Always read the meter dials from the right to the left. This procedure is much easier, especially if any of
the dial hands are near the zero mark. If the meter has two dials, and one is smaller than the other, it is
not imperative to read the smaller dial since it only registers a small amount. Read the dial at the right first.
As the dial turns clockwise, always record the figure the pointer has just passed. Read the next dial to the
left and record the figure it has just passed. Continue recording the figures on the dials from right to left.
When finished, mark off the number of units recorded. Dials on water and gas meters usually indicate the
amount each dial records.
When you have finished reading the meter, mark off-

• A. all the zero marks
• B. the figures on the small dial
• C. the last reading of the month
• D. the total figures
• E. the number of units recorded

Radiative forcings are changes imposed on the planetary energy balance; radiative feedbacks are
changes induced by climate change. Forcings can arise from either natural or anthropogenic causes. For
example, the concentration of sulfate aerosols in the atmosphere can be altered by volcanic action or by
the burning of fossil fuels. The distinction between forcings and feedbacks is sometimes arbitrary;
however, forcings are quantities normally specified in global climate model simulations, while feedbacks
are calculated quantities. Examples of radiative forcings are greenhouse gases (such as carbon dioxide
and ozone), aerosols in the troposphere, and surface reflectivity. Radiative feedbacks include clouds,
water vapor in the troposphere, and sea-ice cover. The effects of forcings and feedbacks on climate are
complex. For example, clouds trap outgoing radiation, thus providing a warming influence, while also
reflecting incoming solar radiation and, thereby, providing a cooling influence. Current measurements
indicate that the net effect of clouds is to cool the earth. However, scientists are unsure if the balance will
shift in the future as the atmosphere and cloud formation are altered by the accumulation of greenhouse
gases. Similarly, the vertical distribution of ozone affects both the amount of radiation reaching the earth's
surface and the amount of reradiated radiation that is trapped by the greenhouse effect. These two
mechanisms affect the earth's temperature in opposite directions.
According to the passage, radiative forcings and radiative feedbacks can generally be distinguished from
each other by

• A. the altitude at which the radiative change occurs
• B. whether the radiative change is directed toward or away from the earth
• C. whether the radiative change is global or more localized
• D. the precision with which the amounts of radiative change can be determined
• E. whether the amount of radiative change is specified or calculated

ROBUST : VIGOR ::

• A. starving : appetite
• B. farsighted : glasses
• C. massive : strength
• D. sanguine : hope
• E. nervous : worry

Conflict had existed between Spain and England since the 1570s. England wanted a share of the wealth
that Spain had been taking from the lands it had claimed in the Americas.
Elizabeth I, Queen of England, encouraged her staunch admiral of the navy, Sir Francis Drake, to raid
Spanish ships and towns. Though these raids were on a small scale, Drake achieved dramatic success,
adding gold and silver to England's treasury and diminishing Spain's omnipotence. Religious differences
also caused conflict between the two countries. Whereas Spain was Roman Catholic, most of England
had become Protestant.
King Philip II of Spain wanted to claim the throne and make England a Catholic country again. To satisfy
his ambition and also to retaliate against England's theft of his gold and silver, King Philip began to build
his fleet of warships, the Armada, in January 1586.
Philip intended his fleet to be indestructible. In addition to building new warships, he marshaled one
hundred and thirty sailing vessels of all types and recruited more than nineteen thousand robust soldiers
and eight thousand sailors. Although some of his ships lacked guns and others lacked ammunition, Philip
was convinced that his Armada could withstand any battle with England. The martial Armada set sail from
Lisbon, Portugal, on May 9,1588, but bad weather forced it back to port. The voyage resumed on July 22
after the weather became more stable. The Spanish fleet met the smaller, faster, and more maneuverable
English ships in battle off the coast of Plymouth, England, first on July 31 and again on August 2. The two
battles left Spain vulnerable, having lost several ships and with its ammunition depleted. On August 7,
while the Armada lay at anchor on the
French side of the Strait of Dover, England sent eight burning ships into the midst of the
Spanish fleet to set it on fire. Blocked on one side, the Spanish ships could only drift away, their crews in
panic and disorder. Before the Armada could regroup, the English attacked again on August 8. Although
the Spaniards made a valiant effort to fight back, the fleet suffered extensive damage. During the eight
hours of battle, the Armada drifted perilously close to the rocky coastline. At the moment when it seemed
that the Spanish ships would be driven onto the English shore, the wind shifted, and the Armada drifted
out into the North Sea. The Spaniards recognized the superiority of the English fleet and returned home,
defeated Philip recruited many ___soldiers and sailors.

• A. accomplished
• B. strong
• C. timid
• D. non experienced
• E. warlike

Victorian poetess Christina Rossetti's potent sensual imagery compelled Edmond Gosse, perhaps the
most influential literary critic in late Victorian England, to observe that she "does not shrink from strong
delineation of the pleasures of life even when denouncing them." In the face of Rossetti's virtual
canonization by critics at the end of the nineteenth century, however, Virginia Woolf ignores her apparent
conservatism, instead seeing in her curiosity value and a model of artistic purity and integrity for women
writers. In 1930, the centenary of Rossetti's birth,Woolf identified her as "one of Shakespeare's more
recent sisters" whose life had been reclusively Victorian but whose achievement as an artist was enduring.
Woolf remembers Rossetti for her four volumes of explosively original poems loaded with vivid images
and dense emotional energy. "A Birthday," for instance, is no typical Victorian poem and is certainly unlike
predictable works of the era's best known women poets. Rossetti's most famous poem, "Goblin Market,"
bridges the space between simplistic fairy tale and complex adult allegory-at once Christian,
psychological, and profeminist. Like many of Rossetti's works, it is extraordinarily original and unorthodox
in form. Its subject matter is radical and therefore risky for a Victorian poetess because it implies
castigation of an economic (and even marital) marketplace dominated by men, whose motives are, at best,
suspect. Its Christian allusions are obvious but grounded in opulent images whose lushness borders on
the erotic. From Rossetti's work emerge not only emotional force, artistic polish, frequently ironic
playfulness, and intellectual vigor but also an intriguing, enigmatic quality. "Winter: My Secret," for
example, combines these traits along with a very high (and un-Victorian) level of poetic selfconsciousness.
"How does one reconcile the aesthetic sensuality of Rossetti's poetry with her repressed, ascetic
lifestyle?" Woolf wondered. That Rossetti did indeed withhold a "secret" both from those intimate with her
and from posterity is Lona Packer's thesis in her 1963 biography of Rossetti. Packer's claim that
Rossetti's was a secret of the heart has since been disproved through the discovery of hundreds of letters
by Rossetti, which reinforce the conventional image of her as pious, scrupulously abstinent, and
semi-reclusive. Yet the passions expressed in her love poems do expose the "secret" at the heart of both
Rossetti's life and art: a willingness to forego worldly pleasures in favor of an aestheticized Christian
version of transcendent fulfillment in heaven. Her sonnet "The World," therefore, becomes pivotal in
understanding Rossetti's literary project as a whole-her rhymes for children, fairy tale narratives, love
poems, and devotional commentaries. The world, for Rossetti, is a fallen place. Her work is pervasively
designed to force upon readers this inescapable Christian truth. The beauty of her poetry must be seen
therefore as an artistic strategy, a means toward a moral end.
It can be inferred from the passage that Rossetti's "The World"

• A. is the most helpful expression of Rossetti's motives
• B. was Rossetti's last major work
• C. was Rossetti's longest work
• D. reflects Rossetti's shift away from her earlier feminist viewpoint
• E. combines several genres of poetry in a single work