DSSSB PGT English Male 2018 Paper-2 Shift-2

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Arrange the following novels of Jane Austen in their order of appearance/publication: (i) Northanger Abbey (ii) Sense and Sensibility (iii) Pride and Prejudice (iv) Emma

A. i, ii, iv, iii
B. i, ii, iii, iv
C. ii, iii, iv, i
D. ii, iii, i, iv

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Which of the following was NOT written during the Romantic period?

A. Nightmare Abbey
B. Caleb Williams
C. Rasselas
D. The Private Memoirs and Confessions of a Justified Sinner

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Which of the following novels is regarded as the first English Gothic novel?

A. Frankenstein
B. Dracula
C. The Mystery of Udolpho
D. The Castle of Otranto

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John Keats used the phrase "egotistical sublime" to critique the poetry of _____.

A. Shakespeare
B. Wordsworth
C. Lord Byron
D. Samuel Johnson

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Which of the following is the correct subtitle of William Godwin's novel Caleb Williams?

A. Man As He Is
B. Man As He Is Not
C. A Gothic Story
D. Things As They Are

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Which of the following is NOT true according to the poetic model that Wordsworth develops in his 'Preface' to the Lyrical Ballads?

A. Spontaneity and tranquility are the two important requisites for composing poetry.
B. Poetry should use the language of the common people.
C. Both memory and recollection are vital for creating poetry.
D. Only feeling, and no thought, is essential for creating poetry.

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Which of the following is NOT a work by William Hazlitt?

A. The English poets
B. Lives of English poets
C. Characters of Shakespeare's Plays
D. The Spirit of the Age

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Keats' Isabella borrows its story from which of the following works?

A. Boccaccio's Decameron
B. Chaucer's The Canterbury Tales
C. Shakespeare's The Taming of the Shrew
D. Goethe's Faust

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The giant Low symbolizes ___ while Urizen symbolizes _ in the mythological world of ___.

A. restriction of law and order, human imagination, William Blake
B. restriction of law and order, human imagination, Coleridge
C. human imagination, restriction of law and order, William Blake
D. human imagination, restriction of law and order, Coleridge

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_ distinguished between primary and secondary imagination in chapter of .

A. Coleridge, thirteen, Biographia Literaria
B. Coleridge, fourteen, Biographia Literaria
C. Wordsworth, nine, Lyrical Ballads
D. Wordsworth, thirteen, Lyrical Ballads

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Choose the incorrect pair.

A. Elizabeth ---- Pride and Prejudice
B. Ambrosio ----The Monk
C. Vathek ---- Hermsprong
D. Robert Walton ---- Frankenstein

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Julian and Maddalo is a conversational poem composed by the poet _____.

A. William Blake
B. P. B. Shelley
C. Lord Byron
D. Sir Walter Scott

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Which feminist writer attacked Edmund Burke for using sexist language in his work A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful?

A. Mary Shelley
B. Mary Wollstonecraft
C. Ann Radcliffe
D. Mary Robinson

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Which of the following is NOT a work by Arvind Adiga?

A. Between the Assassinations
B. Last Man in Tower
C. Hullaballoo in the Guava Orchard
D. The White Tiger

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Which of the following works is set in the historical backdrop of the Gorkhaland Movement?

A. The God of small things
B. The Lowland
C. The Inheritance of Loss
D. Shame

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Which of following writers is NOT a winner of the Booker Prize for fiction?

A. Ruth Prawer Jhabvala
B. Amitav Ghosh
C. Aravind Adiga
D. Arundhati Roy

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The original title of R.K. Narayan's Swami and Friends was ______.

A. Swami, the Tate
B. Swami & Co.
C. Swami and Rajam
D. Adventures of a Young Boy

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The novel _ by addresses the issue of decline of Urdu in post-independence India through the story of an Urdu poet, Nur and a Hindi lecturer, Deven.

A. Sunlight on a Broken Column, Attia Hossain
B. Twilight in Delhi, Almad Ali
C. Inside the Haveli, Rama Mehta
D. In Custody, Anita Desai

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Which of the following is a play by Nissim Ezekiel?

A. Marriage-Poem
B. Bravely Fought the Queen
C. Dance Like a Man
D. Nagamandala

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Choose the incorrect pair.

A. Raman and Daisy --- the Painter of Signs
B. Vasu--- The Man-Eater of Malgudi
C. Margayya ---- The English Teacher
D. Sriram and Bharati----Waiting for the Mahatma

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Mango Souffle is the cinematic adaption of which Indian play?

A. Bravely Fought the Queen
B. Doongaji House
C. Dance Like a Man
D. On a Muggy Night in Mumbai

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Which of the following novels by Khushwant Singh explores the love affair of an Englandreturned journalist with a eunuch, Bhagmati?

