Page 11
General Description
Paper Format
The paper contains four parts.
Timing
1 hour 30 minutes.
Length of Texts
Approximately 3,000 words in total.
Number of Questions
40.
Task Types
Lexical cloze, gapped text, multiple choice.
A DETAILED GUIDE TO CPE
PA P E R 1 R E A D I N G
PART TASK TYPES AND FORMAT
TASK FOCUS
NUMBER OF
QUESTIONS
Four-option multiple-choice lexical cloze
Three texts each containing six gaps. Each gap corresponds
to a word and candidates must select the word from the
four options given which fits the gap.
Idioms, collocations, fixed
phrases, complementation,
phrasal verbs, semantic
precision
18
1
Four-option multiple choice
Four texts on one theme from a range of sources. Two four-
option multiple-choice questions on each text.
Detail, opinion, attitude, tone,
purpose, main idea,
implication, text organisation
features (exemplification,
comparison, reference)
8
2
Gapped text
One text from which paragraphs have been removed and
placed in jumbled order after the text. Candidates must
decide from where in the text the paragraphs have been
removed.
3
4
Cohesion, coherence, text
structure, global meaning
7
Four-option multiple choice
One text with seven four-option multiple-choice questions.
As Part 2
7
Sources
Books (fiction and non-fiction), non-specialist articles from
journals, magazines and newspapers, promotional and
informational materials (e.g. advertisements, guide books,
manuals).
Answer Format
For all parts of this paper, candidates indicate their answers
by shading the correct lozenges on an answer sheet.
Candidates should use a soft pencil (B or HB) and mark their
answers firmly. Candidates should use an eraser to rub out
any answer they wish to change.
Marks
Questions in Part 1 carry one mark. Questions in Parts 2, 3
and 4 carry two marks.
Introduction
The Reading paper consists of four parts and a total of nine
texts. The range of texts and task types which appears on the
Reading paper is intended to encourage familiarity with texts
from a range of sources, written for different purposes and
presented in different formats. The sources for texts in the
Reading paper are mainly contemporary. The paper includes
material from fiction, non-fiction books and journalism. Such
sources as marketing materials and correspondence may be
used in Parts 1 and 2. The Reading paper aims to test
comprehension at word, phrase, sentence, paragraph and
whole text level.
Essential preparation for the Reading paper is exposure to,
and engagement with, a substantial and varied range of
written English. The most successful CPE candidates are
likely to be those for whom reading in English is a leisure
activity as well as an educational requirement. All candidates
should be encouraged to read extensively as well as
intensively. This enables them to become familiar with a
wide range of language and is also helpful when they are
working on the longer texts in Parts 3 and 4.
It is important that candidates familiarise themselves with the
instructions on the front page of the question paper, and for
each part of the test. Candidates should also be familiar with
the technique of indicating their answers on the separate
answer sheet so that they can do this quickly and accurately.
Some candidates prefer to transfer their answers at the end of
each task rather than wait until they have completed the
whole paper. Answers must be marked on the answer sheet
within the time allowed for the Reading paper (1
1
/
2
hours).
When preparing for the examination, it is helpful for
candidates to spend time going through a sample paper and
to consider how to divide up the time between the different
tasks. The Reading paper has a standard structure and format
so that candidates will know what to expect in each part of
the paper. Candidates should be encouraged to read the
instructions for each task carefully, as they provide a brief
context for the text and remind candidates of precisely how
the task should be carried out, and where the answers should
be recorded.
Part 1
Part 1 consists of three unrelated short texts, each with six
gaps. Candidates must choose one word or phrase from a set
of four to fill the gaps. This involves choosing the answer that
correctly fits the meaning within a phrase or sentence, and
candidates may also have to take into account the broader
context of the previous or following sentences or the whole
text. This part of the paper tests idioms, collocations, fixed
phrases, complementation, phrasal verbs and semantic
precision.
In preparation, candidates should be encouraged to learn
whole phrases (rather than just individual words) together
with their appropriate usage. Vocabulary practice which
studies the difference in meaning and usage between words
with similar meanings will also help candidates prepare for
this part of the paper.
Part 2
Part 2 consists of four short texts with two multiple-choice
questions on each which test comprehension of text content.
Questions may test understanding of the whole short text or
of text organisation and some questions will focus on the
detail in sections of the text. The texts share a broad theme
and the linking theme is stated in the instructions. Being
aware of the thematic link between the texts should help
candidates in moving from one text to the next. Preparation
for this part of the Reading paper could usefully include
topic-based activities.
The texts come from a variety of sources and candidates
should familiarise themselves with a wide range of sources,
registers, topics and lexical fields. Candidates should focus
on texts in preparation for multiple-choice questions as
suggested for Part 4 below.
Part 3
Part 3, the gapped-text task, tests understanding of how texts
are structured and the ability to predict text development.
The task consists of a text from which paragraphs have been
removed and placed in jumbled order after the text, along
with one extra paragraph which does not fit any of the gaps.
Candidates must select the paragraphs which fit the gaps in
the text; only one answer is correct in each case. Candidates
should be trained to read the gapped text first in order to gain
an overall idea of the structure and the meaning of the text,
and to notice carefully the information and ideas before and
after each gap as well as throughout the whole of the gapped
text.
Candidates should beware of approaching the gapped-text
task as an exercise requiring them merely to identify extracts
from the text and sections in the text which contain the same
words. The task is designed to test understanding of the
development of ideas, opinions and events rather than the
superficial recognition of individual words.
The way in which a text has been gapped may require the
reader to consider large sections or even the organisation of
the whole of a text, in order to reconstitute a particular part
of the text. Candidates should be trained to consider the
development of the text as a whole, and not to focus on each
gap separately. Sometimes candidates will need to choose
carefully between two extracts as possible answers and will
need to make decisions about which is the most logical
extract to fill the particular gap. Practice is needed in
recognition of a wide range of linguistic devices which mark
the logical and cohesive development of a text, e.g. words
Page 12
P R E PA R I N G F O R T H E R E A D I N G PA P E R
and phrases indicating sequence of events, cause and effect,
premise and conclusion. Exercises which involve analysing
the global organisation of a text and understanding how this
affects meaning would also be helpful.
Part 4
Part 4 consists of one longer text with seven multiple-choice
questions which test detailed understanding of a text,
including opinions and attitudes expressed in it. Candidates
need to read the text closely in order to distinguish between,
for example, apparently similar viewpoints, outcomes or
reasons. The questions are presented in the same order as the
information in the text and the final question may depend on
interpretation of the text as a whole, e.g. the writer’s purpose,
attitude or opinion. Candidates should read each question
very carefully, as well as the four possible answers. The
questions can be answered correctly only by close reference
to the text. Candidates should be encouraged to read the text
before reading the multiple-choice questions.
Preparation for the multiple-choice task should include
practice in reading a text quickly for a first overall
impression, followed by close reading of the text in order to
prevent any misunderstandings which may lead candidates to
choose a wrong answer. Candidates should also practise
selecting and interpreting specific information from a text.
Activities which focus on recognising and evaluating attitude
and opinion and which enhance candidates’ abilities to infer
underlying meaning will also be helpful.
Page 13
Page 14
R E A D I N G S A M P L E PA P E R ( 1 )
UNIVERSITY OF CAMBRIDGE LOCAL EXAMINATIONS SYNDICATE
Examinations in English as a Foreign Language
CERTIFICATE OF PROFICIENCY IN ENGLISH
PAPER 1
Reading
SAMPLE PAPER 1
1 hour 30 minutes
Additional materials:
Answer sheet
Soft clean eraser
Soft pencil (type B or HB is recommended)
TIME
1 hour 30 minutes
INSTRUCTIONS TO CANDIDATES
Do not open this booklet until you are told to do so.
Write your name, Centre number and candidate number on the answer sheet in the spaces provided
unless this has already been done for you.
There are forty questions in this paper.
Answer all questions.
Mark your answers on the separate answer sheet. Use a soft pencil.
You may write on the question paper, but you must transfer your answers to the separate answer
sheet within the time limit.
At the end of the examination, you should hand in both the question paper and the answer sheet.
INFORMATION FOR CANDIDATES
Questions 1-18 carry one mark.
Questions 19-40 carry two marks.
This question paper consists of 11 printed pages and 1 blank page.
[Turn over
Page 15
2
Part
1
For
q
ues
ti
ons
1-
1
8
,
read
th
e
t
h
re
e
te
x
ts
below
and
decide
w
h
ich
answ
e
r
(A
, B
, C
or
D
)
b
e
s
t
fi
ts
ea
ch
g
a
p
.
M
a
rk
y
our
answ
er
s
on t
h
e
sepa
rat
e
ans
w
e
r
shee
t.
Jerome F
ly
nn –
A
c
tor Turned Singer
Af
te
r
a
v
a
ri
et
y
o
f
jobs,
Jerom
e
Fly
nn
becam
e
(1
)….
s
ucce
ss
fu
l
w
it
h
f
ellow
act
or
Robson
Gr
een
in
the
T
V
series
Soldier
,
Soldier
,
and
t
hen
w
hen
they
(2
)…
.
u
p
as
sin
g
e
rs
in
1995,
they
had
th
re
e
nu
m
ber
one
hits.
‘I
t
w
a
s
a
w
h
ir
lwind,
f
ant
asy
t
im
e
,’
say
s
Jerom
e
.
‘W
e
made
t
he
r
eco
rds
because
w
e
q
uit
e
(3
)…
.
th
e
m
oney
,
and
it
paid
o
ff
. I
t
w
a
s
a
lot
o
f fun
,
b
u
t
y
ou
can
become
(4
)…
.
in
t
he
pop
w
o
rl
d.
It
’s
addict
iv
e,
and
once
y
ou’r
e
a
pop
s
ta
r,
people
tend
to
(5)…
.
y
ou
on
a
pedest
al.
I
t
w
a
s
so
mad
w
e
had
to
g
et
out
w
hile
the
g
o
in
g
w
a
s
g
ood.
Now
m
oney
doesn’t
m
ean
so
m
u
ch,
a
lt
hou
g
h
i
t
(6
)…
.
m
e
t
o
leav
e
m
y
car
ee
r
behind
fo
r
a
w
h
ile.
But
Robson
w
ant
ed
to
go
bac
k
t
o
a
c
ting
and
has
m
ade
qui
te
a
succes
s
o
f
it.
I’
d
lik
e
to
w
ork
w
it
h
h
im
a
g
a
in
one
day
.’
1A
g
reat
ly
B
lar
g
ely
C
hug
ely
D
g
rossly
2A
jo
ined
B
team
ed
C
fi
x
e
d
D
g
rouped
3A
crav
ed
B
long
ed
C
y
ear
ned
D
fancied
4A
laid
u
p
B
seiz
ed
up
C
ta
k
en
up
D
caug
h
t
u
p
5A
lif
t
B
hav
e
C
put
D
hold
6A
enabled
B
em
pow
er
ed
C
ent
it
led
D
ef
fe
ct
e
d
The Sai
ling Trip
A
fe
w
day
s
ag
o
,
I
w
as
(7
)…
.
m
y
new
sailing
gear
ready
f
o
r
m
y
f
ir
s
t
lon
g
t
ri
p,
a
round
th
e
coast
o
f
Br
it
ain
on
th
e
sailing
ship
H
irta
.
I
w
a
tc
hed
a
T
V
r
epo
rt
o
f
s
o
m
e f
e
llow
y
a
cht
sm
en
cr
os
sing
th
e
f
inishin
g
(8
)…
.
of
f
a
place
called
Ushant
to
co
m
p
let
e
a
r
ecor
d
round
-t
he
-w
or
ld
v
oy
ag
e.
T
h
e
sea
w
as
rou
g
h
,
th
e
w
ind
look
ed
fi
er
ce
and,
a
lt
hough
they
w
er
e
putt
ing
a
br
av
e
(9
)…
.
on
it
,
the
w
inning
y
acht
sm
en
loo
k
e
d
ex
haust
ed.
W
h
a
t
I
w
as
seein
g
o
n
t
h
e
t
elev
ision
scr
een
w
a
s
not
m
y
(
10)….
of
y
ach
ting.
I
fe
lt
s
m
u
g
k
now
ing
I
had
t
his
m
a
rv
ellous
oppor
tunit
y
t
o
dr
if
t
g
ent
ly
r
ound
B
ri
ta
in
lea
rn
ing
to
sail,
and
t
ha
t
I
w
ould
be
st
eer
in
g
(
11)….
o
f
the
horr
o
rs
o
f
ocean
sailing.
Casually
I
l
ook
ed
u
p
Ushant
on
the
m
ap.
I
w
ent
q
uit
e
cold:
Ushan
t
w
a
s
(12
)….
32
k
ilom
e
tr
es
f
u
rt
h
e
r
s
ou
th
t
han
t
he
s
ta
rt
in
g
point
f
or
m
y
gr
eat
jour
ney
on
th
e
Hir
ta.
7A
go
in
g
th
ro
u
g
h
B
setti
n
g
dow
n
C
chec
k
ing
up
D
passing
ov
er
8A
ma
rk
B
strip
C
line
D
sig
n
9A
face
B
ey
e
C
appear
ance
D
vi
e
w
10
A
thou
g
h
t
B
idea
C
not
ion
D
sense
11
A
clean
B
strai
g
ht
C
shor
t
D
clear
12
A
v
ir
tuall
y
B
pr
act
ically
C
simply
D
bar
ely
3
Mrs Murgatro
y
d
‘And
th
er
e’s
ano
th
e
r
thing,
’
s
aid
M
rs
M
u
rg
a
tr
o
y
d
.
Beside
he
r
in
the
t
ax
i
her
hu
sband
c
on
cealed
a
s
m
a
ll
sig
h
.
W
it
h
M
rs
M
u
rg
atr
o
y
d
t
her
e
w
a
s
alw
a
y
s
anot
her
t
hing.
No
m
a
tt
e
r
how
w
ell
th
ing
s
w
er
e
(1
3
)…
.,
Edna
M
u
rg
atr
o
y
d
w
ent
t
hr
ou
g
h
l
if
e
to
t
he
ac
com
pani
m
ent
o
f
a
runnin
g
c
o
m
ment
a
ry
o
f
c
o
m
plaint
s
,
a
n
endless
lit
any
o
f
dissa
tis
fa
c
tion.
In
sho
rt
,
she
(1
4
)…
.
w
it
h
out
cease.
