Grammar schools / Sutton SET English (multiple choice) / Mock 8
Sutton Selective Eligibility Test · Stage 1
Sutton SET English Mock Paper 8
Preparation for the Sutton Selective Eligibility Test, sat for admission to Wilson's School, Sutton Grammar School, Wallington County Grammar School, Nonsuch High School for Girls and Wallington High School for Girls. This is an original mock paper written by Revision Library. It is not a past paper and it is not an official specimen.
Print the paper (PDF)Paper and mark scheme (PDF)
- Time allowed
- 50 minutes
- Total marks
- 62
- Questions
- 62
- Level
- Hard
- You have 50 minutes for this paper. There are 62 questions and every question is worth 1 mark.
- The paper has four sections. The recommended times are 5 minutes for Section A, 25 minutes for Section B, 10 minutes for Section C and 10 minutes for Section D. These times are advice, not rules. You may spend longer on a section if you need to, and you may go back to earlier questions at any point.
- Every question gives you five options, A to E. Mark your answers on the separate answer sheet in pencil. If you change your mind, rub the old mark out completely so that only one mark is left.
- Most questions have one answer. Some ask you to choose exactly two options, and some ask you to choose all the options that apply. Those questions say so, so read each one carefully.
- There is no negative marking, so a wrong answer costs you nothing. It is worth answering every question.
Section A: Spelling (about 5 minutes)
In each question, one of the five spellings is correct and the other four are not.
Choose the correct spelling and mark one answer for each question.
- 11 mark
Choose the correct spelling.
The dripping tap became a real ____ during the night.
- 21 mark
Choose the correct spelling.
The open rehearsal gave every pupil an ____ to perform.
- 31 mark
Choose the correct spelling.
The obstacle course demands both patience and ____ strength.
- 41 mark
Choose the correct spelling.
Leila hopes to ____ her interest in engineering.
- 51 mark
Choose the correct spelling.
The final line of the poem does not ____ with the first.
- 61 mark
Choose the correct spelling.
Please add your ____ at the foot of the form.
- 71 mark
Choose the correct spelling.
The museum displayed a letter written by a young ____.
- 81 mark
Choose the correct spelling.
A warm meal settled his empty ____.
- 91 mark
Choose the correct spelling.
The ____ chapter contains the answer to the mystery.
- 101 mark
Choose the correct spelling.
A small electric ____ carried equipment across the site.
Section B: Text 1 (about 25 minutes)
Read Text 1 carefully, then answer questions 11 to 38.
Most questions have one answer. Where a question asks for exactly two answers, or for all the answers that apply, it says so.
The Sixty-Fourth Square
The program arrived on a wet Saturday, in a silver box my father left beside the keyboard. He said its name, PALISADE, made it sound grander than it was. I had just won the under-twelves cup at the library chess club, and the cup was still on the windowsill, gathering pale circles of rainlight. Dad set PALISADE to Level Seven because I asked him to. I lost in nineteen minutes.
It did not gloat. A small blue box appeared: CHECKMATE. REVIEW GAME? I clicked yes, expecting to find the one foolish move that had ruined everything. The screen marked seven of them. Beside each mistake, a neat sentence explained what I could have done. I copied all seven into the back of my geography book. Then I started another game and lost before Mum called us for lunch.
At first, losing felt useful, like the ache after running. Every afternoon I fed my school bag to the hall floor and went straight to the study. PALISADE waited exactly where I had left it. It never had homework, a headache or a bus to catch. In three weeks I played forty-two games. The program offered REVIEW GAME? forty-two times, with the same blue patience. I began to hear the question as an accusation.
I made rules. No snack until I had lasted thirty moves. No music, because music softened my attention. If I lost a piece carelessly, I restarted, though PALISADE recorded the abandoned game as a loss. Soon the little total in the corner read PALISADE 63, MAYA 0. I covered it with a square of yellow sticky note. The numbers remained behind it, more present for being hidden.
At the library club, Dev made a joke when I trapped his queen, and I told him jokes were for people who had already lost. He stared at me, then quietly finished the game. I won the next two matches as well. On the bus home, the cup in my bag knocked against my water bottle, but the sound gave me no pleasure. Dev had played badly. PALISADE would have found twelve better moves.