A. Delhi: A Novel
B. Women and Men in My Life
C. Train to Pakistan
D. Black Jasmine

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Mulk Raj Anand won the Sahitya Academy Award for which of the following works?

A. Untouchable
B. Morning Face
C. Coolie
D. The Old Woman and a Cow

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Which of the following is NOT a work by Ruskin Bond?

A. An Axe for the Rani
B. Love Is a Sad Story
C. Fire on the Mountain
D. The Room on the Roof

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Which of the following figures was not part of the Pre-Raphaelite Brotherhood?

A. Charles Algernon Swinburne
B. Dante Gabriel Rossetti
C. John Millais
D. William Holman Hunt

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"Inscape" and "sprung rhythm" are associated with the poetry of which English poet?

A. Matthew Arnold
B. John Davidson
C. Gerard Manley Hopkins
D. Robert Browning

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Which of the following is NOT a dramatic monologue by Robert Browning?

A. " My Last Duchess"
B. " Fra Lippo Lippi"
C. "Locksley Hall"
D. "Andrea del Sarto"

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Which of the following novels by George Eliot addresses the problems and issues of the Jewish nation and Jewish identity?

A. Felix Holt, the Radical
B. Daniel Deronda
C. Middlemarch
D. Silas Marner

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The Mad Woman in the Attic is a feminist critical work exploring the works of nineteenth century female writers. Who wrote the book?

A. Virginia Woolf
B. Sandra Gilbert and Susan Gubar
C. Helen Cixous
D. Simone de Beauvoir

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Which of the following is NOT true about Tom Brawn's Schooldays?

A. It is a novel written by Thomas Hughes
B. The novel is set in a Rugby school whose headmaster is Dr. Thomas Arnold, the father of Matthew Arnold
C. Flashman is the archetypal bully in the novel
D. The novel was banned for a long time after its publication

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Which of the following writers was a popular, best-selling author of self-help books in Victorian England?

A. John Henry Newman
B. Charles Kingsley
C. Samuel Smiles
D. Lewis Carroll

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Arrange the following novels of Virginia Woolf in their order of appearance/publication: (i) To the Lighthouse (ii) Between the Acts (iii) The Waves (iv) Orlando

A. i, iv, ii, iii
B. i, iv, iii, ii
C. ii, iii, iv, i
D. ii, iii, i, iv

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The title of E. M. Forster's Where Angels Fear to Tread is borrowed from which of the following works?

A. Pope's An Essay on Criticism
B. John Bunyan's The Pilgrim's Progress
C. Matthew Arnold's Culture and Anarchy
D. Thackeray's Vanity Fair

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Which of the following poems by W. H. Auden was inspired by Pieter Brueghel's famous painting, Landscape with the Fall of Icarus?

A. "Consider"
B. "Lay Your Sleeping Head"
C. " Musee des Beaux Arts"
D. "In Memory of W. B. Yeats"

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" Logopoeia" as a vital feature of modernist poetry was outlined by which poet?

A. Elizabeth Bishop
B. H. D.
C. T. S. Eliot
D. Ezra Pound

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Which of the following novels by Graham Greene deals with the Mexican government's suppression of the Catholic Church?

A. The Confidential Agent
B. The Ministry of Fear
C. The power and the Glory
D. Brighton Rock

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The story of Lil, a woman with her front tooth broken, appears in which part of Eliot's The Waste Land?

A. Death by Water
B. The Burial of the Dead
C. A Game of Chess
D. The Fire Sermon

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Rosencrantz and Guildenstern are Dead is a play that presents a postmodern take of Shakespeare's Hamlet. Identify the playwright?

A. Joe Orton
B. Noel Coward
C. Tom Stoppard
D. David Hare

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" Time held me green dying/Though I sang in my chains like the sea" are lines from the poem by the poet __.

A. "Annus Mirabilis", Philip Larkin
B. "Fern Hill", Dylan Thomas
C. "Naming of Parts", Charles Read
D. "Digging", Seamus Heaney

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" Newspeak" is the special and restricted language imposed by an authoritative dictator in the novel ______.

A. Murphy
B. Lord of the Flies
C. Nineteen Eighty-Four
D. Animal Farm

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Choose the INCORRECT pair.

A. Arnold Wesker- Kitchen-sink drama
B. John Osborne- Angry Young Man phenomenon
C. George Bernard Shaw - Alienation Effect
D. Samuel Beckett- Theatre of Absurd

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What is the name of the theatre actress who plays the roles of Shakespearean heroines in Oscar Wilde's novel, The Picture of Dorian Gray?

A. Sibyl Vane
B. Miriam
C. Ophelia
D. Helena

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Jacques, the melancholic, is a character from which famous Shakespearean play?

A. Othello
B. As You Like It
C. Macbeth
D. A Midsummer Night's Dream

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The plot of Shakespeare's The Winter's Tale was borrowed from which of the following works?