In
t
he
s
ea
t
be
side
the
d
ri
v
e
r,
Higg
ins
,
the
y
o
ung
e
x
e
cut
iv
e
fr
o
m
h
ead
o
ff
ice,
w
ho
had
been
s
elect
e
d
fo
r
th
e
w
e
ek
’s
v
a
cat
ion
a
t
th
e
(15
)….
o
f
the
ban
k
on
th
e
g
rounds
o
f
bein
g
‘
m
o
st
(16
)….
n
e
w
c
o
me
r’
o
f
th
e
y
ear
,
sat
s
ilent
.
He
w
a
s
in
fo
reig
n
e
x
chang
e
,
a
n
ea
g
e
r
y
oung
m
a
n
w
hom
t
hey
had
only
m
e
t
at
London
air
por
t
tw
elv
e
hour
s
ear
lier
and
w
hose
nat
u
ral
ent
husias
m
had
g
radually
(17)
….
aw
ay
bef
or
e
th
e
onslaug
ht
o
f
M
rs
M
u
rg
a
tr
o
y
d
.
T
he
d
riv
er
,
fu
ll
o
f
s
m
iles
w
hen
they
selected
his
ta
x
i
for
the
r
un
t
o
t
h
e
h
o
te
l a
f
e
w
mi
n
u
te
s
e
a
rl
ie
r,
h
a
d
a
ls
o
c
a
u
gh
t
th
e
mo
o
d
, a
n
d
h
e
to
o
h
a
d
(1
8
)…
.
int
o
s
ilence.
13
A
doing
B
ge
tti
n
g
C
go
in
g
D
being
14
A
nagg
ed
B
g
o
ssiped
C
u
tte
re
d
D
vo
ic
e
d
15
A
liabil
it
y
B
ex
pense
C
debit
D
de
fi
cit
16
A
pr
om
isin
g
B
em
er
g
in
g
C
fa
v
our
able
D
auspicious
17
A
w
a
shed
B
ebbed
C
dr
ipped
D
ri
nsed
18
A
paused
B
reposed
C
lapsed
D
desist
ed
[T
urn
ov
er
Page 16
line
4
4
Part
2
You
ar
e
g
o
in
g
to
r
ead
f
ou
r
ex
tr
act
s
w
h
ich
ar
e
all
conce
rned
in
som
e
w
a
y
w
it
h
p
roduct
s
.
For
q
ues
ti
ons
19
-26
,
choose
t
h
e
answ
e
r
(A
, B
, C
o
r
D
)
w
h
ich
y
ou
th
in
k
f
its
bes
t
a
c
c
o
rd
in
g
t
o
t
he
t
ex
t.
M
a
rk
y
our
answ
er
s
on
t
he
separa
te
ans
w
e
r
sheet
.
A
d
v
e
rtisement fo
r a
V
ideo
·
You wa
nt
to impr
ove the qua
lity of
life, without using drugs or
stimula
nts
·
you
are
re
ady
to s
tart t
h
e
jou
rn
e
y
back
to h
e
alth
a
n
d
fitn
e
ss
, h
owe
ve
r s
h
ort
or long it may be
·
yo
u wo
uld prefer t
o
use st
ress t
o
yo
ur a
d
va
n
ta
g
e r
a
th
er t
h
a
n
be it
s vict
im
·
you are
pre
pare
d
to
take
ch
arge
of your
own de
stiny and
b
e
n
e
fit from your
own well-being
·
y
o
u
wou
ld lik
e
to ge
t ba
ck
th
e
s
h
ape
n
a
tu
re
in
te
n
d
e
d
y
ou
to h
a
v
e
·
you like t
o
underst
a
n
d t
h
e principles behind concept
s before ta
king a
ct
ion
·
you wa
nt
to enha
nce your menta
l
powers a
n
d y
o
ur ability to
focus on the
ta
sk in ha
nd
·
short-term fixes, be they through pa
tches or pills, gimmicks or
gizmos, hold
n
o
appe
al
·
y
o
u
are
pre
pare
d
to
tak
e
a s
te
p
at
a
time
, bu
ild u
pon
y
o
u
r s
u
cce
ss
an
d t
a
k
e
p
lea
sure in t
h
e result
s
·
yo
u ha
ve t
he t
em
p
e
ra
m
e
nt
a
nd st
reng
th o
f c
hara
ct
er
to
end
u
re
t
he j
o
u
rney
to
physica
l, menta
l a
n
d
spirit
ua
l hea
lt
h
This is the video fo
r you!
19
T
h
e
adv
er
ti
sed
v
ideo
is
a
im
ed
a
t
people
w
h
o
A
ar
e
capable
o
f
per
s
ev
er
ance
.
B
hav
e
been
tr
y
ing
to
change
car
ee
r.
C
ar
e t
oo
abso
rbed
in
t
heir
w
o
rk
.
D
w
o
u
ld
lik
e t
o
chan
g
e
t
heir
pe
rs
onalit
ies.
20
W
h
ic
h
o
f th
e
s
e
w
o
rd
s i
s
u
se
d
d
is
m
issi
v
e
ly
?
A
st
re
s
s
(line
4)
B
pr
inciples
(line
8)
C
pat
ches
(line
11)
D
jour
ney
(line
15)
line
8
line
11
line
15
5
Ho
w
i
m
portant
is
des
ign?
All
toast
ers
a
re
no
t
e
x
act
ly
t
h
e
sam
e
unde
r
the
s
k
in
but
they
a
re
a
s
near
a
s
m
a
kes
no
d
if
fe
rence
. T
hey
a
re
box
es
w
h
ich
neat
ly
g
rill
th
e
br
ead,
w
af
fl
es
o
r
w
hat
ev
er
bet
w
een
lit
tl
e
electr
ic
fi
res
and
e
jec
t
them
ju
s
t
be
fo
re
they
s
ta
rt
to
bur
n
:
an
easy
,
w
e
ll-
pr
ov
en
te
chnolo
g
y
w
het
her
i
t
is
pur
ely
m
e
chanical
o
r
m
icr
o
c
hip-
con
tr
olled.
T
h
e
last
funda
m
ent
al
innov
at
ion
in
toas
te
r
desi
g
n
w
as
in
1927,
w
hen
the
Sunbeam
c
om
p
a
ny
o
f
A
m
er
ica
m
a
rk
e
ted
the
fi
rs
t
pop
-up
m
odel.
S
ince
then,
the
re
h
a
s
been
lit
tl
e
to
d
o
design-
w
ise
ex
cept
to
a
lt
e
r
th
e
sty
lin
g a
cco
rd
in
g
to
t
h
e
t
a
s
te
s o
f
th
e
t
im
e
s
.
Desig
ner
s
tr
y
t
o
g
iv
e
toast
e
rs
th
e
e
q
uiv
a
lent
o
f
sun
roo
fs
and
ant
i-
lock
br
a
k
es
–
w
ider
s
lots,
double
slot
s
,
‘cool
w
all’
desig
ns
and
t
he
lik
e
–
but
cannot
g
e
t
a
w
a
y
f
rom
the
f
a
c
t
th
a
t
y
ou
need
only
t
w
o
cont
ro
ls
:
a
push-
dow
n
lev
e
r
and
a
t
im
e
r.
Up
g
rades
m
e
rely
dr
ess
up
a
ti
m
e
less
concept
and
a
re
any
w
a
y
alm
o
st
a
ll
adopt
ed
im
m
ediat
ely
by
o
ther
m
anu
fa
c
tur
e
rs.
So
w
hat
y
ou
buy
i
s
st
y
ling
,
w
hich
can
be
a
d
ir
ty
w
or
d
am
on
g
‘pur
e’
desig
ners,
s
ince
it
is
really
j
ust
pac
k
a
g
in
g
,
lit
tl
e
di
ff
erent
fr
o
m
th
e
box
the
to
a
s
te
r
co
m
e
s
in.
‘Real’
desig
n
,
it
is
said
,
is
m
o
re
fundam
en
ta
l.
T
his
is
a
rg
uable
:
one
o
f
th
e
g
rea
te
s
t
desi
g
ne
rs
o
f
th
e
20
th
c
en
tu
ry
,
th
e
Fr
ench
-bor
n
,
A
m
e
rica-
based
Ray
m
ond
Loewy
,
w
a
s
pr
incipall
y
a
st
y
list
,
and
w
ho
c
an
ar
g
u
e
w
it
h
t
he
p
ow
er
o
f
h
is
fa
m
ous
c
re
a
tion,
t
he
Coca
Cola
bo
tt
le,
w
hich
is
fu
nc
ti
onally
fa
r
less
e
ff
icient
than
a
s
tanda
rd
b
ee
r
o
r
w
ine
bot
tl
e?
21
W
h
a
t
does t
he
w
rit
er
say
about
dev
elopm
ent
s
in
th
e
desi
g
n
o
f
toaster
s?
A
T
hey
hav
e
spoilt
t
he
o
rig
inal
desi
g
n
.
B
T
hey
a
re
m
ade
to f
ool
th
e
public.
C
T
hey
a
re
copied f
ro
m
o
ther
t
y
pes
o
f
p
roduc
t.
D
T
hey
hav
e
only
been
superf
icial.
22
T
h
e
w
rit
er
uses
t
h
e
Coca
Cola bott
le
as
a
n
e
x
a
m
p
le
o
f
A
the
adv
ant
a
g
es
o
f
usin
g
‘
real’
desi
g
n
.
B
the f
a
ct
th
a
t success
m
ay
not
depend
on good
desi
g
n
.
C
the k
ind
o
f t
hin
g
t
hat
‘pur
e’
desi
g
n
e
rs
app
ro
v
e
o
f.
D
the
unp
redict
abilit
y
o
f
public r
esponse
t
o
s
ty
le.
[T
urn
ov
er
Page 17
6
Dream
Cars
Day
dream
ing
schoolch
il
dren
aro
und
the
wo
rld
lov
e
to
d
ood
le
w
eird
and
wond
er
ful
ca
rs
.
Mos
t
g
row
up
to
d
ri
v
e
som
eth
ing
m
uch
m
o
re
v
isual
ly
m
undane
than
tho
se
adol
esc
ent
fl
ig
hts of
fan
cy
. But a
few a
re
a
ct
iv
ely
encou
rag
ed to
con
tinu
e dr
aw
ing
ext
rao
rd
ina
ry
and
larg
ely
unr
ea
lis
ti
c
m
odes
of t
ranspo
rt
w
h
en they
a
re
study
ing
a
t
co
lleg
e.
T
h
ey
are
the
ca
r
desig
ner
s of
tom
o
rrow, who
w
il
l sh
ape wha
t we w
il
l driv
e
in
the n
ext
cen
tu
ry
.
On
a
v
isi
t
to
the
A
rt
Ce
nt
re
in
Los
A
ng
el
es,
wh
ich
runs
a
cou
rs
e
fo
r
v
ehic
le
d
es
ig
n
ers,
I
was
shown
som
e
o
f
the
work
in
p
rog
ress
by
Ronald
H
ill
,
he
ad
of
tr
ansp
o
rt
at
ion
desig
n.
It
s
v
isual
exc
it
em
ent
con
tras
te
d
st
ark
ly
w
ith
the
dul
l,
p
rac
ti
ca
l
silho
u
et
te
s
of
m
any
m
odern produc
ti
on c
ars.
So
are
such
unr
eal
is
ti
c
sh
ape
s
out
of
touch
w
ith
t
h
e
re
al
w
o
rld
o
f
car
s,
an
d
doe
s
it
r
ea
ll
y
benef
it
st
uden
ts
to
co
n
ti
nue
the
ir
scho
old
ay
doodle
s,
al
be
it
in
a
m
ore
sophi
st
ica
ted
m
anner?
H
il
l
ins
ist
s
th
at
the
exp
lor
ato
ry
desig
ns
are
v
it
al,
and
arg
u
es
tha
t
m
o
re
re
al
ist
ic
consi
d
er
at
ions
a
re
,
at
l
eas
t
tem
pora
ri
ly
,
ir
re
lev
ant.
‘
T
h
is
m
ay
b
e
the
on
ly
c
hance
i
n
the
care
er
o
f
thes
e
st
uden
ts
w
he
n
t
h
ey
can
ta
k
e
som
e
risk
,
st
re
tch
the
ir
im
ag
ination
s
and
rea
lly
l
et
f
ly
.
T
h
er
e’s
ple
n
ty
o
f
tim
e
la
ter
on
fo
r
them
t
o
w
o
rry
abo
ut
cons
tra
in
ts
o
f
leg
isl
at
ion
and
p
rac
ti
cal
is
su
es.
W
e
ca
ll
th
is
th
e
“b
lue
sk
y
”
period,
w
hen
th
er
e
re
ally
i
s
no lim
it
set
on t
h
ei
r d
esig
n i
n
nov
atio
n.’
23
W
h
a
t
does t
he
w
rit
er
im
p
ly
about
tr
a
inee
car
desi
g
ner
s
?
A
T
hey
w
ill
g
o
on t
o
desi
g
n
m
o
re
con
ser
v
at
iv
e
car
s.
B
T
heir
desi
g
ns f
o
rm
t
he basis
o
f t
hose
o
f
p
roduc
ti
on
ca
rs
.
C
T
hey
o
ft
en cr
it
icise t
he
de
sig
n
s
o
f
e
x
ist
ing
cars.
D
T
h
eir
desi
g
ns
a
re
r
estr
ict
e
d
by
w
hat
is
possible.
24
W
h
a
t
does
Ronald
Hill
say
about
car
desi
g
n
?
A
T
h
e
re
a
re t
oo m
any
r
e
g
ulat
ions
about
it
.
B
Im
p
ract
ical
d
e
s
ig
ns
p
lay
an
im
po
rt
an
t
p
a
rt
in
it.
C
Cost
h
as
t
o
o
m
u
ch
in
fluence
on
de
sig
n
.
D
T
o
o
m
u
ch
o
f
it
is
dull
and
p
redict
able.
7
C
a
ta
lo
gue Sh
opp
in
g in th
e
U
SA
M
y
favourite
pa
rts
of
the
New
York
Times
on
Sunda
y
ar
e
the
p
er
iphe
ra
l
bits
–
the
parts
that
are
so
dull
and
obscure
the
y
ex
ert
a
kind
of
h
y
pnotic
fa
scination.
