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SECTION 4: READING PROFICIENCY
NAME: ___________________________ ____________________________ _
Time -– -– 70 minutes
SCHOOL: _________________________ _________________________
90 Questions (206 – 295)
SIMULATED EXAM – SET A
The reading passage is accompanied by a s et of questions based on the passage and any introductory material that is given. Answer the questions according to wha t is stated or implied in the passage. PASSAGE 1: Two roads diverged in a yellow wood,
And both that morning equally lay
And sorry I could not travel both
In leaves no step had trodden black.
And be one traveler, long I stood
Oh, I kept the first for another day!
And looked down one as far as I could
Yet knowing how way leads on to way
To where it bent in the undergrowth;
I doubted if I should ever come back.
Then took the other, as just as fair,
I shall be telling this with a sigh
And having perhaps the better claim
Somewhere ages and ages hence:
Because it was grassy and wa nted wear,
Two roads diverged in a wood, and I,
Though as for that the passing there
I took the one less traveled by,
Had worn them really about the sa me,
And that has made all the difference. - The Road Not Taken Robert Robert Frost
206. What is the poem about? A. A wistful commentary of life choices
C.
B.
D. A gloomy recollection of the past
An absurd narration of one’s journey one’s journey
A consequential decision of a traveler
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207. The line I shall be telling this with a sigh most most nearly indicates Commented [A2]:
A. regret
C. acceptance
B.
D. resentment
self-satisfaction
208. Who is the persona in the poem? A. a young man
C. a traveler
B.
D. Robert Frost, the poet
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A. choices in life.
C.
Commented [A4]:
B.
D. a serene sojourn.
an old man
209. The road in the poem represents challenges in life.
a long treacherous journey of one’s life.
210. The entire poem is A. a simile.
C. an irony.
B.
D. a paradox.
a metaphor.
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While narrativity is a type of meaning, interactivity, when put in the service of entertainment, is a type of play. The combination of narrativity and interactivity oscillates between two forms: the narrative game , in which narrative meaning is subordinated subordinated to the player’s actions, and the playable story , in which the player’s actions are subordinated to narrative meaning. Or, to put it differently, in a narrative game, story is meant to enhance gameplay, while in a playable story, gameplay is meant to produce story. The concepts of narrative game and playable story reflect, in their oppos ition, the distinction made by the French sociologist Roger Caillois between two types of game: ludus and and paidia . The best example of paidia games is building imaginary scenarios with toys, using them, in the words of Kendall Walton, as “props in a game of make-believe.” make-believe.” These games do not aim at a specific goal, and they do not lead to losing or winning. The pleasures of paidia reside in the free play of the imagination, in adopting foreign identities, in forming social relations, in building objects, in exploring an environment, and above all in creating representation: paidia games are fundamentally mimetic activities. If there are rules, they are spontaneously created by the participants, as when a group of children decides that a certain tree will be the house of the wolf, and they can be renegotiated on the fly. Ludus games, by contrast, are strictly controlled by pre-existing rules accepted by the participants as part of a basic game contract, they lead to clearly define states of winning or losing, and their pleasure resides in the thrill of competition and in the satisfaction of solving problems. What I call a narrative game is a ludus activity. If there is one contribution that digital technology has made to the design of games, it is their narrativization. By this term I mean the transformation of what used to be abstract playfields (such as chess boards and football fields) into concrete fictional worlds populated by recognizable objects and indivituated characters. The main difference between an abstract game like soccer or chess and a narrativized video game like Half-Life , Max Payne , or Grand Theft Auto is is that in an abstract game the goals of players are only made desirable by the rules of the game (Who would, in real life, be interested in kicking a ball into a net, or in moving tokens on a board?), while in a narra tivized game the player pursues the kind of goals that people may form in everyday life or in their fantasies. But in the intensity of the action, players may forget whether they are terrorists or counter-terrorists, space aliens or defenders of the earth: in a narrative game, the player plays to win, to beat the game, and story is mos tly a lure into the game world. While ludus inspires narrative games, the spirit of paidia infuses playable stories. In a playable story there is no winning or losing: the purpose of the player is not to beat the game, but to observe the evolution of the story world. Playable stories induce a much more a esthetic pleasure than narrative games because the player is not narrowly focused on goals. For me the essence of the playable story is captured by what I once heard a little girl say about the th e game The Sims: “Guess what I managed to do with my Sims? I made the father and the mother drown in the pool, and now the kids are alone in the house and they can do whatever they want.”