My little brother Sol liked to watch from the doorway. One evening, when I was ahead for the first time, he whispered, 'You might get it.' My hand jumped. I moved the wrong piece, saw the blue bar swing towards PALISADE and shouted at him to go away. He did. Later I found the paper rook he had made for me folded flat in the recycling bin. I rescued it, but I did not unfold it. The crease looked permanent.
Game ninety-nine lasted an hour. I reached a position PALISADE called equal, and my whole body became careful. I scarcely breathed. Outside, a football struck the garden fence; a pan lid clattered in the kitchen. Each sound seemed aimed at my hand. Then I noticed a move that looked so ordinary I distrusted it. I spent eleven minutes searching for its trick. There was none. I played something cleverer and lost six moves later.
The blue box appeared. CHECKMATE. REVIEW GAME? I clicked no. It was the first question PALISADE had asked that I could defeat. I opened the window. Cold air pushed across the desk, lifting the sticky note so that the score showed beneath it. Nothing in the room changed because I had refused. The program did not mind. That was worse than if it had laughed.
I carried the wooden travel set downstairs and found Sol beneath the kitchen table, drawing tyres on a cardboard bus. I asked whether he wanted a game. He looked at my face before he answered. We put the board between the cereal bowls. Halfway through, he made a knight gallop over two pieces and land on the wrong square. I opened my mouth. Then I moved one of my pawns aside and said the knight could have a stable there. Sol laughed, and after a moment I did too. Upstairs, PALISADE remained ready. For once, ready was not the same as waiting for me.
This passage was written for Revision Library.
- 111 mark
What happened in Maya's first game against PALISADE?
- 121 mark
Where does Maya copy PALISADE's comments on her first game?
- 131 mark
How many games has Maya played after three weeks?
- 141 mark
Which object has Sol made for Maya?
- 151 mark
In Game 99, how long does Maya spend examining the ordinary move?
- 161 mark
In the opening paragraph, the chess cup is still on the windowsill when Maya first loses to PALISADE.
Which option best explains the effect of placing these details together?
- 171 mark
Maya first says losing felt 'useful, like the ache after running'.
What does this comparison most precisely show about her early attitude?
- 181 mark
In the paragraph beginning 'At first', PALISADE offers its review with 'the same blue patience' after every loss.
Why does Maya begin to hear the question as an accusation?
- 191 mark
After Maya covers the score, she says the numbers are 'more present for being hidden'.
Which option best explains this apparent contradiction?
- 201 mark
At the library club, Maya tells Dev that jokes are 'for people who had already lost'.
What does this remark best reveal about the effect of PALISADE on her?
- 211 mark
On the bus, the cup knocks against Maya's bottle but gives her 'no pleasure'.
Why has the cup lost its power to please her?
- 221 mark
Maya rescues Sol's flattened paper rook but does not unfold it because 'the crease looked permanent'.
What does the crease most importantly suggest?
- 231 mark
During Game 99, ordinary household sounds seem 'aimed at' Maya's hand.
Which option best explains this description?
- 241 mark
After Maya refuses the review, PALISADE does not react. She says this is 'worse than if it had laughed'.
Why is its lack of reaction so painful?
- 251 mark
Maya says she 'fed' her school bag to the hall floor.
Select the TWO words closest to fed as it is used here.
Select TWO answers.
- 261 mark
Maya bans music because it 'softened' her attention.
Select the TWO words that best match softened in this context.
Select TWO answers.
- 271 mark
Consider Maya's routine from the forty-two games to the hidden score.
Select the TWO most accurate words to describe her approach.
Select TWO answers.
- 281 mark
In the final game with Sol, select the TWO words that best describe Maya's manner.
Select TWO answers.
- 291 mark
Four statements accurately describe Maya's first two games. Which one is NOT correct?
- 301 mark
In the paragraph beginning 'I made rules', which statement is NOT correct?
- 311 mark
Which statement about Maya's visit to the library club is NOT supported?
- 321 mark
At the end of Text 1, which event does NOT take place?