Above
all
I
like
the
adve
rtisin
g
supplements,
like
the
g
ift
catalo
g
ue
fr
om
the
Z
w
ingle
Compan
y
of
N
ew
Yo
rk
offerin
g
sco
res
of
p
roducts
of
the
thing
s-
y
o
u
-ne
ver-
knew-
y
ou-n
eeded
v
ariet
y
–
an
umbre
lla
with
a
tra
nsistor
radio
in
the
handle.
W
hat
a
g
reat countr
y
!
Once
in
a
d
eran
ged
mome
nt
I
bou
g
h
t
some
thin
g
m
y
self
fr
om
one
of
thes
e
catalo
g
ues,
knowin
g
de
ep
in
m
y
mind
that
it
would
end
in
he
ar
tbre
ak.
It
w
as
a
little
re
ad
in
g
lig
ht
tha
t
y
o
u
clipped
onto
y
our
book
so
as
not
to
disturb
an
y
one
sleeping
in
the
same
room.
In
this
resp
ect
it
was
outstanding
bec
ause
it
bar
el
y
worked.
The
li
g
ht
it
cast
was
absurdl
y
feeble
(in
the
catalo
g
ue
it
looked
like
the
sort
of
thing
y
ou
could
sig
nal
ships
with
if
y
ou
g
o
t
lost
at
sea)
and
le
ft
all
but
the
first
two
lines
of
a
p
ag
e
in
darkness.
I
hav
e
se
en
more
luminous
insects.
After
about
fo
ur
minutes
its
little
b
ea
m
flutte
re
d
an
d
failed
alto
g
ether,
and
it
has
never
be
en
used
ag
ain.
And
the
thing
is
that
I
knew
all
along
that
this
was
how
it
was
g
o
ing
to
end,
that
it
would
all
be
a
bitter
disappointment.
On
second
thoug
hts,
if
I
ev
er
ra
n
one
of
those
companies
I
would
just
send
people
an
empty
box
with
a
note
in
it
say
in
g
‘W
e
have
de
cided
not
to
send
y
ou
th
e
item
y
o
u
’ve
ordered
b
ec
ause,
as
y
ou
w
ell
know,
it
would
never
work
properl
y
and
y
ou
would
onl
y
be
disappointed.
So
let
this
be
a
lesson
to
y
ou
for
the future.’
25
T
h
e
w
rit
er
say
s t
hat
w
hen
he
bou
g
h
t
a
lig
h
t f
rom
a
cat
alo
g
ue
A
he
had
no
t
thou
g
h
t
about
it
car
e
fully
enoug
h
.
B
it tau
g
h
t hi
m
a
lesson abou
t
m
is
leading adv
e
rts
.
C
it w
a
s
s
o
m
e
th
in
g
h
e
h
a
d
a
lw
a
y
s
w
a
n
te
d
to
d
o
.
D
he
w
a
s
not
s
u
rpr
ised
b
y
t
he
ou
tc
o
m
e.
26
T
h
e
w
rit
er
t
hinks t
hat
th
e co
m
p
anies
w
ho
p
ro
duce such g
if
t
cat
a
lo
g
u
es
A
ar
e
cy
nical
to
w
a
rd
s
thei
r
cus
to
m
e
rs
.
B
should
n
ot
b
e
allow
ed
to
o
per
a
te
.
C
ar
e
uni
q
ue t
o
t
he
Unit
e
d
St
a
tes
.
D
nev
er
sell
use
fu
l g
oods
.
[T
urn
ov
er
Page 18
8
Part
3
You
ar
e
g
o
in
g
to
r
ead
an
ex
tr
act
fr
o
m
a
short
s
tor
y
.
Sev
en
par
a
g
raphs
hav
e
been
re
m
o
v
ed
fr
om
the
ex
tr
act
.
Choose
fr
o
m
the
pa
ra
g
raph
s
A-
H
the
one
w
h
ich
fi
ts
each
g
ap
(27
-33
)
Th
e
re
is
one
ex
tr
a
par
a
g
raph
w
h
ich
y
o
u
do
not
n
eed
t
o
u
se
.
M
ar
k
y
o
ur
answ
e
rs
on t
h
e
sepa
rat
e
ans
w
e
r
shee
t.
Just
a
t
th
a
t
tur
nin
g
b
e
tw
een
M
a
rk
et
Road
and
the
lane
leadin
g
t
o
the
chem
ist
’s
shop
he
had
his
‘est
ablishm
ent
’.
A
t
eight
in
th
e
ev
ening
y
ou
w
o
u
ld
not
s
ee
h
im,
and
again
a
t
ten
y
ou
w
ould
see
not
hin
g
,
bu
t
b
e
tw
een
those t
im
e
s
he
a
rr
iv
ed,
sold
his
g
oods
and
depar
te
d
.
T
hose
w
ho
saw
him
r
e
m
a
rked
thus,
‘Luck
y
f
e
llow
!
He
has
ha
rd
ly
an
hour
’s
w
or
k
a
day
and
he
poc
k
e
ts
t
en
rupees
–
ev
en
gr
aduat
e
s
a
re
unable
to
e
a
rn
th
a
t!
T
h
re
e
hundr
ed
rupees
a
m
ont
h!
’
He
f
e
lt
ir
ri
ta
te
d
w
hen
he
h
ear
d
such
g
lib
re
m
a
rk
s
and
said,
‘W
h
a
t
these
fo
lk
d
o
not
see
i
s
th
a
t
I
s
it
b
e
for
e
t
he
ov
en
pr
act
ically
a
ll
day
f
ry
ing
a
ll
th
is…’
27
At
abou
t
8
:15
in
the
ev
ening
he
a
rr
iv
ed
w
it
h
a
load
o
f
s
tu
ff
.
He
loo
k
ed
a
s
i
f
h
e
had
four
a
rm
s
,
so
m
any
thing
s
he
carr
ied
about
h
im.
His
eq
uipm
en
t
w
a
s
th
e
bi
g
tr
ay
balanced
on
h
is
head,
w
it
h
it
s
a
ssor
tm
e
n
t
o
f
edibles,
a
s
tool
st
uc
k
in
the
c
ro
o
k
o
f
his
ar
m
,
a
l
a
m
p
in
ano
ther
hand
and
a
couple
o
f
p
o
rt
able
le
g
s
f
o
r
m
oun
ti
ng
his
tr
ay
.
He
lit
the
la
m
p
,
a
lant
e
rn
w
h
ich
consum
ed
s
ix
p
ies’
w
or
th
o
f
ker
osene
e
v
e
ry
day
,
and k
ept
it
near
a
t
hand,
s
ince
he
had
to
g
uar
d
a
lot
o
f
loose
cas
h
and
a
v
ar
iet
y
o
f
m
iscellaneous
ar
ti
cles.
28
He
alw
a
y
s
a
rr
iv
ed
in
tim
e
to
cat
ch
t
he
cine
m
a
cr
ow
d
com
ing
ou
t
a
ft
e
r
the
ev
ening
show
.
A
pr
et
ende
r
to
t
he
th
rone
,
a
y
oung
scr
a
g
g
y
f
ellow
,
sat
on
h
is
spo
t
u
n
til
he
a
rr
iv
e
d
and
did
bu
siness,
but
h
e
did
not
let
tha
t
bo
ther
h
im
unduly
.
In
f
a
c
t,
he
fe
lt
g
ener
ou
s
enou
g
h
t
o
say
,
‘Let
the
poor
rat
do
his
business
w
hen
I
am
n
o
t
ther
e
.’
T
h
is
sent
im
en
t
w
a
s
am
ply
re
spec
ted
,
and
the
pr
et
ende
r
m
o
v
ed
o
ff
a
m
inut
e
be
fo
re
t
he
a
rr
iv
al
of
t
h
e
pr
in
c
e
a
m
o
ng
c
at
e
rer
s.
29
T
hou
g
h
so
m
uch
p
robin
g
w
as
g
o
in
g
on
,
he
k
new
ex
act
ly
w
ho
w
as
ta
k
ing
w
hat
.
He
k
new
b
y
an
ex
tr
aor
dinar
y
sense
w
h
ich
o
f
the
jukta
d
ri
v
e
rs
w
a
s
pick
ing
up
chappa
ti
s
a
t
a
g
iv
en
m
o
m
ent
–
he
could
ev
en
m
e
n
tion
the
licence
nu
m
ber.
He
k
new
t
ha
t
the
s
tained
hand
ner
v
ously
com
ing
up
w
as
that
o
f
a
y
oung
s
ter
w
ho
polished
the
shoe
s
o
f
passe
rs
-b
y
.
And
he
k
new
e
x
act
ly
a
t
w
hat
hour
he
w
ould
see
the
w
rest
ler
’s
a
rm
s
ear
chin
g
fo
r
the
pe
rf
ec
t
du
c
k
’s
e
gg.
His
cus
to
m
w
as
dr
aw
n
fr
o
m
t
he
popula
tion
sw
ar
m
ing
the
pav
em
ent:
th
e
boot
polish
boy
s,
fo
r
inst
an
ce,
w
ho
w
ander
ed
to
and
fr
o
w
it
h
b
ru
sh
and
polish
in
a
ba
g,
endlessly
solicit
ing
‘Polish,
sir,
polish!
’
Ra
m
a
h
a
d
a
s
o
ft
s
pot
f
or
t
he
m
.
30
It
r
en
t
his
hear
t
to
see
t
hei
r
hun
g
ry
,
hollow
ey
es.
It
pained
him
to
see
th
e
r
a
g
s
t
hey
w
or
e.
And
i
t
m
a
de
him
v
e
ry
unhappy
t
o
see
t
h
e
tr
e
m
endous
eag
e
rness
w
it
h
w
hich
they
cam
e
to
h
im
.
But
w
hat
could
he
do?
He
could
no
t
run
a
char
it
y
show
,
that
w
as
im
possible.
He
m
easu
red
ou
t
their
hal
f-
g
lass
o
f
c
o
ff
ee
co
rr
e
ct
to
t
h
e
f
ract
ion
o
f
an
inch,
b
u
t
they
could
clin
g
t
o
t
he
g
lass
a
s
long
as
they
lik
ed
.
31
He
liv
ed
in
the
second
l
ane
behind
the
m
a
rk
e
t.
His
w
if
e
opened
the
doo
r,
t
h
row
ing
int
o
t
he
n
ig
h
t
air
t
h
e
scen
t
o
f
b
u
rnt
o
il
w
h
ich
per
pet
ually
hung
about
t
heir
ho
m
e
.
She
snat
ched
f
ro
m
his
ha
nd
all
the
encu
m
b
rance
s
and
count
ed
the
cash
im
m
ediat
ely
.
32
Af
te
r
dinner,
he
t
uc
ked
a
bet
el
lea
f
and
t
obac
co
in
h
is
chee
k
and
slept.
He
had
d
reams
o
f
tr
a
ff
ic
const
ables
bully
ing
him
to
m
ov
e
on
and
heal
th
inspect
or
s
say
ing
he
w
as
spr
eadin
g
a
ll
k
inds
o
f
disease
and
depopulat
ing
th
e
cit
y
.
Bu
t
fo
rt
unat
ely
in
act
ual
lif
e
no
one
b
o
ther
ed
h
im
v
e
ry
ser
iously
.
T
he
healt
h
o
ff
icer
no
dou
bt
cam
e
and
said,
‘
You
m
us
t
pu
t
all
th
is
unde
r
a
g
lass
lid,
ot
her
w
ise
I
shall
des
tr
oy
it
so
m
e
day
…
T
a
k
e
care!’
33
Ram
a
no
doubt
v
iolat
ed
all
the
w
e
ll-
accept
ed
canons
o
f
c
leanliness
and
sanit
a
ti
on
,
bu
t
s
till
his
cust
o
m
er
s
not
only
sur
v
iv
ed
h
is
fa
re
b
u
t
s
e
e
m
e
d
act
ually
t
o
fl
our
ish
on
it
,
hav
ing
consu
m
e
d
it
f
or
y
ear
s
w
it
hout
show
ing
sig
n
s
o
f
bein
g
any
the
wo
rs
e
f
o
r
it
.
9
A
Ram
a
pr
e
par
ed
a
lim
it
ed
quant
it
y
o
f
snac
k
s
f
or
sale,
but
e
v
en
then
he
had
t
o
car
ry
bac
k
re
m
nants.
He
consu
m
e
d
som
e
o
f
it
h
imsel
f,
and
the
re
s
t
h
e
w
a
rm
ed
up
and
b
ro
u
g
h
t
o
u
t
for
sale
ag
ain t
he
nex
t
day
.
B
All
the
coppers
that
m
en
and
w
om
en
o
f
th
is
part
o
f
th
e
univ
e
rs
e
ear
ned
t
h
ro
u
g
h
their
m
iscellaneous
jo
bs
ult
im
a
te
ly
cam
e
to
h
im
a
t
the
end
o
f
th
e
day
.
He
pu
t
all
th
is
m
oney
i
nt
o
a
lit
tl
e
clot
h
ba
g
d
a
n
g
ling
fr
o
m
h
is
nec
k
unde
r
his
shirt
,
and
ca
rr
ied
it
hom
e
,
soon
a
ft
e
r
the
nigh
t
show
had
st
ar
ted
a
t t
he t
hea
tr
e
.
C
No
one
could
w
a
lk
p
a
s
t
his
display
wit
hout
t
hr
ow
ing
a
look
at
it.
A
heap
o
f
bondas
,
w
h
ich
seem
ed
p
u
ff
ed
and
bi
g
but
m
elt
ed
in
one’s
m
out
h
;
dosais
,
w
h
it
e,
round,
and
lim
p
,
loo
k
in
g
lik
e
lay
e
rs
o
f
m
u
slin;
chappa
ti
s
s
o
thin
tha
t
y
ou
could
lif
t
fi
fty
o
f
th
e
m
o
n
a
l
it
tl
e
fi
n
g
e
r;
d
u
c
k
’s
egg
s
,
h
a
rd-
boiled,
rese
m
bling
a
heap
o
f
iv
or
y
balls;
and
pe
rpet
ually
boiling
co
ff
e
e
on
a
s
tov
e.
He
had
a
separ
a
te
alu
m
inium
pot
i
n
w
h
ich
he
k
e
p
t
chu
tney
,
w
h
ich
w
ent
gr
a
ti
s
w
it
h
a
lmo
s
t e
v
e
ry
i
te
m.
D
His
cust
o
m
er
s
lik
ed
h
im.
They
said
in
adm
ir
at
ion
,
‘I
s
t
he
re
a
not
he
r
place
w
her
e
y
ou
can
g
e
t
six
pies
and
fo
ur
chappat
is
fo
r
one
anna?’
