (line 38), she implies that she had
been
(1) casual
(3) unhappy
(2) forgetful
(4) fragile
10 The reference to Chef Bugnard’s “standards of
doing everything the ‘right way’” (line 3)
probably means that he required
(1) compliments
(3) attention
(2) payment
(4) perfection
14 What is the format in which this passage is
organized?
(1) order of importance
(2) chronological order
(3) personal anecdotes
(4) comparison and contrast
11 The narrator uses the phrase “After a long three
minutes” (lines 17 and 18) to emphasize a sense
of
(1) completion
(3) anticipation
(2) unreality
(4) boredom
Comp. Eng. — Jan. ’13
[6]
Reading Comprehension Passage B
5
10
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20
25
30
35
40
You never forget your first iceberg.
The mass of drifting ice that dwarfs your ship is so beautiful, yet so improbable
looking, that you simply gaze in wonder. It seems that nothing that large could be natural—
and then it strikes you that something so enormous could only be natural.
Another realization soon dawns: These rock-hard floating mountains are dangerous.
Think not only of the 1912 Titanic disaster but of hundreds of other accidents, most
recently the sinking (with no loss of life) of the Antarctic tour ship Explorer in
November 2007. …
Now, as climate change is raising global temperatures, more icebergs are being born.
Antarctica generates far more of them than Greenland, the source of bergs in Arctic waters.
Antarctica’s are also much larger, sometimes reaching the size of small countries. Recent
data show the average atmospheric temperature has increased about 4.5 degrees
Fahrenheit in the western Antarctic Peninsula since the 1940s, making the region, along
with northwestern North America and Siberia, among the fastest warming on earth. This
jump has been implicated in the recent collapse of major ice shelves along the Antarctic
Peninsula, including the Wilkins Ice Shelf in 2008. As a result, thousands of new icebergs
have calved, or broken off, from ice shelves into the Southern Ocean at an accelerated rate.
Even as more icebergs are being created, scientists are learning that these
dangerous beauties are far from sterile, inert masses of ice. In fact, they dramatically alter
their environments biologically, chemically, and physically, making them islands of life in
the open sea. Knowledge of icebergs’ crucial role in the Antarctic ecosystem has come only
in recent years. Observers at sea had long remarked that they attract seals, penguins, and
seabirds, and divers had noticed that fish are more numerous near them than in the
surrounding sea. Now scientists are learning just what the attraction is all about.
Depending on their size, location, and the season, icebergs can be nurturers or
destroyers. During their existence—typically years from calving from an Antarctic or
Greenlandic glacier to their gradual melting as they drift into lower latitudes—they support
animals on, around, even inside their magnificent ramparts. They fertilize the ocean with
nutrients, boosting plankton production. Grounded bergs can shelter areas of the seafloor,
protecting bottom-dwelling creatures from free-floating icebergs, which can be
bottom-scouring marauders, furrowing the seabed at depths of more than a thousand feet
like gigantic plows, destroying all marine life unable to move out of the way. Large bergs
can also trap sea ice, impeding its annual breakup and thus depriving phytoplankton (algae
that take their name from the Greek words for “plant” and “wanderer”) of life-giving
sunlight, breaking the food chain at its first link. …
From personal experience, I know that icebergs will continue to astonish and
captivate visitors to the polar regions with their size and ethereal1 beauty. But now—just
when these ecosystems are in rapid flux due to global climate change—these frozen
masses are taking on a new dimension of wonder as we uncover their critical role in the
biology and chemistry of polar seas. No longer can we look at icebergs as mere passive
beauties. They are active agents of change, each one an icy oasis trailing a wake of life as it
drifts on its inexorable2 oceanic journey to melting.
—Jeff Rubin
excerpted from “Life on Ice”
Audubon, January–February 2009
1
2
ethereal — heavenly
inexorable — relentless
Comp. Eng. — Jan. ’13
[7]
[OVER]
18 According to the passage, scientists are now
discovering that some icebergs are able to
(1) provide power
(3) warn sailors
(2) produce echoes
(4) sustain life
15 Lines 5 through 8 introduce the concept of
(1) peril
(3) humor
(2) mystery
(4) peacefulness
16 By describing icebergs as “being born” (line 9),
the author is able to
(1) explain the scientific importance of icebergs
(2) measure the water displacement of one
iceberg
(3) show the difference between iceberg sizes
(4) relate icebergs to human experience
19 The final paragraph indicates that icebergs will
continue to be sources of
(1) superstition
(3) pollution
(2) fascination
(4) recreation
20 In developing the passage, the author depends
heavily upon
(1) facts and details
(2) dialogue and stories
(3) fantasy and humor
(4) question and answer
17 In comparing the icebergs of Greenland with
those of Antarctica, the passage reveals that those
of Antarctica are
(1) less prevalent
(3) more massive
(2) more rounded
(4) less attractive
Comp. Eng. — Jan. ’13
[8]
Part 3 (Questions 21–27)
Directions: On the following pages read Passage I (an excerpt from an essay) and Passage II (a poem) about
developing a skill. You may use the margins to take notes as you read. Answer the multiple-choice questions on
the answer sheet provided for you. Then write your response for question 26 on page 1 of your essay booklet
and question 27 on page 2 of your essay booklet.
Passage I
5
10
15
20
25
30
35
The yellow mittens I made in seventh-grade home economics proved that I dreamed in
color. For the unit on knitting, we were supposed to turn in a pair of mittens. The two hands
had to be precisely the same size so that when we held them together, palm to palm, no
extra stitches would stick out from the thumb, the tip of the fingers, or the cuff. Somewhere
between making the fourth and the fifth mitten to fulfill this requirement, I dreamed that
the ball of yellow yarn in my bag had turned green. Chartreuse, leaf, Granny Smith, lime,
neon, acid green. The brightness was electric. I woke up knowing that I was, once again,
doomed for a D in home ec. …
I didn’t knit again until graduate school when I met a woman from Germany with a
closet full of beautiful sweaters. Sabina came to our seminar wearing a soft angora cardigan
one week, a sturdy fisherman’s pullover the next.
“I make all my sweaters,” she said. “I can teach you.”
I told her about my mitten fiasco.1
“Knitting is easy,” Sabina insisted. “A sweater’s bigger than a mitten but much
simpler.”
“The patterns will confuse me.”
“You don’t need patterns. You can make things up as you go.”
Sabina took me to a local yarn store, where I bought skeins2 of red cotton yarn.
Following her instructions, I first knit the body of the sweater: two flat pieces, front and
back, with a few simple decreases to shape the shoulders and the neck. The pieces were
surprisingly easy to sew together. Sabina showed me how to pick up the stitches along the
arm opening, connect the new yarn, and knit the sleeves, going from the shoulder to the
wrist. I finished the sweater in a month. The result was slightly lopsided—one sleeve was
half an inch wider than the other around the elbow—but the arms looked more or less even
once I put the sweater on. The small mistakes in a knitted garment disappear when the
garment is on the body, where it belongs. That might have been the most important thing
I learned from my first sweater. …
In my first ten years of knitting, I took full advantage of the forgiving quality of yarn and
made hats and scarves from patterns that had only five- to ten-sentence directions. For
sweaters, I made three tubes (one big tube for the body, two smaller tubes for the sleeves)
and then knitted them together at the yoke and shoulders so I didn’t have to sew the pieces
together at the end. If, half way through the body or the sleeve, I noticed the piece getting
wider faster than I’d expected, I simply stopped increasing stitches; if the piece looked too
small, I increased more. It was just as Sabina had told me: I could make things up as I went
along.
1
2
fiasco — a complete failure
skeins — a length of thread or yarn wound in a loose coil
Comp. Eng. — Jan. ’13
[9]
[OVER]
40
My favorite project was a hat from a pattern I found in a yarn store on a visit to Portland,
Oregon. I bought the thick mohair yarn and extra needles so I could start knitting the first
one in my hotel room. The hat, which I finished on the flight home the next day, looked
more like a lamp shade; the brim came down to my shoulders. At home, I threw
this enormous hat in the washer, set it on hot wash and cold rinse, and ran the cycle twice.
Just as the pattern promised, the hat came out shrunk and “felted”: the stitches had contracted till they were invisible, leaving a dense, fuzzy nap. I reshaped the hat on a mixing
bowl about the size of my head, and by the time it dried, it looked like a professionally made
bowler.3 …
—Kyoko Mori
excerpted from “Yarn”
Harvard Review, Spring 2003
3
bowler — a derby hat
Comp. Eng. — Jan. ’13
[10]
Passage II
Spanish Lessons
5
10
15
20
My wife moves room to room,
touching our humble belongings
with a wand of new words—
the iron, the coffee pot, the radio—
making them notice themselves
for the first time in years.
In the kitchen, I hear her
cracking a few round syllables
into a pan of agua,1 followed soon
by a brisk, guttural2 bubbling,
and later she’s climbing the stairs
with an armload of colorful noises,
dropping a few shaggy petals
on every other step. She’s going
to fill the bathtub now and scatter
fresh flowers of language
over the surface, then lie there
steeping3 among them, calling out
the new names for shampoo,
for bath mat, toilet, and toothbrush,
lying there with her ears just out of
the water, loving the echoes.
