PSAT PSAT-Reading 問題集

質問 1：
The main purpose of this story is to appeal to the reader's interest in a subject which has been the theme
of some of the greatest writers, living and dead--but which has never been, and can never be, exhausted,
because it is a subject eternally interesting to all mankind. Here is one more book that depicts the struggle
of a human creature, under those opposing influences of Good and Evil, which we have all felt, which we
have all known. It has been my aim to make the character of "Magdalen," which personifies this struggle,
a pathetic character even in its perversity and its error; and I have tried hard to attain this result by the
least obtrusive and the least artificial of all means--by a resolute adherence throughout to the truth as it is
in Nature. This design was no easy one to accomplish; and it has been a great encouragement to me
(during the publication of my story in its periodical form) to know, on the authority of many readers, that
the object which I had proposed to myself, I might, in some degree, consider as an object achieved.
Round the central figure in the narrative other characters will be found grouped, in sharp
contrast--contrast, for the most part, in which I have endeavored to make the element of humor mainly
predominant. I have sought to impart this relief to the more serious passages in the book, not only
because I believe myself to be justified in doing so by the laws of Art--but because experience has taught
me (what the experience of my readers will doubtless confirm) that there is no such moral phenomenon
as unmixed tragedy to be found in the world around us. Look where we may, the dark threads and the
light cross each other perpetually in the texture of human life.
Which selection best identifies the device used in the phrase "the dark threads and the light cross each
other perpetually in the texture of human life" at the end of 3rd paragraph
A. allegory
B. simile
C. alliteration
D. allusion
E. metaphor
正解：E
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質問 2：
The proposal to forbid the use of indoor furniture on front porches has divided the town along __ lines: the
affluent feel the old couches are eyesores, while those who cannot afford new outdoor furniture are __
about what they feel is an attempt to restrict their lifestyle.
A. socioeconomic . . incensed
B. aesthetic . . dismayed
C. racial . . angry
D. political . . nonplussed
E. class . . pleased
正解：A
解説: (Topexam メンバーにのみ表示されます)

質問 3：
The professor's oldest colleague was selected to give the __________ at the funeral.
A. eulogy
B. epigraph
C. eponymy
D. elegy
E. epitaph
正解：A
解説: (Topexam メンバーにのみ表示されます)

質問 4：
The main purpose of this story is to appeal to the reader's interest in a subject which has been the theme
of some of the greatest writers, living and dead--but which has never been, and can never be, exhausted,
because it is a subject eternally interesting to all mankind. Here is one more book that depicts the struggle
of a human creature, under those opposing influences of Good and Evil, which we have all felt, which we
have all known. It has been my aim to make the character of "Magdalen," which personifies this struggle,
a pathetic character even in its perversity and its error; and I have tried hard to attain this result by the
least obtrusive and the least artificial of all means--by a resolute adherence throughout to the truth as it is
in Nature. This design was no easy one to accomplish; and it has been a great encouragement to me
(during the publication of my story in its periodical form) to know, on the authority of many readers, that
the object which I had proposed to myself, I might, in some degree, consider as an object achieved.
Round the central figure in the narrative other characters will be found grouped, in sharp
contrast--contrast, for the most part, in which I have endeavored to make the element of humor mainly
predominant. I have sought to impart this relief to the more serious passages in the book, not only
because I believe myself to be justified in doing so by the laws of Art--but because experience has taught
me (what the experience of my readers will doubtless confirm) that there is no such moral phenomenon
as unmixed tragedy to be found in the world around us. Look where we may, the dark threads and the
light cross each other perpetually in the texture of human life.
What selection best identifies the device utilized as a whole in the opening first paragraph?
A. rhetorical question
B. antagonist
C. epic
D. allegory
E. allusion
正解：E
解説: (Topexam メンバーにのみ表示されます)

質問 5：
Unlike the American worker, who expects to work for several different firms during his or her career, until
recently the Japanese worker regarded employment as __ commitment.
A. a bilateral
B. a lifetime
C. an economic
D. a moral
E. a significant
正解：B
解説: (Topexam メンバーにのみ表示されます)

