Quarterly Assessment Grade 6 Reading

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Quarterly Assessment Grade 6 Reading

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The following selections were both written by Roald Dahl, a British author. "Chocolates" comes from Boy, a book of essays about Dahl's childhood memories. "The Inventing Room—Everlasting Gobstoppers and Hair Toffee" is taken from the novel Charlie and the Chocolate Factory. In "The Inventing Room," Willy Wonka, the owner of the chocolate factory, is giving a tour of the factory to a group of children and their parents. Read the selections and then answer the questions that follow.

by Roald Dahl



very now and again, a plain grey cardboard box was dished out to each
boy in our House, and this, believe it or not, was a present from the
great chocolate manufacturers, Cadbury. Inside the box there were twelve


bars of chocolate, all of different shapes, all with different fillings and all with numbers from one to twelve stamped on the chocolate underneath. Eleven of these bars were new inventions from the factory. The twelfth was the "control" bar,1 one that we all knew well, usually a Cadbury's Coffee Cream bar. Also in the box was a sheet of paper with the numbers one to twelve on it as well as two blank columns, one for giving marks to each chocolate from nought2 to ten, and the other for comments.


      All we were required to do in return for this splendid gift was to taste very
carefully each bar of chocolate, give it marks and make an intelligent comment
on why we liked it or disliked it.


      It was a clever stunt. Cadbury's were using some of the greatest chocolate-
bar experts in the world to test out their new inventions. We were of a sensible
age, between thirteen and eighteen, and we knew intimately3 every chocolate bar
in existence, from the Milk Flake to the Lemon Marshmallow. Quite obviously
our opinions on anything new would be valuable. All of us entered into this
game with great gusto, sitting in our studies and nibbling each bar with the air

1"control" bar — a familiar candy bar that could be used as a comparison to the new candy bars
2nought — a British word meaning "zero"
3intimately — closely or personally


of connoisseurs, giving our marks and making our comments. "Too subtle4 for the common palate," was one note that I remember writing down.


      For me, the importance of all this was that I began to realise that the large chocolate companies actually did possess inventing rooms and they took their inventing very seriously. I used to picture a long white room like a laboratory with pots of chocolate and fudge and all sorts of other delicious fillings bubbling away on the stoves, while men and women in white coats moved between the bubbling pots, tasting and mixing and concocting their wonderful new inventions. I used to imagine myself working in one of these labs and suddenly I would come up with something so absolutely unbearably delicious that I would grab it in my hand and go rushing out of the lab and along the corridor and right into the office of the great Mr Cadbury himself. "I've got it, sir!" I would shout, putting the chocolate in front of him. "It's fantastic! It's fabulous! It's marvelous! It's irresistible!"


      Slowly, the great man would pick up my newly invented chocolate and he would take a small bite. He would roll it round his mouth. Then all at once, he would leap up from his chair, crying, "You've got it! You've done it! It's a miracle!" He would slap me on the back and shout, "We'll sell it by the million! We'll sweep the world with this one! How on earth did you do it? Your salary is doubled!"


      It was lovely dreaming those dreams, and I have no doubt at all that, thirty-five years later, when I was looking for a plot for my second book for children, I remembered those little cardboard boxes and the newly-invented chocolates inside them, and I began to write a book called Charlie and the Chocolate Factory.

4subtle — having a faint or delicate quality

"Chocolates" from Boy by Roald Dahl. USA. Copyright © 1984 by Roald Dahl. Published by Penguin Group.

Charlie and the Chocolate Factory
by Roald Dahl
The Inventing Room—Everlasting Gobstoppers and Hair Toffee


When Mr. Wonka shouted "Stop the boat!", the Oompa-Loompas5 jammed their oars into the river and backed water6 furiously. The boat stopped.


      The Oompa-Loompas guided the boat alongside the red door. On the door it said, INVENTING ROOM—PRIVATE—KEEP OUT. Mr. Wonka took a key from his pocket, leaned over the side of the boat, and put the key in the keyhole.