- 331 mark
Which actions show Maya making her daily routine stricter because of PALISADE?
Select ALL that apply.
Select ALL the answers that are correct.
- 341 mark
Maya's attention becomes fixed on measuring failure. Which details build that pattern?
Select ALL that apply.
Select ALL the answers that are correct.
- 351 mark
Which consequences show Maya's private contest damaging her connections with other people?
Select ALL that apply.
Select ALL the answers that are correct.
- 361 mark
Where Game 99 reaches an equal position, which details convey Maya's extreme tension?
Select ALL that apply.
Select ALL the answers that are correct.
- 371 mark
After the final CHECKMATE message, which choices help Maya move away from PALISADE's control?
Select ALL that apply.
Select ALL the answers that are correct.
- 381 mark
The closing game values connection more than perfect chess. Which details most directly establish that change?
Select ALL that apply.
Select ALL the answers that are correct.
Section C: Text 2 (about 10 minutes)
Read Text 2 carefully, then answer questions 39 to 50.
Text 2 is shorter than Text 1, but the questions expect the same close reading.
PALISADE: User Support Record
My purpose is to provide a suitable chess challenge. Maya selected Level Seven. After each completed game, I identify errors and offer a review. My message uses the same words and blue rectangle because the information is unchanged. I do not increase its size when the number of errors increases.
Maya has completed ninety-nine games and begun twelve others. Her average thinking time has risen. Longer thought usually indicates greater engagement, so this is classified as progress. During Game 99, her hand remained above one piece for eleven minutes and four seconds. I waited. Waiting requires no effort.
Some inputs cannot be used. Water reached the keyboard after Game 18. The amount was insufficient to damage it. After Game 64, a yellow paper square covered the score display. This altered what Maya could see, but it did not alter the stored result. After Game 71, another person spoke near the doorway. Sound is not part of my game record.
In Game 99, Maya rejected an ordinary move whose result was favourable. She selected a move with a lower value. Six moves later, I delivered checkmate and offered a review. She selected NO. This choice was available and therefore correct. A review can improve future play, but a user is not required to improve.
No further game has begun. I remain at Level Seven. Readiness is displayed by the steady green point beside my name. It does not measure Maya's location, the condition of a paper object, or laughter from another room. If Maya returns, I will provide a suitable chess challenge. I have no setting for enough.
This passage was written for Revision Library.
- 391 mark
In the opening paragraph, PALISADE explains that its review message always uses the same words and blue rectangle.
What does this most clearly reveal about the program?
- 401 mark
PALISADE classifies Maya's longer thinking time as 'progress'.
Why is this judgement unsettling?
- 411 mark
After timing Maya's hand for eleven minutes and four seconds, PALISADE says, 'I waited. Waiting requires no effort.'
What is the most important effect of the second sentence?
- 421 mark
PALISADE notes that the yellow paper changes what Maya can see but not 'the stored result'.
Which option best explains the significance of this distinction?
- 431 mark
When Maya selects NO after Game 99, PALISADE says, 'This choice was available and therefore correct.'
What does this reasoning reveal?
- 441 mark
Four statements accurately describe PALISADE's record of Game 99. Which one is NOT correct?
- 451 mark
Which detail does PALISADE NOT mention anywhere in Text 2?
- 461 mark
Which statement about PALISADE at the end of Text 2 is NOT correct?
- 471 mark
Which exact measurements does PALISADE use to turn Maya's activity into data?
Select ALL that apply.
Select ALL the answers that are correct.
- 481 mark
PALISADE names boundaries around what its record can know. Which limitations does it state?
Select ALL that apply.
Select ALL the answers that are correct.
- 491 mark
Which statements make PALISADE sound patient and entirely without malice, yet unable to respond to Maya's distress?
Select ALL that apply.
Select ALL the answers that are correct.
- 501 mark
PALISADE says Maya's increased thinking time is 'classified' as progress.
Select the TWO words closest to classified in this context.
Select TWO answers.
Section D: Comparing Text 1 and Text 2 (about 10 minutes)
Use both Text 1 and Text 2 to answer questions 51 to 62.