T
hey
s
a
t
a
round
his
tr
ay
,
ta
k
ing
w
hat
t
hey
w
ant
ed.
A
doz
en
hands
hov
er
ed
about
i
t
ev
er
y
m
inut
e
,
b
e
cause
his
cust
o
m
er
s
w
e
re
ent
it
led
to
p
ic
k
up
,
ex
am
ine,
and
acce
pt
their
st
u
ff
a
ft
e
r
pr
oper
scr
u
tiny
.
E
T
hey
g
loat
ed
ov
er
it
.
‘Fiv
e
rupees
inv
e
st
ed
in
the
m
o
rn
in
g
has
p
roduced
anot
her
fi
v
e
…’
T
hey
ru
m
inat
e
d
on
the
ex
q
u
isit
e
m
y
st
e
ry
o
f
this
mult
iplicat
ion.
T
hen
it
w
a
s
put
bac
k
fo
r
fu
rt
her
inv
e
st
m
ent
o
n
t
h
e
m
o
rr
ow
a
nd
the
g
ains
car
e
fu
lly
separ
at
ed
and
put
a
w
a
y
in
a
lit
tl
e
w
ooden
box
.
F
But
he
w
a
s
a
k
indly
m
an
in
p
ri
v
a
te
.
‘How
the
cus
to
m
e
rs
sur
v
iv
e
the
food,
I
can’t
under
st
and
.
I
suppose
people
b
uild
up
a
sor
t
o
f
imm
unit
y
t
o
such
poisons,
w
it
h
all
that
dust
b
low
ing
on
it
and
the
g
u
tt
er
behind…’
G
He
g
o
t
up
w
hen
the
coc
k
in
the
nex
t
house
cr
ow
ed.
S
o
m
et
im
es
it
had
a
habit
o
f
w
ak
in
g
up
at
th
re
e
in
t
he
m
o
rnin
g
and
let
ti
ng
out
a
s
hr
ie
k.
‘W
h
y
has
the
c
oc
k
lost
it
s
norm
a
l
sleep?’
R
a
m
a
w
onder
ed
as
he
aw
ok
e
,
b
u
t
it
w
a
s
a
si
g
nal
h
e
could
not
m
iss.
W
h
e
ther
it
w
a
s
th
re
e
o’clock
o
r
four,
it
w
a
s
all
the
sa
m
e
t
o
him
.
He
had
to
g
e
t
u
p
and
s
tart
his
day
.
H
W
h
e
n
h
e
saw
som
e
cust
o
m
er
h
a
g
g
ling,
he
fe
lt
lik
e
shou
ti
ng,
‘
G
iv
e
t
he
poo
r
fe
llow
a
lit
tl
e
m
o
re
.
Don’t
be
g
rud
g
e
it.
I
f
y
ou
pay
an
anna
m
o
re
he
can
hav
e
a
do
sai
and
a
chappat
i.’
[T
urn
ov
er
Page 19
10
Part
4
You
ar
e
g
o
in
g
to
r
ead
t
he
i
ntr
oduct
ion
fr
o
m
a
boo
k
on
sport
s
.
F
o
r
q
u
est
ions
34
-40
,
c
hoo
se
the
answ
er
(A
, B
, C
o
r
D
)
w
h
ich
y
ou
th
in
k
f
it
s
b
est
acco
rd
ing
to
t
he
t
ex
t.
M
ark
y
our
answ
er
s
on
th
e
separa
te
ans
w
e
r
sheet
.
SPORTS
WRITING
Offices
and
bars
are
o
ften
full
of
casual
obscenit
y
,
but
most
British
newspapers
are
….
well,
not
necessa
ril
y
car
eful
about
lan
g
u
ag
e,
but
ca
re
ful
about
bad
words
an
y
w
a
y
.
T
he
phr
ase
‘f
amil
y
n
ewspape
r’
is
an
ineluctable
pa
rt
of
our
lives.
N
ewspape
rs
ar
e
not
in
the
business
of
g
iving
g
ra
tuitous
offen
ce.
I
t
is
a
limitation
of
newspaper
writin
g
,
and
on
e
eve
ry
body
in
th
e
business,
whether
writin
g
or
re
adin
g
,
understands
and
acc
epts.
Ther
e
ar
e
man
y
other
n
eces
sa
ry
limitations,
and
most
of
these
conc
ern
time
and
space.
Newspap
ers hav
e dominated sportswritin
g
in B
ritain fo
r
y
ears, and
hav
e
p
rodu
ced
their
own
totem
fig
ur
es
and
do
y
ens.
B
ut
ten
y
ears
ag
o,
a
ne
w
pla
y
er
enter
ed
the
g
ame.
This
was
the
phenom
enon
of
men’s ma
g
az
ines; monthl
y
ma
g
az
ines
for men th
at had actual
words
in
them
–
words
for
actuall
y
readin
g
.
GQ
was
the
pione
er
and,
in
m
y
totall
y
unbiased
opinion
as
the
lon
g
-te
rm
author
of
the
m
ag
az
ine’s
sports
column, it leads the wa
y
still, leaving
the
rest pantin
g
distantl
y
in its wak
e.
Sport is, of
course,
a
blindin
g
ly
obvious
subject
for
a
men
’s
m
ag
az
ine
–
but
it
could
not
be
tackled
in
a
blinding
ly
obvious
wa
y
.
Certainl
y
,
one
o
f
the
first
thing
s
GQ
was
able
to
off
er
w
as
a
n
ew
w
a
y
o
f
writing
about
sport,
but
this
was
not
so
much
a
cunni
ng
p
lan
as
a
n
ecessit
y
.
The
m
ag
az
ine
was
doomed,
as
it
were,
to
of
fer
a
whole
ne
w
ran
ge
of
fr
eedoms
to
its
sportswriters.
H
eady
and
rather
alarming
freedoms.
F
re
edom
of
voc
abular
y
w
as
simpl
y
the
most
obvious
one
and,
inevitabl
y
,
it
app
ealed
to
the
schoolbo
y
within
us.
B
ut
spa
ce
and
time
wer
e
the
others,
and
these
possibilities
meant
that
the
cr
aft
of
sportswriting
had to be
reinvented.
Unlike
n
ewspap
ers,
a
magazine
can
offer
a
decent
len
g
th
of
time
to
res
ear
ch
and
to
write.
T
h
ese
are,
y
ou
would
think,
lux
uries
–
especiall
y
to
those
of
us
who
ar
e
oft
en
requir
ed
to
re
ad
an
800-wor
d
match
report
ov
er
the
telephon
e
the
instant
the
final
whistle
has
g
o
n
e.
Such
a
discipline
is
nerv
e-rac
kin
g
,
but
as
long
as
y
ou
can
g
et
it
done
at
all
,
y
ou
have
don
e
a
g
ood
job.
No
on
e
ex
pects
a
masterpi
ece
unde
r
such
circumstanc
es.
I
n
some
w
a
y
s
the
ferocious
re
strictions
make
the
job
ea
sier.
But
a
lon
g
ma
g
az
ine
deadline
g
ives
y
ou the discon
certin
g
and
ag
or
aphobic
fre
edom to rese
ar
ch, to write, to
think
.
To write a pie
ce fo
r a newsp
ape
r, at about a qu
arter o
f
the
massive
GQ
len
g
th,
y
ou
requir
e
a
sin
g
le
thoug
ht.
The
best
method
is
to
find
a
reall
y
g
ood
idea,
and
then
to
pursue
it
re
morselessl
y
to
the
end,
where
ide
all
y
y
ou
m
ake
a
ni
ce
joke
and
bale
out
sty
lishl
y
.
I
f
it
is
an
interview
piec
e,
y
ou
look
for
a
few
g
ood
quotes,
and
if
y
ou
g
et
them,
that’s
y
our
pie
ce
w
ritte
n
for
y
ou.
F
or
a
lon
ger
pie
ce,
y
ou
must
seek
the
non-obvious.
This
is
a
g
ood
qualit
y
in
the
best
of
ne
wspape
r
writin
g
,
but
an
absolute
ess
ential
for
an
y
writer
who
hopes
to
complete
the
ter
rif
y
in
g
amount
of
words
that
GQ
r
equire
s.
I
f
y
ou
write
for
GQ
,
yo
u
are cond
emned to tr
y
and join the best. Th
ere is no othe
r wa
y
.
GQ
is
not
restricted
b
y
the
sam
e
conventions
of
read
er
ex
pectation
as
a
newsp
aper.
You
need
not
worr
y
about of
fendin
g
people
o
r
alienatin
g
them;
the
whole
ethos
of
the
magaz
ine
is
that
re
ade
rs
ar
e
there
to
be
challen
g
ed.
T
h
er
e
will
be
re
aders
who
would
find
some
of
its
pieces
of
fensive
o
r
eve
n
impossible
in
a
newspaper,
or
even
in
a
diff
er
ent
mag
azine.
B
ut
the
sam
e
readers
will
read
the
piece
in
GQ
and
f
ind
it e
n
thra
lling
.
That
is
because
th
e
ma
g
az
ine
is
alwa
y
s
sli
g
htl
y
unc
omfortable
to
b
e
with.
I
t
is
not
like
a
cos
y
member
of
the
fa
mil
y
,
nor
even
like
a
friend.
I
t
is
the
strong
,
se
lf-opinionated
p
erson
that
y
ou
ca
n
neve
r
quite
make
up
y
our
mind
whethe
r
y
ou
like
or
not.
Y
ou
admir
e
him,
but
y
ou
ar
e
slightl
y
une
as
y
with
him.
The
people
ar
ound
him
mig
ht
not
altogether
approve
o
f
ev
er
y
thing
h
e
sa
y
s;
some
mi
g
h
t
not
car
e
for
him
at
all.
B
ut
the
y
feel
compelled
to
listen.
The
sel
f-con
fidence
is
too
comp
elling
.
And
just
when
y
ou
think
he is beg
innin
g
to become rather a bo
re, h
e surprises
y
ou with his
g
enuine intelligence. He mak
es
a
bro
ad
joke, and then suddenl
y
he is dem
anding
y
ou
follow him in the turning
of
an intellectual somers
ault.
11
34
W
h
a
t
d
oes t
he
w
ri
te
r
say
a
bout
new
s
paper
s
in t
he f
ir
s
t
p
a
ra
g
raph?
A
T
hey
t
end
not
to
i
nclude
a
rt
icles r
eader
s
w
ill
fi
nd
v
e
ry
challeng
ing.
B
Ar
ti
cles
in t
hem
do
no
t
re
fl
ec
t
th
e
w
a
y
m
any
people
really
speak
.
C
T
hey
a
re
m
o
re concer
ned
w
it
h
pr
o
fi
t t
han
w
it
h
q
ualit
y
o
f
w
ri
ti
ng.
D
T
hey
f
ail t
o
r
ealise
w
hat
k
ind
o
f
w
ri
ti
ng
w
ould
appeal
to
r
eade
rs
.
35
W
h
a
t
does t
he
w
rit
er
im
p
ly
i
n
th
e
second
par
a
g
raph?
A
GQ
m
a
g
az
ine
cont
ains
art
icles t
hat
a
re
w
ell
w
o
rt
h
readin
g
.
B
Som
e
o
f t
he m
o
re
r
e
cent
m
en’s
m
a
g
a
z
ines
ar
e
unlik
ely
t
o
sur
v
iv
e
.
C
T
h
e
st
anda
rd
o
f
sport
s
w
rit
ing
in
new
spaper
s
has
i
m
p
ro
v
ed
in r
ecent
ti
m
e
s.
D
He
is
in
a
po
sit
ion
to
g
iv
e
an
ob
je
ct
iv
e
v
ie
w
o
f
sport
s
w
rit
ing
in m
a
g
az
ines.
36
W
h
y
w
e
re
sp
o
rtsw
ri
te
rs
f
o
r
GQ
g
iv
en
n
ew
f
re
edoms?
A
T
h
e
r
e
s
tr
ic
tions
o
f
new
spaper
w
ri
ti
ng
do
no
t
apply
t
o
w
ri
ti
ng
f
or
GQ
.
B
T
h
e
m
a
g
a
z
ine’s
init
ial
plans f
o
r
it
s
sport
s
a
rt
icles
pr
ov
ed
un
realist
ic.
C
Not
ions
about
w
hat
m
ade
g
ood
sport
s
j
ou
rnalism
w
e
re
chan
g
in
g
.
D
T
h
e
w
rit
er
s t
hat
it
w
ant
ed t
o
e
m
p
loy
dem
anded
g
re
a
ter
f
reedo
m
.
37
W
h
a
t does
the w
riter
say
about the
a
m
ount o
f ti
me allow
ed f
o
r p
roducin
g
a
rti
c
les?
A
T
h
e
best
a
rt
icles
ar
e
o
ft
e
n
pr
oduced
under g
re
a
t
p
re
ssu
re
o
f t
im
e
.
B
Hav
ing
a
long
ti
m
e
t
o
p
roduce
an
a
rt
icle
encou
ra
g
e
s
laz
iness.
C
W
ri
te
rs
a
re
s
e
ldom
s
at
is
fi
ed
b
y
ar
ti
cles
p
roduced
i
n
a
hu
rr
y
.
D
Hav
ing
v
e
ry
lit
tl
e
ti
m
e
t
o
p
roduce
an
a
rt
icle
can
b
e an
adv
a
nt
a
g
e.
38
W
h
y
can’
t
w
ri
te
rs
f
o
r
GQ
use
t
h
e
sa
m
e
m
ethods
as
w
ri
te
rs
f
o
r
n
ew
spaper
s?
A
Ar
ticles
in
GQ
a
re
no
t
a
llow
ed
to
consis
t m
ainly
of
i
nt
e
rv
ie
w
s.
B
T
hey
w
ant to
be con
sidered be
tte
r
than
w
riters
for
new
spapers.
C
W
ri
te
rs f
o
r
new
spaper
s
do
not
hav
e
so m
u
ch
space t
o
f
ill.
D
T
hey
hav
e
been t
o
ld
to
a
v
o
id
the
co
nv
ent
ions
o
f
new
spaper
w
ri
ti
ng
.
39
W
h
a
t
d
oes t
he
w
ri
te
r
say
i
n
th
e
penult
im
a
te
par
a
g
raph
abou
t
c
e
rt
a
in
p
ieces
in
GQ
?
A
T
hey
w
ill
cr
eat
e
enor
m
ous
contr
o
v
e
rs
y
.