5Oompa-Loompas — characters in the book who work in the chocolate factory
6backed water — stopped a boat by rowing in reverse


      "This is the most important room in the entire factory!" he said. "All my most secret new inventions are cooking and simmering in here! Old Fickelgruber would give his front teeth to be allowed inside just for three minutes! So would Prodnose and Slugworth and all the other rotten chocolate makers! But now, listen to me! I want no messing about when you go in! No touching, no meddling, and no tasting! Is that agreed?"


      "Yes, yes!" the children cried. "We won't touch a thing!"


      "Up to now," Mr. Wonka said, "nobody else, not even an Oompa-Loompa, has ever been allowed in here!" He opened the door and stepped out of the boat into the room. The four children and their parents all scrambled after him.


      "Don't touch!" shouted Mr. Wonka. "And don't knock anything over!"


      Charlie Bucket stared around the gigantic room in which he now found himself. The place was like a witch's kitchen! All about him black metal pots were boiling and bubbling on huge stoves, and kettles were hissing and pans were sizzling, and strange iron machines were clanking and spluttering, and there were pipes running all over the ceiling and walls, and the whole place was filled with smoke and steam and delicious rich smells.


      Mr. Wonka himself had suddenly become even more excited than usual, and
anyone could see that this was the room he loved best of all. He was hopping about
among the saucepans and the machines like a child among his Christmas presents,
not knowing which thing to look at first. He lifted the lid from a huge pot and
took a sniff; then he rushed over and dipped a finger into a barrel of sticky yellow
stuff and had a taste; then he skipped across to one of the machines and turned
half a dozen knobs this way and that; then he peered anxiously through the glass
door of a gigantic oven, rubbing his hands and cackling with delight at what he
saw inside. Then he ran over to another machine, a small shiny affair that kept
going phut-phut-phut-phut-phut, and every time it went phut, a large green marble
dropped out of it into a basket on the floor. At least it looked like a marble.


      "Everlasting Gobstoppers!" cried Mr. Wonka proudly. "They're completely new! I am inventing them for children who are given very little pocket money. You can put an Everlasting Gobstopper in your mouth and you can suck it and suck it and suck it and suck it and suck it and it will never get any smaller!"


      "It's like gum!" cried Violet Beauregarde.


      "It's not like gum," Mr. Wonka said. "Gum is for chewing, and if you tried
chewing one of these Gobstoppers here you'd break your teeth off. But they taste
terrific! And they change color once a week! And they never get any smaller!
They never disappear! NEVER! At least I don't think they do. There's one of
them being tested this very moment in the Testing Room next door. An Oompa-
Loompa is sucking it. He's been sucking it for very nearly a year now without
stopping, and it's still just as good as ever!"

From CHARLIE AND THE CHOCOLATE FACTORY by Roald Dahl, text and illustrations copyright © 1964, renewed 1992 by Roald Dahl Nominee Limited. Used by permission of Alfred A. Knopf, an imprint of Random House Children’s Books, a division of Random House, Inc.

Standard: 9 - Making Connections

1. Based on the two selections, explain how Roald Dahl used his experience as a chocolate taster to turn a real event into an imaginative story. Support your answer with important details from the selections.

This selection from the classic tale Black Beauty tells of a horse's life as a young colt. Read the selection
and answer the questions that follow.

My Early Home

from Black Beauty
by Anna Sewell


HE first place that I can well remember was a large pleasant meadow with a pond
of clear water in it. Some shady trees leaned over it, and rushes and water-lilies

grew at the deep end. Over the hedge on one side we looked into a plowed field, and
on the other we looked over a gate at our master's house, which stood by the roadside;
at the top of the meadow was a grove of fir trees, and at the bottom a running brook
overhung by a steep bank.


     While I was young I lived upon my mother's milk, as I could not eat grass. In the
daytime I ran by her side, and at night I lay down close by her. When it was hot we used
to stand by the pond in the shade of the trees, and when it was cold we had a nice warm
shed near the grove.


