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我が社のSAT-Critical-Reading関連勉強資料は本場試験の内容を全部カバーしました。一部の難点問題は答えだけではありません、重要なポイントに対して詳しい解説も書いてあります。教科書よりSAT-Critical-Reading関連勉強資料を使って重点を明らかにするし、内容も充実して分かりやすいです。関連勉強資料を一通りに練習と勉強すれば試験合格率が98％～100％を保証いたします。そして我々のサイトには“本番試験の問題はほぼSAT-Critical-Reading関連勉強資料と同じ”という顧客からのコメントも次々来ます。

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教科書が分厚くて頭に入れないし読みきれない人、毎日忙しくてやり切れない仕事が山ほどがあって疲れる人にとって我が社のSAT-Critical-Reading関連勉強資料が最高な試験教材です。受験生の立場になって受験中によくある問題を踏まえた上で専門家チームよりSAT-Critical-Reading関連勉強資料を作成しました。

関連勉強資料の内容は教科書みたいに過大のボリュームではありません。過去試験問題とデーターを分析して本番試験に良く出る問題を選別して試験に関連する重点な問題だけを絞りましたSAT-Critical-Reading関連勉強資料の助けで、試験準備の苦戦から解放できます。我が社の関連勉強資料の最大な特徴は短い勉強時間で、具体的に言えば20～30時間で試験に合格できることです。

SAT Section One : Critical Reading 認定 SAT-Critical-Reading 試験問題:

1. Here my friend, about whose madness I now saw, or fancied that I saw, certain indications of method,
removed the peg which marked the spot where the beetle fell, to a spot about three inches to the
westward of its former position. Taking, now, the tape measure from the nearest point of the trunk to the
peg, as before, and continuing the extension in a straight line to the distance of fifty feet, a spot was
indicated, removed, by several yards, from the point at which we had been digging.
Around the new position a circle, somewhat larger than in the former instance, was now described, and
we again set to work with the spades. I was dreadfully weary, but, scarcely understanding what had
occasioned the change in my thoughts, I felt no longer any great aversion from the labor imposed. I had
become most unaccountably interested--nay, even excited. Perhaps there was something, amid all the
extravagant demeanor of Legrand-some air of forethought, or of deliberation, which impressed me. I dug
eagerly, and now and then caught myself actually looking, with something that very much resembled
expectation, for the fancied treasure, the vision of which had demented my unfortunate companion. At a
period when such vagaries of thought most fully possessed me, and when we had been at work perhaps
an hour and a half, we were again interrupted by the violent howlings of the dog. His uneasiness, in the
first instance, had been, evidently, but the result of playfulness or caprice, but he now assumed a bitter
and serious tone. Upon Jupiter's again attempting to muzzle him, he made furious resistance, and,
leaping into the hole, tore up the mould frantically with his claws. In a few seconds he had uncovered a
mass of human bones, forming two complete skeletons, intermingled with several buttons of metal, and
what appeared to be the dust of decayed woolen. One or two strokes of a spade upturned the blade of a
large Spanish knife, and, as we dug farther, three or four loose pieces of gold and silver coin came to
light.
At sight of these the joy of Jupiter could scarcely be restrained, but the countenance of his master wore an
air of extreme disappointment he urged us, however, to continue our exertions, and the words were hardly
uttered when I stumbled and fell forward, having caught the toe of my boot in a large ring of iron that lay
half buried in the loose earth.
We now worked in earnest, and never did I pass ten minutes of more intense excitement. During his
interval we had fairly unearthed an oblong chest of wood, which, from its perfect preservation and
wonderful hardness, had plainly been subjected to some mineralizing process--perhaps that of the
Bi-chloride of Mercury. This box was three feet and a half long, three feet broad, and two and a half feet
deep. It was firmly secured by bands of wrought iron, riveted, and forming a kind of open trelliswork over
the whole. On each side of the chest, near the top, were three rings of iron--six in all--by means of which a
firm hold could be obtained by six persons. Our utmost united endeavors served only to disturb the coffer
very slightly in its bed. We at once saw the impossibility of removing so great a weight. Luckily, the sole
fastenings of the lid consisted of two sliding bolts. These we drew back trembling and panting with anxiety.
In an instant, a treasure of incalculable value lay gleaming before us. As the rays of the lanterns fell within
the pit, there flashed upwards a glow and a glare, from a confused heap of gold and of jewels, that
absolutely dazzled our eyes.
I shall not pretend to describe the feelings with which I gazed. Amazement was, of course, predominant.
Legrand appeared exhausted with excitement, and spoke very few words. Jupiter's countenance wore, for
some minutes, as deadly a pallor as it is possible, in nature of things, for any negro's visage to assume.
He seemed stupefied thunder stricken. Presently he fell upon his knees in the pit, and, burying his naked
arms up to the elbows in gold, let them there remain, as if enjoying the luxury of a bath.
It became necessary, at last, that I should arouse both master and valet to the expediency of removing the
treasure. It was growing late, and it behooved us to make exertion, that we might get every thing housed
before daylight. It was difficult to say what should be done, and much time was spent in deliberation--so
confused were the ideas of all. We, finally, lightened the box by removing two thirds of its contents, when
we were enabled, with some trouble, to raise it from the hole. The articles taken out were deposited
among the brambles, and the dog left to guard them, with strict orders from Jupiter neither, upon any
pretence, to stir from the spot, nor to open his mouth until our return.
Presuming the author ascribed an alternative meaning to "confused" other than jumbled, which selection
best identifies the literary device used with "confused" 4th paragraph?