211. Which of the following statements would the author be l ikely to agree? A. In a playable story, the pleasure of the game did not come f rom reaching a state defined by rules, Commented [A6]:
but in coaxing a good story out of the system. B.
The pleasure of narrative game resides in the vast imagination of the participants.
C. The users in both playable story and narrative game aim to manipulate one or more characters in the fictional world. D. Both playable story and narrative game aim to manipulate. 212. Which of the following ideas is NOT included in this passage? A. Paidia games are primarily imitative activities. ACTS
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Ludus games are strictly manipulated by a narrative created by the participants.
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C. In a playable story, the purpose of the player is to observe the development of the storyworld. D. In a narrativized game, the goals of the player are based fro m his/her reality and fantasy. 213. Which of the following is not a situation in a narrativized game? A. A police rescued people in da nger. B.
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A girl decided that the forest will be her home.
C. A group of students saved the world from space aliens. D. A pedestrian stole cars and killed people. 214. According to the passage, which of the following is not a characterisitc of paidia? A. The games have no specific rules, and do not aim at specific goal. B.
The rules are instinctively created by the participants.
C. The games are confined with pre-existing rules established by the participants.
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D. The games do not lead to winning or losing. 215. Which two main organizational schemes can be identified in this passage? A. Chronological order and compare and contrast B.
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Order by topic and compare and contrast
C. Hierarchical order and order by topic D. Hierarchical order and chronological order Commented [acts11]: Filipino poem (5 Questions)
PASSAGE 3: Kultura ang itinuturong lakas ng mga anime ng Japan. Kulturang nilalapatan ng malilikhaing kwentong bumubuhay sa makasaysayang ninja at samurai, modernisadong android at robot, makapangyarihang salamangkero at ekstra-ordinaryong tao, at iba pang maaaring mapabilang sa bagong likhang mundo. Sa libolibong manga na naisulat at ginawang anime, sila at sila rin ang bumibida, isama pa ang mga pangkaraniwang taong malimit na maging estudyante, iyong kakaiba, sa ugali man o sa itsura. Gayumpaman, lagi't laging may bago, hindi man sa uri ng tao kundi sa kani-kanilang mga pagkatao, na sinasabayan pa ng paglalaro sa panahon. Hindi lahat ng samurai, espada ang gustong hawak, iyong iba, baseball bat at raketa. Hindi lahat ng ninja, mabibilis at matatalas ang mata, iyong iba nakasalamin na para makakita. Hindi lahat ng robot nasa hinaharap, kung minsan nasa nakaraan, sinasakyan at pinapaandar ng isang samurai. Gayon din ang android na kung minsa'y nasa kasalukuyan, may asawa't anak na tao. Nagbabago ang kuwento kasabay ng tauhan. Nabubuhay ang tauhan, umuunlad, at namamatay. Umuunlad, maaaring paurong o pasulong. Namamatay, maaaring sa may katuturan o wala. Hindi laging umiiral ang pagiging patas at pantay. Maaaring magtagumpay, kahit isa mang masamang tauhan. Maaaring mamatay, kahit pa ang isang mabuti at makatarungan. Sa loob ng kuwento, hinahayaang kumilos at mag-isip ang mga tauhan batay sa sari-sariling kakayahan at kapasidad na ibinigay sa kanila. Sila ang lumulutas at nag-aayos ng mga suliranin at komplikasyon, hindi ang manunulat. Hindi pinatawad ng mga galit na galit na mamayan ang pinuno at bidang si Lelouch na pumatay sa kanilang mahal sa buhay, para lang maging maayos at masaya ang pagtatapos ng palabas. Hindi pakikialaman ng manunulat ang mga tauhan para maging ideyal ang katapusan. Habang tumatakbo ang kuwento, walang makatitiyak sa katapusan, lagi't laging may nangyayaring hindi inaasahan na magmamali sa hula ng karamihan. 216. Ano ang posisyon ng may-akda tungkol sa isinulat na paksa? A. Hinahangaan niya ang mga anime ng J apan. ACTS
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Hinahangaan niya ang mga karakter sa mga anime ng Japan. Commented [W112]:
C. Hinahangaan niya ang mga manunulat ng mga a nime ng Japan. D. Hinahangaan niya ang kultura sa loob ng mga anime ng Japan. 217. Ano ang mensaheng nais iparating ng may-akda sa unang talata? A. Hindi nakukulong sa iisang panahon ang bawat kuwento ng manga at anime. B.
