Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct word for each of the blanks.

Can you imagine what life would be like if there were no telephone? You could not call (51)________your friends on the phone and talk to them. If fire (52)________out in your house you could not call the fire department. If somebody was sick, you could not call a doctor.

In our daily life we need to (53)________with one another. We need do this mostly by speaking to other people and listening to (54)________they have to say to us, and when you are close (55)________them you can do this very easily. However, our voices will not travel very far even when we shout.

The man who (56)________this possible was Alexander Graham Bell, a Scotsman, born in Edinburgh in 1847. Bell, a teacher of visible speech who later moved to Canada, (57)________all his spare time experimenting. (58)________enthusiastic was he in his research for a means of sending speech (59)________electricity that he left much time for his day-to-day work and at one time was (60)________ penniless.

Question 59

A.with

B.in

C.by

D.on

Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct word for each of the blanks.

Can you imagine what life would be like if there were no telephone? You could not call (51)________your friends on the phone and talk to them. If fire (52)________out in your house you could not call the fire department. If somebody was sick, you could not call a doctor.

In our daily life we need to (53)________with one another. We need do this mostly by speaking to other people and listening to (54)________they have to say to us, and when you are close (55)________them you can do this very easily. However, our voices will not travel very far even when we shout.

The man who (56)________this possible was Alexander Graham Bell, a Scotsman, born in Edinburgh in 1847. Bell, a teacher of visible speech who later moved to Canada, (57)________all his spare time experimenting. (58)________enthusiastic was he in his research for a means of sending speech (59)________electricity that he left much time for his day-to-day work and at one time was (60)________ penniless.

Question 57

A.took

B.wasted

C.cost

D.spent

Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct word for each of the blanks.

Can you imagine what life would be like if there were no telephone? You could not call (51)________your friends on the phone and talk to them. If fire (52)________out in your house you could not call the fire department. If somebody was sick, you could not call a doctor.

In our daily life we need to (53)________with one another. We need do this mostly by speaking to other people and listening to (54)________they have to say to us, and when you are close (55)________them you can do this very easily. However, our voices will not travel very far even when we shout.

The man who (56)________this possible was Alexander Graham Bell, a Scotsman, born in Edinburgh in 1847. Bell, a teacher of visible speech who later moved to Canada, (57)________all his spare time experimenting. (58)________enthusiastic was he in his research for a means of sending speech (59)________electricity that he left much time for his day-to-day work and at one time was (60)________ penniless.

Question 58

A.Such

B.Very

C.Too

D.So

Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct word for each of the blanks.

Can you imagine what life would be like if there were no telephone? You could not call (51)________your friends on the phone and talk to them. If fire (52)________out in your house you could not call the fire department. If somebody was sick, you could not call a doctor.

In our daily life we need to (53)________with one another. We need do this mostly by speaking to other people and listening to (54)________they have to say to us, and when you are close (55)________them you can do this very easily. However, our voices will not travel very far even when we shout.

The man who (56)________this possible was Alexander Graham Bell, a Scotsman, born in Edinburgh in 1847. Bell, a teacher of visible speech who later moved to Canada, (57)________all his spare time experimenting. (58)________enthusiastic was he in his research for a means of sending speech (59)________electricity that he left much time for his day-to-day work and at one time was (60)________ penniless.

Question 56

A.made

B.had

C.did

D.brought

Thank you for our class’ photo you sent me afew days ago. I was so glad to write for you and tell you about my feeling after I receive it.

That photograph made me remember my old teacher who taught us high school. She is slim with along hair and blue eyes. Do you remember her? Our enghlish teacher, her name is Sara. I can’t forget that days when she played game with us in each class and we sang ‘ Anilmal song’ together. I also remember that She was very sad when our class didn’t do homework and we felt so guilty with her. Then we studied Enghlish hard to fix our mistakes and she was so happy. But now she doesn’t still teach Enghlish in Viet Nam. Ha - our classmates said she came back England with her husband. I hope she would come to Viet nam, I will meet her because I miss her so much. What about you? What do you think about her? Have you ever had the old teacher who made you unforgettable

 các bn dịch và nêu ý nghĩa giúp mk nha >:3

Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the following questions.