A. Boccaccio's Decameron
B. Chaucer's The Canterbury Tales
C. Robert Greene's Pandosto
D. Beowulf

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The famous lines, "The lunatic the lover and the poet/Art of imagination all compact" are from which play of Shakespeare?

A. Love's Labour's Lost
B. Hamlet
C. Henry IV
D. A Midsummer Night's Dream

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Shakespeare was a shareholder in which of the following theatres?

A. The Blackfriars
B. The Earth
C. The Open Theatre
D. The Rose

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Choose the INCORRECT pair.

A. Forest of Arden -- As You Like It
B. Windsor Forest -- Twelfth Night
C. Capulet's Orchard-- Romeo and Juliet
D. Birnam Woods -- Macbeth

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The 1609 edition of Shakespeare's Sonnets was dedicated to _____.

A. " Mr W. H."
B. " The dark lady"
C. " Queen Elizabeth I"
D. " The fair youth"

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Choose the INCORRECT pair.

A. Emilia -- Othello
B. Cordelia-- King Lear
C. Horatio -- Hamlet
D. Miranda -- Macbeth

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Which of the following is NOT a character in Shakespeare's Hamlet?

A. Guildenstern
B. Laertes
C. Gertrude
D. Regan

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Which of the following is NOT a " Roman play" of Shakespeare?

A. Coriolanus
B. Cymbeline
C. Titus Andronicus
D. Antony and Cleopatra

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Falstaff appears as a character on stage in which of the following plays of Shakespeare?

A. Richard II
B. The Merry Wives of Windsor
C. Antony and Cleopatra
D. The Comedy of Errors

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Which of the following films is a cinematic adaption of Shakespeare's King Lear?

A. Ran
B. Throne of Blood
C. Maqbool
D. O

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Arrow of God is an African novel written by which famous African writer?

A. Chinua Achebe
B. Ngugi wa Thiong'o
C. Wole Soyinka
D. J. M. Coetzee

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Which of the following novels by Gabriel Garcia Marquez presents the story of murder of the character Santiago Nasar?

A. One Hundred Years of Solitude
B. Chronicle of a Death Foretold
C. The Autumn of the Patriarch
D. Of Love and Other Demons

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Which of the following novels by Hanif Kureishi won the Whitbread Award for the best first novel?

A. The Mother
B. Intimacy
C. The Buddha of Suburbia
D. The Black Album

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Which of the following writers is NOT a winner of the Nobel Prize for literature?

A. Kazuo Ishiguro
B. Mo Yan
C. Haruki Murakami
D. Orhan Pamuk

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"Decolonising the Mind: The Polities of Language in African Literature" is a famous essay written by which African writer?

A. Ngugi wa Thiong'o
B. Chinua Achebe
C. Wole Soyinka
D. Ben Okri

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Which of the following is a novel by the famous Sri Lankan writer Shyam Selvadurai?

A. The Hungry Ghosts
B. Kartography
C. A Golden Age
D. Ice-Candy-Man

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Twenty Love poems and a Song of Despair is a collection of poems by which famous Latin American poet?

A. Jorge Luis Borges
B. Ernesto Cardenal
C. Pablo Neruda
D. Octavio Paz

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Which of the following novels by Peter Carey won the Booker Prize?

A. The Chemistry of Tears
B. Oscar and Lucinda
C. Amnesia
D. Bliss

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Which of the following is NOT a novel by Chimamanda Ngozi Adichie?

A. Purple Hibiscus
B. Half of a Yellow Sun
C. The Gunny Sack
D. Americanah

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The title of Chinua Achebe's famous novel, Things Fall Apart, is borrowed from which poem?

A. "The Waste Land"
B. "The Second Coming"
C. "The Hollow Men"
D. " Sailing to Byzantium"

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Which of the following works is not written by the British-Pakistani author, Nadeem Aslam?

A. Maps for Lost Lovers
B. The Wasted Vigil
C. The Blind Man's Garden
D. City of Sin and Splendor

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Who is the poet the famous epic poem, Omeros?

A. Mario Vargas Llosa
B. Charles Bukowski
C. Pablo Neruda
D. Derek Walcott

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Buchi Emechata is the author of which of the following works?

A. The Slave Girl
B. A Grain of Wheat
C. The Beautiful Ones Are Not Yet Born
D. Tar Boby

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Choose the correct tense of verbs for questions. If the king had survived past the Civil War, he might ____ stabilize the country.

A. help
B. had helped
C. have helped
D. have been helping

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Choose the correct tense to verbs for questions. Andrew jumped off the train while it _____.

A. was moving
B. moved
C. has moved
D. had moved

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Choose the correct tense of verbs for questions. They won't go out for the movie if it ______.

A. rained
B. rains
C. will be raining
D. will rain

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Choose the correct tense of verbs for questions. When Prof. Campbell joined the university in 2015, Dr. Menon _____ there for two years.