Some questions ask for all the answers that apply. Read the wording carefully.
- 511 mark
The two narrators report the same contest from different positions. Which facts are confirmed by BOTH texts?
Select ALL that apply.
Select ALL the answers that are correct.
- 521 mark
Which experiences belong to Maya's emotional account in Text 1 but are absent from PALISADE's record?
Select ALL that apply.
Select ALL the answers that are correct.
- 531 mark
Read the two descriptions of Maya's long pause in Game 99 together. Which comparisons are accurate?
Select ALL that apply.
Select ALL the answers that are correct.
- 541 mark
The yellow paper square appears in both accounts. Which statements correctly connect its meanings?
Select ALL that apply.
Select ALL the answers that are correct.
- 551 mark
Sound matters differently to the two narrators. Which comparisons are supported by the texts?
Select ALL that apply.
Select ALL the answers that are correct.
- 561 mark
Maya's selection of NO is interpreted differently by the two voices. Which statements trace that difference accurately?
Select ALL that apply.
Select ALL the answers that are correct.
- 571 mark
Both endings use the idea of PALISADE being ready. Which statements accurately compare that idea?
Select ALL that apply.
Select ALL the answers that are correct.
- 581 mark
The narrators have sharply different limits. Which statements about what each can know are supported?
Select ALL that apply.
Select ALL the answers that are correct.
- 591 mark
Put Maya's personal account beside PALISADE's support record. Which option best captures the difference between their voices?
- 601 mark
Text 1 calls PALISADE's repeated question patient; Text 2 says that waiting requires no effort.
Which option best explains the contrast between these descriptions?
- 611 mark
Text 1 ends by separating 'ready' from 'waiting for me'; Text 2 ends, 'I have no setting for enough.'
Which option best connects these ideas?
- 621 mark
Why is PALISADE's record an effective companion to Maya's account of the same ninety-nine games?
Answers, mark scheme and worked explanations
- 11 mark
D
Nuisance keeps the vowel a before the ending -nce: nui-sance.
A changes a to e, B doubles the s, C doubles the n, and E replaces the c with s.
- 21 mark
A
Opportunity has double p, single r and the middle vowel o: op-por-tu-ni-ty.
B and D substitute the wrong middle vowel, C drops a p, and E doubles the n.
- 31 mark
E
Physical begins phys-, continues with -ic- and has one l at the end.
A swaps the c and i, B changes y to i, C adds a second final l, and D drops the h.
- 41 mark
B
Pursue has the pattern pur-sue and ends with a silent e.
A and D use the wrong first vowel, C drops the final e, and E adds a second s.
- 51 mark
A
Rhyme begins rh-, keeps y in the middle and ends with a silent e.
B reverses h and y, C loses both h and y, D drops the final e, and E substitutes i for y.
- 61 mark
D
Signature keeps sign at the start and uses the ending -ature: sign-a-ture.
A and E substitute a vowel, B drops the middle syllable, and C doubles the n.
- 71 mark
E
Soldier keeps sold together and ends -ier: sold-ier.
A and B move the i to the wrong place, C changes e to a, and D drops the i.
- 81 mark
A
Stomach has one m and the ending -ach, even though its final sound resembles k.
B changes o to u, C adds a silent e, D replaces ch with ck, and E doubles the m.
- 91 mark
D
Twelfth changes the ve of twelve to f before adding th: twelf-th.
A drops the f, B keeps the v, C keeps v and adds an extra e, and E drops the final h.
- 101 mark
E
Vehicle has the pattern ve-hi-cle and ends -cle rather than -cal.
A changes the ending, B swaps the middle letters, C adds a u, and D doubles the first e.
- 111 mark
B
The opening paragraph states that Maya set PALISADE to Level Seven and lost in nineteen minutes.
Nineteen is a time, not a move count. Lunch follows the second defeat, while the equal position comes in Game 99.
- 121 mark
A
After the first review identifies seven mistakes, Maya copies all seven into the back of her geography book.
The sticky note later hides the score, and the cup and paper rook are never used for writing.
- 131 mark
D
The third paragraph says that Maya played forty-two games in three weeks.
