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The following passage is from A Portrait of the Artist as a Young Man by James Joyce, 1916. Stephen Dedalus, Joyce's protagonist, yearns to be an artist but was raised and educated to join the clergy. Below he contemplates the diverging paths before him after a priest warns him of the permanence of his intended holy position.
As he descended the steps the impression which effaced his troubled self-communionwas that of a mirthless mask reflecting a sunken day from the threshold of the college.The shadow, then, of the life of the college passed gravely over his consciousness.It was a grave and ordered and passionless life that awaited him, a life without material05cares. He wondered how he would pass the first night in the novitiate and with whatdismay he would wake the first morning in the dormitory. The troubling odour of thelong corridors of Clongowes came back to him and he heard the discreet murmur ofthe burning gasflames. At once from every part of his being unrest began to irradiate.A feverish quickening of his pulses followed, and a din of meaningless words drove his10reasoned thoughts hither and thither confusedly. His lungs dilated and sank as if hewere inhaling a warm moist unsustaining air and he smelt again the moist warm airwhich hung in the bath in Clongowes above the sluggish turf-coloured water.Some instinct, waking at these memories, stronger than education or piety, quickenedwithin him at every near approach to that life, an instinct subtle and hostile, and15armed him against acquiescence. The chill and order of the life repelled him. He sawhimself rising in the cold of the morning and filing down with the others to early massand trying vainly to struggle with his prayers against the fainting sickness of his stomach.He saw himself sitting at dinner with the community of a college. What, then, hadbecome of that deep-rooted shyness of his which had made him loth to eat or drink20under a strange roof? What had come of the pride of his spirit which had always madehim conceive himself as a being apart in every order?The Reverend Stephen Dedalus, S.J.His name in that new life leaped into characters before his eyes and to it there followeda mental sensation of an undefined face or colour of a face. The colour faded25and became strong like a changing glow of pallid brick red. Was it the raw reddish glowhe had so often seen on wintry mornings on the shaven gills of the priests? The facewas eyeless and sour-favoured and devout, shot with pink tinges of suffocated anger.Was it not a mental spectre of the face of one of the Jesuits whom some of the boyscalled Lantern Jaws and others Foxy Campbell?30He was passing at that moment before the Jesuit house in Gardiner Street andwondered vaguely which window would be his if he ever joined the order. Then hewondered at the vagueness of his wonder, at the remoteness of his own soul from whathe had hitherto imagined her sanctuary, at the frail hold which so many years of orderand obedience had of him when once a definite and irrevocable act of his threatened35to end for ever, in time and in eternity, his freedom. The voice of the director urgingupon him the proud claims of the church and the mystery and power of the priestlyoffice repeated itself idly in his memory. His soul was not there to hear and greet it andhe knew now that the exhortation he had listened to had already fallen into an idle formaltale. He would never swing the thurible before the tabernacle as priest. His destiny40was to be elusive of social or religious orders. The wisdom of the priest's appeal did nottouch him to the quick. He was destined to learn his own wisdom apart from others orto learn the wisdom of others himself wandering among the snares of the world.The snares of the world were its ways of sin. He would fall. He had not yet fallen buthe would fall silently, in an instant. Not to fall was too hard, too hard; and he felt the45silent lapse of his soul, as it would be at some instant to come, falling, falling, but notyet fallen, still unfallen, but about to fall.
1. The dilemma faced by the narrator in the passage as a whole is best characterized as a choice between
2. The overall organization of the passage is best described as
3. The principal manifestations of the narrator's anxieties are what thought processes in the first and second paragraphs respectively?
4. How would the narrator most likely characterize how most priests handle their emotions?
5. Which option gives the best evidence for the answer to the previous question?
6. As used in line 21, the phrase "apart in every order" most nearly expresses the narrator's feelings of
7. The type of education that best fits the narrator is most likely
8. Which option gives the best evidence for the answer to the previous question?
9. As used in line 41, the phrase "to the quick" most closely means
10. The tone of the final paragraph is one of
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