Sutton SET English Mock Paper 2

D

Disappear is dis + appear. Keep the whole of appear, with its two p letters, and add the prefix dis, with one s.

Dissapear and dissappear double the s of a prefix that has only one. Disapear loses a p from appear, and disappeer spoils the ear ending.

A

Business is busy with the y swapped for an i, plus ness. Say bus-i-ness in your head as you write it.

Buisness and buiseness put the i in the wrong place. Bussiness doubles the s that does not double, and busness drops the i altogether.

E

Recommend is re + commend. Commend keeps its two m letters and the prefix re adds only one c.

Reccommend and reccomend double the c, which is the commonest slip. Recomend gives commend only one m, and recommand changes the ending.

B

February has an r on both sides of the u: Feb-ru-ary. The word is spelt as it was once said, not as most people say it now.

Febuary and Febrary drop that first r because we rarely sound it. Feburary moves it, and Februrary puts in one r too many.

C

Immediately is immediate plus ly, and immediate begins with a doubled m.

Imediately loses one m. Immediatly drops the e of immediate, immediatley swaps the last two letters round, and immeadiately adds an a that is not there.

C

Argue loses its final e when ment is added, giving argument.

Arguement and arguemant keep the e that has to go. Argumment doubles the m, and argumant and arguemant end with ant instead of ment.

D

Especially is especial plus ly, so the l is doubled: especial + ly.

Especialy has only one l. Espesially swaps the c for an s, expecially adds an x that belongs to expect, and especcially doubles the c.

B

The British spelling is jeweller plus y: jewellery, with a doubled l and an e before the ry.

Jewelery is the American form with one l. Jewellry drops the e, jewlery drops a whole syllable, and jewellerey adds an extra e.

A

Medicine keeps the i of medical in the middle and ends in cine.

Medecine puts an e where the i belongs, medisine swaps the c for an s, meddicine doubles the d, and medicin loses the silent e.

C

Calendar ends in ar, not er. There is one l and one d, and the only e is in the middle.

Calender is the commonest error and is in fact a different word, a machine for pressing cloth. Calandar puts an a where the e goes, callendar doubles the l, and calendear adds an e before the ar.

B

The opening sentence gives the figure: sixty-one years.

Forty-three is the number of steps up from the porch, and twenty is the number of minutes the band spend on rounds. Both are in the passage to be grabbed by mistake.

C

The third paragraph says there are forty-three steps up from the porch.

Sixty-one is Mr Tandy's years of ringing and six is the number of the peg he uses, so neither counts stairs.

A

Rafi says he has never rung anything but the treble, and the second paragraph explains why: since Easter is long enough to be trusted with the treble and nothing more.

The fourth is the bell Bea is ringing when she is corrected, and the tenor is the one Rafi is given for the first time in this passage.

E

He comes in with his cap still on and sits down on the bench under the peal boards, and he is still calling from it later in the passage.

He does stop on the stairs by the arrow slit, but only on the way up.

A

The second paragraph says she came up at ten past and switched the heater on, which the narrator had found cold.

She does read the notice board, but at the very end of the morning, not when she arrives. The tower book and the calling both belong to Mr Tandy.

C

The same sentence tells you that in sixty-one years nobody had ever got to the tower before Mr Tandy. An empty room is therefore not just an empty room: it is the first thing in the morning to be out of order.

A, B, D and E are all true as far as they go, and that is what makes them tempting. None of them explains why the narrator stands on the mat not knowing what to do with his hands: it is the broken habit, not the temperature or the time, that unsettles him.

D

The word either points back to Bea saying nothing about the empty bench, which the narrator reads as proof that she had noticed it. The band are not failing to notice; they are choosing not to speak.

C is true of staircases in general but not of this man, who has climbed these stairs for sixty-one years. A, B and E each give a reason for silence, but none of them fits a band who keep noticing things and keep not mentioning them.

A

Everything he does from the bench is the captain's job done properly: he calls well and he hears Bea's striking. The one thing he does not do all morning is put his hands on a rope.

B and E are sensible in general, but they would have been just as true for the last sixty-one years, when he stood up. C mixes up the order of events, since the tenor is given to Rafi later, and D is not supported by anything he says.

E

Read it beside everything else he does that morning: he arrives last, he sits down, he talks about next winter's repairs as jobs for other people, and he leaves his gloves on the tenor's peg. Putting the learner on the tenor today, and standing behind him for it, is a handing over rather than a lesson.

