Victory fot the ACT Exam 16e ST Sample

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not so much the emotional and transitory sacri�ices of crisis, but rather those which ea nn ad bwl ei tuhso tuot cc aormr yp lf aoirnwt at hr de sbtueraddei lnys, souf rae l y , prolonged and complex struggle—with ldi be sepr ti tye t ehveesrtya kper o. Ov oncl ya ttihouns, os nh aol ul wr cehraermt eadi n , cboeuttresremtoenwta. rd permanent peace and human Questions 1–3 ask about both passages. 1. BthoethisWsuaesohfi:ngton and Eisenhower address AB .. UA mn i et erdi c aS nt apt erse sf ot irgeei gi nn tphoel iwc yo. r l d . CD.. Ewuorrol dp edaonmt irneaattiioe ns abnydhaolsl itai lne ceens e. m i e s .

2. WWahsi chhi nogft ot hnemf oi gl lhotwEi ni sge nr ehpolwi eesrt om a k e t o jSutsattiefsy ihniswvoirelwd aofffathires?role of the United F. United States involvement in world ps hool irtti c- tsear mn dnme ci lei tsasri tyyatfhf aaitrws iisl l af a d e athwraeyatwenheedn.the country is no longer G. Conditions have changed since WU naist he di nSgttaotne’ ss ips rfeasci idnegnac yg, l aonbda l t thher e a t that it cannot avoid by isolating itself. H. Since Washington’s time, foreign na ma toi onngs thhaevme as ne tdt lne odwt hsee de itf hf eerme ns ceel vse s as aligned toward common goals. J. The United States is suf�iciently st ht raot ni tg nboo tl oh npgoel ri t ni ceael dl ys at no dwmo ri lri yt aar bi l oy u t what European nations might think. 3. TWhaes ht wi nog taodnd raensds eEsi saernehaol iwk ee ri:n t h a t b o t h A. warn against the military threat posed by the European nations. B. advise that the United States should retreat in the face of danger. C. argue that the United States is the most powerful nation on earth. D. offer advice on how the United States should act in world affairs. gf al icset se nt wi ni gs taenddi nh oa wg ol innyg, bi no dt hi ees dwa irtkh: vr ei sai lb l e bones experiencing pain. Caravaggio gives us brutal reality. Caravaggio’s style of painting was mt a luecnht emd obrae rroaqdui ce aal rtthi satns tshuec hs t aysl eRoefmo bt hr ae nr d t , aHnedt af ourg ht ht at th reeeans toinr ehbeawr oaqs uaegargeea tt hmaat sttheer. hAunmd at on di mo at hgai nt ,aht ieo innsveeenst emdoar en ei nwt sheet doaf r k . rules for art. Passage B It is well known that Rembrandt was isni g� lnui e� inc caendt abryt iCs at roafvtahgeg ti oi m. Iensdwe eads , ienv� el ur eyn c e d

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PASSAGE II HUMANITIES: These passages are adapted from articles discussing two baroque artists. Passage A St. Andrew on the Cross by Caravaggio ipsaai nrtui nt hg l ei ss sdlayrcko, ma npde tl lhi ne gt immaesitse rnpi gi ehct e. T. Thhee br ooudgyhol yf at oh aa lcf -rno as sk.eTdhoel dmmu radnehr ea rssbseuernr ot iuendd hl i ki me ai npaanc ku on fr uh lyye pn aa cs ko, nj oas tf lriensgh okni el l . aTnhoet h e r, �aing du ri el ls- daer �ei ns et adr bk layc kv gi sriobul en ad g, ai l il nu smt ian da taerdk a s tf rhoonutgohf bt hy ea csapnovtal isg, hsto. Tc lhoes ea ct ot i ot hnei sv iaet wt he er that one feels as though it would be possible to reach out and touch the �igures. These are not canvas stereotypes from central casting. These are �lesh-and-blood heavies,

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