     As soon as I was old enough to eat grass my mother used to go out to work in the
daytime, and come back in the evening.


     There were six young colts in the meadow besides me; they were older than I was;
some were nearly as large as grown-up horses. I used to run with them, and had great
fun; we used to gallop all together round and round the field as hard as we could go.
Sometimes we had rather rough play, for they would frequently bite and kick as well
as gallop.


     One day, when there was a good deal of kicking, my mother whinnied to me to
come to her, and then she said:


     "I wish you to pay attention to what I am going to say to you. The colts who live
here are very good colts, but they are cart-horse colts, and of course they have not
learned manners. You have been well-bred and well-born; your father has a great name
in these parts, and your grandfather won the cup two years at the Newmarket races;
your grandmother had the sweetest temper of any horse I ever knew, and I think you
have never seen me kick or bite. I hope you will grow up gentle and good, and never
learn bad ways; do your work with a good will, lift your feet up well when you trot, and
never bite or kick even in play."


     I have never forgotten my mother's advice; I knew she was a wise old horse, and our
master thought a great deal of her. Her name was Duchess, but he often called her Pet.


     Our master was a good, kind man. He gave us good food, good lodging, and kind
words; he spoke as kindly to us as he did to his little children. We were all fond of him,
and my mother loved him very much. When she saw him at the gate she would neigh
with joy, and trot up to him. . . . All the horses would come to him, but I think we were
his favorites. My mother always took him to the town on a market day in a light gig.*

* gig — a horse-drawn carriage or cart


     There was a plowboy, Dick, who sometimes came into our field to pluck blackberries
from the hedge. When he had eaten all he wanted he would have what he called fun with
the colts, throwing stones and sticks at them to make them gallop. We did not much
mind him, for we could gallop off; but sometimes a stone would hit and hurt us.


     One day he was at this game, and did not know that the master was in the next field;
but he was there, watching what was going on; over the hedge he jumped in a snap, and
catching Dick by the arm, he gave him such a box on the ear as made him roar with
the pain and surprise. As soon as we saw the master we trotted up nearer to see what
went on.


     "Bad boy!" he said, "bad boy! to chase the colts. This is not the first time, nor the
second, but it shall be the last. There—take your money and go home; I shall not want
you on my farm again." So we never saw Dick anymore. Old Daniel, the man who
looked after the horses, was just as gentle as our master, so we were well off.

In the public domain.

2. What is the main purpose of paragraphs 1 and 2 in the selection?



to summarize the plot



to explain the conflict



to describe the setting



to present the characters

The poem "Throwing a Tree" shows how poetry can use language to make people think about common experiences in a different way. Read the poem and then answer the questions that follow.

Throwing a Tree

New Forest


      THE two executioners stalk along over the knolls,1
      Bearing two axes with heavy heads shining and wide,
      And a long limp two-handled saw toothed for cutting great boles,2
And so they approach the proud tree that bears the death-mark on its



      Jackets doffed3 they swing axes and chop away just above ground,

      And the chips fly about and lie white on the moss and fallen
      Till a broad deep gash in the bark is hewn all the way round,


And one of them tries to hook upwards a rope, which at last he achieves.

      The saw then begins, till the top of the tall giant shivers:

      The shivers are seen to grow greater each cut than before:
      They edge out the saw, tug the rope; but the tree only quivers,
And kneeling and sawing again, they step back to try pulling once



      Then, lastly, the living mast sways, further sways: with a shout

      Job and Ike rush aside. Reached the end of its long staying powers
      The tree crashes downward: it shakes all its neighbours through-


And two hundred years' steady growth has been ended in less than two


                 —Thomas Hardy


1knolls — small, rounded hills
2boles — tree trunks
3doffed — taken off; removed

Reprinted with the permission of Scribner, an imprint of Simon & Schuster Adult Publishing Group, from THE COMPLETE POEMS OF THOMAS HARDY, edited by James Gibson. Copyright © 1978 by Macmillan London Ltd.