D is the ordinary reading and is partly right, which is exactly why it is the hardest option to reject; but a teacher who simply thought a pupil was ready would not have to do it now. A, B and C each explain the choice of bell without explaining the choice of day.

B

His advice is all about the bell answering the ringer: let her come to you, do not pull, you are only telling her when. A hand on the rope would have made that advice impossible to feel.

A and D may well be true of him by now, and E is a fair guess, but each of them explains the hands behind his back as something happening to him rather than as something he is doing for Rafi. C states a rule the passage never mentions.

A

Enormous gives you the weight and slightly bored gives you the attitude: the bell is going to go round in its own time whatever the boy at the bottom of the rope does.

B and C are both partly right, and Mr Tandy's don't pull shows C is on his mind too, but neither of them accounts for bored. D and E move the boredom from the bell to the ringing, which is not what the sentence says.

D

Arrive is the key word: the rope now comes back to him at the moment he expects it, which is what happens when a ringer stops hauling and starts timing.

C is true and is part of it, but four or five strokes is not long enough to build strength, and it would not explain the change in the rope rather than in the boy. B is ruled out by the sentence before, which says Mr Tandy is not touching the rope at all.

D

You'll want and it wants doing put every job in somebody else's hands, and half term is weeks away. He is planning for the tower without putting himself in the plan.

A is true and is the reason he says it to her rather than to Bea, but it does not explain the missing we. B and C would have to be true of every other practice as well, and the narrator says plainly that this morning was the first time he noticed it.

B

The passage goes to the trouble of telling you two things: that he never leaves them, and whose peg he leaves them on. A man who breaks his own rule about damp leather, and breaks it on the tenor's peg, is not planning to come back for them.

A is exactly what you would think if this were any other morning, and C is a kind reading that the passage never quite offers, since he says nothing about them. D and E take a deliberate act and explain it as an accident or a shrug.

A and B

A knuckle is a hard swelling in the middle of something otherwise straight, so the splice is both thicker than the rest of the rope and knobbly to hold.

Smooth is the opposite of what a knuckle suggests. Frayed would mean the rope was wearing out, and a splice is a repair that makes a rope stronger, not weaker.

A and D

He writes the practice up as he always does, weather and all, and he leaves the tower's jobs properly listed for somebody else: that is dutiful. He also hears a whisker of bad striking from a bench across the room: that is observant.

Anxious is tempting, because the morning is heavy with something unsaid, but nothing he actually does is anxious. Careless is contradicted by the tower book, and he never once draws attention to himself.

A and B

Things that are not opinions are facts, and you state a fact plainly and without arguing about it.

Angry and joking both add a feeling the phrase is designed to keep out. Uncertain is the opposite of the point: this is the voice he uses when there is nothing to discuss.

A and C

It asks the ringer to wait for the bell rather than force it, which is patient, and it can be acted on immediately at the end of a rope, which is practical.

Complicated is the opposite of three short sentences. Nothing in them praises Rafi or Mr Tandy, so flattering and boastful are both wide of the mark.

D

The chamber has a little electric heater, cold when the narrator arrives and switched on by Mrs Okonjo. There is no fire in the tower.

The other four are all stated: the steps in the third paragraph, the bench under the peal boards in the same paragraph, the thicker tenor rope when Rafi is sent to it, and the bells standing mouth upwards in the last line.

C

Nothing in the passage says where Mr Tandy lives. It is Gethin who drives over from Ashwell.

The other four are all on the page: the sixty-one years in the first line, the weather in the tower book near the end, the cap in the third paragraph and the calling from the bench in the fifth.

E

Mr Tandy calls from the bench and stands behind Rafi with his hands behind his back. He never touches a rope in the whole passage.

The other four all happen: the correction to Bea, Rafi at the tenor, the dust each time the tenor strikes, and twenty minutes of rounds.

C

He noticed it later, on the way home, and the passage says so in the same sentence. That gap between the moment and the understanding is the whole point of the comparison with the missing stair.

The other four are all straightforward: Easter, the treble, going out first through the porch, and Mr Tandy's promise that the bell does the work.

A and B and D and E

Each of A, B, D and E breaks a habit the passage has been careful to establish first: nobody had ever beaten him to the tower, he had never once called from the bench, Rafi had never rung anything but the treble, and a ringer takes his gloves home.