B
T
hey
unint
ent
ionally
upset
som
e
r
eade
rs
.
C
T
hey
a
re
a
r
esponse
t
o
dem
and
f
ro
m
r
eader
s
.
D
T
hey
m
a
tch
r
eade
rs
’
ex
pect
at
ions
.
40
T
h
e
w
rit
er
lik
en
s
GQ
m
a
gaz
ine
to
a
per
son
w
h
o
A
say
s
th
ing
s
y
ou
w
ish
y
ou
had
said
y
our
self
.
B
fr
e
q
uen
tl
y
chang
es
h
is
point
o
f
v
iew
.
C
fo
rce
s
y
o
u
to
p
a
y
a
tt
e
n
ti
o
n
to
h
im
.
D
w
ant
s
to
b
e
consider
ed
ent
e
rt
a
inin
g
.
R E A D I N G S A M P L E PA P E R ( 2 )
Page 20
UNIVERSITY OF CAMBRIDGE LOCAL EXAMINATIONS SYNDICATE
Examinations in English as a Foreign Language
CERTIFICATE OF PROFICIENCY IN ENGLISH
PAPER 1
Reading
SAMPLE PAPER 2
1 hour 30 minutes
Additional materials:
Answer sheet
Soft clean eraser
Soft pencil (type B or HB is recommended)
TIME
1 hour 30 minutes
INSTRUCTIONS TO CANDIDATES
Do not open this booklet until you are told to do so.
Write your name, Centre number and candidate number on the answer sheet in the spaces provided
unless this has already been done for you.
There are forty questions in this paper.
Answer all questions.
Mark your answers on the separate answer sheet. Use a soft pencil.
You may write on the question paper, but you must transfer your answers to the separate answer
sheet within the time limit.
At the end of the examination, you should hand in both the question paper and the answer sheet.
INFORMATION FOR CANDIDATES
Questions 1-18 carry one mark.
Questions 19-40 carry two marks.
This question paper consists of 11 printed pages and 1 blank page.
[Turn over
Page 21
2
Part
1
For
q
ues
ti
ons
1-
1
8
,
read t
h
e
t
h
ree t
e
x
ts
below
and
decide
w
h
ich
answ
e
r
(A
,
B
,
C
o
r
D
) b
e
s
t
fi
ts ea
ch
g
a
p
.
M
a
rk
y
our
answ
er
s
on t
h
e
sepa
rat
e
ans
w
e
r
shee
t.
Karri
Count
ry
W
e
t
oo
k
t
he
coast
road
t
o
our
des
ti
nat
ion,
A
lbany
.
A
lbany
i
s
at
t
he
sout
he
rn
m
o
st
point
o
f
W
e
s
ter
n
Aust
ra
lia
and
fr
o
m
t
he
re
t
he
ocea
ns
(1
)
….
a
w
a
y
t
o
t
he
Ant
a
rct
ic
and
the
Sou
th
Pole.
B
u
t
W
e
s
te
rn
Aust
ra
lia
is
a
land
o
f
(2
)
…
.
con
tr
as
ts
.
O
u
r
jour
ney
f
ro
m
Pe
rt
h
t
o
o
k
u
s
t
h
rough
ro
lling
w
heat
lands
dot
te
d
w
it
h
s
m
a
ll
sett
lem
en
ts
and
solit
a
ry
hom
es
teads
m
any
k
ilom
e
tr
es
fr
o
m
their
near
e
s
t
neig
hbour
s
.
Th
e
(3
)
…
.
e
v
ent
ually
beg
an
to
chan
g
e
,
v
a
st
fo
rest
s
canopied
the
road
to
W
a
lp
ole.
W
e
w
er
e
ent
er
in
g
Ka
rr
i
coun
tr
y
.
Raised
a
s
I
w
as
in
a count
ry
m
anicur
ed
and m
iniat
ur
e
by
(4
)
…
. , this seemed
to
m
e
a
str
a
n
g
e
and
alien
land.
T
h
e
Kar
ri
t
ree
belon
g
s
t
o
th
e
Eucaly
p
tus
fa
m
ily
and
is
one
o
f
the
t
allest
har
dw
oods
in
the
w
or
ld.
T
he
(5
)
….
n
a
m
ed
‘Valley
of
t
he
G
ian
ts’
is
tr
uly
br
ea
th
ta
k
in
g
.
A
m
et
al
w
alk
w
ay
(6
)
….
t
o
the
hig
hes
t
br
anches
o
f
the
Kar
ri
t
rees
ta
k
e
s
y
ou
on
a
sw
aying
j
our
ney
o
f
discov
er
y
.
F
a
r
below
lies
the
dense
lush
v
a
lle
y
f
loor
w
hilst
a
ll
ar
ound
th
e
f
o
re
s
t r
eaches
out
to
t
h
e
blue,
m
is
ty
hor
iz
on,
s
ilent
and
m
a
jes
ti
c!
1A
spr
ead
B
reach
C
ex
pand
D
stre
tch
2A
br
ig
h
t
B
u
tte
r
C
star
k
D
sheer
3A
g
round
B
te
rr
a
in
C
dom
ain
D
te
rri
to
ry
4A
distinction
B
resembl
ance
C
com
par
ison
D
sim
ilar
it
y
5A
apt
ly
B
correc
tl
y
C
pr
oper
ly
D
re
lev
ant
ly
6A
me
rg
e
d
B
at
ta
ched
C
com
bined
D
added
T
h
e
drama
course
Lisa
st
a
rt
e
d
bac
k
at
colleg
e
f
o
r
the
sp
ri
n
g
t
erm
.
T
h
e
f
u
ll-
ti
m
e
Speech
and
D
ra
m
a
c
ou
rs
e
had
m
o
v
e
d
it
s
fo
cus
fr
o
m
S
tanislav
sk
y
to
B
rech
t,
w
hich
m
eant
tha
t,
w
her
eas
last
te
rm
th
e
s
tudent
s
w
e
re
encour
a
g
ed
to
believ
e
absolut
ely
in
e
v
e
ry
th
ing
t
hey
d
id
and
said,
now
,
w
hen
act
ing,
t
hey
w
er
e
as
k
e
d
to
(7
)
….
i
n
m
ind
that
they
w
er
e
in
a
p
lay
,
and
t
ha
t
they
had
a
(8
)
….
t
o
t
h
e
audience
to
r
e
m
ind
th
e
m
o
f
this
fa
ct.
T
her
e
w
e
re
t
echni
q
ues
t
ha
t
could
be
us
ed
–
w
ink
in
g
,
o
r
ta
lk
in
g
in
asides,
o
r
ev
en
g
iv
ing
(9)
….
in
fo
rm
a
ti
on
on
the
plot
s
tr
ai
g
h
t
ou
t
int
o
the
fr
on
t
ro
w
,
w
it
hout
any
(10)
….
a
t
m
yst
e
ry
o
r
disg
uise.
L
isa
f
e
lt
c
o
mpletely
(
11)
….
.
For
her,
t
he
w
hole
(12)
….
o
f
ac
ti
n
g
w
as
the
licence
it
g
a
v
e
y
ou
to
beco
m
e
ano
ther
per
son
,
pr
o
tect
ed
b
y
a
s
tage set
and
so
m
eone
e
lse’s
w
o
rd
s.
7A
store
B
hold
C
re
ta
in
D
bear
8A
funct
ion
B
dut
y
C
ro
le
D
ta
s
k
9A
of
f
B
aw
a
y
C
in
D
on
10
A
a
tte
mp
t
B
try
C
ef
fo
rt
D
go
11
A
th
ro
w
n
B
dislodg
ed
C
mi
x
e
d
D
tu
mb
le
d
12
A
ma
tt
e
r
B
aspect
C
gi
s
t
D
point
3
Ho
w
econo
mi
s
ts t
h
in
k
Econom
ist
s
ar
e
st
a
rt
in
g
t
o
a
bandon t
heir
assu
m
p
ti
on t
hat
h
u
m
ans
behav
e r
a
ti
onally
,
a
nd
inst
e
ad
a
re
fi
nally
(
13)
…
. t
o gr
ips
w
it
h
t
h
e
cr
az
y
,
m
ix
ed-
up
c
reat
u
res
w
e
r
eally
a
re
.
‘
Ar
e
econo
m
ist
s
hum
an?’
i
s
not
a
q
uest
ion
t
h
a
t
o
c
cur
s
t
o
m
any
p
ract
it
ioner
s
o
f t
ha
t
d
ismal
science,
but
it
is
one
t
h
a
t
(1
4
) …
. to
th
e
m
inds
o
f m
any
non-
econo
m
ist
s
ex
posed
to
c
onv
ent
ional
econom
ic
e
x
p
lanat
ions.
Econom
ist
s
hav
e
ty
pically
descr
ibed
the t
hou
g
h
t
pr
oce
sses
o
f
m
a
n
as str
ict
ly
l
og
ical,
(1
5
) …
.
on a
clear
ly
def
ined g
oal
and
(16)
…
. f
ro
m
uns
teady
i
n
fluences
o
f em
o
ti
on
or
irr
at
ionalit
y
–
ra
ther
than
t
h
e
uncer
ta
in,
err
o
r-
pr
one
g
ropin
g
w
it
h
w
h
ich
m
ost
o
f
u
s
ar
e
f
a
m
iliar
.
Of
cou
rse,
s
o
m
e
hu
m
an
behav
iour
does
(17
)
…
.
th
e
r
a
ti
onal
patt
e
rn
so
belov
ed
o
f
econo
m
ist
s
.
But
they
should r
e
m
e
m
b
e
r t
hat
th
e
r
e
st
of
u
s
a
re
h
u
m
an
.
T
hese
day
s
ev
en
econom
is
ts
a
re
(
18)
….
u
p
t
o
t
h
is
f
ac
t.
A
w
ind
of
chan
g
e
i
s
blow
ing
so
m
e
h
u
m
an
spir
it
bac
k
int
o
t
h
e
dust
y
univ
e
rs
it
ies
w
her
e
econom
ic
t
heor
y
is m
ade.
13
A
br
ing
in
g
B
ge
tti
n
g
C
ta
k
in
g
D
setti
n
g
14
A
spring
s
B
ju
mp
s
C
pops
D
stri
k
e
s
15
A
sited
B
laid
C
cent
re
d
D
placed
16
A
absent
B
fre
e
C
dev
oid
D
lack
in
g
17
A
con
for
m
B
accept
C
m
eet
D
fi
t
18
A
si
tti
n
g
B
st
anding
C
wa
k
in
g
D
coming
[T
urn
ov
er
Page 22
4
Part
2
You
ar
e g
o
in
g
to
r
ead
f
ou
r
ex
tr
act
s
w
h
ich
ar
e
all
conce
rned
in
som
e
w
a
y
w
it
h
m
usic.
F
o
r q
ues
ti
ons
19-
26
,
choose
t
h
e
answ
e
r
(A
,
B
,
C
o
r
D
)
w
h
ich
y
ou
th
ink
f
its
bes
t
a
c
c
o
rd
in
g
t
o
t
he
t
ex
t.
M
a
rk
y
our
answ
er
s
on
t
he
separa
te
ans
w
e
r
sheet
.
The Enigm
a of Music
In
spite
of
it
s
w
id
esp
read
dif
fu
sion
,
m
u
sic
rem
ain
s
an
en
ig
m
a.
Mus
ic
for
thos
e
w
ho
li
v
e
w
ith
it
is
so
im
portan
t
th
at
to
b
e
depr
iv
ed
of
it
wou
ld
cons
ti
tut
e
a
crue
l
an
d
unu
sua
l
punis
h
m
ent.
M
o
reov
er,
the
p
erc
ept
ion
of
m
usic
as
a
cen
tra
l
part
o
f
li
fe
is
no
t
conf
ined
to
p
rof
ess
ion
als
o
r
ev
en
to
g
if
ted
am
ateurs.
I
t
is
tr
ue
th
at
thos
e
who
h
av
e
stu
die
d
t
h
e
techn
ique
s
of
m
usica
l
com
posi
tion
can
m
o
re
thor
oug
hly
appre
cia
te
the
stru
ctu
re of
a
m
u
sic
al
w
o
rk
than tho
se
w
ho
h
av
e
not.
B
u
t
ev
en
lis
ten
ers
who ca
nnot
r
ea
d
m
u
sica
l
n
o
tat
ion and
who hav
e
nev
er
att
em
p
ted
to
le
arn
an
in
st
rum
ent
m
ay
b
e
so
deep
ly
affec
ted
tha
t,
fo
r
th
em
,
any
d
ay
which
p
ass
es
wi
thou
t
be
ing
se
riou
sly
inv
o
lv
ed with m
usic
in o
ne way
or a
noth
er
is a
day
wast
ed.
In
the
contex
t
o
f
con
tem
pora
ry
cultu
re,
th
is
is
puz
zling
.
Many
peop
le
assum
e
tha
t
m
usic
is
a
luxu
ry
rath
er
than
a
neces
si
ty
,
and
th
at
w
o
rds
o
r
p
ic
tur
es
are
the
o
n
ly
m
eans
b
y
which
inf
luen
ce
ca
n
be
e
xer
te
d
on
the
h
u
m
an
m
ind.
T
hos
e
who
do
not
app
rec
ia
te
m
u
sic
thi
nk
t
hat
it
has
no
si
g
n
if
ican
ce
othe
r
th
an
p
rov
iding
eph
em
eral
p
lea
sure
.
They
cons
ider
it
a
g
loss
upon
the
sur
fac
e
o
f
li
fe
;
a
harm
les
s
ind
ulg
ence
ra
the
r
than
a
nec
ess
ity
.
T
h
is,
no
doub
t,
is
why
our
so
cie
ty
s
eld
o
m
acco
rds
m
u
sic
a
p
rom
inen
t
p
lac
e
in
educ
at
ion.
T
o
day
,
w
hen
educa
tio
n
is
bec
om
ing
increa
sing
ly
ut
il
ita
ri
an,
m
usic
is
li
k
ely
to
be
tr
eat
ed
as
an
‘ex
tr
a’
in
the
schoo
l
cu
rr
icu
lum
w
hich
on
ly
aff
luen
t
p
aren
ts can af
ford,
and
wh
ich
n
eed
n
o
t
b
e
p
ro
v
ided
fo
r
pupi
ls who a
re n
o
t o
b
v
iously
‘m
usic
al
’ by
natu
re.
line
9
line
12
line
16
line
23
19
In
t
he t
e
x
t
a
s
a
w
hole,
w
hat
does t
he
w
rit
er f
ind
enigm
at
ic
about m
usic?