A. will already been teaching
B. has already been teaching
C. had already been teaching
D. shall already been teaching

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Choose the correct tense of verbs for questons. The Mehtas ____ a new bungalow last week.

A. had been buying
B. bought
C. have bought
D. had bought

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Choose the correct tense of verbs for questions. When an amateur actor professional, he or she __ to a life of intense discipline and rigor.

A. turned, commits
B. turned, has been committing
C. has been turning, committed
D. turns, commits

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Choose the correct tense of verbs for questions. I wanted to cook pasta today, but ____ time to do its today.

A. hadn't
B. haven't had
C. am not having
D. had not been having

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Choose the correct tense of verbs for questions. She is tasting the lasagna to see if it ____ more seasoning.

A. needed
B. had been needing
C. need
D. needs

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Choose the correct tense of verbs for questions. If film companies _ less temperamental, actors longer careers and, consequently, more options after retirement.

A. was, will have
B. are, would have been having
C. were would have
D. were, had been having

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Choose the correct tense of verbs for questions. Because Aman knows that he is not a diligent worker, he ____ but little pride in his work.

A. took
B. takes
C. take
D. has been taking

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Choose the correct tense of verbs for questions. I ___ writing the letter when my grandmother_looking for her black-eyed cat.

A. have finished, comes
B. had finished, comes
C. have finished, came
D. had finished, came

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Choose the correct tense of verbs for questions. Other researchers ____ to have seen change as well.

A. would like
B. would have liked
C. like
D. would had liked

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Choose the most appropriate option to fill in the blanks. A scientist in the University's Biotechnology department a process to produce hybrid mangoes. scientist patented process.

A. A, a
B. The, the
C. The, a
D. A, the

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Choose of the most appropriate options to fill in the blank. _____ members of the Committee wanted help with the protocol.

A. Many
B. Much
C. Little
D. Small

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Choose the most appropriate option to fill in the blank. This scarf is mine _____ is not grey in colour.

A. Your
B. Your's
C. Yours'
D. Yours

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Choose the most appropriate option to fill in the blank. ______wrestlers is practicing for the tournament.

A. Each one of the
B. Every one of the
C. Each
D. Every

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Choose the most appropriate option to fill in the blanks. These blue stockings are __ and not _.___ are right outside the classroom where she took them off.

A. our's, theirs, Her's
B. oursk, there's, Hers
C. ours their, Hers
D. our's, their's, Her's

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Choose the most appropriate option to fill in the blank. While working on the school project, Karim spilt _____ paint on his clothes.

A. several
B. few
C. a little
D. any

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Choose the most appropriate option to fill in the blanks. Annoyed with the class' performance in the test, the teacher reprimanded everyone and said, " Not of you are putting effort in preparing your lessons."

A. several, many
B. many, much
C. much, many
D. many, a little

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Choose the most appropriate option to fill in the blank. We would like to fetch the groceries _____.

A. ourself
B. ourselves
C. myself
D. themselves

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Choose the most appropriate option to fill in the blank. Upon witnessing ___ mother lose her temper, the children went to the father and reassured him. They said, 'Don't worry, we will finish the work _. She won't have __ to grumble about."

A. there, somehow, anything
B. their, somehow, anything
C. there, anyhow, nothing
D. their, anyhow, nothing

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Choose the most appropriate option to fill in the blank. The struggling clerk told his family, " Let us save _____ we have for a rainy day"

A. a little
B. little
C. the little
D. some

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Choose the most appropriate option to fill in the blank. Walking along the beach, the art teacher told the students, "There are pebbles here. Let's take ."

A. a number of, few
B. a number of, a few
C. a good deal of few
D. a good deal of, a few

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Choose the most appropriate option to fill in the blank. Before leaving for Canada he promised his son, " I ___ get you a play station from Toronto,"

A. can
B. would
C. will
D. may

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Choose the most appropriate option to fill in the blank. It was a holiday yesterday, so I _____ at work.

A. Mustn't have been
B. didn't have to be
C. couldn't be
D. can't be

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Choose the most appropriate option to fill in the blank. When the police discovered the evidence of murder in Mr. Sharma's house, Mrs. Sharma said, " This is impossible. It ____ be a mistake."

A. must
B. might
C. can
D. may

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Choose the most appropriate option to fill in the blank. As Amy entered the room, she saw her younger brother reading her personal diary. She lost her temper immediately and shouted at Jack, "How _____ my private diary!"

A. dared you attempted to read
B. dared your read
C. dare you to read
D. dare your read

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Choose the most appropriate option to fill in the blank. The hailstorm prevented him from attending his sister's wedding. He _______.

A. Could have been disappointed
B. must have been disappointing
C. might have been disappointed
D. must have been disappointed

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Choose the most appropriate option to fill in the blank. He promised us that he would be at the theatre before the film started, but he didn't show up at all. He _____.