C is the one ordinary thing in the list. Rounds and call changes are what a village band rings on any Saturday morning, which is why it is in the passage at all.

A and B and D

A and B come from the paragraph that sends Rafi across the circle to it, and D from the description of the sound coming up through the floor.

C is contradicted twice over, since Rafi has only ever rung the treble, and E is contradicted by a man who never puts a hand on a rope all morning.

A and B and C

She comes up at ten past, before Mr Tandy at twenty past, and the heater is hers to switch on. The instructions about the ladder and the treble's stay are given to her by name.

D is wrong because the tenor goes to Rafi, and E is wrong because it is Mr Tandy, from the bench, who hears the fourth come early.

A and B and C and D

November, a cold tower that needs heating, frost that has not lifted by the end of the morning and a rising wind all point the same way, and the ladder is to be seen to before the winter as well.

E is simply not in the passage. Adding weather that is not there is the commonest way to lose a mark on a question like this.

A and B

The passage marks both firsts word for word: nobody had ever got to the tower before him, and calling from the bench was something he had never once done.

C and D are the opposite, things he has clearly always done, and E is a bell he has been ringing for sixty-one years. Only two of the five belong here, and the marks come from choosing just those two.

A and B and C

The three keyed statements are the three facts the passage gives you, and they are given together on purpose so that you feel the weight of the last one.

D is a kinder ending than the passage writes: he says nothing to Rafi about them. E is contradicted by his hands, which are behind his back.

B

Repeats is the word to weigh. The bell is not complaining that the figure is wrong, but that it is where everybody's interest ends, when the rest of the text is full of things nobody mentions.

A goes too far, since nothing suggests the other things it says are untrue. D is contradicted by ever repeats, which is weary rather than proud. C and E are both fair guesses about people, but neither is what the sentence says about this bell.

C

Ask and answer set up the whole relationship: the bell will sound, and it will sound like itself, but the moment it sounds belongs to the ringer, and a village outside hears every stroke.

A is close, and the bell does put the fault at the ringer's end, but it says nothing about every fault and offers no blame; it is describing how ringing works. B is contradicted by I answer, and D and E add a reaction from the village that the text never gives.

C

The picture is of a shape drawn round emptiness, and older half tells you which of the two came first. Silence is not what happens when the bell stops; it is what the bell is built around.

B is true and is stated in the sentences just before, which is what makes it the strongest wrong answer, but it counts hours rather than explaining the image. A takes a picture literally, D repeats a fact without using it, and E gives the bell a preference it never expresses.

D

In the furnace it had lost the two things that make a bell a bell rather than a lump of bronze: the shape it was cast in and the note that shape produces.

B is true, but far too small a claim, since it was silent from the Sunday it cracked until long after it came home. A and E are also true of that year and are exactly the sort of partly right answer this paper likes; neither of them explains why the bell says it stopped being a bell.

D

A hand that shakes is a beginner's; a hand that rests on a rope without ringing has stopped. Long enough to tell those two apart is the bell saying it has seen both often enough to know which is which.

A and B are both true and both come straight off the page, which is why they are the tempting answers, but neither explains why the bell bothers to set the two hands side by side. C is possible but it makes a farewell into an accident, and E is an opinion the bell never gives.

C

The bell tells you what it feels through its rope and what it has been through, but it never once reports anything anybody says in the tower.

The other four are all stated: the weight in the first line, the recasting in 1876, the wooden stay at the end of the second paragraph, and the village hearing a badly asked stroke.

E

Fear is nowhere in the paragraph. The bell's whole argument is the opposite one: that the silence is not a loss but the larger part of what it is.

A, C and D are all in the same short paragraph, and B is the arithmetic behind it, since two hours in a hundred and sixty-eight leaves a very quiet week.

D

The bell says plainly that it came home with a new date on my waist and the same note in my throat. The date changed; the voice did not.

The other four are the stages of the story in order: the cracked note, the cart in the spring, the furnace at Whitechapel and the new date afterwards.

A and B and C

A and B come from the second paragraph and C from the arithmetic of the third, where two hours in every hundred and sixty-eight is one week.

D is exactly what the bell says is not true, and E describes a clock bell rather than a rung one; nothing in the text mentions a hammer.