Lahat ng manga sa Japan ay parating ginagawang anime.
C. Lagi’t laging may paglihis sa tradisyunal na kaisipan at kahingian ang mga kuwento ng manga at Commented [W113]:
anime. D. May pagkiling sa modernisasyon ang mga isinulat at isinusulat na manga at anime. 218. Alin sa mga sumusunod na kaisipan ang hindi ipinahahayag sa teksto? A. Hinahayaan ng mga manunulat na kumilos ang bawat karakter ayon sa kani-kaniyang abilidad at kapasidad. B.
Lagi’t laging may bago sa mga kuwento ng anime o manga, partikular na sa mga tauhan, gayon din sa panahong kanilang ginagalawan.
C. Ang bawat kuwento ng manga o anime ay may paglayo sa realidad ng buhay.
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D. Hindi lahat ng kuwento ng manga o anime ay maaaring magkaroon ng ideyal na katapusan. 219. Anong uri ng teksto ang binasa? A. kritikal na sanaysay
C.
B.
D. madamdaming sanaysay
teknikal na sanaysay
personal na sanaysay
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220. Alin sa mga sumusunod na kaisipan ang maaaring sang-ayunan ng may-akda? A. Lahat ng mga manga at anime ay tinatangkilik hindi lamang ng mga Hapon, kundi pati na ri n ng mga tao sa iba’t ibang panig ng mundo. B.
Kailanma’y hindi naging batayan ng mga kuwento ang realidad ng buhay.
C. Nagiging bentahe ng mga kuwento ng anime at manga ang paglihis nito sa estiryotipong pagtingin Commented [W116]:
sa tao at buhay. D. Kultura at modernisasyon ang itinuturing lakas ng mga manga at anime ng Ja pan.
Commented [acts17]: Filipino passage 1 (5 Questions)
PASSAGE 4:
http://manilatimes.net/enginex/wpcontent/uploads/2014/05/edit20140512.jpg
221. Sino-sino ang mga partikular na tao ang kinakatawan ng “buwaya” na nasa larawan? A. mga mambabatas ACTS
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D. mga kurakot na pulitiko
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222. Anong pangyayari sa kasalukuyan ang ipinakikita sa larawan? A. ang pagkakasangkot ng mga miyembro ng senado sa Pork Barrel Scam B.
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ang pagkakadawit ng mga kilalang pulitiko sa Pork Barrel Scam
C. ang pagtalikod ng mga sangkot na pulitiko sa Pork Barrel Scam D. ang pagkikibit-balikat ng mambabatas hinggil sa Pork Barrel Scam 223. Batay sa kasalukuyang sitwasyon, ano ang nilalaman ng “Napoles’ list” na makikitang nakatusok sa likod ng buwaya? A. listahan ng mga pekeng organisasyong pagmamay-ari ni Janet Lim Napoles B.
listahan ng mga pulitikong nakipagtransaksyon kay Janet Lim Napoles
C. listahan ng komisyong natatanggap ng mga pulitiko sa bawat transaksyon kay Janet Lim Napoles D. listahan ng mga kasalukuyang senador na sangkot sa Pork Barrel Scam
Commented [W120]:
224. Ano ang mensaheng nais iparating ng larawan? A. Senado ang tanging pinatatamaan ng “Napoles List” na inilabas ng dating senador na si Pa nfilo Lacson at ni Sec. Leila de Lima. B.