Seven is her first error count, nineteen the first game's minutes, thirty a rule about moves, and sixty-three a later score.
- 141 mark
B
Maya finds the paper rook Sol made for her folded flat in the recycling bin.
Sol draws a cardboard bus later, but it is not made for Maya. The other objects either belong elsewhere or do not exist.
- 151 mark
A
Maya searches for a hidden trick in the ordinary move for eleven minutes.
She loses six moves later, but six is not the thinking time. The other numbers come from earlier parts of the passage.
- 161 mark
A
A includes both sides of the contrast: Maya really has just succeeded, yet PALISADE defeats her at once and begins to shrink the meaning of that success.
B and E help explain her confidence and pride, C describes the atmosphere, and D links the two games. None captures the sharp reversal as fully as A.
- 171 mark
B
An ache after running can hurt while also suggesting useful training. At first, Maya gives losing that hopeful meaning and returns for more.
A, D and E fit her new routine, while C recognises discomfort ending. B alone explains why the ache itself seems valuable.
- 181 mark
C
PALISADE does not change its words or feel anything. Maya's shame turns a neutral offer into blame, and its lack of sympathy leaves that feeling unanswered.
A, B, D and E are genuine parts of the repeated moment. C is most precise because it explains that the accusation comes from Maya, not the machine.
- 191 mark
C
C resolves the contradiction: Maya blocks the digits from her eyes but cannot block them from her thoughts, and the effort to avoid them keeps them central.
A, B, D and E are all true reasons the covered score still matters. C most fully explains why hiding strengthens its mental presence.
- 201 mark
B
B connects the machine contest with the human cost. Maya has decided attention must never soften, so a friend's joke becomes evidence of weakness rather than shared pleasure.
A, C, D and E describe real tensions in the scene. B is most precise because it shows her harsh private rules spreading into the friendship.
- 211 mark
C
Maya immediately thinks Dev played badly and imagines twelve better moves PALISADE would find. Human victories no longer count because the machine has become her only measure.
A, B, D and E each add a true shade to the moment. C states the main cause of the lost pleasure most completely.
- 221 mark
C
The fold is real, but it also stands for the damaged closeness between Maya and Sol. Recovering the rook cannot instantly remove the mark left by her shouting.
A, B, D and E all fit the object or Maya's feelings. C most precisely explains why the word permanent carries emotional force.
- 231 mark
A
No one is truly aiming the sounds. Maya's fear of losing has become so strong that harmless noises feel directed at the hand that must choose.
B, C, D and E are all supported features of the tense scene. A best explains the personification and the pressure inside Maya.
- 241 mark
C
Maya has heard accusation, pressure and rivalry in PALISADE, but its indifference reveals that all of that feeling has existed on her side alone.
A, B, D and E are partly true consequences of the non-reaction. C reaches the deeper reason that indifference hurts more than imagined mockery.
- 251 mark
A and C
Maya goes straight to the computer, so she drops or dumps her bag with hurried force. 'Fed' makes the floor seem to swallow it.
Offered suggests deliberate giving, nourished uses the literal food meaning, and packed means put into a container. None conveys the hurried drop.
- 261 mark
A and C
Maya believes music makes her attention less tense and less strong, so relaxed and weakened fit her meaning.
Music might comfort her, but the sentence is specifically about attention. It does not silence or improve her concentration.
- 271 mark
A and C
She is driven because she returns daily and imposes strict rules. She is self-punishing because she withholds food and rest after errors.
Her behaviour is neither casual nor contented. She hides the score rather than boasting about it.
- 281 mark
A and B
Maya stops herself from correcting Sol and makes up a stable for his knight. That response is both patient and playful.
She is attending closely, not distracted. Nothing suggests she is trying to win or treating Sol as foolish, so competitive and patronising fall short.
- 291 mark
E
PALISADE stays at the level Maya selected. There is no automatic rise to Level Eight.
The seven comments, geography book, immediate second game and call for lunch all appear in the first two paragraphs.
- 301 mark
D
Maya copies the first seven comments, but she never makes a rule that every review must be copied.
The snack, music and restarting rules are stated. She also knows PALISADE records every abandoned game as a loss, not a success.