—Ted Kooser
The Kenyon Review, Winter 2008
1
agua — Spanish word for water
guttural — throaty
3
steeping — soaking in
2
Comp. Eng. — Jan. ’13
[11]
[OVER]
Multiple-Choice Questions
Directions (21–25): Select the best suggested answer to each question and record your answer on the separate
answer sheet provided for you.
Passage I (the essay excerpt) — Questions 21–23
refer to Passage I.
Passage II (the poem) — Questions 24–25 refer to
Passage II.
21 The first paragraph suggests that the author’s
initial experience with knitting was
(1) unsuccessful
(3) distracting
(2) inspiring
(4) addictive
24 As used in line 3, the word “wand” most nearly
means
(1) resource
(3) assortment
(2) distrust
(4) confusion
22 The author was motivated to learn to knit after
(1) finishing a successful home economics
project
(2) seeing the beauty of a finished product
(3) finding her grandmother’s knitting supplies
(4) receiving encouragement from a favorite
aunt
25 How has learning Spanish affected the narrator’s
wife?
(1) It made her appear rejuvenated.
(2) It brought her closer to her heritage.
(3) It alienated her from her husband.
(4) It caused her problems at work.
23 An important lesson learned from Sabina was
(1) practice is important
(2) pay attention in class
(3) ignore negative criticism
(4) errors can be acceptable
Comp. Eng. — Jan. ’13
[12]
Short-Response Questions
Directions (26–27): Write your responses to question 26 on page 1 of your essay booklet and question 27 on
page 2 of your essay booklet. Be sure to answer both questions.
26 Write a well-developed paragraph in which you use ideas from both Passage I
(the essay excerpt) and Passage II (the poem) to establish a controlling idea about
developing a skill. Develop your controlling idea using specific examples and
details from both Passage I and Passage II.
27 Choose a specific literary element (e.g., theme, characterization, structure, point
of view, etc.) or literary technique (e.g., symbolism, irony, figurative language,
etc.) used by one of the authors. Using specific details from either Passage I (the
essay excerpt) or Passage II (the poem), in a well-developed paragraph, show
how the author uses that element or technique to develop the passage.
Comp. Eng. — Jan. ’13
[13]
[OVER]
Part 4 (Question 28)
Your Task:
Write a critical essay in which you discuss two works of literature you have read from the particular perspective
of the statement that is provided for you in the Critical Lens. In your essay, provide a valid interpretation of
the statement, agree or disagree with the statement as you have interpreted it, and support your opinion using
specific references to appropriate literary elements from the two works. You may use scrap paper to plan your
response. Write your essay beginning on page 3 of the essay booklet.
Critical Lens:
“Circumstances are beyond the control of man; but his conduct is in his
own power.”
— Benjamin Disraeli
Contarini Fleming, 1832
Guidelines:
Be sure to
• Provide a valid interpretation of the critical lens that clearly establishes the
criteria for analysis
• Indicate whether you agree or disagree with the statement as you have
interpreted it
• Choose two works you have read that you believe best support your opinion
• Use the criteria suggested by the critical lens to analyze the works you have
chosen
• Avoid plot summary. Instead, use specific references to appropriate literary
elements (for example: theme, characterization, setting, point of view) to develop
your analysis
• Organize your ideas in a unified and coherent manner
• Specify the titles and authors of the literature you choose
• Follow the conventions of standard written English
Comp. Eng. — Jan. ’13
[14]
COMPREHENSIVE ENGLISH
Printed on Recycled Paper
COMPREHENSIVE ENGLISH
DIRECTIONS FOR TEACHERS
LISTENING SECTION
COMPREHENSIVE EXAMINATION IN ENGLISH
Tuesday, January 22, 2013 — 1:15 to 4:15 p.m., only
BE SURE THAT THE LISTENING SECTION IS ADMINISTERED TO EVERY STUDENT.
1 Before the start of the examination period, say:
Do not open the examination booklet until you are instructed to do so.
2 Distribute an answer sheet to each student. Then distribute one examination booklet, one essay booklet, and
scrap paper to each student.
3 After each student has received an examination booklet, an essay booklet, scrap paper, and his or her answer
sheet, say:
A separate answer sheet has been provided for you. Follow the instructions for
completing the student information on your answer sheet. You must also fill in
the heading on each page of your essay booklet that has a space for it, and
write your name at the top of each sheet of scrap paper.
4 After the students have filled in all headings on their essay booklets, say:
You will listen to a passage and answer some multiple-choice questions. You
will hear the passage twice.
I will read the passage aloud to you once. Listen carefully. You may take notes
on page 3 of your examination booklet. Then I will tell you to open your
examination booklet to page 4. You will be given a chance to read the
questions before the second reading. Then I will read the passage a second
time. You may also take notes during the second reading or answer the
questions.
Now I will read the passage aloud to you for the first time. Open your
examination booklet to page 3.
5 Note the time you start reading the listening passage. The three-hour examination starts now. Read both the
introduction and the passage aloud, including the attribution at the end. Read with appropriate expression,
but without added comment.
Listening Passage
The following passage is from an article entitled “Remembering Harpo: His Life
and Legacy” by Rod Colvin, published in The American Harp Journal in Winter
2009. In this excerpt, Colvin discusses Harpo Marx’s impact on American show
business.
In his signature trench coat, red wig, and top hat, Harpo Marx was a mugging,
pratfalling, horn-honking clown who entertained audiences for nearly sixty years. He could
bring down the house with laughter, but when he became Harpo the harpist, he
transformed from clown to musician. The laughter faded and audiences listened in
amazement.
Perhaps Harpo himself best described this transformation in his 1961 autobiography,
Harpo Speaks. “There is a character…he wears a ratty red wig and shredded rain coat. He
can’t talk, but makes idiotic faces, honks a horn, whistles, and leaps after blondes. When he’s
chasing a girl across the screen, it’s Him. When he sits down to play the harp, it’s Me.
Whenever I touch the strings of the harp, I stop being an actor.”
For many moviegoers, Harpo Marx provided their first and only introduction to harp
music. Today, thanks to late-night reruns of the old black and white Marx Brothers movies,
Harpo continues to entertain audiences old and new. And even though last fall [2009]
marked the forty-fifth anniversary of his passing, the comedian’s music lives on. In fact,
outside the professional harp community, he remains one of the best “ambassadors for the
harp” the world has known, and his work continues to entertain and inspire.
Among both professional and amateur harpists today, opinions vary about Harpo Marx.
Was he a professional harpist? Or was he a professional comedian who played the harp?
Should his unconventional playing style make a difference in how his work is perceived by
harpists today?
Regardless of one’s answers to these questions, the life and career of Harpo Marx was
nothing less than remarkable. Born Adolph Marx on November 23, 1888, he came from a
poor family that lived in tenement housing in Brooklyn, New York. Harpo dropped out of
school in second grade and grew up working at dozens of odd jobs. Having always disliked
his given name, he later changed it to Arthur.
In 1910, as a young man of twenty-two, Harpo joined his brothers on the vaudeville
[stage] circuit. He took up the harp only after his mother, Minnie, sent him a harp while he
was on the road with his brothers. She had learned they could earn an additional five
dollars per week if they had a harp in their act. (The harp had belonged to Minnie’s
mother and had sat in the corner of their apartment for years.) Having some self-taught
piano experience, Harpo taught himself to play chords on the harp as accompaniment to
the piano pieces his brother Chico played in the act.
Through his own ingenuity and motivation, Harpo continued to teach himself to play
the harp, and eventually picked up his famous nickname. In time, his talent earned him an
international reputation as he performed in movies as well as in stage shows around the
globe. In 1933, he became the first person in America to perform in Russia after the two
nations formed normal diplomatic relations. He received standing ovations during the six
weeks he toured there as a goodwill ambassador.
Harpo never learned to read music and received little instruction through the years. He
did, however, develop a friendship with internationally known harpist, the late Mildred
Dilling, and received some training from her. Dilling met Harpo when she was a teenager.
“I don’t know how old he was when I first met him. He was older than I was, but he was
dead serious about music, and he had great reverence for my knowledge,” Dilling said.
“Music was an overwhelming passion, and classical music filled his life. The way he is on
[2]
screen, the way everyone knows him, is the way he played after I began teaching him. We
met before they made any of the movies. Harpo had individuality, and he never changed. I
never could make him learn to read music. Harpo wasn’t really an intellectual, but he was
brilliant.” …
History has a tendency to remember many celebrities with a certain amount of
reverence—whether it is deserved or not. However, the reverence accorded to Harpo Marx
is anything but overstated. Modern screenwriter and Harpo Marx historian Benji Samit
describes him this way: “He was a gentle, compassionate, comedic genius. People were
drawn to him for reasons that even he could not explain. Harpo had a genuine love for life
that people found immensely appealing. It was almost contagious. Wherever he went, he
loved people, and they loved him right back. Some have described him as one of the
kindest men in show business.”…
—adapted and excerpted from “Remembering Harpo: His Life and Legacy”
The American Harp Journal, Winter 2009
6 After reading the passage aloud once, say:
You may take five minutes to read the questions on page 4 of your test
booklet before I read the passage aloud the second time.
7 After the students have had five minutes to read the questions, say:
As you listen to the second reading, you may take notes or answer the
questions. You will be given an opportunity to complete the
questions after the second reading. Now I will read the passage aloud a
second time.