A and B and C

Only an object can state its weight as an identity, be poured, and survive a furnace. Those three could not be said by any human narrator.

D and E are the two things in the list a person could easily say. Noticing hands and knowing the village are ordinary human observations, which is why they do not belong in the answer.

A and B and D

The crack came first, the work was done at Whitechapel, and the new date is the visible result.

C is contradicted by the same note in my throat. E collapses the timings: the crack came one Sunday, the cart came in the spring, and the eleven days are only the time spent as molten metal.

A and B

Sentimental here means being ruled by feeling about something that is over, so emotional and tearful are the two that fit.

Practical is nearer to its opposite, and it is what the bell is being instead. Truthful and impatient describe other qualities altogether.

A and B and C

The tower holds both: Rafi climbs it and the bell hangs in it. Both speakers say I, and the tenor is a bell in Text 1 and the speaker of Text 2.

D is true of Text 1 only, which is full of dialogue, and Text 2 has none. E is true of Text 1 only, and it is the difference the whole of Section D rests on.

A and B and D

Rafi is named out loud, the forty-three steps are climbed, and the lesson at the tenor rope is given to him on the spot. None of the three could happen in Text 2.

C belongs to both texts, so it cannot be an answer here. E is true of Text 2 only, which makes it the exact opposite of what the question asks.

A and B and C

Only a speaker that has hung in one place since before 1876 can remember the furnace, describe the rope from the other end of it, and treat a single morning as a small part of a long life.

D needs at least two speaking characters, and the bell is alone. E would need a narrator who can see inside a person's head, and the bell can only report what it feels through its rope.

A and B and C and D

Each of the four is the same idea in a different form: the heaviest bell passed to the youngest ringer, the gloves left where the next tenor ringer will find them, a voice that survives being melted, and the sentence that states the idea outright.

E is a detail of the weather. It tells you the season, and nothing about anything continuing.

A and B and C

Rafi's whole account is built from broken habits, the bell can tell a shaking hand from a still one, and the bell says outright that it is not sentimental about endings while Rafi cannot even name what he has seen.

D is the one thing neither of them does, and E is wrong twice over: Rafi has rung since Easter, but the bell has hung there since before 1876.

A and B and C and D

The first three are ways of showing you the weight without stating it, and the fourth is the bell stating it and then being tired of it. Together they let you feel from both ends of the rope what fifteen hundredweight means.

E is the opposite of what the bell says. It is perfectly happy to be rung; it only objects to being asked badly.

A and B and C

A and C are the two halves of the bell's argument about silence, and B is the detail from Text 1 that nobody believes until they are standing in the chamber.

D never happens: the last the reader hears of the bells is that they are standing mouth upwards and silent. E is not in Text 2 at all.

A and B and C

A is in both texts, once as Rafi at the tenor and once as the small hand that shook. B comes only from Text 2, since Text 1 leaves before it happens, and C is in both, as the standing bells and as the wooden stay.

D belongs to 1876, not to this morning. E is exactly what neither text supplies, which is why the reader has to infer it.

E

Text 1 is told throughout in the past tense and covers a single Saturday morning. Text 2 speaks in the present about what is always true of it, and reaches back a century and a half when it needs to.

A, B and C are all true statements about the two texts, but none of them is about time, which is what the question asks. D turns a difference of voice into a judgement about mood, and the bell's last paragraph is not a cheerful one.

A

Nobody in either text announces anything. A man sits down, leaves his gloves and says see you Saturday; a bell notes a hand that did not pull and goes on hanging there, as it has since 1876.

B and C are both partly true and both drawn from real details, but each takes only half of what the pair of texts is doing. D and E describe the surface of Text 2 rather than the idea the two texts have in common.

B

Placed after Text 1, the sentence reads as an answer to it. The tenor has been handed to Rafi and the gloves are on its peg, and the bell's own history says that a thing taken to pieces can be asked to carry on.

A and E are true but say nothing about Text 1. C is contradicted by a bell that remembers the crack in detail, and D confuses the ladder and the stay with a recasting.

B

Everything before it is general: what ringing is, what silence is, what happened in 1876. The last paragraph narrows to one morning and two hands, and stops there, so the comparison is the thing left ringing.

A is true, and is why the detail comes last in time, but it does not explain why the bell ends on it. C reverses the bell's careful refusal to judge either hand, D mistakes feeling a rope for sight, and E belongs to a different paragraph.