質問 6：
For the last hour I have been watching President Lincoln and General McClellan as they sat together in
earnest conversation on the deck of a steamer closer to us. I am thankful, I am happy, that the President
has come--has sprung across the dreadful intervening Washington, and come to see and hear and judge
for his own wise and noble self. While we were at dinner someone said, "Why, there's the President!" and
he proved to be just arriving on the Ariel, at the end of the wharf. I stationed myself at once to watch for
the coming of McClellan. The President stood on deck with a glass, with which, after a time, he inspected
our boat, waving his handkerchief to us. My eyes and soul were in the direction of the general
headquarters, over which the great balloon was slowly descending.
The "great balloon slowly descending" is apparently
A. remnants of a firestorm of the Potomac
B. a mirage
C. the moon over the river
D. the sun setting
E. McClellan's transport arriving
正解：E
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質問 7：
Here my friend, about whose madness I now saw, or fancied that I saw, certain indications of method,
removed the peg which marked the spot where the beetle fell, to a spot about three inches to the
westward of its former position. Taking, now, the tape measure from the nearest point of the trunk to the
peg, as before, and continuing the extension in a straight line to the distance of fifty feet, a spot was
indicated, removed, by several yards, from the point at which we had been digging.
Around the new position a circle, somewhat larger than in the former instance, was now described, and
we again set to work with the spades. I was dreadfully weary, but, scarcely understanding what had
occasioned the change in my thoughts, I felt no longer any great aversion from the labor imposed. I had
become most unaccountably interested--nay, even excited. Perhaps there was something, amid all the
extravagant demeanor of Legrand--some air of forethought, or of deliberation, which impressed me. I dug
eagerly, and now and then caught myself actually looking, with something that very much resembled
expectation, for the fancied treasure, the vision of which had demented my unfortunate companion. At a
period when such vagaries of thought most fully possessed me, and when we had been at work perhaps
an hour and a half, we were again interrupted by the violent howlings of the dog. His uneasiness, in the
first instance, had been, evidently, but the result of playfulness or caprice, but he now assumed a bitter
and serious tone. Upon Jupiter's again attempting to muzzle him, he made furious resistance, and,
leaping into the hole, tore up the mould frantically with his claws. In a few seconds he had uncovered a
mass of human bones, forming two complete skeletons, intermingled with several buttons of metal, and
what appeared to be the dust of decayed woolen. One or two strokes of a spade upturned the blade of a
large Spanish knife, and, as we dug farther, three or four loose pieces of gold and silver coin came to
light.
At sight of these the joy of Jupiter could scarcely be restrained, but the countenance of his master wore an
air of extreme disappointment he urged us, however, to continue our exertions, and the words were hardly
uttered when I stumbled and fell forward, having caught the toe of my boot in a large ring of iron that lay
half buried in the loose earth. We now worked in earnest, and never did I pass ten minutes of more
intense excitement. During his interval we had fairly unearthed an oblong chest of wood, which, from its
perfect preservation and wonderful hardness, had plainly been subjected to some mineralizing
process--perhaps that of the Bi-chloride of Mercury. This box was three feet and a half long, three feet
broad, and two and a half feet deep. It was firmly secured by bands of wrought iron, riveted, and forming a
kind of open trelliswork over the whole. On each side of the chest, near the top, were three rings of
iron--six in all--by means of which a firm hold could be obtained by six persons. Our utmost united
endeavors served only to disturb the coffer very slightly in its bed. We at once saw the impossibility of
removing so great a weight. Luckily, the sole fastenings of the lid consisted of two sliding bolts. These we
drew back trembling and panting with anxiety. In an instant, a treasure of incalculable value lay gleaming
before us. As the rays of the lanterns fell within the pit, there flashed upwards a glow and a glare, from a
confused heap of gold and of jewels, that absolutely dazzled our eyes.
I shall not pretend to describe the feelings with which I gazed. Amazement was, of course, predominant.
Legrand appeared exhausted with excitement, and spoke very few words. Jupiter's countenance wore, for
some minutes, as deadly a pallor as it is possible, in nature of things, for any negro's visage to assume.
He seemed stupefied thunderstricken. Presently he fell upon his knees in the pit, and, burying his naked