Sa paglabas ng “Napoles List”, unang tinamaan ang mga miyembro ng senado na noon pa may nadadawit na sa Pork Barrel Scam.
C. Sa tulong ng “Napoles List” hindi na makatatakas ang mga miyembro ng senado na sangkot sa Pork Commented [W121]:
Barrel Scam. D. Wala ring silbi ang lumabas na “Napoles List”dahil hindi rin mapatatalsik sa pwesto ang mga sangkot na pulitiko. 225. Ano ang ipinakikitang emosyon ng buwaya sa larawan?
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A. nasasaktan
C.
B.
D. nagngangalit
natatakot
nagagalit
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As children often labeled our “hope,” so we must recognized that this phantom --- the child who never existed, the child we wish we might have been, the child who was lost --- is often indicative of fears of the future. Child sacrifice is a common trope in our society. And beneath it lurks questions of desire, identity, and humanity. I begin with “The Dream of the Burning Child” because Suzzane Collins’ The Hunger Games trilogy dreams the same dream, representing a childhood that is threatened, lost, and unheard. As Katniss Everdeen is sent to the Hunger Games, she is driven by the desire to survive. But, as Katniss’s efforts to preserve her life must come at the expense of other children’s lives, desire in all forms --- the desire to survive, to eat, to love --- is troubled. Children are lost and voices are si lenced, and as Katniss fights against the dictates of the society that demands this sacrifice she becomes “the girl o n fire,” fighting against the impotency of the burning child’s cry, demanding that the adult world take notice (Collins, Hunger 177). Katniss, a sacrificial child, burns with passion, desire, and eventually, with literal fames, as children ar e forced to become killers a nd technology and social pressures enable the warping of the human form and mind. The void that Lacan imagines so intertwined with the body of the burning chil d is made manifest: violence, absence a nd trauma irrevocably enmeshed in the conceptions of self. 226. The author’s main purpose in this passage is to A. explores the trope of sacrificial children in the Hunger Games trilogy. B.
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reaffirms the book’s violence toward chil dren.
C. analyzes the misconception about the role of children in culture and society. D. examines the idea of the “burning child” in the Hunger Games trilogy. 227. According to the passage, who are the “sacrificial children” in the Hunger Games trilogy? A. Children who are forced to become killers B.
Children whose voices are silenced Commented [A24]:
C. Children who are threatened, lost, and unheard D. Children who are sacrificed in order to reach the Symbolic – adulthood 228. The passage suggests that the author would support which of the following views? A. The Hunger Games presents a society that demands children as sacrifice for entertainment. B.
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The trilogy forces the audience to recognize the aspects of a real, current culture inside a Eutopian world.
C. To speak of sacrificial children is to speak of mental brutality done to the individual. D. The vision of “sacrificial children” in the trilogy is one of the most horrific images in the cultural imagination, but is not pervasive in the society. 229. As it is used i n the passage, the term trope can best be described as A. concept.
C.
B.
D. device.
image.