A) assonance
B) onomatopoeia
C) personification
D) alliteration
E) allusion

2. For the last hour I have been watching President Lincoln and General McClellan as they sat together in
earnest conversation on the deck of a steamer closer to us. I am thankful, I am happy, that the President
has come--has sprung across the dreadful intervening Washington, and come to see and hear and judge
for his own wise and noble self. While we were at dinner someone said, "Why, there's the President!" and
he proved to be just arriving on the Ariel, at the end of the wharf. I stationed myself at once to watch for
the coming of McClellan. The President stood on deck with a glass, with which, after a time, he inspected
our boat, waving his handkerchief to us. My eyes and soul were in the direction of the general
headquarters, over which the great balloon was slowly descending.
As used in the passage, the word glass means

A) a window
B) a telescope
C) a mirror
D) bifocals
E) a goblet

3. This passage discusses the work of Abe Kobo, a Japanese novelist of the twentieth century.
Abe Kobo is one of the great writers of postwar Japan. His literature is richer, less predictable, and wider-
ranging than that of his famed contemporaries, Mishima Yukio and Nobel laureate Oe Kenzaburo. It is
infused with the passion and strangeness of his experiences in Manchuria, which was a Japanese colony
on mainland China before World War II.
Abe spent his childhood and much of his youth in Manchuria, and, as a result, the orbit of his work would
be far less controlled by the oppressive gravitational pull of the themes of furusato (hometown) and the
emperor than his contemporaries'.
Abe, like most of the sons of Japanese families living in Manchuria, did return to Japan for schooling. He
entered medical school in Tokyo in 1944--just in time to forge himself a medical certificate claiming ill
health; this allowed him to avoid fighting in the war that Japan was already losing and return to Manchuria.
When Japan lost the war, however, it also lost its Manchurian colony. The Japanese living there were
attacked by the Soviet Army and various guerrilla bands. They suddenly found themselves refugees,
desperate for food. Many unfit men were abandoned in the Manchurian desert. At this apocalyptic time,
Abe lost his father to cholera.
He returned to mainland Japan once more, where the young were turning to Marxism as a rejection of the
militarism of the war. After a brief, unsuccessful stint at medical school, he became part of a Marxist group
of avant-garde artists. His work at this time was passionate and outspoken on political matters, adopting
black humor as its mode of critique.
During this time, Abe worked in the genres of theater, music, and photography. Eventually, he
mimeographed fifty copies of his first "published" literary work, entitled Anonymous Poems, in 1947. It
was a politically charged set of poems dedicated to the memory of his father and friends who had died in
Manchuria. Shortly thereafter, he published his first novel, For a Signpost at the End of a Road, which
imagined another life for his best friend who had died in the Manchurian desert. Abe was also active in the
Communist Party, organizing literary groups for workingmen.
Unfortunately, most of this radical early work is unknown outside Japan and underappreciated even in
Japan. In early 1962, Abe was dismissed from the Japanese Liberalist Party. Four months later, he
published the work that would blind us to his earlier oeuvre, Woman in the Dunes. It was director
Teshigahara Hiroshi's film adaptation of Woman in the Dunes that brought Abe's work to the international
stage. The movie's fame has wrongly led readers to view the novel as Abe's masterpiece. It would be
more accurate to say that the novel simply marked a turning point in his career, when Abe turned away
from the experimental and heavily political work of his earlier career. Fortunately, he did not then turn to
furusato and the emperor after all, but rather began a somewhat more realistic exploration of his
continuing obsession with homelessness and alienation. Not completely a stranger to his earlier
commitment to Marxism, Abe turned his attention, beginning in the sixties, to the effects on the individual
of Japan's rapidly urbanizing, growth driven, increasingly corporate society.
The author of the passage is most likely a

A) avant-garde artist.
B) translator.
C) literary critic.
D) film critic.
E) novelist.