arms up to the elbows in gold, let them there remain, as if enjoying the luxury of a bath.
It became necessary, at last, that I should arouse both master and valet to the expediency of removing the
treasure. It was growing late, and it behooved us to make exertion, that we might get every thing housed
before daylight. It was difficult to say what should be done, and much time was spent in deliberation--so
confused were the ideas of all. We, finally, lightened the box by removing two thirds of its contents, when
we were enabled, with some trouble, to raise it from the hole. The articles taken out were deposited
among the brambles, and the dog left to guard them, with strict orders from Jupiter neither, upon any
pretence, to stir from the spot, nor to open his mouth until our return.
Considering that an alternative meaning other than jumbled was used for the term "confused" (4th
paragraph) select the best rationale for the phenomenon of the treasure's confusion as related in (4th
paragraph).
A. The treasure didn't think anyone would be able to open the box.
B. The treasure was shocked to see people after so long.
C. The gold and jewels were in a state of disarray.
D. The dog having just uncovered the remains of the treasure's last owners was confusion.
E. The lamps casting a shadowy light would have caused distorted images.
正解：B
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質問 8：
This passage discusses the work of Abe Kobo, a Japanese novelist of the twentieth century.
Abe Kobo is one of the great writers of postwar Japan. His literature is richer, less predictable, and
wider-ranging than that of his famed contemporaries, Mishima Yukio and Nobel laureate Oe Kenzaburo. It
is infused with the passion and strangeness of his experiences in Manchuria, which was a Japanese
colony on mainland China before World War II.
Abe spent his childhood and much of his youth in Manchuria, and, as a result, the orbit of his work would
be far less controlled by the oppressive gravitational pull of the themes of furusato (hometown) and the
emperor than his contemporaries'.
Abe, like most of the sons of Japanese families living in Manchuria, did return to Japan for schooling. He
entered medical school in Tokyo in 1944--just in time to forge himself a medical certificate claiming ill
health; this allowed him to avoid fighting in the war that Japan was already losing and return to Manchuria.
When Japan lost the war, however, it also lost its Manchurian colony. The Japanese living there were
attacked by the Soviet Army and various guerrilla bands. They suddenly found themselves refugees,
desperate for food. Many unfit men were abandoned in the Manchurian desert. At this apocalyptic time,
Abe lost his father to cholera.
He returned to mainland Japan once more, where the young were turning to Marxism as a rejection of the
militarism of the war. After a brief, unsuccessful stint at medical school, he became part of a Marxist group
of avant-garde artists. His work at this time was passionate and outspoken on political matters, adopting
black humor as its mode of critique.
During this time, Abe worked in the genres of theater, music, and photography. Eventually, he
mimeographed fifty copies of his first "published" literary work, entitled Anonymous Poems, in 1947. It
was a politically charged set of poems dedicated to the memory of his father and friends who had died in
Manchuria. Shortly thereafter, he published his first novel, For a Signpost at the End of a Road, which
imagined another life for his best friend who had died in the Manchurian desert. Abe was also active in the
Communist Party, organizing literary groups for workingmen.
Unfortunately, most of this radical early work is unknown outside Japan and underappreciated even in
Japan. In early 1962, Abe was dismissed from the Japanese Liberalist Party. Four months later, he
published the work that would blind us to his earlier oeuvre, Woman in the Dunes. It was director
Teshigahara Hiroshi's film adaptation of Woman in the Dunes that brought Abe's work to the international
stage. The movie's fame has wrongly led readers to view the novel as Abe's masterpiece. It would be
more accurate to say that the novel simply marked a turning point in his career, when Abe turned away
from the experimental and heavily political work of his earlier career. Fortunately, he did not then turn to
furusato and the emperor after all, but rather began a somewhat more realistic exploration of his
continuing obsession with homelessness and alienation. Not completely a stranger to his earlier
commitment to Marxism, Abe turned his attention, beginning in the sixties, to the effects on the individual
of Japan's rapidly urbanizing, growthdriven, increasingly corporate society.
The author of the passage is most likely a
A. translator.
B. avant-garde artist.
C. film critic.
D. novelist.
E. literary critic.
正解：E
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