8 Read both the introduction and the passage a second time.
9 After the second reading, say:
Now turn to page 4 of your test booklet, read the directions and answer the
multiple-choice questions. You may look over your notes to answer the
questions.
[3]
Printed on Recycled Paper
FOR TEACHERS ONLY
The University of the State of New York
REGENTS HIGH SCHOOL EXAMINATION
ENGLISH
E
Tuesday, January 22, 2013— 1:15 to 4:15 p.m., only
SCORING KEY AND RATING GUIDE
Mechanics of Rating
Updated information regarding the rating of this examination may be posted on the
New York State Education Department’s web site during the rating period. Check this web site
at http://www.p12.nysed.gov/assessment/ and select the link “Scoring Information” for any recently posted
information regarding this examination. This site should be checked before the rating process for this
examination begins and several times throughout the Regents Examination period.
The following procedures are to be used for rating papers in the Regents Comprehensive
Examination in English. More detailed directions for the organization of the rating process and
procedures for rating the examination are included in the Information Booklet for Scoring the Regents
Comprehensive Examination in English.
Scoring the Multiple-Choice Questions
For this exam all schools must use uniform scannable answer sheets provided by the regional
information center or large-city scanning center. The scoring key for this exam is provided below. If the
student’s responses for the multiple-choice questions are being hand scored prior to being
scanned, the scorer must be careful not to make any marks on the answer sheet except to
record the scores in the designated score boxes. Marks elsewhere on the answer sheet will
interfere with the accuracy of the scanning.
Before scannable answer sheets are machine scored, several samples must be both machine and
manually scored to ensure the accuracy of the machine-scoring process. All discrepancies must be
resolved before student answer sheets are machine scored. When machine scoring is completed, a sample
of the scored answer sheets must be scored manually to verify the accuracy of the machine-scoring
process.
Correct Answers
Part 2
Part 1
Part 3
1 ......4......
9 ......1......
15 . . . . . . 1 . . . . . .
21 . . . . . . 1 . . . . . .
2 ......1......
10 . . . . . . 4 . . . . . .
16 . . . . . . 4 . . . . . .
22 . . . . . . 2 . . . . . .
3 ......2......
11 . . . . . . 3 . . . . . .
17 . . . . . . 3 . . . . . .
23 . . . . . . 4 . . . . . .
4 ......3......
12 . . . . . . 2 . . . . . .
18 . . . . . . 4 . . . . . .
24 . . . . . . 3 . . . . . .
5 ......4......
13 . . . . . . 1 . . . . . .
19 . . . . . . 2 . . . . . .
25 . . . . . . 1 . . . . . .
6 ......1......
14 . . . . . . 3 . . . . . .
20 . . . . . . 1 . . . . . .
7 ......2......
8 ......4......
The University of the State of New York • THE STATE EDUCATION DEPARTMENT • Albany, New York 12234
COMPREHENSIVE ENGLISH
Rating of Short-Constructed Responses and Essay
(1) In training raters to score student responses for each part of the examination, follow the procedures outlined below:
Introduction to the Tasks
• Raters read the task and summarize it.
• Raters read the passages (if applicable) and plan a response to the task.
• Raters share response plans and summarize expectations for student responses.
Introduction to the Rubric and Anchor Papers
• Trainer reviews rubric with reference to the task.
• Trainer reviews procedures for assigning holistic scores (i.e., by matching evidence from the response
to the language of the rubric and by weighing all qualities equally).
• Trainer leads review of each anchor paper and commentary. (Note: Anchor papers are ordered from
high to low within each score level.)
Practice Scoring Individually
• Raters score a set of five practice papers individually. Raters should score the five papers independently without looking at the scores provided after the five papers.
• Trainer records scores and leads discussion until raters feel comfortable enough to move on to actual
scoring. (Practice papers for Questions 26 and 27 contain scores and commentaries. Practice papers
for Question 28 only contain scores.)
(2) When actual rating begins, each rater should record his or her individual rating for a student’s shortconstructed responses and essay on the rating sheets provided, not directly on the student’s essay or
answer sheet. Do not correct the student’s work by making insertions or changes of any kind.
(3) The 2-credit short responses are to be rated by one qualified rater. Each essay must be rated by at least
two raters; a third rater will be necessary to resolve scores that differ by more than one point. The scoring coordinator will be responsible for coordinating the movement of papers, calculating a final
score for each student’s essay, and recording that information on the student’s answer paper.
Schools are not permitted to rescore any of the open-ended questions on any Regents Exam
after each question has been rated the required number of times as specified in the rating guide,
regardless of the final exam score. Schools are required to ensure that the raw scores have been
added correctly and that the resulting scale score has been determined accurately.
Comp. Eng. Rating Guide — Jan. ’13
[2]
Question 26
(used for 2-credit responses that refer to two texts)
Score Point 2
• presents a well-developed paragraph
• demonstrates a basic understanding of the texts
• establishes an appropriate controlling idea
• supports the controlling idea with clear and appropriate details from both texts
• uses language that is appropriate
• may exhibit errors in conventions that do not hinder comprehension
Score Point 1
• has a controlling idea
or
• implies a controlling idea
or
• has an unclear controlling idea
AND
• supports the controlling idea with partial and/or overly general information from the texts
• uses language that may be imprecise or inappropriate
• exhibits errors in conventions that may hinder comprehension
Score Point 0
• is off topic, incoherent, a copy of the task/texts, or blank
• demonstrates no understanding of the task/texts
• is a personal response
Comp. Eng. Rating Guide — Jan. ’13
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Anchor Paper – Question 26 – Level 2 – A
Anchor Level 2–A
The response presents a well-developed paragraph, demonstrating a basic understanding of the texts. An appropriate controlling idea
(developing a skill is most rewarding when one allows his or herself to be proud of one’s achievments and enjoy the process of
learning) is supported with clear and appropriate details from both texts (the speaker learns to let the imperfections go … therefore, the
pressure to be perfect disappears and the process of learning Spanish is almost like magic … she practices her new words in her home
and even while bathing). Language use is appropriate, and errors in conventions (his or herself and wife, she practices) do not hinder
comprehension.
Comp. Eng. Rating Guide — Jan. ’13
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Anchor Paper – Question 26 – Level 2 – B
Anchor Level 2–B
The response presents a well-developed paragraph, demonstrating a basic understanding of the texts. An appropriate controlling idea
(developing a new skill takes practice, but is rewarding) is supported with clear and appropriate details from both texts (The narrator
was very content with the lampshade hat made of mohair, implying that he/she was happy with his/her new skill and felt rewarded and
she is practicing it in the house, naming every object her eyes land upon). Language use is appropriate, and errors in conventions
(exerpt, sucesses, swetters) do not hinder comprehension.
Comp. Eng. Rating Guide — Jan. ’13
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Anchor Paper – Question 26 – Level 1 – A
Anchor Level 1–A
The response has a controlling idea (In both passages, you learn new skills), supported by partial and overly general information from
the texts (in passage one, Sabina taught a valuable lesson, That you can make mistakes and it wont effect anything and in the Second
passage, the lady was going thru her house renaming things). Language use is imprecise (effect for “affect,” & for “and,” thru for
“through”), and errors in conventions (wont; did. in; things. that; rejeuinating; nomatter) may hinder comprehension.
Comp. Eng. Rating Guide — Jan. ’13
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Anchor Paper – Question 26 – Level 1 – B
Anchor Level 1–B
The response has a controlling idea (learning a skill is like learning to walk if you don’t give up you will get better), supported with
partial and overly general information from the texts (she had trouble a first but then she got the hang of it and she keeped practicing
and she got better). Language use is imprecise (the hang of it and she keeped), and errors in conventions (walk if, up you, passage she,
fist passage, passage she, practicing and) may hinder comprehension.
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Anchor Paper – Question 26 – Level 0
Anchor Level 0
The response is off topic and demonstrates no understanding of the task.
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Question 26 – Practice Paper A
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Question 26 – Practice Paper B
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Question 26 – Practice Paper C
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Question 26 – Practice Paper D
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Question 26 – Practice Paper E
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QUESTION 26
PRACTICE SET ANNOTATIONS
Practice Paper A — Score Level 2
The response presents a well-developed paragraph, demonstrating a basic understanding of the texts. An appropriate controlling idea
(Developing a skill may be challenging, but people are constantly coming up with new ways to make it interesting and fun) is supported
with clear and appropriate details from both texts (The author has a new perspective … its okay to make some errors. This new found
outlook made knitting more of a hobby; It became enjoyable; Instead of studying with some dreary flashcards, the women would simply
just name random objects around the house). Language use is appropriate, and errors in conventions (ehance, For instance the, its
alright) do not hinder comprehension.
Practice Paper B — Score Level 1
The response implies a controlling idea (Both the auther take about the skills they have), supported with partial and overly general
information from the texts (In passage one he or she Is having Bad luck with knitting or she Dose not like the coloer that she made it
with and Passage two talks about his wife taking flower up staers and talking in Spanish). Language use is imprecise (take for “talk,”
themself, Dose for ”does,” She ask … on how), and errors in conventions (takeing, he or she … themselves, Bad, So she ask, up staers,
storyes, pomes) may hinder comprehension.