4. Mathew ascended three flights of stairs--passed half-way down a long arched gallery--and knocked at
another old-fashioned oak door. This time the signal was answered. A low, clear, sweet voice, inside the
room, inquired who was waiting without? In a few hasty words Mathew told his errand. Before he had
done speaking the door was quietly and quickly opened, and Sarah Leeson confronted him on the
threshold, with her candle in her hand.
Not tall, not handsome, not in her first youth--shy and irresolute in manner--simple in dress to the utmost
limits of plainness--the lady's-maid, in spite of all these disadvantages, was a woman whom it was
impossible to look at without a feeling of curiosity, if not of interest. Few men, at first sight of her, could
have resisted the desire to find out who she was; few would have been satisfied with receiving for answer,
She is Mrs. Treverton's maid; few would have refrained from the attempt to extract some secret
information for themselves from her face and manner; and none, not even the most patient and practiced
of observers, could have succeeded in discovering more than that she must have passed through the
ordeal of some great suffering at some former period of her life. Much in her manner, and more in her face,
said plainly and sadly: I am the wreck of something that you might once have liked to see; a wreck that
can never be repaired--that must drift on through life unnoticed, unguided, unpitied--drift till the fatal shore
is touched, and the waves of Time have swallowed up these broken relics of me forever.
This was the story that was told in Sarah Leeson's face--this, and no more. No two men interpreting that
story for themselves, would probably have agreed on the nature of the suffering which this woman had
undergone. It was hard to say, at the outset, whether the past pain that had set its ineffaceable mark on
her had been pain of the body or pain of the mind. But whatever the nature of the affliction she had
suffered, the traces it had left were deeply and strikingly visible in every part of her face.
Her cheeks had lost their roundness and their natural color; her lips, singularly flexible in movement and
delicate in form, had faded to an unhealthy paleness; her eyes, large and black and overshadowed by
unusually thick lashes, had contracted an anxious startled look, which never left them and which piteously
expressed the painful acuteness of her sensibility, the inherent timidity of her disposition. So far, the
marks which sorrow or sickness had set on her were the marks common to most victims of mental or
physical suffering. The one extraordinary personal deterioration which she had undergone consisted in
the unnatural change that had passed over the color of her hair.
It was as thick and soft, it grew as gracefully, as the hair of a young girl; but it was as gray as the hair of an
old woman. It seemed to contradict, in the most startling manner, every personal assertion of youth that
still existed in her face. With all its haggardness and paleness, no one could have looked at it and
supposed for a moment that it was the face of an elderly woman. Wan as they might be, there was not a
wrinkle in her cheeks. Her eyes, viewed apart from their prevailing expression of uneasiness and timidity,
still preserved that bright, clear moisture which is never seen in the eyes of the old. The skin about her
temples was as delicately smooth as the skin of a child. These and other physical signs which never
mislead, showed that she was still, as to years, in the very prime of her life.
Sickly and sorrow-stricken as she was, she looked, from the eyes downward, a woman who had barely
reached thirty years of age. From the eyes upward, the effect of her abundant gray hair, seen in
connection with her face, was not simply incongruous--it was absolutely startling; so startling as to make it
no paradox to say that she would have looked most natural, most like herself if her hair had been dyed. In
her case, Art would have seemed to be the truth, because Nature looked like falsehood.
What shock had stricken her hair, in the very maturity of its luxuriance, with the hue of an unnatural old
age? Was it a serious illness, or a dreadful grief that had turned her gray in the prime of her womanhood?
That question had often been agitated among her fellow-servants, who were all struck by the peculiarities
of her personal appearance, and rendered a little suspicious of her, as well, by an inveterate habit that
she had of talking to herself. Inquire as they might, however, their curiosity was always baffled. Nothing
more could be discovered than that Sarah Leeson was, in the common phrase, touchy on the subject of
her gray hair and her habit of talking to herself, and that Sarah Leeson's mistress had long since forbidden
every one, from her husband downward, to ruffle her maid's tranquility by inquisitive questions.
In context, the word "wan" in the passage most nearly means