3. Standard: 14 - Poetry

In line 17, what does it most likely mean that the tree "Reached the end of its long staying powers"?



The tree was old.



The tree was saved.



The tree lost its leaves.



The tree finally fell down.


4. In "Throwing a Tree," the poet uses personification, a literary device that uses human qualities to describe an object. Give at least two examples of personification used in the poem. Explain why each is an example of personification. Support your answer with important details from the poem.

The actual date of the founding of the Greek city of Athens has been lost to history. Myth and tradition, however, explain how the city was named. "Athene's City" tells that story; it describes how the goddess Athene came to be the protector and patron of Athens. Read the myth and answer the questions that follow.

Standard: 16 - Myth, Traditional Narrative, and Classical Literature


5. At the beginning of the myth, why do the gods argue about who should be patron of Athens?



The gods want to live in a beautiful city.



The gods want to share in the wealth of the city.



The gods want to be connected to a famous city.



The gods want to replace the king of the city.


6. According to paragraph 2, what advantage does Poseidon's gift offer to the people of Athens?













7. In paragraph 6, what do the gods realize about Athene's gift?



It is more valuable than it seems.



It is unworthy to be entered in the contest.



It has changed into a beautiful, flourishing tree.



It has created doubts about the fairness of the contest.

This scene comes from a play based on Anne of Green Gables, a famous novel by Lucy Maud Montgomery. In this play, Anne is a young girl who has been adopted by Matthew and Marilla Cuthbert. They live on Prince Edward Island, in Canada, early in the 1900s. In the scene, Anne is excited about going to her first picnic–until something happens that may change her plans. Read the scene and answer the questions that follow.

Anne of Green Gables
Adapted by Jamie Turner




TIME: Several days later.

SETTING: Same. Brooch is on floor, under chair. Loose flowers and vase are on


AT RISE: ANNE sits with patchwork in lap, daydreaming. MARILLA enters. ANNE begins stitching vigorously.

ANNE: I've been working steadily, Marilla, but it's ever so hard when the


picnic is this very afternoon. I keep trying to imagine what it will be like.

MARILLA (Looking around, puzzled): Anne, have you seen my amethyst brooch? I thought I put it right here in my pin


cushion, but I can't find it anywhere.

ANNE (Nervously): I — I saw it last night when you were at the Ladies Aid Society. It was in the pin cushion, as you said.

MARILLA (Sternly): Did you touch it?


ANNE (Uncomfortably): Yes. I pinned it on my dress for just a minute — only to see how it would look.

MARILLA (Angrily): You had no business touching something that didn't belong to


you, Anne. Where did you put it?


ANNE: Oh, I put it right back. I didn't have it on but a minute, and I didn't think about it being wrong at the time, but I'll never do it again. That's one good thing


about me. I never do the same naughty thing twice.

MARILLA (Sternly): You did not put it back, or else it would be here. You've taken it and put it somewhere else, Anne. Tell me


the truth at once. Did you lose it?

ANNE (Upset): Oh, but I did put it back, Marilla. I'm perfectly certain I put it back!

MARILLA (Angrily, her voice rising): If you had put it back, it would be here,


Anne. I believe you are telling me a falsehood. In fact, I know you are.

ANNE: Oh, but, Marilla . . .

MARILLA (Harshly): Don't say another word unless you are prepared to tell me


where the brooch is. Go to your room and stay there until you are ready to confess. (ANNE starts to exit downcast.)

ANNE: The picnic is this afternoon, Marilla. You will let me out of my room for


that, won't you? I must go to the picnic!


MARILLA: You'll go to no picnic nor anywhere else until you've confessed, Anne Shirley. Now, go! (ANNE exits)

MATTHEW (Entering): Where's Anne?


I wanted to show her the new geese down at the pond.