A
that
it
c
a
n
b
e
appr
eciat
ed
b
y
any
body
r
eg
a
rdless
o
f t
heir
m
u
sical
abilit
y
B
that
a
t
hing
so
w
idel
y
lo
v
ed
does
not
p
lay
a
m
o
re
s
ig
ni
fi
can
t
ro
le
in
our
societ
y
C
that
so m
any
people
w
ho
ador
e m
u
sic do
no
t
indulg
e
t
heir
pleasu
re
m
or
e
o
ften
D
that
our
educat
ion
sy
st
em
s
under
v
a
lue m
usic
as
a
p
ro
fe
s
s
ional
car
ee
r
op
ti
on
20
W
h
ich
phr
a
s
e
in t
he t
e
x
t
conv
ey
s
cr
it
icism
by
t
h
e
w
rit
er
?
A
w
ho
hav
e
ne
v
e
r
at
te
m
p
ted (
lines
9-
10
)
B
a
day
w
ast
e
d
(line
12)
C
inf
luence
can
be
e
x
e
rt
ed (
line
16)
D
tr
ea
ted
as
an
‘ex
tr
a
’ (
line
23)
5
P
unk
Punk
was
a
heterogeneous
style,
comprising
a
complex
mix
of
ingredi
ents
an
d
orie
nta
tions,
spre
ad
ac
ross
a
spe
ct
rum
of
ar
ti
sts.
T
he
music
w
as
generally
driv
en
by
a
frantic,
eighth-note
puls
e
carried
by
th
e
entire
ens
emble.
Words
were
sp
ewed
forth
by
voc
alis
ts
uncons
trained
by
previous
notions
of
pitch
or
melody.
T
he
majority
of
lyrics
reflected
feelings
toward
a
dis
integrating
an
d
corrupt
so
ciety
and
the
plight
of
su
bcultural
compatriots
.
T
he
mus
ic
and
lyrics
were
embedded
in
a
confrontational
stance
that
reflected
v
arying
de
grees
of
anger,
performance
technique,
artistic
exploration
of
shock
va
lue,
and
int
ent
to
bypass
the
usual music-production institution
s.
David
Bowie
(born
David
Jones)
was
one
of
punk’s
most
influential
ances
tors
. B
owie, whos
e s
chooling and training
includ
ed
art,
theatre,
mim
e
and
mus
ic,
was
a
mas
ter
at
cr
eating
st
or
ies
and
char
acter
s
that
both
sy
mbolis
ed
and
became
rea
lity.
B
owi
e’s
incarnation
as
Zig
gy
Stardus
t
in
the
film
and
album
The
R
ise
an
d
Fall
of
Ziggy
Stardust
and
th
e
Spiders
From
Ma
rs
embodied
the
st
ruggle
to
su
cceed
in
the
mus
ic
bus
ines
s
and
so
ciety.
B
o
wie’s
expres
si
ons
o
f
alienation
worked
at
tw
o
different,
sometimes
competing
lev
els
;
his
cos
tumed
pers
onae
were
so
metimes
symbolic,
shocking
st
atements
,
while
his
f
eelings
wer
e
ta
ken
as
a
r
ealis
tic
expr
es
si
on
of
alienation.
T
his
duality
of
p
retence
and
reality
si
de-by-s
ide
als
o
came
to
exis
t in punk.
21
W
h
ich
w
o
rd
i
n
th
e
f
ir
s
t
par
a
g
raph conv
ey
s
the
idea
th
a
t
pun
k
w
as
sy
m
pat
he
ti
c t
o
w
a
rds
those
i
t
addr
essed?
A
fra
n
ti
c
B
spew
ed
C
plig
ht
D
em
bedded
22
W
h
a
t
does t
he
w
rit
er
say
about
Dav
id
Bowie?
A
His
Ziggy
St
ar
du
st
film/
a
lbum
h
a
s
d
if
fe
re
n
t
lay
er
s
o
f m
eaning.
B
He
w
a
s
sur
pr
ised
a
t
how
o
th
e
r
people
int
e
rp
re
te
d
t
h
e
cha
ract
e
r
o
f
Ziggy
S
ta
rdust.
C
He
saw
him
s
elf
i
n
co
m
pet
it
ion
w
it
h
pun
k
.
D
His
pat
h
t
ow
ar
ds f
a
m
e r
e
quir
e
d
him
t
o
ov
er
com
e
m
any
obs
tacles.
[T
urn
ov
er
Page 23
6
KEF Cresta 2
Lou
ds
pea
ker
s
£1
00
It
was
only
a
m
atter
o
f
tim
e
befor
e
KEF f
o
ll
ow
ed
the lea
d
of its
a
w
ard-
winning
C
re
sta
1s
w
it
h
bo
ok
shel
f
and
fl
oo
rst
and
ing
sibl
ing
s.
W
el
l,
the
wa
it
is
ov
er,
and
h
er
e
w
e
unv
ei
l
the
b
abi
es
o
f
th
e
C
re
st
a
ra
n
g
e.
T
h
es
e
are
surp
ri
si
ng
ly
d
ink
y
speak
ers
in
the
fl
esh,
look
ing
lik
e
a
scal
ed-
down
v
ersion
o
f
th
e
Cre
st
a
1s.
T
he
ir
3
0cm
tal
l
cab
ine
ts
ar
e
buil
t
to
a
v
ery
h
ig
h
st
anda
rd,
wh
ile
the
co
m
p
act
d
im
ensi
ons
h
elp
to
m
a
k
e the enc
los
ure
inh
ere
nt
ly
rig
id,
a
g
ood
om
en
for
sou
nd
qual
it
y
.
Add
to
tha
t
a
h
ig
h
-quali
ty
v
iny
l
fin
ish,
round
ed-
off
cab
ine
t
edg
es
and
leat
her-
look
fron
t,
an
d
y
o
u
hav
e a pai
r
o
f
spe
ak
ers
whos
e look
s
bel
ie t
hei
r £1
0
0 pr
ic
e-
tag
.
Lik
e
the
C
res
ta
1
,
th
is
is
a
desig
n
th
at
doesn
’t
com
e
ov
er
al
l
fussy
w
hen
it
co
m
es
to
m
u
sica
l
g
enres.
If
clas
si
cal
is
y
our
th
ing
then
it
w
il
l
repl
ay
the
lik
es
o
f
Gershwi
n’s
‘Rhap
sody
in
Bl
ue’
w
ith
resp
ec
tab
le
ref
inem
ent
an
d
tona
l
ac
cur
acy
.
I
n
absolut
e
te
rm
s
im
ag
e
scale
is
lim
ited
and
dy
na
m
ics
ar
e
cu
rt
ai
led,
but
ju
dg
ed
by
t
heir
pr
ice
and
si
ze
t
h
ese
C
res
ta
2s pe
rfo
rm
excel
len
tly
.
23
In
the
w
rit
er
’s
opinion,
th
e
new
C
rest
a 2s
loo
k
A
decept
iv
el
y
f
ra
g
ile
a
t f
irst
sig
h
t.
B
ra
th
e
r
d
isappoint
in
g
co
m
p
a
red t
o
t
he
C
rest
a 1s
.
C
b
e
tte
r
qu
a
lit
y
th
a
n
th
e
y
re
a
lly
a
re
.
D
as
if
t
hey
s
hould
be
m
o
re
ex
pensiv
e.
24
T
h
ro
u
g
h
the ex
ample o
f Ger
shw
in’s ‘Rhapsod
y
in Blue’, the w
riter
show
s that
the Cre
s
ta 2
A
is
not
p
e
rf
e
ct
but g
ood
v
a
lue f
o
r
m
oney
.
B
is
especially
w
el
l-
suit
ed
to
p
lay
ing
c
lassical m
usic.
C
m
ig
h
t
b
e
bou
g
h
t
b
y
so
m
e
people
a
s
a
s
ta
tu
s
sy
m
bol.
D
will
e
v
en
play
c
heap
im
it
at
ions
w
ell.
7
Studying
Bach
’s M
a
nuscripts
For
B
ach,
‘r
ev
isio
n’
w
as
a
p
ar
t
of
his
rou
ti
n
e
w
o
rk
ing
procedu
re.
In
alm
ost
al
l
o
f
h
is
m
anuscrip
ts,
on
e
ca
n
fi
nd
som
e
tr
ac
es
o
f
rev
ision
s
being
m
ade.
R
ev
isions
appe
ar
in
m
any
diff
eren
t
form
s,
cov
ering
div
er
se
as
pec
ts
of
the
p
iec
e
from
stru
ctu
ra
l
m
odifi
ca
tion
t
o
the
sm
alles
t
de
ta
il
s
of
t
h
e
m
u
sical
fa
br
ic.
N
atu
ra
lly
,
they
w
er
e
m
ade
at
v
arious
stag
es
o
f
h
is
work
s’
dev
elopm
ent,
rang
ing
from
the
ea
rlie
st
com
posit
iona
l
st
ag
e
to
th
e
la
te
r
rev
isi
ti
ng
o
f
what
w
as
inte
nded
to
b
e
th
e
de
fin
it
iv
e
v
ersion.
O
n
ce
cl
assi
fi
ed
app
rop
ri
at
ely
,
we
can
ofte
n
recons
tr
uct
sev
era
l
d
if
fer
ent
v
ersi
ons
o
f
the
sam
e
piece
in
g
radu
al
dev
elopm
ent.
T
h
e
k
nowledg
e
obta
ined
from
the
study
o
ft
en
enab
les
us
to
unde
rst
and
b
et
te
r
th
e
char
ac
te
r
o
f
th
e
com
positi
ons,
the
cohe
sion
of v
ar
ious m
u
sic
al
ide
as
in
th
em
a
nd
the
ir
o
v
eral
l
st
ru
ctu
ra
l
sh
ape.
B
ei
ng
aw
are
o
f
the
p
roc
ess
o
f
the
d
ev
elopm
ent
o
f
the
w
o
rk
s
seem
s
to
pr
ov
ide
v
ita
l
cl
ue
s
fo
r
in
te
rp
ret
ing
them
from
thei
r or
ig
ina
l con
tex
t.
Many
e
xam
ples
o
f
B
ach
’s
rev
is
ions
appe
ar
to
hav
e
been
en
te
red
d
ur
ing
the
copy
ing-
out
proc
ess,
at
whi
ch
p
o
in
t
he
m
ade
rev
is
ion
s
in
st
ant
aneou
sly
to
a
par
ti
cul
ar
ide
a
in
the
pi
ece,
subs
equen
tly
m
ak
ing
neces
sa
ry
a
m
end
m
ents
to
the
them
ati
ca
lly
r
el
ated
passag
es
si
tua
ted
ear
li
er
in
the
p
iec
e.
In
som
e
case
s,
B
ach
fa
il
ed
to
en
ter
nec
ess
ary
rev
is
ions
alt
o
g
ether
,
le
av
ing
the
task
o
f
co
rr
ec
tio
n,
in
ef
fec
t,
to
u
s.
Why
B
ach
w
as
unabl
e
to
ente
r
all
the
rev
isio
ns
at
on
e
si
tting
we
do
no
t
k
now.
One
ca
n
only
pres
um
e
that
h
e
w
as
pr
eo
ccup
ied
w
ith
v
ariou
s
w
o
rk
s
in
th
e
p
ipe
lin
e,
so
tha
t
h
e
w
as
no
t
p
repa
red
to
sp
end
h
is
p
rec
iou
s
tim
e
endle
ssly
on
a
sing
le
piec
e.
25
W
h
a
t
is
th
e
si
g
n
if
icance
o
f
k
now
ing
about
Bach’s
pa
rt
icular
w
ay
o
f
w
o
rk
ing
?
A
It
ca
n
o
ffe
r u
s
a
mo
re
a
ccu
ra
te
w
a
y
o
f se
e
in
g
B
a
c
h
’s
mu
si
c
.
B
It
can hei
g
h
ten ou
r app
reciation o
f
the beau
ty
o
f the
mu
sic.
C
It
m
eans
w
e
can f
eel
m
ore
o
f
B
a
ch’s
personalit
y
in
the m
u
sic.
D
It
re
v
e
a
ls th
e
i
n
a
ccu
ra
cy
o
f ce
rta
in
i
n
te
rp
re
ta
ti
o
n
s
o
f h
is
mu
s
ic
.
26
Fr
om
our k
now
ledg
e
o
f
Bach’s r
e
v
ision
pr
ocess
,
w
e
can
conclude
t
h
a
t
A
he
w
a
s
a
m
e
ti
culous
per
fe
c
tionist
.
B
he
could
b
e dist
ra
c
ted
b
y
ot
her
ideas.
C
he
som
e
tim
es
r
e
g
re
tt
ed
m
a
k
in
g
chan
g
e
s t
o
h
is
m
a
nuscr
ip
ts
.
D
he
som
e
tim
es
m
ade
deliber
at
e
m
ist
a
k
es
t
o
s
u
rpr
ise
th
e
list
ene
r.
[T
urn
ov
er
Page 24
8
Part
3
You
ar
e
g
o
in
g
to
r
ead
a
new
spaper
a
rt
icle
abou
t
a
w
ildl
if
e
p
hot
o
g
rapher.
Sev
en
par
a
g
raphs
hav
e
been
re
m
o
v
ed
fr
o
m
the
a
rt
icle.
Choose
fr
o
m
the
par
a
g
raphs
A-
H
the
one
w
h
ich
fi
ts
each
g
a
p
(27-
33
).
T
h
e
re
is
one
e
x
tr
a
par
a
g
raph
w
h
ich
y
ou
do
not
need t
o
use.
M
a
rk
y
our
answ
er
s
on
t
he
separa
te
ans
w
e
r
sheet
.
A
u
n
ique
ly
hu
m
an bi
rd’s-e
y
e
v
ie
w
Not
a
ll
anim
a
l
pho
to
g
raphy
i
s
abs
ur
dly
cut
e
or
noble.
Anim
a
l
phot
o
g
raphy
d
w
e
lls
near
t
he
bo
tt
o
m
o
f
th
e
fi
ne
-a
rt
t
ot
e
m
p
ole,
and
f
o
r
g
ood
reason.
M
o
st
o
f
it
ends
up
a
s
m
a
ter
ial
for
w
ild
lif
e
calendar
s
and
m
a
g
az
ines.
