Rain, the young man is thinking. Of course it would be raining. Not a heavy, cleansing rain that leaves the streets steaming and the neatly sculptured yards lush and fragrant. This is a gray drizzling rain. A rain that makes him think of places like England and Scotland as they appear in those disturbing late night films on cable, the ones in black and white that weren't particularly memorable when they were made and are even less so now. Still, it rains and the air is cool. All he has to shelter him is a think nylon jacket. The jacket is soaked. It feels both chilly and coarse against his skin. His hair hangs in flat and sodden wings, falling into his eyes. It's long in the back, almost to his shoulders, and he thinks that the cars that pass him on the street, the occupants of those cars, might look at him and see only that he is wet and not that he is dirty as well. Can they tell that his hair has been unwashed for days? That his clothes are the same ones he's worn for more than a week? It doesn't matter. He's invisible to them as soon as they pass, taking any assumptions they might make with them. They might just mistake him for one of those hoity-toity college kids, one of those clean limbed and beaming have's who has happened to find himself caught out without his umbrella. He makes a desultory attempt to straighten his shoulders, to lift his eyes from the buckled sidewalk. To look like he might have a purpose or a destination. It doesn't help. He has become the day. He has internalized the environment. He did that years ago, in fact. That's all I can do. Not his words, of course, but he understands them. He is intimately acquainted with his limitations. According to the above context, choose the correct option to answer the following question. Question: Who might look at the main character and see that he is only wet? Options: A. not enough information B. The college kids C. The people in the cars D. The people in Scotland
C

The Getty Villa is a museum unlike any in the world. It offers an experience of ancient Greek and Roman art in a setting that replicates that in which it would originally have been displayed, a Roman villa of the first century AD. On April 18, after three years of work, the galleries of the Villa reopen with an entirely new arrangement of the collection, one that situates art in its cultural and historical context. Since 2006, when the Getty Villa opened as a museum dedicated to the cultures of the ancient Mediterranean, the collection has been presented along thematic lines, with galleries dedicated to subjects such as ancient theater, athletes and competition, and gods and goddesses. This approach was useful in illuminating social life in the ancient classical world, but it prioritized objects' subject matter over their stature as works of art and removed them from their broader artistic and cultural context. Reenvisioning how the antiquities were displayed at the Villa was one of my top priorities when I joined the J. Paul Getty Museum as director in 2012. As a specialist in ancient art, my priority is to help visitors to see these great treasures as beautiful and fascinating works of art, and sparking their curiosity to understand them in the context of their place in human culture. Starting April 18 our Villa galleries offer a new journey through ancient Greek, Roman, and Etruscan art. The visitor's path begins on the first-floor rooms devoted to Neolithic and Bronze Age (Cycladic, Minoan, and Mycenaean) Greek art. The journey continues through the Archaic, Classical, and Hellenistic periods, when the Greeks developed the first fully naturalistic vision of the human figure. And it culminates in the dramatic skylit halls of ancient Roman sculpture. In all there are 33 spaces on two floors, with 3,000 more square feet of gallery space than before. The visitor's path winds through the galleries, gardens, and fountains, offering views onto the spectacular landscape and Pacific Ocean. According to the above context, choose the correct option to answer the following question. Question: When did the Getty Villa illuminate social life? Options: A. 2012 B. 2018 C. not enough information D. Since 2006
D

(Question)
Jon's back ached. Frost had come early this year and the ground broke like stone. Jon had spent eight seasons breaking this ground to plant spring's crops and every year it got harder. Sweat beaded on his brow and he felt his cotton shirt stick to his skin under his coat. Jon took off his soft-brimmed hat and wiped his forehead. He examined the hat as he let his breath return. The hat had kept the burning sun and beating rain off his head for as long as Jon owned the farm. He wore it every day. It had been a gift given to him on the day he married Alasandra but he could not remember who gave it to him. Jon put it back on his head and pushed the tiller deep into the stubborn earth. Daven ran over the hill and down the cart path leading to their small cobblestone house. The boy had only left a short while ago and he held no sack with the bread and cheese his mother had told him to buy. Jon furrowed his brow. The boy continued to run and soon the wind carried his cry to his father's ears. "Papa! A carriage is coming! Two horses!" Jon's furrowed brow remained. Surely the boy meant a cart from a neighboring farm. No carriage made it out this far. "It's from the city! A soldier drives it!" Jon felt ice water flow over him. He turned to the house. "Sandra! Get the musket out of the pantry!" Jon saw his wife's face appear at one foggy window. Jon gestured wildly at her. "Get it!" They were too late. As Daven reached Jon, the black carriage already approached. A single figure sat on the bench, guiding the two brown horses down Jon's path. According to the above context, choose the correct option to answer the following question. Question: Did the approaching carriage worry the family? Options: A. not enough information B. yes C. didn't matter D. no
(Answer)
B