A. cannot make it
B. will not make it
C. couldn't have made it
D. couldn't have make it

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Choose the most appropriate option to fill in the blank. The diamond isn't in the locker! Somebody _____.

A. should have stolen it
B. could have stolen it
C. must have stolen it
D. might have stolen it

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Choose the most appropriate option to fill the blank. But now that I have lived independently and have gotten used to it, I realize that living at home ____ make both my parents and me uncomfortable.

A. would
B. could
C. should
D. must

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Choose the most appropriate option to fill the blank. At the fresher's party, the sophomore student, Robin, said " By this time next year, I _____ a lot about architecture."

A. must have learned
B. will have learned
C. will learn
D. must learn

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Choose the most appropriate option to fill the blank. I ______ cold coffee, but the weather was very cold, so I made hot coffee.

A. couldn't make
B. could make
C. couldn't have made
D. could have made

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Choose the most appropriate option to fill in the blank. Walking along the river bank, we saw a _____.

A. magenta beautiful sailing boat
B. beautiful magenta sailing boat
C. magenta sailing boat beautiful
D. sailing magenta beautiful boat

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Choose the most appropriate option to fill the blank. Upon being asked about the mad beggar in his neighborhood, tears welled up in James' eyes and he said, " I cannot tell you ____ has become of him."

A. into
B. where
C. what
D. into what

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Choose the most appropriate option to fill in the blank. They always jabber ____ never think.

A. while they
B. whom they
C. when they
D. who

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Identify the noun clause in the sentence. How he could assist his friend when he was in danger was his chief concern?

A. when he was in danger
B. chief concern
C. How he could assist his friend
D. was his chief concern

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Identify the adjective clause in the sentence. The Nobel Laureate, who had been battling schizophrenia for ten years, committed suicide last year after the publication of his sixth novel.

A. The Nobel Laureate
B. who had been battling schizophrenia since ten years
C. committed suicide last year after the publication of his sixth novel
D. after the publication of his sixth novel

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Identify the adverb clause in the sentence. No sooner did he see us than he disappeared.

A. than he disappeared
B. No sooner did he see us
C. No sooner
D. disappeared

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Identify the adverb clause in the sentence. A painter who can paint without an inspiration when there are no subjects is also a painter who can paint exceptionally well when there are plenty of subjects around.

A. who can paint without an inspiration
B. When there are plenty of subjects around
C. a painter who can paint
D. who can paint exceptionally well

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Choose the most appropriate option to fill in the blank. The President was welcomed with a riveting performance by _____.

A. a Italian new exciting opera singer
B. an exciting Italian new opera singer
C. an exciting new Italian opera singer
D. a new Italian exciting opera singer

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Choose the most appropriate option to fill in the blank. Orwell was writing in 1946, five or seven years before scholarly works by Hannah Arendt, on the one hand, and Karl Friedrich, on the other, provided the definitions of totalitarianism are still in use today. Orwell's own Nineteen Eighty-Four, provides the visceral understanding of totalitarianism _ we still conjure up today, was a couple of years away. Orwell was in the process of imagining totalitarianism- he had, of course, never lived in a totalitarian society.

A. that, which, that
B. which, that which
C. that, which, which
D. which, that that

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Choose the most appropriate option to fill in the blank. I always remember the times _____my husband and I spent Thanksgiving together.

A. that
B. when
C. wherein
D. which

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Choose the most appropriate option to fill in the blank. Darren Aronofsky movies, _____have seen, are brilliant works of psychological realism with an undertone of surrealism and gothic.

A. most of who I
B. most of that I
C. most of which I
D. most of whose movies I

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Choose the most appropriate option to fill in the blank. If I had had money, I_____the house by the river.

A. would have been buying
B. would had been buying
C. would buy
D. would have bought

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Choose the most appropriate option to fill in the blank. Last month, our dog gave birth to several puppies, but we didn't know where _. Now, our dog is home again, and we can't believe how many _.

A. was our dog, puppies she has
B. our dog was, puppies does she have
C. our dog was, puppies she has
D. was our dog, puppies does she have

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Choose the passive form that is closest in meaning to the original sentence. The queen gave the musician a reward.

A. The musician was given a reward by the queen
B. The musician received a reward by the queen
C. The musician was given by the queen a reward
D. A reward by the musician was given from the queen

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Choose the passive form that is closest in meaning to the original sentence. We have already done the homework.

A. The homework is done by us already
B. The homework has already been done by us
C. Already, the homework has been done by us
D. The homework has been done by us already

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Choose the passive form that is closest in meaning to the original sentence. His subordinates accused him of various embezzlements.

A. Various embezzling accusations of the subordinates were made at him
B. He was being accused of various embezzlements by his subordinates
C. He was accused of various embezzlements by his subordinates
D. Various embezzlements were accused of by his subordinates

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Choose the passive form that is closest in meaning to the original sentence. There is nothing to do.