Practice Paper C — Score Level 1
The response implies a controlling idea (it is importin in life not to give up no matter how hard it may or may not be), supported by
partial and overly general information from the texts (she meet a girl that showed her how to nite, and told her to never give up and
“She moved from room to room” tuching there humbble belonging). Language use is imprecise (nite for “knit,” there for “their,”
persued, have neve got), and errors in conventions (importin, mittin, graduated she, worte a pome, humbble, other wise, and His wife)
may hinder comprehension.
Practice Paper D — Score Level 2
The response presents a well-developed paragraph, demonstrating a basic understanding of the texts. An appropriate controlling idea
(Developing a skill takes time … you need to master the basics first) is supported with clear and appropriate details from both texts
(While she hit speed bumps on her path to knitting the perfect sweater or hat, in the end it shows that all her hard work pays off and
with these building blocks she will soon be able to say sentences and eventually converse in fluent Spanish). Language use is
appropriate, and errors in conventions (perserverence; wife, and; practice, it’s) do not hinder comprehension.
Practice Paper E — Score Level 0
The response is a personal response. There is no reference to either text.
Comp. Eng. Rating Guide — Jan. ’13
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Question 27
(used for 2-credit responses that refer only to one text)
Score Point 2
• presents a well-developed paragraph
• provides an appropriate explanation of the literary element or technique chosen
• supports the explanation with clear and appropriate evidence from the text
• uses language that is appropriate
• may exhibit errors in conventions that do not hinder comprehension
Score Point 1
• provides an explanation of the literary element or technique
or
• implies an explanation of the literary element or technique
or
• has an unclear explanation of the literary element or technique
AND
• supports the explanation with partial and/or overly general information from the text
• uses language that may be imprecise or inappropriate
• exhibits errors in conventions that may hinder comprehension
Score Point 0
• is off topic, incoherent, a copy of the task/text, or blank
• demonstrates no understanding of the task/text
• is a personal response
Note: Since the question specifies choosing one of the authors, if the student responds using both
passages, score the portion of the response that would give the student the higher score.
Comp. Eng. Rating Guide — Jan. ’13
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Anchor Paper – Question 27 – Level 2 – A
Anchor Level 2–A
The response presents a well-developed paragraph that provides an appropriate explanation of figurative language in Passage II (The
figurative language in this passage helps us understand the narrator’s wife’s thirst for knowledge and desire to learn a new language),
supported with clear and appropriate evidence from the text (This quote compares language and words to flowers the wife can put in
her bath a absorb and we begin to understand the wife’s motivations and feelings). Language use is appropriate, and errors in
conventions (word … ,” and them … ,”) do not hinder comprehension.
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Anchor Paper – Question 27 – Level 2 – B
Anchor Level 2–B
The response presents a well-developed paragraph that provides an appropriate explanation of theme in Passage II (The theme is to
continue to learn how to knit and don’t quit if at first you don’t succeed), supported with clear and appropriate evidence from the text
(When the girl first started knitting, she wasn’t very good at it, and so she quit; she realized she wanted to pick it up again; She learned
to forgive the simple and few mistakes). Language use is appropriate, and errors in conventions (women for “woman” and hats … its)
do not hinder comprehension.
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Anchor Paper – Question 27 – Level 1 – A
Anchor Level 1–A
The response has an unclear explanation of irony in Passage I (The irony in passage 1 is his given up faith that he can do it), supported
with overly general information from the text (The irony comes in when he meets a women who steal his interest back into knitting).
Language use is imprecise (failer), and errors in conventions (knitting. But and thats were) may hinder comprehension.
Comp. Eng. Rating Guide — Jan. ’13
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Anchor Paper – Question 27 – Level 1 – B
Anchor Level 1–B
The response provides an explanation of imagery in Passage I (imagery is shown by the way the auther discribes the story), supported
with overly general information from the text (how the auther uses bright colors and shapes). Language use is imprecise (discribe
things), and errors in conventions (auther discribes and story. how) do not hinder comprehension.
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Anchor Paper – Question 27 – Level 0
Anchor Level 0
The response is a copy of the first 11 lines of Passage II, demonstrating no understanding of the task or text.
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Question 27 – Practice Paper A
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Question 27 – Practice Paper B
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Question 27 – Practice Paper C
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Question 27 – Practice Paper D
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Question 27 – Practice Paper E
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QUESTION 27
PRACTICE SET ANNOTATIONS
Practice Paper A — Score Level 2
The response presents a well-developed paragraph that provides an appropriate explanation of theme in Passage I (When the author is
telling her story of how to knitt, she is letting the audience know that with hard work anything can be achieved), supported with clear and
appropriate evidence from the text (Although the author failed in seventh grade, she eventually learned all that it takes to knitt and When
the author says … “I didn’t knitt again until graduate school”, it shows that she failed and gave up for a while). Language use is
appropriate, and errors in conventions (perserverance, knitt, had continue, one … they do) do not hinder comprehension.
Practice Paper B — Score Level 1
The response implies an explanation of figurative language in Passage II (the author uses the quote, “scatter fresh flowers of language”,
to show … his wife’s new language), supported with overly general information from the text (new language is a new and fresh element
added to her life). Language use is appropriate, and errors in conventions (language”, ) do not hinder comprehension.
Practice Paper C — Score Level 0
The response is incoherent, demonstrating no understanding of the task or texts.
Practice Paper D — Score Level 1
The response implies an explanation of mood and supports this explanation with partial and overly general information from the text (the
wife is estatic, joyful, eager, and excited; The Author, in doing so, developed the poem based on her characteristics … light, playful, and
soothing). Exhibits errors in conventions that do not hinder comprehension.
Practice Paper E — Score Level 2
The response presents a well-developed paragraph that provides an appropriate explanation of metaphor in Passage II (Throughout
Passage II, the author makes use of the literary element, Metaphor to help the reader understand that the wife is influenced by the
surrounding objects), supported with clear and appropriate evidence from the text (The author was saying the words were like eggs and
the words are being compared to an armload of laundry). Language use is appropriate, and errors in conventions (noises.” the and
element, Metaphor) do not hinder comprehension.
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-develop some ideas
more fully than others,
with reference to specific
and relevant evidence
and appropriate literary
elements from both texts
-maintain a clear and
appropriate focus
-exhibit a logical
sequence of ideas but
may lack internal
consistency
-use appropriate
language, with some
awareness of audience
and purpose
-occasionally make
effective use of sentence
structure or length
-demonstrate partial
control, exhibiting
occasional errors that do
not hinder
comprehension
-develop ideas clearly
and consistently, with
reference to relevant and
specific evidence and
appropriate literary
elements from both texts
-maintain the focus
established by the critical
lens
-exhibit a logical
sequence of ideas
through use of
appropriate devices and
transitions
-use language that is
fluent and original, with
evident awareness of
audience and purpose
-vary structure and
length of sentences to
control rhythm and
pacing
-demonstrate control of
the conventions,
exhibiting occasional
errors only when using
sophisticated language
-develop ideas clearly
and fully, making
effective use of a wide
range of relevant and
specific evidence and
appropriate literary
elements from both texts
-maintain the focus
established by the critical
lens
-exhibit a logical and
coherent structure
through skillful use of
appropriate devices and
transitions
-are stylistically
sophisticated, using
language that is precise
and engaging, with a
notable sense of voice
and awareness of
audience and purpose
-vary structure and
length of sentences to
enhance meaning
-demonstrate control of
the conventions with
essentially no errors,
even with sophisticated
language
Development: the
extent to which ideas
are elaborated using
specific and relevant
evidence from the
text(s)
Organization: the
extent to which the
response exhibits
direction, shape, and
coherence
Language Use: the
extent to which the
response reveals an
awareness of audience
and purpose through
effective use of words,
sentence structure,
and sentence variety
Conventions: the
extent to which the
response exhibits
conventional spelling,
punctuation,
paragraphing,
capitalization,
grammar, and usage
-demonstrate emerging
control, exhibiting
occasional errors that
hinder comprehension
-rely on basic
vocabulary, with little
awareness of audience
or purpose
-exhibit some attempt to
vary sentence structure
or length for effect, but
with uneven success
-establish, but fail to
maintain, an appropriate
focus
- exhibit a rudimentary
structure but may
include some
inconsistencies or
irrelevancies
-develop ideas briefly,
using some evidence
from the text
-may rely primarily on
plot summary
-provide a simple
interpretation of the
"critical lens" that
suggests some criteria
for analysis
-make superficial
connections between the
criteria and the chosen
texts
3
Responses at this
level:
-demonstrate a lack of
control, exhibiting
frequent errors that make
comprehension difficult
-use language that is
imprecise or unsuitable
for the audience or
purpose
-reveal little awareness
of how to use sentences
to achieve an effect
-lack an appropriate
focus but suggest some
organization, or suggest
a focus but lack
organization
-are incomplete or
largely undeveloped,
hinting at ideas, but
references to the text are
vague, irrelevant,
repetitive, or unjustified
-provide a confused or
incomplete interpretation
of the "critical lens"
-may allude to the
"critical lens" but do not
use it to analyze the
chosen texts
2
Responses at this
level:
• If the student addresses only one text, the response can be scored no higher than a 3.