‘A good book for children should simply be a good book in its own right.' These are the words of Mollie Hunter, a well known author of books for youngsters. Born and bred near Edinburgh, Mollie has devoted her talents to writing primarily for young people. She firmly believes that there is always and should always be a wider audience for any good book whatever its main market. In Mollie's opinion it is essential to make full use of language and she enjoys telling a story, which is what every writer should be doing: 'If you aren't telling a story, you're a very dead writer indeed,' she says.

With the chief function of a writer being to entertain, Molly is indeed an entertainer. 'I have this great love of not only the meaning of language but of the music of language,' she says. This love goes back to early childhood. 'I've told stories all my life. I had a school teacher who used to ask us what we would like to be when we grew up and, because my family always had dogs, and I was very good at handling them, I said I wanted to work with dogs, and the teacher always said "Nonsense, Mollie dear, you'll be a writer." So eventually I thought that this woman must have something, since she was a good teacher - and I decided when I was nine that I would be a writer.’

This childhood intention is described in her novel, A Sound of Chariots, which although written in the third person is clearly autobiographical and gives a picture both of Mollie's ambition and her struggle towards its achievement.

Thoughts of her childhood inevitably brought thoughts of the time when her home was still a village with buttercup meadows and strawberry fields - sadly now covered with modern houses. 'I was once taken back to see it and I felt that somebody had lain dirty hands all over my childhood. I'll never go back,' she said. 'Never.' 'When I set one of my books in Scotland,' she said, 'I can recapture my romantic feelings as a child playing in those fields, or watching the village blacksmith at work. And that's important, because children now know so much so early that romance can't exist for them, as it did for us.'

To this day, Mollie has a lively affection for children, which is reflected in the love she has for her writing. 'When we have visitors with children the adults always say, "If you go to visit Mollie, she'll spend more time with the children." They don't realise that children are much more interesting company. I've heard all the adults have to say before. The children have something new.' 

What does “its” in paragraph 3 refer to? 

A. ambition 

B. picture 

C. novel 

D. struggle 

Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the following questions.

‘A good book for children should simply be a good book in its own right.' These are the words of Mollie Hunter, a well known author of books for youngsters. Born and bred near Edinburgh, Mollie has devoted her talents to writing primarily for young people. She firmly believes that there is always and should always be a wider audience for any good book whatever its main market. In Mollie's opinion it is essential to make full use of language and she enjoys telling a story, which is what every writer should be doing: 'If you aren't telling a story, you're a very dead writer indeed,' she says.

With the chief function of a writer being to entertain, Molly is indeed an entertainer. 'I have this great love of not only the meaning of language but of the music of language,' she says. This love goes back to early childhood. 'I've told stories all my life. I had a school teacher who used to ask us what we would like to be when we grew up and, because my family always had dogs, and I was very good at handling them, I said I wanted to work with dogs, and the teacher always said "Nonsense, Mollie dear, you'll be a writer." So eventually I thought that this woman must have something, since she was a good teacher - and I decided when I was nine that I would be a writer.’

This childhood intention is described in her novel, A Sound of Chariots, which although written in the third person is clearly autobiographical and gives a picture both of Mollie's ambition and her struggle towards its achievement.

Thoughts of her childhood inevitably brought thoughts of the time when her home was still a village with buttercup meadows and strawberry fields - sadly now covered with modern houses. 'I was once taken back to see it and I felt that somebody had lain dirty hands all over my childhood. I'll never go back,' she said. 'Never.' 'When I set one of my books in Scotland,' she said, 'I can recapture my romantic feelings as a child playing in those fields, or watching the village blacksmith at work. And that's important, because children now know so much so early that romance can't exist for them, as it did for us.'

To this day, Mollie has a lively affection for children, which is reflected in the love she has for her writing. 'When we have visitors with children the adults always say, "If you go to visit Mollie, she'll spend more time with the children." They don't realise that children are much more interesting company. I've heard all the adults have to say before. The children have something new.' 

What do we learn about Mollie Hunter as a very young child?

A. She didn’t enjoy writing stories 

B. She didn’t have any particular ambitions

C. She didn’t expect to become a writer 

D. She didn’t respect her teacher’s views 

Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the following questions.