Depict
in
g
anim
a
ls
as
eit
her
con
te
m
p
ti
bly
cut
e
o
r
absu
rd
ly
noble,
such
phot
o
g
raphy
inev
it
ably
v
eer
s
bet
w
een
childlik
e
fa
n
tasy
and
s
tar
s
tr
u
c
k
h
o
m
a
g
e
to
nat
ur
e
.
T
he
w
or
k
o
f
the
F
renc
h
pho
to
g
raphe
r
Jean-
Luc
M
y
la
y
ne,
how
ever
,
is
an
e
x
c
ept
ion
to
th
is
ru
le
.
27
His
fir
st
UK
ex
hibit
ion
o
ff
e
rs
v
ie
w
e
rs
a
m
ini
re
tr
ospect
iv
e
o
f
v
ar
iously
-siz
ed
colour
p
ri
nt
s
fr
o
m
the
pas
t
20
y
ear
s.
A
q
uic
k
g
lance
im
m
ediat
ely
re
v
eals
th
a
t
M
y
la
y
ne
has
no
int
e
re
st
i
n
depict
in
g
t
he
inhabit
a
n
ts
o
f
p
ri
st
ine
wilder
ness
ar
eas
o
r
cr
eatin
g
de
fi
nit
iv
e
mu
g
s
hots
o
f
rare
crea
ture
s.
S
ti
c
k
in
g
to
the
agr
icult
ur
al
a
reas
and
r
u
ral
s
ubu
rb
s
o
f
F
rance
,
he
g
ener
ally
phot
o
g
raphs
c
o
m
m
o
n
local
species,
the
fa
m
iliar
st
a
rling
s
,
robins,
and
spar
ro
w
s
tha
t
the
av
er
a
g
e
bir
d
-w
at
cher
w
o
u
ldn’t
l
ook
tw
ice
at
.
28
O
ccasionally
t
hey
a
re
obscu
re
d
by
f
oliag
e
,
o
r
they
m
ay
be
pa
rt
ially
out
o
f
fo
cus,
appear
in
g
only
as
a
blur
re
d
blush
of
colou
r,
usually
(
but
not
a
lw
ay
s)
because
they
hav
e
ac
tually
been
phot
o
g
raphed
i
n f
lig
ht.
29
T
hese
a
re
not
b
lat
a
n
tly
‘poet
ic’
pict
ur
es
,
how
e
v
er
.
Indeed
,
a
fe
w
v
e
rg
e
on
th
e
g
rot
es
q
u
e
,
including
a
f
lashlit
pho
to
o
f
a
bir
d
feeding
w
o
rm
s
to
i
ts
t
w
o
new
bor
n
chick
s
,
b
o
th
o
f
w
hich
look
as
if
t
hey
c
ould
be
audit
ionin
g
f
or
the
nex
t
h
o
rr
o
r
m
o
v
ie.
30
Mylay
ne,
it
tu
rn
s
ou
t,
is
no
t
ex
clusiv
e
ly
int
e
re
st
ed
in
depict
in
g
av
ian
char
act
e
r
and
behav
iour
.
His
centr
a
l
conce
rns
h
a
v
e
to
do
wit
h
v
ision
and
ti
m
e
.
T
h
is
is
clear
es
t
–
fi
g
u
ra
ti
v
e
ly
,
if
not
lit
er
ally
–
in
a
se
ri
es
o
f
q
u
iet
ly
disconcert
ing
photo
g
raphs
m
ade
w
it
h
a
bif
o
cal
l
ens.
T
his
lens
render
s
t
h
e
f
o
re
g
round
and
bac
kg
round
i
n
c
risp
d
e
tail,
b
u
t
c
reat
e
s
a
fl
ic
k
e
ri
n
g
b
lu
r a
cro
s
s
th
e
mi
d
d
le
o
f th
e
p
ic
tu
re
.
31
In
p
lace
o
f
the
f
ix
ed
per
spec
ti
v
e
o
f
a
classical
‘bir
d’s-
ey
e
v
ie
w
’,
M
ylay
ne
’s
cam
er
a
ancho
rs
us
in
a
g
round-
lev
e
l
pr
ocess
o
f
seein
g
.
In
one
m
e
m
o
rable
pho
to
that
is
so
out
o
f
fo
cus
it
bor
der
s
on
abs
tr
a
c
ti
on,
the
a
rt
ist
tr
ans
fo
rm
s
w
hat
m
ig
h
t
h
av
e
been
a
m
undane
pic
tur
e
o
f
a
bir
d
i
n
a
tr
ee
i
nt
o
a
m
y
st
er
ious
m
az
e
o
f
colour
and
fo
rm
.
A
ft
e
r
a
m
o
m
ent
o
f
ad
ju
s
ting,
o
u
r
ey
es
st
art
to
p
ic
k
out
the
b
lur
ry
de
ta
ils:
feat
he
rs
appea
r
a
s
a
w
et
splash,
b
ranches
and
leav
es
fo
rm
int
er
lacin
g
pools
o
f
b
ro
w
n
and
g
reen,
p
er
fo
ra
te
d
by
a
f
ew
s
o
ft
d
rops
o
f
b
lue
sk
y
.
32
Look
in
g
,
o
f
cou
rse,
ta
kes
ti
m
e
,
and
t
he
shi
ft
ing
dept
hs
o
f
field
e
ff
e
c
tiv
el
y
sugg
es
t
alt
e
rnat
e
te
m
p
o
ral
z
ones.
T
hey
a
lso
allude
to
the
under
ly
ing
contr
adict
ion
o
f
pho
to
g
raphic
t
im
e
–
the
w
a
y
a
st
ill
im
a
g
e
tr
ans
fo
rm
s
a
fr
ac
ti
on
o
f
a
second
int
o
an
e
ter
nal
m
o
m
ent.
T
h
e
ti
tl
es
–
No.
25
July-
August
1980,
No.
6
0
Januar
y
-
Febr
uar
y
1987
–
h
ig
hlig
ht
anot
he
r
dispa
ri
ty
:
that
bet
w
een
th
e
br
ie
f
m
inu
te
s
w
e
spend
look
ing
a
t
these
im
a
g
es,
and
th
e
lengt
hy
re
sear
ch
tha
t
th
e
ar
ti
st
e
n
g
a
g
es
in
be
fo
re
aim
ing
h
is
c
a
m
er
a
.
33
Needless
to
s
ay
,
it
is
a
ti
m
e
-c
onsu
m
ing
w
a
y
of
ta
k
ing
pict
u
res.
A
s
a
re
sult
,
th
e
sel
f-
ta
u
g
h
t
M
y
lay
ne
has
pr
oduced
fe
w
e
r
than
150
phot
o
g
raphs
i
n
his
car
eer.
His
chosen
subj
e
c
t
and
w
o
rk
in
g
m
e
thod
demand
a
nom
adic
lif
es
ty
le,
f
o
r
m
u
ch
lik
e
the
m
ig
ra
ting
bir
d
s
he
tr
ac
ks
and
obser
v
e
s,
My
la
y
ne
m
a
int
a
ins
no
per
m
anen
t
add
re
ss
.
9
A
O
the
r,
less
s
tark
im
a
g
e
s
balance
ex
tr
em
e
in
ti
m
a
cy
w
it
h
an
alm
o
s
t
cool
det
achm
en
t
a
nd
dist
an
ce.
Loo
k
in
g
a
t
a
sm
all
bir
d
p
repar
in
g
to
d
ri
n
k
fr
o
m
a
puddle,
y
ou f
eel
y
ou
h
av
e
int
ruded
on
a
pr
iv
at
e
m
o
m
ent,
y
e
t
som
ehow
t
he
b
ir
d
st
ill
seem
s
utt
e
rl
y
fo
re
ig
n,
d
e
fy
in
g
o
u
r
ant
hr
opo
m
or
phic
i
m
p
ulses.
B
For
,
in
spit
e
o
f
their
snapsho
t
ae
st
he
ti
c,
each
o
f
M
yla
y
ne’s
pict
ur
es
is
t
he
r
esul
t
o
f
m
ont
hs
o
f
planning.
A
ft
e
r
select
in
g
a
par
ti
cular
t
y
pe
o
f
b
ir
d
and
s
tudy
ing
it
s
behav
iour
and
habit
a
t,
t
he
a
rt
is
t
spend
s
w
eek
s
g
e
tt
ing
to
k
now
h
is
indiv
idual
subj
ec
ts
.
He
then
calculat
e
s
in
adv
ance
ev
er
y
com
ponent
o
f
th
e
pict
ur
e,
fr
o
m
lig
h
tin
g
to
c
o
m
posit
ion
,
be
fo
re
sett
ling
dow
n
and
pat
ient
ly
aw
a
it
ing
t
he
chan
ce
a
rr
iv
a
l
o
f
h
is
a
v
ian
act
or
.
C
His
tot
al
dedica
ti
on
g
iv
e
s
his
endeav
our
the
air
o
f
a
concep
tual
pr
oj
ec
t
w
her
e
a
rt
and
lif
e
m
ee
t.
T
o
som
e
ex
te
n
t,
th
is
i
nadv
er
tent
ly
p
lay
s
t
o
a
tendency
to
celebr
a
te
p
rocess
o
v
e
r
pr
oduct,
to
v
alue
an
a
rt
ist
’s
pursuit
o
f
an
idea,
o
r
the
ri
g
o
ur
and
p
u
rit
y
o
f
h
is
pr
act
ice
,
o
v
e
r
the
end
r
e
s
u
lt
.
D
Alt
houg
h
My
la
y
ne
say
s
that
h
e
env
isions
the
bir
d
a
s
an
‘ac
tor
’
to
h
is
‘dir
ect
or
’,
he
nev
er
f
ra
m
e
s
his
sub
je
c
ts
in
g
lam
o
rous
c
lose-
up
.
Eschew
ing
t
h
e
use
o
f
telepho
to
lenses
,
he
inst
ead
pr
esent
s
th
e
m
as
sm
all
de
ta
ils
in
a
lar
g
e
r
landscape
.
In
m
any
o
f
thes
e
pict
ur
es
,
the
bir
d
s’
p
resence
i
s
al
m
o
st
incidental:
they
tend to
h
aun
t the
ed
g
e
s
and
cor
ne
rs
o
f
his
co
m
posit
ions.
E
It
’s
a
pho
to
g
raphic
dev
ice
w
hich
conj
ur
es
u
p
th
e
idea
o
f
an
e
y
e
scanning
th
e
scene
.
T
he
w
hole
im
age
is
fu
ll
o
f
a
sen
se
o
f
fl
ux
and
m
ov
em
en
t.
T
h
is
is
so
ev
en
w
hen
the
fe
a
tur
ed
cr
eat
u
re
is
show
n
in
a
s
ta
ti
c
po
se.
F
Mylay
ne
tr
ans
fo
rm
s
th
is
v
apid
g
enr
e
in
to
a
s
o
u
rc
e
o
f s
u
b
tl
e
a
n
d
o
ft
e
n
st
art
ling
im
a
g
er
y
.
Dev
oid
of
any
tr
ace
o
f
sen
ti
m
e
n
talit
y
,
h
is
best
a
v
ian
por
tr
ait
s
a
chiev
e
an
idiosy
ncr
a
ti
c,
o
ff
-
k
ilt
er
beau
ty
as
elusiv
e
as
th
e
sub
jects
he
pur
sues
.
G
T
h
is
fl
uid
fi
eld
o
f
v
ision
in
this
p
rint
is
per
haps
a
k
in
t
o
t
h
e
w
a
y
bir
d
s
in
flig
h
t
per
ceiv
e
t
heir
env
ir
onm
en
t.
O
r
it
could
ju
st
be
a
n
en
ti
cing
g
a
m
e
o
f
phot
o
g
raphic
hide
-and-
see
k.
In
eit
her
case,
M
y
la
y
ne’s
im
ag
e
sedu
ct
iv
ely
dr
aw
s
us
int
o
ano
th
e
r
w
ay
o
f
seeing.
H
T
h
is
result
s
in
im
a
g
e
s
w
hich
not
only
pr
eser
v
e
a
sense
o
f
their
w
ing
ed
subj
ec
ts
’
re
la
ti
v
e
s
iz
e,
b
ut
a
lso
conv
ey
som
e
th
in
g
o
f
the
p
re
ca
ri
ousness
o
f
av
ian
e
xist
ence
–
th
e
m
a
jor
it
y
o
f
bir
d
s
in
the
w
ild
do
not
liv
e
past
their
fi
rs
t
bir
thday
.
By
b
lur
ri
n
g
the
ou
tlines
o
f
th
eir
t
iny
bodies
so
that
they
assu
m
e
a
g
hos
tl
y
tr
anspa
rency
,
M
y
la
y
n
e
’s
por
tr
ait
s
e
lo
q
uen
tl
y
hint
a
t
th
e
fe
b
rile
m
o
rt
alit
y
o
f
h
ea
rt
s
t
hat
beat
at
tw
ice
th
e
ra
te
o
f o
u
rs
.
[T
urn
ov
er
Page 25
10
Part
4
You
ar
e
g
o
in
g
to
r
ead
part
o
f
the
i
nt
roduc
ti
on
to
a
boo
k
.
For
q
uest
ions
34-
40
,
c
hoo
se
the
answ
er
(A
,
B
,
C
o
r
D
)
w
h
ich
y
ou
th
in
k
f
it
s
b
est
acco
rd
ing
to
t
he
t
ex
t.
M
a
rk
y
our
answ
er
s
on
th
e
separat
e
ans
w
e
r
s
heet
.
Les
li
e
No
rri
s
–
a
p
o
et
t
a
lk
s
I
w
as
born
in
M
er
thy
r
Ty
dfil
,
a
sm
all
tow
n
in
W
al
es
and
a
m
arv
ellou
s
p
lace
i
n
which
to g
row up. I
t was pro
bab
ly
the f
ir
st town
o
f
the
Industr
ia
l
Rev
o
lut
ion in the
19th c
ent
ury
, spro
u
ti
ng
out o
f nowhe
re
as pe
opl
e pou
red
in
to work
in
the n
ew st
ee
l
m
ills
and coa
l
m
ines.
B
u
t
w
hen
I
w
as
sm
all,
all the
g
rea
t
fac
tor
ie
s
w
er
e
cl
ose
d
and
the
town
was
o
n
e
o
f
th
e
poo
res
t
in
Eur
ope,
al
thoug
h
tha
t
d
idn
’t
seem
t
o
be
v
ery
im
portan
t
to
m
e
th
en.