• If the student writes only a personal response and makes no reference to the text(s), the response can be scored no higher than a 1.
• Responses totally unrelated to the topic, illegible, incoherent, or blank should be given a 0.
• A response totally copied from the text(s) with no original student writing should be scored a 0.
-provide a reasonable
interpretation of the
"critical lens" that
establishes the criteria
for analysis
-make implicit
connections between
criteria and the chosen
texts
-provide a thoughtful
interpretation of the
"critical lens" that clearly
establishes the criteria
for analysis
-use the criteria to make
a clear and reasoned
analysis of the chosen
texts
-provide an interpretation
of the "critical lens" that
is faithful to the
complexity of the
statement and clearly
establishes the criteria
for analysis
-use the criteria to make
insightful analysis of the
chosen texts
Meaning: the extent to
which the response
exhibits sound
understanding,
interpretation, and
analysis of the task
and text(s)
4
Responses at this
level:
5
Responses at this
level:
6
Responses at this
level:
QUALITY
SESSION TWO PART B SCORING RUBRIC
READING AND
CRITICAL
ANALYSIS
QUESTION
28 – WRITING
SCORINGFOR
RUBRIC
– CRITICAL
LENS
-are minimal, making
assessment of
conventions unreliable
-may be illegible or not
recognizable as English
-are minimal
-use language that is
incoherent or
inappropriate
-show no focus or
organization
-are minimal, with no
evidence of development
-do not refer to the
"critical lens"
-reflect minimal or no
analysis of the chosen
texts
1
Responses at this
level:
Anchor Paper – Question 28 – Level 6 – A
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Anchor Paper – Question 28 – Level 6 – A
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Anchor Paper – Question 28 – Level 6 – A
Anchor Level 6 – A
Quality
The response:
Meaning
Development
Organization
Language Use
Conventions
Commentary
Provides an interpretation of the critical lens that is faithful to the complexity of the statement and
clearly establishes the criteria for analysis, stating that although Disraeli openly concedes that life is
unpredictable and no person has the ability to really control an event … man does have power and
control of his own personal actions and he is able to alter or overcome his circumstances. The
response uses the criteria to make insightful analysis of Night (Elie was able to regain a bit of
control by remaining aware, retaining a spark of hope, and a grim determination in his decision not
to die in the camp) and of To Kill a Mockingbird (Atticus continued to work at defending the black
man. In this way he took control of his own personal actions despite the circumstances of his
situation).
Develops ideas clearly and fully, making effective use of a wide range of relevant and specific
evidence from Night (With the Holocaust as its setting, the threats of the Nazis, Elie does manage to
survive the concentration camps) and from To Kill a Mockingbird (racism and prejudice were
common and a socially acceptable occurrence and he works very hard … in defending an innocent
black man in court). The response incorporates appropriate literary elements, discussing the impact
of setting and characterization in both texts.
Maintains the focus established by the critical lens on man’s personal actions which give him the
ability to rise above certain negative events and to take a varying amount of power. The response
exhibits a logical and coherent structure, first interpreting and agreeing with the lens, then discussing
Elie’s situation in relation to the Holocaust and Atticus’ situation in relation to social conditions in
the south. The response ends with a summary conclusion that emphasizes the similarities between
the texts. Appropriate devices and transitions are skillfully used (In saying this, even if, Despite the
townspeople’s insults).
Is stylistically sophisticated, using language that is precise and engaging, with a notable sense of
voice and awareness of audience and purpose (It is blatantly obvious, one of history’s most extreme
examples, intentionally despondent nature). The response varies structure and length of sentences to
enhance meaning (However, Atticus is a strong, just man).
Demonstrates control of the conventions with essentially no errors, even with sophisticated language.
Conclusion: Overall, the response best fits the criteria for Level 6 in all qualities.
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Anchor Paper – Question 28 – Level 6 – B
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Anchor Paper – Question 28 – Level 6 – B
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Anchor Paper – Question 28 – Level 6 – B
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Anchor Level 6 – B
Quality
The response:
Meaning
Development
Organization
Language Use
Conventions
Commentary
Provides an interpretation of the critical lens that is faithful to the complexity of the statement and
clearly establishes the criteria for analysis stating that people have the ability to use their own
judgment and make their own decisions to overcome the obstacles in their lives and that people’s
fate is in their own control. The response uses the criteria to make insightful analysis of both Romeo
and Juliet (Romeo, who placed matters of the heart above the selfish desires of others, chose to
ignore circumstances, such as the opinions and wants of others, that were beyond his control) and
Of Mice and Men (In order to avoid harmful and damaging circumstances beyond his own control,
George is able to realize that his conduct is, indeed, in his own power).
Develops ideas clearly and fully, making effective use of a wide range of relevant and specific
evidence from Romeo and Juliet (Romeo Montague falls in love with Juliet Capulet, a girl from the
family that rivals his own, and is determined to be with her and secretly pledging his love to Juliet …
and devising a plan with Friar Laurence to marry her) and from Of Mice and Men (George Milton is
faced with a dire ultimatum: he must either kill his best friend and only companion, Lennie Small, or
watch Lennie be brutally murdered by others and Lennie is capable of love and compassion for
others … where he shares his daydreams about rabbits with Crooks and Candy). The response uses
appropriate literary elements and discusses the presence of conflict in Romeo and Juliet (Romeo
faces external conflict from his family) and in Of Mice and Men (Faced with the internal conflict of
… letting his friend be killed).
Maintains the focus established by the critical lens on the ability of men to control their own conduct
under circumstances that they cannot control. The response exhibits a logical and coherent structure,
first discussing Romeo’s situation and how he exhibited self-determination to be with Juliet and then
discussing the situation George faces when he has to decide to end Lennie’s life himself. The
response makes skillful use of appropriate devices and transitions (Through this quote, As is
exemplified, Instead).
Is stylistically sophisticated, using language that is precise and engaging (Romeo, the protagonist
and titular character, faces both internal and external conflict and carry out the necessary actions to
ensure his own happiness rather than dwell on the petty differences that separated the two families),
with a notable sense of voice and awareness of audience and purpose (Through the characterization
of Lennie given to us by Steinbeck, we learn that Lennie is mentally handicapped). The response
varies structure and length of sentences to enhance meaning (Romeo is also faced with internal
conflict, as he does not want to disobey his family or bring shame upon them by allying himself with
the enemy’s house).
Demonstrates control of the conventions, exhibiting an error in spelling (posess) and occasional
errors in punctuation (wrongdoing, and did and power”, is).
Conclusion: Overall, the response best fits the criteria for Level 6, although it is somewhat weaker in
conventions.
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Anchor Paper – Question 28 – Level 5 – A
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Anchor Paper – Question 28 – Level 5 – A
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Anchor Level 5 – A
Quality
The response:
Meaning
Development
Organization
Language Use
Conventions
Commentary
Provides a thoughtful interpretation of the critical lens that clearly establishes the criteria for
analysis, stating that adversity affects virtually everyone and it is up to the individual to make the
best out of misfortunate circumstances. The response uses the criteria to make a clear and reasoned
analysis of The Great Gatsby (He chooses instead to channel his energy and never-ending love into
working towards a life with Daisy) and of The Scarlet Letter (Hester remains resilient and brave …
refusing to flee from her hometown and raising her daughter to the best of her ability).
Develops ideas clearly and consistently, with reference to relevant and specific evidence from The
Great Gatsby (Gatsby toils endlessly to win back her affections and Gatsby accumulates a vast
fortune and an impressive mansion to recapture Daisy’s attention) and from The Scarlet Letter
(Hester births a child out of wedlock with a revered figure from their stringent, pious Puritan society
and she finds work and provides a decent life for her young Pearl). The literary element of
characterization is employed but not directly identified.
Maintains the focus established by the critical lens on how an individual has the power to flourish in
the face of adversity. The response exhibits a logical sequence of ideas, first interpreting and
agreeing with the critical lens, then for each work focusing on the protagonist and identifying the
problem faced, and then explaining how the character deals with misfortunate circumstances. The
response ends with a reaffirmation of the validity of Disraeli’s statement. Appropriate transitions are
used (He chooses instead, similarly defies, Although she lives).
Is stylistically sophisticated, using language that is precise and engaging (doesn’t detrimentally
affect, denounced love altogether, it is tragically terminated), with a notable sense of voice and
awareness of audience and purpose (Jay Gatsby and Hester Prynne both overcome their seemingly
insurmountable difficulties, and prove that everyone has the power to defy misfortune). The response
varies structure and length of sentences to enhance meaning (Gatsby could have simply accepted his
fate and denounced love altogether, but he overcomes his unfavorable circumstance).
Demonstrates control of the conventions with essentially no errors, even with sophisticated language.
Conclusion: Overall, the response best fits the criteria for Level 5, although it is somewhat stronger in
language use and conventions.
Comp. Eng. Rating Guide — Jan. ’13
[37]
Anchor Paper – Question 28 – Level 5 – B
Comp. Eng. Rating Guide — Jan. ’13
[38]
Anchor Paper – Question 28 – Level 5 – B
Comp. Eng. Rating Guide — Jan. ’13
[39]
Anchor Level 5 – B
Quality
The response:
Meaning
Development
Organization
Language Use
Conventions
Commentary
Provides a thoughtful interpretation of the critical lens that clearly establishes the criteria for
analysis, stating that the manner in which a person conducts himself in difficult situations can show
the person’s true nature. The response uses the criteria to make a clear and reasoned analysis of
Macbeth (Macbeth fails to remain true to himself or remember what really matters in life) and A
Raisin in the Sun (no amount of money can buy integrity).