A. To be done there is nothing.
B. To do there is nothing.
C. There isn't anything but nothing to be done.
D. There is nothing to be done.

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Choose the passive form that is closest in meaning to the original sentence. We must have respected our teachers.

A. Our teachers must have respected.
B. Our teachers might have been obeyed.
C. Our teachers must have been respected.
D. Our teachers might have respected.

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Choose the passive form that is closest in meaning to the original sentence. Don't mock at me.

A. My mocking shouldn't happen?
B. They shouldn't let me mocked at?
C. You shouldn't let me be mocked at?
D. Let me be not mocked at?

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Choose the passive form that is closest in meaning to the original sentence. Why haven't they allowed you to go?

A. Why you haven't been allowed to go
B. Why haven't you been allowed to go
C. Why hadn't you been allowed to go by them
D. Why you hadn't been allowed to go

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Choose the passive form that is closest in meaning to the original sentence. My family is watching the movie.

A. The movie has being watched by my family.
B. The movie has been watched by my family.
C. The movie is being watched by my family.
D. The movie was being watched by my family.

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Choose the passive form that is closest in meaning to the original sentence. Circumstances will oblige me to go.

A. My circumstances will never allow me to be obliged.
B. Circumstances allow me to be obliged.
C. I am obliged by circumstances.
D. I shall be obliged to go.

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Choose the passive form that is closest in meaning to the original sentence. The Greeks expected to conquer the city of Troy.

A. The city of Troy was expected to be conquered by the Greeks.
B. It was expected by the Greeks that they would conquer the city of Troy.
C. None other than the Greeks were expected to conquer the city of Troy.
D. The Trojans expected to be conquered by the Greeks.

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Choose the passive form that is closest in meaning to the original sentence. I built a house.

A. I had built a house.
B. A house was built by me.
C. I had a house built.
D. I am having a house built.

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Choose the passive form that is closest in meaning to the original sentence. Who taught you dancing?

A. Which dancer taught you dancing?
B. By whom was you taught dancing?
C. By whom was dancing taught to you?
D. Were you taught dancing by someone?

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Choose the passive form that is closest in meaning to the original sentence. Men, women and children making various purchases throng the stalls during carnivals.

A. The various purchases at the stall are thronged by men, women and children during carnivals.
B. Thronging of carnivals is done by men, women and children to make various purchases.
C. Men, women and children throng during carnivals making various purchases at the stalls.
D. During carnivals the stalls are thronged by men women and children making various purchases.

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Choose the passive form that is closest in meaning to the original sentence. Debris and dust storm engulfed the area during the hurricane and made rescue operations difficult.

A. The area was engulfed in debris and dust storm during the hurricane and made rescue operations were made difficult.
B. The area was engulfed in debris and dust storm during the hurricane and made rescue operations difficult.
C. Rescue operations had been made difficult by debris and dust storm that engulfed the area during the hurricane.
D. Engulfed during the hurricane rescue operations were made difficult by debris and dust storm in the area.

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Choose the most appropriate option to fill in the blank. I _____ my lunch when Anuj came to work on the project.

A. would have eaten
B. have eaten
C. had eaten
D. had had eaten

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Choose the most appropriate option to fill in the blank. Anjum told Anna that she ___ in love before.

A. had never been
B. has never been
C. had had never been
D. has had never been

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Choose the most appropriate option to fill in the blank. When it____ cold tomorrow, the radiator will turn on automatically

A. will get
B. gets
C. is going to get
D. will be getting

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Choose the most appropriate option to fill in the blanks. Karan _____ before Andy goes to see him.