MARILLA (Coldly): She's in her room. The child has lost my amethyst brooch and is hiding the truth from me. She's


lied about it, Matthew.

MATTHEW: Well now, are you certain, Marilla? Mightn't you have forgotten where you put it?

MARILLA (Angrily ): Matthew


Cuthbert, I remind you that I have kept the brooch safe for over fifty years, and I'm not likely to lose track of it now.

MATTHEW: Don't be too hasty to accuse Anne. I don't think she'd lie


to you. (Exits. MARILLA begins to arrange flowers in vase on table as ANNE enters.)

ANNE: Marilla, I'm ready to confess.

MARILLA: Well, that was mighty


quick. What do you have to say, Anne?

ANNE (Speaking quickly as if reciting from memory): I took the amethyst brooch, just as you said. I pinned it on my dress and then was overcome


with an irresistible temptation to take it down by the Lake of Shining Waters to pretend that I was an elegant lady named Cordelia Fitzgerald. But, alas, as I was leaning over the bridge to catch


its purple reflection in the water, it fell


off and went down — down — down, and sank forevermore beneath the lake. Now, will you please punish me, Marilla, and have it over so that I can go to the picnic with


nothing weighing on my mind?

MARILLA (Staring at ANNE in anger): Anne, you must be the very wickedest girl I ever heard of to take something that wasn't yours and to lose it and then to lie


about it and now to show no sign of sorrow whatever! Picnic, indeed! You'll go to no picnic! That will be your punishment, and it isn't half severe enough either for what you've done!


ANNE (Sobbing): Not go to the picnic! But, Marilla, that's why I confessed! Oh, Marilla, you promised! Think of the ice cream, Marilla! How can you deny me the ice cream and break my heart?


MARILLA (Stonily): You needn't plead, Anne. You are not going to the picnic, and that is final. (ANNE runs to table and flings herself into a chair, sobbing and shrieking wildly.) I believe the child is


out of control. (MARILLA walks around, wringing her hands. She suddenly catches sight of brooch under chair and picks it up with a startled cry.) What can this mean? Here's my brooch, safe and sound! And I


thought it was at the bottom of the lake! (ANNE looks up.) Anne, child, whatever did you mean by saying you took it and
lost it?

ANNE: Well, you said you'd keep me in


my room until I confessed, so I thought up an interesting confession so I could go to the picnic. But then you wouldn't let me go after all, so my confession was wasted.


MARILLA (Trying to look stern, but


finally laughing): Anne, you do beat all! But I was wrong — I see that now. I shouldn't have doubted your word when you had never told me a lie before. Of course, you shouldn't have made up that


story, but I drove you to it. So if you'll forgive me, I'll forgive you. Now, go upstairs and wash your face and get ready
for the picnic.


ANNE: It isn't too late?


MARILLA: No, they'll just be getting started. You won't miss a thing — especially the ice cream. That's always last.

ANNE: (Squealing happily): Oh, Marilla! Five minutes ago I was in the valley of


woe, but now I wouldn't change places with an angel! (Exits)

Anne of Green Gables © 1987 as adapted by Jamie Turner is reproduced with permission of PLAYS Magazine/Sterling Partners, Inc., P.O. Box 600160, Newton, MA 02460.

Standard: 17 - Dramatic Literature

8. At the beginning of the scene, what
information does the section titled
SETTING” provide?



It tells how the stage should look.



It tells what has already happened.



It tells which characters are in
the scene.



It tells where the characters
should stand.


9. Why do lines 49 and 50 include words

that are printed in italics?



to show that the words should
be whispered



to show that other words may be
used instead



to show that the words are unspoken



to show that the words should be
spoken with feeling

10. What is most likely true about Anne’s
confession in lines 77–90?



She made it up so Marilla would let
her go to the picnic.



She told the truth after she
remembered what really happened.



She is trying to show that the
amethyst brooch is not valuable.



She is trying to show Marilla that
she did not mean to lose the brooch.

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