Develops ideas clearly and consistently, with reference to relevant and specific evidence from both
texts to support a discussion of a person’s control over his own behavior. The response identifies the
theme as Macbeth’s desire for power and characterizes Macbeth through his decisions to attain that
power (he kills Duncan, kills his best friend Banquo, betrays everyone and anyone close to him) and
discusses characterization in A Raisin in the Sun, describing Walter as a man trying to succeed in
difficult circumstances of poverty and discrimination to show how Walter’s action (He rejects the
man’s offer) allows him to remain true to himself.
Maintains the focus established by the critical lens on the importance of people’s reactions to lifechanging circumstances. The response moves from an interpretation of the lens to a discussion of
Macbeth’s decisions to protect his power at any cost, then contrasts this with Walter Lee’s decision
to reject the money, an act which allows him to keep his pride and dignity, and ends with a
conclusion that refocuses on the importance of how people handle themselves. Appropriate
transitions are used (Both Macbeth and Walter Lee, soon becomes, even kills).
Uses language that is fluent and original, with evident awareness of audience and purpose (Both of
these works show us that how a person handles himself in a difficult situation contributes to the way
others view him). The response varies structure and length of sentences to control rhythm and pacing
(Macbeth gives in to his obsession for power, destroying anyone in his way and losing all sense of
right and wrong).
Demonstrates control of the conventions, exhibiting occasional errors in punctuation (From that
moment on keeping, for example Banquo and, self respect).
Conclusion: Overall, the response best fits the criteria for Level 5 in all qualities.
Comp. Eng. Rating Guide — Jan. ’13
[40]
Anchor Paper – Question 28 – Level 5 – C
Comp. Eng. Rating Guide — Jan. ’13
[41]
Anchor Paper – Question 28 – Level 5 – C
Anchor Level 5 – C
Quality
The response:
Meaning
Development
Organization
Language Use
Conventions
Commentary
Provides a thoughtful interpretation of the critical lens that clearly establishes the criteria for analysis,
stating that although a person can never be in total control of every situation in life, we do have
control over our actions and responses and then identifying this view as an optimistic perspective.
The response uses the criteria to make a clear and reasoned analysis of The Scarlet Letter in which
Hester attempted to make the best of her situation and To Kill a Mockingbird in which Atticus is
faced with events that he had no control over and to which he must react.
Develops ideas clearly and consistently, with reference to relevant and specific evidence from both
texts to demonstrate that people can have control over their actions. The response discusses
characterization (Hester is characterized as intelligent, resourceful, and perservering and Atticus is
characterized as persistent, clever, and magnanimous) and setting (The novel is set in Puritan
America and faced with the prejudices of Depression Era Maycomb Alabama, where the story is set).
Maintains the focus established by the critical lens on Hester and Atticus and their motivation to take
action and attempt to make constructive changes. The response exhibits a logical sequence of ideas,
first interpreting and agreeing with the lens, then presenting for each work the obstacles faced by the
main character (women such as Hester rarely had control over their life decisions and He fought
against racism), followed by a discussion of actions taken despite circumstances (she chose to serve
as a nurse and treat everyone kindly and he chose to be the most nuturing father he could be), and
ending with a summary conclusion that confirms the lens. Appropriate transitions are used (So, true
to Disraeli’s quote; Pastor Dimmesdale also chose; First of all).
Uses language that is fluent and original (Both Hester and Atticus are characters at odds with the
core values of their very surroundings and communities), with evident awareness of audience and
purpose (That is a lesson Disraeli’s quote can deliver to all people). The response varies structure
and length of sentences to control rhythm and pacing (That is a point of veiw I agree with).
Demonstrates partial control, exhibiting occasional errors in spelling (pregant, threatenly, occured)
and punctuation (said “Circumstances, “The Scarlet Letter”, Maycomb Alabama) that do not hinder
comprehension.
Conclusion: Overall, the response best fits the criteria for Level 5, although it is somewhat weaker in
conventions.
Comp. Eng. Rating Guide — Jan. ’13
[42]
Anchor Paper – Question 28 – Level 4 – A
Comp. Eng. Rating Guide — Jan. ’13
[43]
Anchor Paper – Question 28 – Level 4 – A
Comp. Eng. Rating Guide — Jan. ’13
[44]
Anchor Level 4 – A
Quality
The response:
Meaning
Development
Organization
Language Use
Conventions
Commentary
Provides a reasonable interpretation of the critical lens that establishes the criteria for analysis,
stating that no one can control fate … but every person has control over how he/she deals with a
situation). The response makes implicit connections between the criteria and The Kite Runner (Amir
was not in control … but his inaction swallowed him with guilt and Macbeth (As a result of all the
murders Macbeth committed … Macduff kills him).
Develops some ideas more fully than others. The response uses specific and relevant evidence from
Macbeth to discuss Macbeth’s actions (kills the king to get to the throne and he kills anyone whom
he believes is a threat) and their consequences (Macbeth begins to hallucinate and suffers from
insomnia) to characterize Macbeth as a blood-thirsty, murderous king. The discussion of The Kite
Runner is less specifically developed.
Maintains the focus established by the critical lens on the idea that no one can control fate, but how a
person deals with the situation is completely within his/her control. The response exhibits a logical
sequence of ideas, first interpreting the lens and expressing agreement with it, then presenting
information from each work to support the interpretation, consolidating both arguments in the
conclusion (Both Amir and Macbeth made their decisions and lived with the consequences).
Transitions are appropriately used (as a result, Once on the throne, Of course).
Uses appropriate language, with some awareness of audience and purpose (I agree with this
statement). The response occasionally makes effective use of sentence structure and length (Amir
watches, frozen with fear).
Demonstrates control of the conventions, exhibiting occasional errors in punctuation (told him,
however and it’s own) and agreement (consequences … it).
Conclusion: Overall, the response best fits the criteria for Level 4, although it is somewhat stronger in
organization and conventions.
Comp. Eng. Rating Guide — Jan. ’13
[45]
Anchor Paper – Question 28 – Level 4 – B
Comp. Eng. Rating Guide — Jan. ’13
[46]
Anchor Paper – Question 28 – Level 4 – B
Comp. Eng. Rating Guide — Jan. ’13
[47]
Anchor Level 4 – B
Quality
Meaning
Development
Organization
Language Use
Conventions
Commentary
The response:
Provides a reasonable interpretation of the critical lens that establishes the criteria for analysis,
stating that although people don’t always have the choice of their surroundings, the attitudes and
outlook of each individual is always a choice. The response makes implicit connections between the
criteria and The Scarlet Letter (Living in Boston in the 1800’s made it difficult for Hester to escape
the reality in which she was forced to face) and The Invisible Man (Though not similar to Hester’s
case, the narrator’s struggles to discover and embrace his identity in The Invisible Man is
comparable).
Develops some ideas more fully than others, with reference to specific and relevant evidence from
The Scarlet Letter to discuss Hester’s situation (Hester Prynne … is living in Boston … is covicted
of adultery … has to make decisions … after her time in jail with her daughter, Pearl). The
discussion of The Invisible Man is less specifically developed, relying on general statements (Being
an African-American in America while the dominant race was white is a large part of America’s
history). The response incorporates elements of setting into the discussion of each work, although
the time period given for The Scarlet Letter is inaccurate.
Maintains a clear and appropriate focus on the idea that how each character decides to interpret
their surroundings is solely up to them. The response exhibits a logical sequence of ideas, first
stating the lens, then agreeing with it based on the severity of the situation each character faces,
concluding with the idea that the way one conducts oneself is determined completly by each
individual. Repetition of information detracts from internal consistency.
Uses appropriate language, with some awareness of audience and purpose (Both works exemplify
and support Disraeli’s statement). The response occasionally makes effective use of sentence
structure or length (The narrator was forced to live in this society with no other alternatives,
although he was capable of creating a peaceful environment for himself).
Demonstrates partial control, exhibiting occasional errors in spelling (embarassment and
endeauvered) and punctuation (that; “Circumstances; power.”.; experiences. he) that do not hinder
comprehension.
Conclusion: Overall, the response best fits the criteria for Level 4 in all qualities.
Comp. Eng. Rating Guide — Jan. ’13
[48]
Anchor Paper – Question 28 – Level 4 – C
Comp. Eng. Rating Guide — Jan. ’13
[49]
Anchor Paper – Question 28 – Level 4 – C
Anchor Level 4 – C
Quality
The response:
Meaning
Development
Organization
Language Use
Conventions
Commentary
Provides a simple interpretation of the critical lens that suggests some criteria for analysis (This
means that a man cannot control what happens around him but he can control the actions of which
he takes to get through whatever life throws at him). The response makes superficial connections
between the criteria and Of Mice and Men (George got to Lennie first and shot him for his own
good) and The Crucible (He has to deal with guilt of lechury against his wife).
