Critical Reading For Exams / Long Reading Comprehension 10


The following passage is taken from Sombody’s Luggage by Charles Dickens

But the Dust-Bin was going down then, and your father took but little, excepting from a liquid point of view. 

Your mother’s object in those visits was of a house-keeping character, and you was set on to whistle your father  out. Sometimes he came out, but generally not. Come or not come, however, all that part of his existence which was  unconnected with open Waitering was kept a close secret, and was acknowledged by your mother to be a close se-  cret, and you and your mother flitted about the court, close secrets both of you, and would scarcely have confessed  under torture that you know your father, or that your father had any name than Dick (which wasn’t his name,  though he was never known by any other), or that he had kith or kin or chick or child. Perhaps the attraction of this  mystery, combined with your father’s having a damp compartment, to himself, behind a leaky cistern, at the Dust- 

Bin, a sort of a cellar compartment, with a sink in it, and a smell, and a plate-rack, and a bottle-rack, and three win-  dows that didn’t match each other or anything else, and no daylight, caused your young mind to feel convinced that  you must grow up to be a Waiter too; but you did feel convinced of it, and so did all your brothers, down to your  sister. Every one of you felt convinced that you was born to the Waitering. At this stage of your career, what was  your feelings one day when your father came home to your mother in open broad daylight, of itself an act of 

Madness on the part of a Waiter, and took to his bed (leastwise, your mother and family’s bed), with the statement  that his eyes were devilled kidneys. Physicians being in vain, your father expired, after repeating at intervals for a  day and a night, when gleams of reason and old business fitfully illuminated his being, "Two and two is five. And  three is sixpence.” Interred in the parochial department of the neighbouring [sic] churchyard, and accompanied to  the grave by as many Waiters of long standing as could spare the morning time from their soiled glasses (namely,  one), your bereaved form was attired in a white neckankecher [sic], and you was took on from motives of benevo-  lence at The George and Gridiron, theatrical and supper. Here, supporting nature on what you found in the plates  (which was as it happened, and but too often thoughtlessly, immersed in mustard), and on what you found in the  glasses (which rarely went beyond driblets and lemon), by night you dropped asleep standing, till you was cuffed  awake, and by day was set to polishing every individual article in the coffee-room. Your couch being sawdust; your  counterpane being ashes of cigars. Here, frequently hiding a heavy heart under the smart tie of your white neck-  ankecher [sic] (or correctly speaking lower down and more to the left), you picked up the rudiments of knowledge  from an extra, by the name of Bishops, and by calling plate-washer, and gradually elevating your mind with chalk  on the back of the corner-box partition, until such time as you used the inkstand when it was out of hand, attained  to manhood, and to be the Waiter that you find yourself. 

I could wish here to offer a few respectful words on behalf of the calling so long the calling of myself and fam-  ily, and the public interest in which is but too often very limited. We are not generally understood. No, we are not. 

Allowance enough is not made for us. For, say that we ever show a little drooping listlessness of spirits, or what  might be termed indifference or apathy. Put it to yourself what would your own state of mind be, if you was one of  an enormous family every member of which except you was always greedy, and in a hurry. Put it to yourself that  you was regularly replete with animal food at the slack hours of one in the day and again at nine p.m., and that the  repleter [sic] you was, the more voracious all your fellow-creatures came in. Put it to yourself that it was your busi-  ness, when your digestion was well on, to take a personal interest and sympathy in a hundred gentlemen fresh and  fresh (say, for the sake of argument, only a hundred), whose imaginations was given up to grease and fat and gravy  and melted butter, and abandoned to questioning you about cuts of this, and dishes of that, each of ’em going on as  if him and you and the bill of fare was alone in the world. 
 



The use of the term \"expired” line (15) in lieu of \"died” is an example of

Litotes
Allegory
Hyperbole
Anaphora
Understatement

All of the following may indicate why the author states the father coming home is an \"act of Madness” lines (13–14) EXCEPT:

He risks exposing that he has a wife and family.
It is likely someone will find out who he really is.
It is feasible that he will cause the son to lose his job.
It is during the day when he should be working.
it is broad daylight and not a visit under the shroud of darkness.

What is being inferred by \"your father took but little, excepting from a liquid point of view” line (1)?

He was on a restricted diet comprised of liquids only.
He was unable to procure anything of a substantial nature.
He was only allowed to consume liquids as opposed to solids.
He rarely appropriated anything other than liquids.
He was not inclined to food only alcohol.

The discussion of visits to father’s compartment lines (1–7) suggests that

There was little romance between husband and wife.
Suitable income made it possible to maintain two well-furnished homes.
The family often met to perform routine tasks as a family.
The family bonds were strong.
There was not the intention of hiding a familial relationship.

What is meant by \"supporting nature” line (20)?

Giving to causes of the parish following the death of the father
Because the George and Gridiron was an outdoor theatrical and supper establishment
Keeping the cycle of life in balance with working and supplying his mother’s needs
being an environmentalist
Staying alive on what could be scraped from plates and glasses

What purpose was served by the detailed description of the compartment lines (8–10)?

Informs the reader of a level of economic expectation for a waiter at this time
Provides a rationale for the wife to come over and perform house-keeping
Provides a window into the lifestyle the father is able to provide his family
Explains why father would not want his real identity known to others
Allows the reader to understand more fully the mystery surrounding the desire to become a waiter

What term best describes the overall tone toward waiters in this excerpt?

Informational
Belittling
Apologetic
Satiric
Empathetic

Overall, what is the author referring when he writes \"Perhaps the attraction of this mystery” lines (7–8)?

The idea that no one was to know his father’s name
The situation of only visiting his father instead of living together with approval from the wife
The compartment his father kept and lived alone in even though it didn’t seem like much
The fact that no one knew that his father was married and apparently weren’t allowed to
The entire secrecy of the lifestyle of his family notwithstanding the compartment

Why does the language \"Two and two is five. And three is sixpence” lines (16–17) illuminate rather than confuse the character of the father on his deathbed?

It is normal for a dying person to speak of money or fortune upon their deathbed.
It was the amount being communicated that should be paid for his burial.
It indicates that he wanted his wife and son to be sure to get the money from the compartment.
It is reasonable that a father would be concerned about his family’s finances following his death.
It was his practice the whole of his daily vocation.

Which selection best describes the overall purpose of the author in lines (1–28)?

To establish how the main character became a waiter
To share the hardships of the wife of a waiter
To establish that the life of a waiter was harsh
To offer some explanation as to the secrecy shrouding the father
To illuminate the lifestyle of a waiter during the time of this writing