theme. Commented [A26]:
Commented [acts27]: Filipino – Data Analysis 1 Superferry schedule (5 Questions) Revise the table t o lessen the trips and vessels. Make 5 questions
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Matapos ang ilang oras na biyahe mula sa kanilang liblib na bar yo patungo sa bayan, narating na ni Mang Tasyo ang terminal ng tren. Luluwas siya ng Maynila para bisitahin ang kaisa -isang anak na kasalukuyang nagaaral sa isang unibersidad doon. May ilang buwan na rin silang hindi nagkikita kaya kahit patang-pata ang katawan sa mahigit kalahating araw na pagkakatagtag sa biyahe patungong bayan, maligalig siyang nagtungo sa nakapaskil na iskedyul sa harap ng bilihan ng tiket. Philippine National Railways Schedule for Train MAYON LIMITED Southbound
Northbound
Type Route Sched ETD ETA Fare
De Luxe Manila-Ligao Mon/Wed/Fri Tutuban 0830PM Ligao 0700AM Php717.00
Type Route Sched ETD ETA Fare
De Luxe Ligao-Manila Sun/Tue/Thu Ligao 0715PM Tutuban 0530AM Php717.00
Type Route Sched ETD ETA Fare
Ordinary Manila-Ligao Sun/Tue/Thu Tutuban 0830PM Ligao 0700AM Php344.00
Type Route Sched ETD ETA Fare
Ordinary Ligao-Manila Mon/Wed/Fri Ligao 0715PM Tutuban 0530AM Php344.00
At dahil may kalabuan na ang mga mata, maigi niyang inaninaw ang bawat l etrang nakasulat na halos idikit na niya ang mukha rito. Mabuti’t naalala niyang nakasabit nga pala sa leeg ang salamin niya sa mata. Agad niya itong isinuot, at saka inaninaw ulit ang mga nakasulat. Malinaw na ang mga letra, ngunit hindi pa rin niya ito mabasa. Ilang minuto nang tinititigan ni Mang Tasyo ang nakapaskil na iskedyul, habang ang mukha niya’y daig pa ang nilamukos na papel. Bahagya lamang itong naplantsa nang biglang may lumapit sa kanyang binatilyo na sangkatutak ang dala-dalahan at sa leeg ay may nakasukbit pang camera. Agad niyang tinanong si Mang Tasyo kung ano ang problema, at kung ano ang maaaring maitulong niya. Hindi na nag-atubili si Mang Tasyo at wala ng humpay na inireklamo ang nakapaskil na iskedyul: Kesyo maliliit ang mga letra, kesyo nakalilito ang pagkakaayos ng mga salita, kesyo malabo na ang salamin niya. Hindi nagsayang ng oras ang binatilyo at agad na binasa kay Mang Tasyo ang mga nakasulat. Magiliw namang pinasalamatan ni Mang Tasyo ang binatilyo. Sa takot niyang muling magtagal sa pagbasa sa kung anu-anong nakapaskil, hindi na niya hiniwalayan ang binatilyo hanggang sa biyahe. Mula sa Lugao hanggang sa Maynila, walang patid ang pagku-kwento ni Mang Tasyo tungkol sa ipinagmamalaki niyang anak na nag-aaral at malapit nang magtapos sa isa sa mga pinakamahusay na unibersidad sa Pilipinas.
230. Sa mga nabasang talata, alin sa mga sumusunod ang maipalalagay na hindi totoo? A. Ang binatilyo ay taga-Maynila. B.
Matalino ang anak ni Mang Tasyo.
C. Hindi mabasa ni Mang Tasyo ang nakapaskil na iskedyul dahil sa liit ng mga letra.
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D. Nanlalata na si Mang Tasyo dahil sa matagal na biyahe patungong terminal ng tren.
231. Batay sa kwento, ano ang nais iparating ng “..... ang mukha niya’y daig pa ang nilamikos na papel.”? A. Nahihilo na si Mang Tasyo. ACTS
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C. Kinakabahan na si Mang Tasyo.
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232. Alin sa mga sumusunod ang nagsasa bi ng tamang iskedyul ng biyahe? A. Ang biyahe ng De Luxe na tren na may rutang Ligao-Manila a y tuwing Lunes, Miyerkules, at Biyernes. B.
Ang biyahe ng ordinaryong tren na may rutang Manila-Ligao ay tuwing Linggo, Lunes, at Martes.
C. Ang biyahe ng De Luxe na tren na may rutang Manila-Ligao a y tuwing Lunes, Miyerkules, at Biyernes.
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D. Ang biyahe ng ordinaryong tren na may rutang Ligao-Manila ay tuwing Linggo, Martes, at Huwebes. 233. Alin sa mga sumusunod ang pi nakaakmang pamagat ng teksto? A. Ang Masalimuot Ngunit Kagila-gilalas na Paglalakbay ni Mang Tasyo B.
Si Mang Tasyo at ang Binatilyo Commented [W131]:
C. Ang Biyahe ni Mang Tasyo D. Maynila 234. Alin sa mga sumusunod ang nagsas aad ng maling detalye? A. Ang pamasahe sa ordinaryong tren na may rutang Ligao-Manila ay nagkakahalagang Php344.00. B.