A. should have left
B. would have been leaving
C. would have left
D. will have left

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Read the passage given below and answer the questions: (From 130 to 140) It's a common enough scenario. A vegetarian has been invited to a friend's place for dinner. The host forgets that the guest is a vegetarian, and places a [meat] chop in front of her. What is she to do? Probably her initial feelings will be of disgust and repulsion. Vegetarians often develop these sorts of attitudes towards meat-based food, making it easier for them to be absolutists about shunning meat. Suppose, though, that the vegetarian overcomes her feelings of distaste, and decides to eat the chop, perhaps out of politeness to her host. Has she done something morally reprehensible? Because eating meat typically supports the practice of raising animals in factory farms where they are inhumanely treated and killed, eating meat is likely to contribute to animal suffering ( or to the other bad consequences of factory farming)...... However, by not eating meat, and especially by not eating meat when they are offered it in front of non-vegetarians, vegetarians send out a message to other people. By sticking to their ethical commitment, vegetarians signal that there is something wrong with being a carnivore, thus prompting other people to consider the morality of their habit of eating meat and perhaps even persuading them that consuming meat is wrong. In other words, the positive impact of being a vegetarian, in terms of reduction of animal suffering, might be amplified when vegetarianism is publicly defended and demonstrated in social contexts. And, conversely, making exceptions to vegetarianism might convey the message that eating meat is not so bad after all. If even vegetarians sometimes eat meat, then eating meat can't be so reprehensible from a moral perspective, can it? So reprehensible from a moral perspective, can it? So perhaps the guest who ate the [meat] chop was morally wrong for this reason: she sent out the wrong message to the people who were having dinner with her. But it isn't as simple as that. Avoiding meat in all circumstances, including in the circumstances in which the vegetarian guest found herself, is a strategy that can backfire. Plausibly, the 'right' message to be sent to non-vegetarians is one that increases the chances that as many of them as possible will give up meat or at least reduce their meat consumption. If people perceive vegetarianism as a position that allows for to exception, they are probably less likely to become vegetarian. A flexible moral position is more appealing than a rigid one that allows for no exceptions. It is more likely that people would be convinced to become flexible vegetarians - that is, that they abstain from eating meat with some exceptions - that to become rigid vegetarian, and being a flexible vegetarian is preferable, from a moral perspective, to being a carnivore. So the vegetarian guest's eating meat when offered has probably shown the host that it is possible to be a (flexible) vegetarian and, at the same time, occasionally enjoy some meat without feeling guilty. This has certainly made (flexible) vegetarianism look more accessible and more appealing than it would have been if the guest had refused to eat meat. The passage can be best described as:

A. Expository
B. Fictional
C. Argumentative
D. Comparative

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Read the passage given below and answer the questions: (From 130 to 140) It's a common enough scenario. A vegetarian has been invited to a friend's place for dinner. The host forgets that the guest is a vegetarian, and places a [meat] chop in front of her. What is she to do? Probably her initial feelings will be of disgust and repulsion. Vegetarians often develop these sorts of attitudes towards meat-based food, making it easier for them to be absolutists about shunning meat. Suppose, though, that the vegetarian overcomes her feelings of distaste, and decides to eat the chop, perhaps out of politeness to her host. Has she done something morally reprehensible? Because eating meat typically supports the practice of raising animals in factory farms where they are inhumanely treated and killed, eating meat is likely to contribute to animal suffering ( or to the other bad consequences of factory farming)...... However, by not eating meat, and especially by not eating meat when they are offered it in front of non-vegetarians, vegetarians send out a message to other people. By sticking to their ethical commitment, vegetarians signal that there is something wrong with being a carnivore, thus prompting other people to consider the morality of their habit of eating meat and perhaps even persuading them that consuming meat is wrong. In other words, the positive impact of being a vegetarian, in terms of reduction of animal suffering, might be amplified when vegetarianism is publicly defended and demonstrated in social contexts. And, conversely, making exceptions to vegetarianism might convey the message that eating meat is not so bad after all. If even vegetarians sometimes eat meat, then eating meat can't be so reprehensible from a moral perspective, can it? So reprehensible from a moral perspective, can it? So perhaps the guest who ate the [meat] chop was morally wrong for this reason: she sent out the wrong message to the people who were having dinner with her. But it isn't as simple as that. Avoiding meat in all circumstances, including in the circumstances in which the vegetarian guest found herself, is a strategy that can backfire. Plausibly, the 'right' message to be sent to non-vegetarians is one that increases the chances that as many of them as possible will give up meat or at least reduce their meat consumption. If people perceive vegetarianism as a position that allows for to exception, they are probably less likely to become vegetarian. A flexible moral position is more appealing than a rigid one that allows for no exceptions. It is more likely that people would be convinced to become flexible vegetarians - that is, that they abstain from eating meat with some exceptions - that to become rigid vegetarian, and being a flexible vegetarian is preferable, from a moral perspective, to being a carnivore. So the vegetarian guest's eating meat when offered has probably shown the host that it is possible to be a (flexible) vegetarian and, at the same time, occasionally enjoy some meat without feeling guilty. This has certainly made (flexible) vegetarianism look more accessible and more appealing than it would have been if the guest had refused to eat meat. At the beginning of paragraph 4, why does the author say that for a vegetarian to avoid meat consumption in all circumstances is a strategy that can backfire?

A. Because non-vegetarians are more likely to be convinced to become flexible vegetarians than become absolute vegetarians.
B. Because non-vegetarians are more likely to be convinced to become absolute vegetarians than become flexible vegetarians.
C. Because people's notion of morality is relative and unpredictable.
D. Because the positive impact of being a vegetarian, in terms of reduction of animal suffering, might be amplified when vegetarianism is publicly defended and demonstrated in social contexts.