‘A good book for children should simply be a good book in its own right.' These are the words of Mollie Hunter, a well known author of books for youngsters. Born and bred near Edinburgh, Mollie has devoted her talents to writing primarily for young people. She firmly believes that there is always and should always be a wider audience for any good book whatever its main market. In Mollie's opinion it is essential to make full use of language and she enjoys telling a story, which is what every writer should be doing: 'If you aren't telling a story, you're a very dead writer indeed,' she says.

With the chief function of a writer being to entertain, Molly is indeed an entertainer. 'I have this great love of not only the meaning of language but of the music of language,' she says. This love goes back to early childhood. 'I've told stories all my life. I had a school teacher who used to ask us what we would like to be when we grew up and, because my family always had dogs, and I was very good at handling them, I said I wanted to work with dogs, and the teacher always said "Nonsense, Mollie dear, you'll be a writer." So eventually I thought that this woman must have something, since she was a good teacher - and I decided when I was nine that I would be a writer.’

This childhood intention is described in her novel, A Sound of Chariots, which although written in the third person is clearly autobiographical and gives a picture both of Mollie's ambition and her struggle towards its achievement.

Thoughts of her childhood inevitably brought thoughts of the time when her home was still a village with buttercup meadows and strawberry fields - sadly now covered with modern houses. 'I was once taken back to see it and I felt that somebody had lain dirty hands all over my childhood. I'll never go back,' she said. 'Never.' 'When I set one of my books in Scotland,' she said, 'I can recapture my romantic feelings as a child playing in those fields, or watching the village blacksmith at work. And that's important, because children now know so much so early that romance can't exist for them, as it did for us.'

To this day, Mollie has a lively affection for children, which is reflected in the love she has for her writing. 'When we have visitors with children the adults always say, "If you go to visit Mollie, she'll spend more time with the children." They don't realise that children are much more interesting company. I've heard all the adults have to say before. The children have something new.'

In comparison with children of earlier years, Mollie feels that modern children are _____. 

A. better informed 

B. more intelligent 

C. less interested in fiction 

D. less keen to learn 

Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the following questions.

‘A good book for children should simply be a good book in its own right.' These are the words of Mollie Hunter, a well known author of books for youngsters. Born and bred near Edinburgh, Mollie has devoted her talents to writing primarily for young people. She firmly believes that there is always and should always be a wider audience for any good book whatever its main market. In Mollie's opinion it is essential to make full use of language and she enjoys telling a story, which is what every writer should be doing: 'If you aren't telling a story, you're a very dead writer indeed,' she says.

With the chief function of a writer being to entertain, Molly is indeed an entertainer. 'I have this great love of not only the meaning of language but of the music of language,' she says. This love goes back to early childhood. 'I've told stories all my life. I had a school teacher who used to ask us what we would like to be when we grew up and, because my family always had dogs, and I was very good at handling them, I said I wanted to work with dogs, and the teacher always said "Nonsense, Mollie dear, you'll be a writer." So eventually I thought that this woman must have something, since she was a good teacher - and I decided when I was nine that I would be a writer.’

This childhood intention is described in her novel, A Sound of Chariots, which although written in the third person is clearly autobiographical and gives a picture both of Mollie's ambition and her struggle towards its achievement.

Thoughts of her childhood inevitably brought thoughts of the time when her home was still a village with buttercup meadows and strawberry fields - sadly now covered with modern houses. 'I was once taken back to see it and I felt that somebody had lain dirty hands all over my childhood. I'll never go back,' she said. 'Never.' 'When I set one of my books in Scotland,' she said, 'I can recapture my romantic feelings as a child playing in those fields, or watching the village blacksmith at work. And that's important, because children now know so much so early that romance can't exist for them, as it did for us.'

To this day, Mollie has a lively affection for children, which is reflected in the love she has for her writing. 'When we have visitors with children the adults always say, "If you go to visit Mollie, she'll spend more time with the children." They don't realise that children are much more interesting company. I've heard all the adults have to say before. The children have something new.'

How does Mollie feel about what has happened to her birthplace? 

A. surprised 

B. ashamed 

C. disappointed 

D. confused