Ang pamasahe sa De Luxe na tren na may rutang Manila-Ligao ay nagkakahalagang Php717.00.
C. Ang pamasahe sa ordinaryong tren na may rutang Manila-Ligao ay nagkakahalagang Php717.00.
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D. Ang pamasahe sa De Luxe na tren na may rutang Liagao-Manila ay nagkakahalagang Php717.00.
Commented [acts33]: English poem (5 Questions)
PASSAGE 7:
By Dylan Thomas Do not go gentle into that good night, Old age should burn and rave at close of day; Rage, rage against the dying of the light. Though wise men at their end know dark is right, Because their words had forked no lightning they Do not go gentle into that good night. Good men, the last wave by, crying how bright Their frail deeds might have danced in a green bay, Rage, rage against the dying of the light. Wild men who caught and sang the sun in flight, And learn, too late, they grieved it on i ts way, Do not go gentle into that good night. Grave men, near death, who see with blinding sight Blind eyes could blaze like meteors and be gay, Rage, rage against the dying of the light. And you, my father, there on the sad height, ACTS
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Curse, bless, me now with your fierce tears, I pray. Do not go gentle into that good night. Rage, rage against the dying of the light. 235. What is the poem about? A. Peaceful acceptance of the absurdity of death B.
A celebration of death Commented [A34]:
C. The inevitability of death D. An intence resistance to death 236. In using day and night or light or dark as metaphors for life and death in the poem, it is most likely that the poet is:
Commented [A35]:
A. Implying the never ending cycle of life a nd death. B.
Contrasting with the emotions of joy and a nger in the poem.
C. Alluding to the inevitability and unpleasantness of death D. Referring to life and death that are as natural as day and night. 237. What could be the most possible reason for the poet to refer to men who are “wise, good, wild, and grave” in his poem? A. To assert that death comes to all kinds of men B.
To emphasize that death does not distinguish among different types of men
C. To emphasize that the way one lived one’s life is inconsequential to death
Commented [A36]:
D. To communicate to his fa ther that he should be all these at least while dying. 238. Which of the following best para phrases the line, ‘wild men who caught and sang the s un in flight?’ Commented [A37]:
A. Men who have lived life to the fullest. B.
Men who lived life sensationally.
C. Men who lived life uncontrollably. D. Men who live life in simple and uncivilized ways. 239. How would you best characterize the speaker's feelings toward his father? A. The speaker is ambivalent about him. B.
The speaker is angy at him and does not care if he lives.
C. The speaker is not certain about how he feels for his father. Commented [acts38]:
D. The speaker loves him immensely and wishes him to live.
Commented [acts39]: Filipino passage 2 (5 Questions)
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SA PAMILIHAN NG PUSO ACTS
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Huwag kang iibig nang dahil sa pilak pilak ay may pakpak dagling lumilipad pag iniwan ka na, ikaw’y maghihirap.
Huwag kang iibig nang dahil sa ganda ganda’y nagbabawa kapag tumanda na ang lahat sa mundo’y sadyang nag -iiba.
Huwag kang iibig sa dangal ng irog kung ano ang tayog siya ring kalabog walang taong hindi sa hukay nahulog.
Huwag kang iibig dahilan sa nasang maging masagana sa aliw at tuwa pagkat ang pag-ibig ay di nadada ya...
Kung ikaw’y iibig ay yaong gusto mo at mahal sa iyo kahit siya’y ano, pusong-puso lainang ang gawin mong dulo.
Kung ikàw’y masawi’y sawi kang talaga ikaw na suminta ang siyang magbata; kung maging mapalad, higit ka sa iba.
Sa itong pag-ibig ay lako ng puso di upang magtubo kaya sumusuyo pag-ibig ay hukay ng pagkasiphayo. 240. Sino ang persona sa loob ng tula? A. Isang baguhang mangingibig B.
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Isang mangingibig na nagdaan na sa maraming kasawian
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