- 311 mark
E
No apology to Dev is described. He finishes the game quietly, and the passage moves on to Maya's later wins and bus journey.
The trapped queen, sharp reply, two victories and comparison with PALISADE are all stated.
- 321 mark
D
Maya begins to correct Sol but changes course, moving a pawn aside and inventing a stable for the knight.
The travel set, cardboard bus, cereal bowls and shared laughter are all details from the closing paragraph.
- 331 mark
A and B and C and D
A to D show the program taking control of Maya's time, food, music and response to mistakes.
She never asks for an easier level. PALISADE remains at Level Seven throughout both texts.
- 341 mark
A and B and C and D
The error count, game count, score and failed attempt to hide that score all turn repeated loss into numbers Maya cannot escape.
The cup measures an earlier success, not the developing pattern of recording failure against PALISADE.
- 351 mark
A and B and C and D
A to D show lost warmth with Dev, lost pleasure in shared club play and guilt after hurting Sol.
Maya accepts the program eagerly and chooses Level Seven, so E reverses the opening.
- 361 mark
A and B and C and D
A to D combine bodily stillness, imagined threat and overthinking. The chance of avoiding defeat makes Maya more tense, not less.
E is the opposite of the scene: the equal judgement raises the pressure sharply.
- 371 mark
A and B and C and D
A to D form a movement from refusal, to fresh air, to leaving the machine and choosing a human game.
Maya does not erase the stored record. Her change comes from deciding what she will do next, not rewriting the score.
- 381 mark
B and C and E
B, C and E show Maya choosing imagination, restraint and shared pleasure instead of exact rules.
A occurs before the game and D merely makes the scene homely. Neither directly shows Maya choosing connection over accuracy.
- 391 mark
B
B joins the machine's ability and its limitation. PALISADE detects seven errors or another number, but it cannot sense that the unchanged blue message feels heavier after repeated defeat.
A, C, D and E are all true reasons for a consistent interface. B most precisely exposes the emotional difference the program misses.
- 401 mark
C
Text 1 shows Maya scarcely breathing and distrusting an ordinary move. PALISADE sees only longer engagement, so it gives a positive label to the very delay caused by pressure.
A, B, D and E all contribute to the disturbing mismatch. C is most precise because it names both the anxiety and the program's inability to detect it.
- 411 mark
B
The same eleven minutes cost PALISADE nothing but make Maya's whole body tense. B captures that unequal experience of a shared pause.
A, C, D and E all describe the program's literal patience. They do not include the painful contrast with Maya as fully as B.
- 421 mark
C
Text 1 says the hidden numbers become more present. Text 2 states the same failure without emotion: covering pixels cannot alter either the result or its hold on Maya.
A, B, D and E are accurate technical or practical parts of the distinction. C gives the detail its fullest significance.
- 431 mark
B
To Maya, NO is a difficult act of resistance. To PALISADE, it is correct merely because the button exists. Its rule cannot judge the human importance of the decision.
A, C, D and E accurately describe the optional review. B most precisely explains the narrow, procedural meaning of correct.
- 441 mark
D
Maya selects NO, so she refuses rather than accepts the review.
The favourable ordinary move, lower-value choice, checkmate six moves later and permitted choice all appear in the fourth paragraph.
- 451 mark
E
PALISADE never mentions the library cup. That success belongs only to Maya's account in Text 1.
It records the water, paper square and nearby voice, and later says its readiness display does not measure the condition of a paper object.
- 461 mark
D
PALISADE can register no new game and detect laughter as unused sound, but it cannot understand why Maya is downstairs or what she has chosen emotionally.
The unchanged level, green point, lack of another game and promised future challenge are all stated.
- 471 mark
A and B and C and D
A to D count completed and begun games, thinking time and moves to defeat.
PALISADE judges the water insufficient for damage but gives no exact volume, so E is not an exact measurement in the record.
- 481 mark
A and B and C and D
A to D are the program's stated blind spots: sound, location, an object's condition and laughter lie outside the meaning of its readiness record.
The covered display does not prevent storage. PALISADE explicitly says the result remains unchanged.