Develops some ideas more fully than others. The response uses specific and relevant evidence from
Of Mice and Men to discuss the difficult situations George and Lennie face (George takes care of
Lennie, Lennie accidently killed their boss’s wife, Their boss was hunting Lennie). The discussion of
The Crucible (John is faced with difficult situations) and the literary element of characterization is
more generally developed.
Maintains a clear and appropriate focus on the idea that although man can’t control circumstance …
he can do the right thing given the situations. The response exhibits a logical sequence of ideas, first
stating and interpreting the lens, then agreeing with the lens as interpreted, moving to a discussion of
each work, and ending with a summary conclusion. Internal consistency is weakened by a shift in
focus from the introductory idea that man should control his actions in order to survive to a
discussion of doing what is right.
Uses appropriate language that is sometimes inexact (says the a man, boss what of done, shooting
him so he didn’t get hurt), with some awareness of audience and purpose (In the book “Of Mice and
Men,” the two main characters … demonstrate the quote very well). The response occasionally
makes effective use of sentence structure or length (Like George and Lennie, John is faced with
difficult situations too).
Demonstrates partial control, exhibiting occasional errors in spelling (Crusible, consitering,
acussing), punctuation (around him but he, “Of Mice and Men,” stories it), and grammar (situations
… it, John and his wife was, two works … shows) that do not hinder comprehension.
Conclusion: Overall, the response best fits the criteria for Level 4, although it is somewhat weaker in
meaning.
Comp. Eng. Rating Guide — Jan. ’13
[50]
Anchor Paper – Question 28 – Level 3 – A
Comp. Eng. Rating Guide — Jan. ’13
[51]
Anchor Level 3 – A
Quality
Meaning
Development
Organization
Language Use
Conventions
Commentary
The response:
Provides a simple interpretation of the critical lens that suggests some criteria for analysis (man or
woman … can not change his or hers fate. But how they react to that fall short may affect the rest of
their lives). The response makes superficial connections between the criteria and The Scarlet Letter
(why would any woman, or person, choose to suffer a verdict alone when they have the
oppertunnity to share their guilt) and Romeo and Juliet (But this decision has led to a line of irony
and murder).
Develops ideas briefly, using some evidence from the texts. Although the discussion of The Scarlet
Letter is somewhat stronger than the discussion of Romeo and Juliet, both discussions rely on
general statements and plot summary.
Establishes an appropriate focus on the circumstances of fate and the idea that how that person
responds … to their situation may give them failure or success. The response exhibits a rudimentary
structure consisting of an introduction and two body paragraphs but lacks a conclusion.
Uses appropriate language, with some awareness of audience and purpose (I agree with this quote).
The response occasionally makes effective use of sentence structure or length (Holding her new
born daughter in her arms, she stands before the towns people).
Demonstrates partial control, exhibiting occasional errors in spelling (incourage, adultry,
conceaved), punctuation (“The Scarlet letter”; idea, why; guilt.), and grammar (person … their
situation and woman … they) that do not hinder comprehension.
Conclusion: Overall, the response best fits the criteria for Level 3, although it is somewhat stronger in
language use and conventions.
Comp. Eng. Rating Guide — Jan. ’13
[52]
Anchor Paper – Question 28 – Level 3 – B
Comp. Eng. Rating Guide — Jan. ’13
[53]
Anchor Paper – Question 28 – Level 3 – B
Anchor Level 3 – B
Quality
The response:
Meaning
Development
Organization
Language Use
Conventions
Commentary
Provides a simple interpretation of the critical lens that suggests some criteria for analysis (This
quote mean that something are beyond some peoples control but something you control over). The
response makes superficial connections between the criteria and The Miracle Worker (she knew …
she and her teacher work and work on her disability) and The Scarlet Letter (Ester … felt that she
can control what she do and her silence).
Develops ideas briefly, using some evidence from the texts. The response includes general
references to a deaf blind and mute chilld and her teacher for The Miracle Worker and to a lady who
thought her husband had died and feel in love with another man with adultry being frowned upon for
The Scarlet Letter, but both discussions rely primarily on plot summary.
Establishes an appropriate focus on two works of literature that fit the quote. The response exhibits a
rudimentary structure but is inconsistent, containing several ideas in the introduction (control of …
love … control in who stay in there life … control when your dying … choic how … to live your life
the rest of the days you have left) that are not addressed in the response.
Relies on basic vocabulary that is sometimes imprecise (something you control over, there for
“their,” thought for “though”), with little awareness of audience and purpose. The response exhibits
some attempt to vary sentence structure or length for effect, but with uneven success (In the mircale
workers talks about … her control).
Demonstrates emerging control, exhibiting occasional errors in spelling (chilld and adultry),
punctuation (peoples control, disability she, “the scarlets letter”), and grammar (quote mean, one of
the book are call, control what she do) that hinder comprehension.
Conclusion: Overall, the response best fits the criteria for Level 3 in all qualities.
Comp. Eng. Rating Guide — Jan. ’13
[54]
Anchor Paper – Question 28 – Level 3 – C
Comp. Eng. Rating Guide — Jan. ’13
[55]
Anchor Paper – Question 28 – Level 3 – C
Anchor Level 3 – C
Quality
The response:
Meaning
Development
Organization
Language Use
Conventions
Commentary
Provides a simple interpretation of the critical lens that suggests some criteria for analysis (this mean
you may not be able to control what happens in life, but you can make the best of it). The response
makes superficial connections between the criteria and To Kill a Mockingbird (In To Kill a
Mockingbird, you may have nothing Due to the circumstanes but, you make the best of what you’ve
got) and The Color of Water (In The Color of Water, you can make the best out of any situation).
Is incomplete and largely undeveloped, hinting at ideas, but references to both texts are vague (He is
going through some legil Problems) and repetitive (Mr Cunningham may not have alot but he makes
the best of what he has, She does not have very much money, She many not have very much money,
She may not have alot but she makes the best out of every thing).
Establishes an appropriate focus on somethings you cannot control but … can make the best of them.
The response exhibits a rudimentary structure, including an introduction, two body paragraphs, and
an inconsistent conclusion that introduces new ideas (You can look at things in a good or bad way,
but have faith and things will get better).
Relies on basic vocabulary that is repetitive and sometimes imprecise (singles mother, She many not,
kids). The response exhibits some attempt to vary sentence structure or length for effect, but with
uneven success.
Demonstrates emerging control, exhibiting occasional errors in spelling (circumstanes and sapport),
punctuation (but, you; got, Mr Cunningham; cant), grammar (he get, he pay, She … work), and the
use of random capitalization that may hinder comprehension.
Conclusion: Overall, the response best fits the criteria for Level 3, although it is somewhat weaker in
development.
Comp. Eng. Rating Guide — Jan. ’13
[56]
Anchor Paper – Question 28 – Level 2 – A
Comp. Eng. Rating Guide — Jan. ’13
[57]
Anchor Level 2 – A
Quality
The response:
Meaning
Development
Organization
Language Use
Conventions
Commentary
Provides a confused interpretation of the critical lens, stating that human beings should be able to
control anything they put they selfs into, but then negates that statement by advising don’t put
yourself in a situation you cant handle. The response alludes to the critical lens but does not use it to
analyze Of Mice and Men.
Is incomplete and largely undeveloped, hinting at ideas, but references to the single text used are
vague (two men … smarter one … the other man who wasn’t smart and if you told him to do
something).
Suggests a focus on the critical lens by restating it and suggests some organization through the use of
connecting language (This quote, Now, Even though), but ideas within paragraphs are only loosely
related.
Relies on basic vocabulary which is sometimes imprecise (then for “than,” where for “were,” of for
“off”), with little awareness of audience or purpose (Why put yourself in a predicament you can’t
handle). The response exhibits some attempt to vary sentence structure or length for effect, but with
uneven success (For example another quote “If you can’t stand the heat stay out the kitchen”!).
Demonstrates emerging control, exhibiting occasional errors in spelling (they selfs, Every body,
thierselves), punctuation (think but; man”.; handle, It), paragraphing, grammar (a man do and
everyone has their own), and shifts in point of view that hinder comprehension.
Conclusion: Overall, the response best fits the criteria for Level 2, although it is somewhat stronger in
language use and conventions.
Comp. Eng. Rating Guide — Jan. ’13
[58]
Anchor Paper – Question 28 – Level 2 – B
Comp. Eng. Rating Guide — Jan. ’13
[59]
Anchor Level 2 – B
Quality
The response:
Meaning
Development
Organization
Language Use
Conventions
Commentary
Provides a confused and incomplete interpretation of the critical lens (people cant make you do
something you dont wanna do). The response may allude to the critical lens but does not use it to
analyze Nineteen Minutes or Romeo and Juliet.
Is incomplete and largely undeveloped, hinting at ideas, but references to Romeo and Juliet are
vague (Romeo & Juliet made their own decisons to be together but everyone else didn’t want them
together). There is no discussion of Nineteen Minutes.
Suggests a focus by restating the critical lens and suggests some organization through the use of
paragraphing and connecting language (In the book, but, These two works). The response relies on
the use of loosely related ideas taken from the task.
Uses language that is imprecise (wanna for “want to,” Romeo & Juliet, to for “too,” Cause for
“Because”). The response reveals little awareness of how to use sentences to achieve an effect
(Cause in their conduct was their own power). The response relies heavily on the language of the
task.