The
g
aun
t
ru
ins
of
the
g
re
at
m
il
ls
w
ere
as
r
om
ant
ic
an
d
im
posing
as
tho
se
o
f
any
cas
tl
e,
the
op
en
m
ounta
ins
w
er
e
w
it
h
in
reach
of
any
boy
who coul
d walk
fo
r f
if
teen
m
inutes.
The
fi
rst
scho
ol
I
went
to
w
as
a
red-
b
rick
bui
ld
ing
on
the
edg
e
o
f
town,
in
th
e
dis
tr
ict
of
G
eo
rg
etow
n.
We
h
ad
a
spl
endi
d
te
ach
er
and
he
taug
h
t
us,
about
six
ty
sm
all
boy
s,
fo
r
th
e
fo
u
r
y
ear
s
I
was
in
th
e
sch
ool,
betwe
en
the
ag
es
of
se
v
en
and
elev
en. He wa
s no
t on
ly
fond of
words
him
sel
f, bu
t he c
oul
d
use
t
h
em
to
tel
l jok
es,
to
sing
aloud,
t
o
expl
ain
th
ing
s
so
v
iv
idly
to
u
s
th
at
w
e
cou
ld
see,
alm
ost,
wha
t
he
desc
rib
ed.
And
h
e
edu
ca
ted
ou
r
se
nse
s,
too,
he
m
ade
us
l
ook
a
t
ev
ery
thing
s
o
firm
ly
,
to
k
now
t
he
tex
tur
es
o
f
thing
s
w
ith
o
u
r
sk
ins,
to
h
ear
t
h
e
p
ar
ti
cu
lar
noi
ses
tha
t
ex
ist
i
n the
wo
rl
d
al
l
ar
oun
d
us.
S
o
re
al
w
ere
o
u
r
ex
pe
rie
nce
s
th
at
we
beg
an
to
look
f
or
the
w
o
rds
n
ece
ssa
ry
t
o
re
cr
ea
te
thos
e
exp
er
ienc
es.
T
h
at
is
h
o
w
I
beg
an
to
w
rit
e poe
try
.
I
c
an’t
sa
y
that poe
try
was
m
y
g
reatest
en
thus
ia
sm
at
tha
t
tim
e.
I
l
ov
ed
footba
ll
m
o
st
of
al
l,
and
af
te
r
th
at
box
ing
.
I
w
ould
tr
av
el
m
iles
ju
st
t
o
k
ick
a
f
oo
tba
ll.
I
k
n
ew
all
th
e
g
rea
t
box
er
s
of
o
ur
town.
When
I
was
abou
t
te
n
y
ears
old
I
saw
th
e
fi
g
h
t I
w
ro
te
a
b
o
u
t
in
T
h
e
B
al
lad
o
f
B
il
ly
R
os
e.
A
nd
y
ea
rs
la
te
r,
in
B
ri
st
ol,
I
saw
the
sa
m
e
m
an,
old
now,
and
v
ery
f
ra
il.
H
is
nam
e,
howev
er,
was
rea
lly
T
om
m
y
Rose,
and
in
the
fi
rs
t
v
ers
ion
o
f
m
y
poe
m
I
called
h
im
that.
When
I
fin
ishe
d
it
,
I
read
it
alo
ud,
an
d
I
k
new
that
som
ething
was
wro
n
g
.
I
was
forc
ed
to
ch
ang
e
it
to
B
illy
,
so
tha
t
the
b
ala
nce
w
as
ri
g
h
t,
so
tha
t
ther
e
w
as
a
sa
ti
sfy
ing
cor
res
ponden
ce
betwee
n
t
h
e
word
‘ba
ll
ad’
and
the
wo
rd
‘B
il
ly
’.
M
u
ch
th
e
sa
m
e
thing
happe
ned
w
h
en
I
w
rote
abou
t
h
is
la
st
g
reat
f
ig
ht.
I
w
anted
m
y
reade
rs
to
he
ar
for
them
selv
es
the
sounds
o
f
the
fig
ht,
and
how
the
wo
rds
wh
ich
end
in
‘s’
are
rea
ll
y
the
sho
es
o
f
the
bo
xer
s
as
they
s
li
the
r
o
n
the
res
in.
Wha
t
I’
m
say
ing
is
tha
t
in
m
y
poem
s
I
try
not so
m
u
ch to des
cr
ibe
th
ing
s as a
ctu
al
ly
to m
ak
e them
, with words.
My
fr
iend
Ted
W
alk
er,
a
v
ery
fine
p
oe
t
him
sel
f,
and
I,
used
to
se
t
each
oth
er
week
ly
poetry
w
ri
ting
cha
lle
ng
es,
he
choos
ing
a
ti
tl
e
on
e
week
and
I
the
n
ext.
I
n
thi
s
w
ay
I
cam
e
to
w
rit
e
Gar
deni
n
g
G
lo
ve
s.
T
h
e
poem
is
an
e
x
am
p
le
o
f
how
neces
sa
ry
it
is
f
o
r
the
po
et
to
ob
se
rv
e
w
ell,
so
tha
t
an
o
ld
p
ai
r
o
f
g
lov
es
ca
n
re
v
eal
all
tha
t
the
re
is
to
k
now
about
them
,
and
fo
r
im
ag
ination
to
b
eg
in
to
b
u
il
d
a
li
tt
le
world
aroun
d th
em
.
Poe
try
is
a
cr
af
t
as
w
el
l
as
an
ar
t.
We
ow
e
v
ery
g
reat
respon
sib
il
it
y
to
th
e
poem
;
if
we
d
o
not
w
ri
te
w
el
l
enoug
h
th
e
poem
fa
ils.
Lik
e
any
oth
er
cr
af
t,
alt
houg
h
som
e
p
eople
ar
e
m
o
re
nat
ura
lly
g
ift
ed
th
an
o
the
rs,
we
can
al
l
lear
n
t
h
e
sk
ills.
I
learned
b
y
read
ing
t
he
w
o
rk
o
f
oth
er
poe
ts.
I
read
ev
ery
th
ing
,
g
ood
poem
s,
bad
poem
s,
le
arn
ing
as
I
read.
I
was
v
ery
fond
of
fu
nny
poem
s,
and
th
at
was v
aluab
le
for m
e sin
ce,
to be
suc
ces
sfu
l, f
unny
poem
s hav
e to be e
xt
rem
ely
well
m
ade. But as I
g
rew
m
o
re
expe
rie
nced and
se
v
ere, as
m
y
t
aste
dev
el
oped,
I
needed
bet
ter
exam
ples.
I
f
ound
them
i
n
th
e
work
of
Edw
ard
T
h
om
as,
a
poe
t
who
was
k
illed
in
the F
ir
st
Wor
ld Wa
r.
F
rom
him
I
learned
h
o
w
to
w
ri
te
q
u
ie
tly
and sim
ply
,
withou
t,
I
hope,
lo
sing
any
s
tr
eng
th
o
r
tr
ue
com
plexi
ty
o
f
tho
u
g
h
t
I
m
ig
h
t
poss
ess.
A
Glass
W
indow
i
s
in
p
art
m
y
tribut
e
to
t
h
is
m
an,
dea
d
y
ears
b
efo
re
I
was
born,
who,
am
ong
m
an
y
others,
taug
ht
m
e
what
p
oet
ry
can
be
,
how
to
l
is
ten
to
it.
How
to w
rite
it
.
11
34
As
a
child,
how
d
id
the
w
rit
er f
eel
abou
t
his
ho
m
e
t
ow
n?
A
He
w
a
s
saddened
by
i
ts
decline.
B
He
w
a
s
enchant
ed
by
i
ts
atm
osphe
re.
C
He
w
ished
it
had
m
o
re
t
o o
ff
e
r.
D
He
car
ed
lit
tl
e
abou
t
its
h
ist
o
ry
.
35
One o
f
the
stren
g
ths
o
f th
e w
riter’s
teache
r w
a
s tha
t he
tau
g
h
t his
pupils to
A
v
ie
w
t
he
w
o
rl
d
w
it
h
p
recision.
B
ex
pr
ess
their f
eelin
g
s
i
n
po
etr
y
.
C
descr
ibe
ob
je
cts
in
d
e
tail.
D
c
re
a
te
i
ma
gi
n
a
ry
w
o
rl
d
s
.
36
In
d
iscussin
g
t
h
e
t
echni
q
u
e
behind
The
Ballad
o
f
B
illy
Rose
,
th
e
w
rit
er
e
m
phasises
A
the
s
tr
u
c
tur
e
he
chose f
o
r
the
poe
m
.
B
th
e
d
ra
m
a
o
f th
e
s
itu
a
ti
o
n
h
e
c
re
a
te
d
.
C
the
ca
re
w
it
h
w
h
ich
he
chose
his
w
o
rd
s.
D
the
e
m
ot
ional
im
p
a
c
t
he
w
ant
ed.
37
W
h
a
t
is
im
plied
abou
t
the
poe
m
Ga
rdening G
loves
?
A
It
w
a
s
p
a
rti
cu
la
rl
y
d
iff
ic
u
lt
to
w
ri
te
.
B
It
is
less
in
te
re
s
ting t
h
an
his
o
ther
w
o
rk
.
C
It
o
v
e
rs
tre
tch
e
d
h
is
i
ma
gi
n
a
ti
o
n
.
D
It
i
s
not
a
n
obv
ious
subj
ec
t
fo
r
a
poe
m
.
38
T
h
e
w
rit
er
’s
int
e
re
st
in
succe
s
s
ful
h
u
m
o
rous
poe
m
s
w
as
u
se
fu
l
becaus
e
A
th
e
y
d
e
m
o
n
s
tra
te
d
go
o
d
w
ri
ti
n
g
p
ra
c
ti
c
e
.
B
he
w
ant
ed
to
w
ri
te
f
unny
poems
himsel
f.
C
they
m
ade
up
f
or
th
e
bad
poe
tr
y
he
r
ead
.
D
they
used
a
w
ide
v
a
ri
et
y
of
t
echni
q
ues.
39
In
t
a
k
ing
Edw
ar
d T
hom
as’s
w
o
rk
a
s
a m
odel,
t
h
e
w
rit
er
could see t
he
po
tent
ial
dan
g
e
r
o
f
A
becom
in
g
t
o
o
so
m
b
re
i
n
his ow
n
w
o
rk
.
B
re
str
ict
in
g
himsel
f
to
a
narr
o
w
r
a
n
g
e
o
f subj
ec
ts
.
C
at
tr
act
in
g
un
fl
att
e
ri
n
g
com
pa
ri
sons
w
it
h
T
hom
a
s
.
D
ov
er
sim
p
lif
y
ing
t
he
ideas t
ha
t
w
ent
i
nt
o
his
ow
n
poems.
40
Fr
om
th
e
t
e
x
t
as
a
w
hole
w
e
under
st
and
th
a
t
th
e
w
rit
er
’s
appr
oa
ch t
o
poe
tr
y
A
has
chan
g
e
d
t
o
r
e
flec
t t
he
t
im
e
s
in
w
hich
he
has
liv
ed.
B
has
bene
fi
te
d f
ro
m
t
he r
eac
ti
ons
o
f
o
ther
s
t
o
h
is
w
ork
.
C
is
heav
ily
inf
luenced
by
t
h
e
landscape
w
h
er
e
he
g
re
w
up.
D
is
s
till
in
tune
w
it
h
w
hat
he
w
a
s
ta
u
g
ht
a
t
school.
Page 26
Part 1
1
C
2
B
3
D
4
D
5
C
6
A
7
A
8
C
9
A
10
B
11
D
12
D
13
C
14
A
15
B
16
A
17
B
18
C
Part 2
19
A
20
C
21
D
22
B
23
A
24
B
25
D
26
D
Part 3
27
G
28
C
29
D
30
H
31
B
32
E
33
F
Part 4
34
B
35
A
36
A
37
D
38
C
39
D
40
C
R E A D I N G PA P E R A N S W E R K E Y ( 1 )
R E A D I N G PA P E R A N S W E R K E Y ( 2 )
Part 1
1
D
2
C
3
B
4
C
5
A
6
B
7
D
8
B
9
B
10
A
11
A
12
D
13
B
14
A
15
C
16
B
17
D
18
C
Part 2
19
B
20
D
21
C
22
A
23
D
24
A
25
A
26
B
Part 3
27
F
28
D
29
H
30
A
31
E
32
G
33
B
Part 4
34
B
35
A
36
C
37
D
38
A
39
D
40
D
Candidate
Answer Sheet CPE Paper 1 Reading
0
0
0
0
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
9
Candidate Name
If not already printed, write name
in CAPIT
A
LS and complete the
Candidate No. grid (in pencil).
Candidate Signature
Examination T
itle
Centre
If the candidate is
ABSENT
or has
WITHDRA
WN
shade here
Candidate No.
Centre No.
Examination
Details
Instructions
Use a PENCIL
(B or HB). Mark ONE letter only for each question.
F
or example,
i
f you think B is the right answer
,
mark your answer sheet like this:
Rub out any answer you wish to change using an eraser
.
1
Part 1
2
Part 2
Part 4
DP479/346
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
34
35
36
37
38
39
40
Part 3
27
28
29
30
31
32
33
Supervisor:
CPE 1
A
B
C
D
A
B
C
D
A
B
C
D
A
B
C
D
A
B
C
D
A
B
C
D
A
B
C
D
A
B
C
D
A
B
C
D
A
B
C
D
A
B
C
D
A
B
C
D
A
B
C
D
A
B
C
D
A
B
C
D
A
B
C
D
A
B
C
D
A
B
C
D
A
B
C
D
A
B
C
D
A
B
C
D
A
B
C
D
A
B
C
D
A
B
C
D
A
B
C
D
A
B
C
D
A
B
C
D
A
B
C
D
A
B
C
D
A
B
C
D
A
B
C
D
A
B
C
D
A
B
C
D
A
B
C
D
A
B
C
D
E
E
F
F
G
G
H
H
A
B
C
D
A
B
C
D
E
E
F
F
G
G
H
H
A
B
C
D
A
B
C
D
E
E
F
F
G
G
H
H
A
B
C
D
E
F
G
H
0
A
B
C
D
Questions 1–18 carry one mark each.
Questions 19–40 carry two marks each.
Questions 1–18 carry one mark each.
Questions 19–40 carry two marks each.
R E A D I N G A N S W E R S H E E T
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