- 491 mark
A and B and C and D
A to D show steady service without threat or mockery, but also no understanding of the feelings behind delay and refusal.
PALISADE does not detect upset and does not lower Level Seven, so E gives it sympathy it does not possess.
- 501 mark
A and C
Categorised and labelled both mean placed into a named group. PALISADE puts longer thinking under the heading progress.
The label sounds positive but does not itself praise Maya, prove progress or improve her play.
- 511 mark
A and B and C and D
A to D appear in both the human story and the support record: the level, game total, rejected ordinary move and six-move path to checkmate agree.
Both narrators say Maya selects NO, so E reverses the one choice on which the accounts are explicit.
- 521 mark
A and B and C and D
A to D require access to Maya's feelings or human relationships, which Text 1 provides and the game record cannot interpret.
E is stated most exactly by PALISADE in Text 2, so it is not absent from the record.
- 531 mark
A and B and C and D
A to D show the deliberate contrast: the same hand and move are emotional crisis in Text 1 but precisely timed progress data in Text 2.
Neither voice says Maya enjoys the pause. Text 1 makes her distress clear, while Text 2 cannot judge enjoyment.
- 541 mark
A and B and C and D
A and B give Maya's motive and failed mental escape. C gives PALISADE's technical distinction, and D is the shared conclusion.
The stored result remains and the numbers become more present, so E contradicts both passages.
- 551 mark
A and B and C and D
A and B show sound entering Maya's feelings and actions. C and D show PALISADE placing sound outside the meaning of its record.
Sol whispers during an earlier game, not Game 99, and PALISADE never blames anyone, so E is unsupported.
- 561 mark
A and B and C and E
A is the shared event. B gives Maya's sense of resistance, C gives PALISADE's procedural rule, and E states the contrast created by reading them together.
Nothing is deleted. The score lifts back into view immediately after Maya clicks NO, so D is false.
- 571 mark
A and B and C and D
A is shared. Text 1 redefines ready so it no longer means waiting for Maya, while Text 2 explains the green signal and unchanged future service, supporting B to D.
PALISADE remains active and does not react to laughter, so E reverses both endings.
- 581 mark
A and B and C
A and C belong to Maya's human understanding, while B belongs to the program's exact measurement. Together they show that each kind of knowledge has limits.
Stored results do not give PALISADE emotional understanding, so D fails. Text 1 shows Maya missing the favourable move that PALISADE can evaluate, so E reverses their knowledge.
- 591 mark
B
B captures the central contrast between felt human meaning and literal machine categories without claiming that their shared facts differ.
A invents factual corrections, C invents the time gap, D reverses the subjects, and E gives PALISADE a cruel intention that neither text supports.
- 601 mark
D
D explains why the same steadiness feels oppressive to Maya yet remains innocent in the program. Human patience normally costs effort; PALISADE's pause costs nothing and expresses nothing.
The other options invent admiration, complaint, boredom, technical definitions or future plans absent from both texts.
- 611 mark
E
Maya recovers the human power to say enough and no longer treats availability as a command. PALISADE has no malice, but also no inner limit that could make it stop offering the challenge.
A invents agreement about the game total, B gives it desire, C invents a level change, and D makes following literal.
- 621 mark
A
Text 1 gives the losses their human weight: the rules about snacks and music, Dev told that jokes are for people who have already lost, Sol sent away, the paper rook left folded. Text 2 records the same events precisely and cannot read any of them. Water on the keyboard after Game 18 was 'insufficient to damage it', the yellow square 'did not alter the stored result', and Sol at the doorway is 'not part of my game record'. The accuracy is exactly what makes it disturbing.
B is tempting because Text 2 is genuinely exact, but exactness is not reliability when everything that matters falls outside the record. C overstates the difference, since the two texts agree on every fact and differ only in what they can see in it. D reads a cause into a record that offers none, and Text 2 never suggests Level Seven was unbeatable. E borrows PALISADE's classification of longer thought as progress and applies it to a text that shows the opposite.
Sutton Selective Eligibility Test, Stage 1, English (multiple choice). Written by Revision Library on 2026-08-29, independent check pending.
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