Demonstrates emerging control, exhibiting frequent errors in punctuation (peters conduct; power
people; dont; together but; way. Cause) and occasional errors in capitalization (peters and people
cant, i) that hinder comprehension.
Conclusion: Overall, the response best fits the criteria for Level 2, although it is somewhat stronger in
conventions.
Comp. Eng. Rating Guide — Jan. ’13
[60]
Anchor Paper – Question 28 – Level 2 – C
Comp. Eng. Rating Guide — Jan. ’13
[61]
Anchor Level 2 – C
Quality
The response:
Meaning
Development
Organization
Language Use
Conventions
Commentary
Provides a confused interpretation of the critical lens (whatever opticle or situation you are put in
that you need to overcome you will always have your self as a man). The response alludes to the
critical lens but does not use it to analyze The Crucible or The Freedom Writers Diary.
Is incomplete and largely undeveloped, hinting at ideas (It Explain the hardwork of man, female,
humanBians period), but this single reference to The Freedom Writers Diary is vague. There is no
discussion of The Crucible.
Lacks an appropriate focus but suggests some organization through the use of paragraphing.
Uses language that is imprecise (their enter most deepest feeling). The response reveals little
awareness of how to use sentences to achieve an effect (Doesn’t matter how you present your self
But how you show your critibility).
Demonstrates a lack of control, exhibiting frequent errors in spelling (opticle, your self, Discribes,
opion, Cruiciuale), punctuation (overcome you; life That’s; power, Doesn’t), grammar (Two works
… supports … is and It Explain), and capitalization that make comprehension difficult.
Conclusion: Overall, the response best fits the criteria for Level 2 in all qualities.
Comp. Eng. Rating Guide — Jan. ’13
[62]
Anchor Paper – Question 28 – Level 1 – A
Anchor Level 1 – A
Quality
The response:
Meaning
Development
Organization
Language Use
Conventions
Commentary
Provides an incomplete interpretation of the critical lens. (I agree with this quote because some times
a guy is in the predicument … then he’ll fix it). The response reflects no analysis of any texts.
Minimal, with no evidence of development.
Suggests a focus on the lens by restating and agreeing with it. The single paragraph response
suggests organization through the use of some connecting language (because, but, then).
Relies on basic vocabulary (guy and he’ll fix it), with little awareness of audience or purpose. The
response reveals little awareness of how to use sentences to achieve an effect.
Demonstrates partial control, exhibiting occasional errors in spelling (some times and predicument)
and punctuation (power”. by and Benjamin Disraeli, I) that do not hinder comprehension.
Conclusion: Although the response fits the criteria for Levels 1, 2, 3, and 4, it remains at Level 1
because the response makes no reference to any text.
Comp. Eng. Rating Guide — Jan. ’13
[63]
Anchor Paper – Question 28 – Level 1 – B
Anchor Level 1 – B
Quality
The response:
Meaning
Development
Organization
Language Use
Conventions
Commentary
Does not refer to the critical lens beyond restating it. The response reflects no analysis of A Raisin in
the Sun.
Is minimal, with no evidence of development beyond the statement that there was a family.
Shows no focus or organization.
Is minimal.
Is minimal, making assessment of conventions unreliable.
Conclusion: Overall, the response best fits the criteria for Level 1 in all qualities.
Comp. Eng. Rating Guide — Jan. ’13
[64]
Question 28 – Practice Paper – A
Comp. Eng. Rating Guide — Jan. ’13
[65]
Question 28 – Practice Paper – A
Comp. Eng. Rating Guide — Jan. ’13
[66]
Question 28 – Practice Paper – B
Comp. Eng. Rating Guide — Jan. ’13
[67]
Question 28 – Practice Paper – B
Comp. Eng. Rating Guide — Jan. ’13
[68]
Question 28 – Practice Paper – C
Comp. Eng. Rating Guide — Jan. ’13
[69]
Question 28 – Practice Paper – C
Comp. Eng. Rating Guide — Jan. ’13
[70]
Question 28 – Practice Paper – D
Comp. Eng. Rating Guide — Jan. ’13
[71]
Question 28 – Practice Paper – D
Comp. Eng. Rating Guide — Jan. ’13
[72]
Question 28 – Practice Paper – D
Comp. Eng. Rating Guide — Jan. ’13
[73]
Question 28 – Practice Paper – E
Comp. Eng. Rating Guide — Jan. ’13
[74]
Practice Paper A–Score Level 4
Conclusion: Overall, the response best fits the criteria for Level 4 in all qualities.
Practice Paper B–Score Level 2
Conclusion: Overall, the response best fits the criteria for Level 2, although it is somewhat stronger in
meaning.
Practice Paper C–Score Level 5
Conclusion: Overall, the response best fits the criteria for Level 5, although it is somewhat weaker in
development and conventions.
Practice Paper D–Score Level 4
Conclusion: Overall, the response best fits the criteria for Level 4, although it is somewhat stronger in
meaning.
Practice Paper E–Score Level 3
Conclusion: Overall, the response best fits the criteria for Level 3 in all qualities.
Map to Core Curriculum
The table below shows which core performance indicator or standard and key idea each item is aligned to.
The numbers in the table represent the question numbers of the examination.
Core Performance
Indicators
Standard 1
Standard 2
Standard 3
Listening
3, 6
2, 5
1, 4
7, 8
Reading
20, 24
12, 17, 23
13, 15, 19, 25
9, 10, 11, 14,
16, 18, 21, 22
Writing
26, 27, 28
26, 27, 28
26, 27, 28
26, 28
Comp. Eng. Rating Guide — Jan. ’13
[75]
The Chart for Determining the Final Examination Score for the January 2013 Regents
Comprehensive Examination in English will be posted on the Department’s web site
at http://www.p12.nysed.gov/assessment/ on Tuesday, January 22, 2013. Conversion
charts provided for previous administrations of the Regents Comprehensive
Examination in English must NOT be used to determine students’ final scores for this
administration.
Online Submission of Teacher Evaluations of the Test to the Department
Suggestions and feedback from teachers provide an important contribution to the test development
process. The Department provides an online evaluation form for State assessments. It contains spaces for
teachers to respond to several specific questions and to make suggestions. Instructions for completing the
evaluation form are as follows:
1. Go to http://www.forms2.nysed.gov/emsc/osa/exameval/reexameval.cfm.
2. Select the test title.
3. Complete the required demographic fields.
4. Complete each evaluation question and provide comments in the space provided.
5. Click the SUBMIT button at the bottom of the page to submit the completed form.
Comp. Eng. Rating Guide — Jan. ’13
[76]
The State Education Department / The University of the State of New York
Regents Comprehensive Examination in English – January 2013
Chart for Determining the Final Examination Score
(Use for January 2013 examination only.)
Total Multiple-Choice Score
Total Score for Questions 26, 27, and 28
0
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
0
0
1
3
4
6
7
9
10
12
14
15
17
19
21
22
24
26
28
30
32
33
35
37
39
41
43
1
4
6
7
9
10
12
14
15
17
19
21
22
24
26
28
30
32
33
35
37
39
41
43
45
46
48
2
9
10
12
14
15
17
19
21
22
24
26
28
30
32
33
35
37
39
41
43
45
46
48
50
52
54
3
14
15
17
19
21
22
24
26
28
30
32
33
35
37
39
41
43
45
46
48
50
52
54
56
57
59
4
19
21
22
24
26
28
30
32
33
35
37
39
41
43
45
46
48
50
52
54
56
57
59
61
63
65
5
24
26
28
30
32
33
35
37
39
41
43
45
46
48
50
52
54
56
57
59
61
63
65
67
69
70
6
30
32
33
35
37
39
41
43
45
46
48
50
52
54
56
57
59
61
63
65
67
69
70
72
74
76
7
35
37
39
41
43
45
46
48
50
52
54
56
57
59
61
63
65
67
69
70
72
74
76
78
80
82
8
41
43
45
46
48
50
52
54
56
57
59
61
63
65
67
69
70
72
74
76
78
80
82
84
85
87
9
46
48
50
52
54
56
57
59
61
63
65
67
69
70
72
74
76
78
80
82
84
85
87
89
91
93
10
52
54
56
57
59
61
63
65
67
69
70
72
74
76
78
80
82
84
85
87
89
91
93
95
98
100
To determine the student’s final examination score, locate the student’s total score for Questions
26, 27, and 28* across the top of the chart and the student’s total multiple-choice score down the
side of the chart. The point where those two scores intersect is the student’s final examination
score. For example, a student receiving a total score for Questions 26, 27, and 28 of 9 and a total
multiple-choice score of 20 would receive a final examination score of 84.
Schools are not permitted to rescore any of the open-ended questions on any Regents Exam
after each question has been rated the required number of times as specified in the rating
guide, regardless of the final exam score. Schools are required to ensure that the raw scores
have been added correctly and that the resulting scale score has been determined
accurately.
Because scale scores corresponding to raw scores in the conversion chart change from one
administration to another, it is crucial that for each administration the conversion chart provided for
that administration be used to determine the student’s final score. The chart above is usable only
for this administration of the Regents Comprehensive Examination in English.
*If the total score ends in .5, round that score up to the nearest whole number.
Comp. English Conversion Chart - January '13
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