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Read the passage given below and answer the questions: (From 130 to 140) It's a common enough scenario. A vegetarian has been invited to a friend's place for dinner. The host forgets that the guest is a vegetarian, and places a [meat] chop in front of her. What is she to do? Probably her initial feelings will be of disgust and repulsion. Vegetarians often develop these sorts of attitudes towards meat-based food, making it easier for them to be absolutists about shunning meat. Suppose, though, that the vegetarian overcomes her feelings of distaste, and decides to eat the chop, perhaps out of politeness to her host. Has she done something morally reprehensible? Because eating meat typically supports the practice of raising animals in factory farms where they are inhumanely treated and killed, eating meat is likely to contribute to animal suffering ( or to the other bad consequences of factory farming)...... However, by not eating meat, and especially by not eating meat when they are offered it in front of non-vegetarians, vegetarians send out a message to other people. By sticking to their ethical commitment, vegetarians signal that there is something wrong with being a carnivore, thus prompting other people to consider the morality of their habit of eating meat and perhaps even persuading them that consuming meat is wrong. In other words, the positive impact of being a vegetarian, in terms of reduction of animal suffering, might be amplified when vegetarianism is publicly defended and demonstrated in social contexts. And, conversely, making exceptions to vegetarianism might convey the message that eating meat is not so bad after all. If even vegetarians sometimes eat meat, then eating meat can't be so reprehensible from a moral perspective, can it? So reprehensible from a moral perspective, can it? So perhaps the guest who ate the [meat] chop was morally wrong for this reason: she sent out the wrong message to the people who were having dinner with her. But it isn't as simple as that. Avoiding meat in all circumstances, including in the circumstances in which the vegetarian guest found herself, is a strategy that can backfire. Plausibly, the 'right' message to be sent to non-vegetarians is one that increases the chances that as many of them as possible will give up meat or at least reduce their meat consumption. If people perceive vegetarianism as a position that allows for to exception, they are probably less likely to become vegetarian. A flexible moral position is more appealing than a rigid one that allows for no exceptions. It is more likely that people would be convinced to become flexible vegetarians - that is, that they abstain from eating meat with some exceptions - that to become rigid vegetarian, and being a flexible vegetarian is preferable, from a moral perspective, to being a carnivore. So the vegetarian guest's eating meat when offered has probably shown the host that it is possible to be a (flexible) vegetarian and, at the same time, occasionally enjoy some meat without feeling guilty. This has certainly made (flexible) vegetarianism look more accessible and more appealing than it would have been if the guest had refused to eat meat. Which of the following can be inferred from the passage?

A. The author of the passage is vegetarian.
B. The author of the passage is non-vegetarian.
C. The author of the passage occasionally consumes meat.
D. The author of the passage believes that flexible vegetarianism is more appealing to non-vegetarians than absolute vegetarianism.

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Read the passage given below and answer the questions: (From 130 to 140) It's a common enough scenario. A vegetarian has been invited to a friend's place for dinner. The host forgets that the guest is a vegetarian, and places a [meat] chop in front of her. What is she to do? Probably her initial feelings will be of disgust and repulsion. Vegetarians often develop these sorts of attitudes towards meat-based food, making it easier for them to be absolutists about shunning meat. Suppose, though, that the vegetarian overcomes her feelings of distaste, and decides to eat the chop, perhaps out of politeness to her host. Has she done something morally reprehensible? Because eating meat typically supports the practice of raising animals in factory farms where they are inhumanely treated and killed, eating meat is likely to contribute to animal suffering ( or to the other bad consequences of factory farming)...... However, by not eating meat, and especially by not eating meat when they are offered it in front of non-vegetarians, vegetarians send out a message to other people. By sticking to their ethical commitment, vegetarians signal that there is something wrong with being a carnivore, thus prompting other people to consider the morality of their habit of eating meat and perhaps even persuading them that consuming meat is wrong. In other words, the positive impact of being a vegetarian, in terms of reduction of animal suffering, might be amplified when vegetarianism is publicly defended and demonstrated in social contexts. And, conversely, making exceptions to vegetarianism might convey the message that eating meat is not so bad after all. If even vegetarians sometimes eat meat, then eating meat can't be so reprehensible from a moral perspective, can it? So reprehensible from a moral perspective, can it? So perhaps the guest who ate the [meat] chop was morally wrong for this reason: she sent out the wrong message to the people who were having dinner with her. But it isn't as simple as that. Avoiding meat in all circumstances, including in the circumstances in which the vegetarian guest found herself, is a strategy that can backfire. Plausibly, the 'right' message to be sent to non-vegetarians is one that increases the chances that as many of them as possible will give up meat or at least reduce their meat consumption. If people perceive vegetarianism as a position that allows for to exception, they are probably less likely to become vegetarian. A flexible moral position is more appealing than a rigid one that allows for no exceptions. It is more likely that people would be convinced to become flexible vegetarians - that is, that they abstain from eating meat with some exceptions - that to become rigid vegetarian, and being a flexible vegetarian is preferable, from a moral perspective, to being a carnivore. So the vegetarian guest's eating meat when offered has probably shown the host that it is possible to be a (flexible) vegetarian and, at the same time, occasionally enjoy some meat without feeling guilty. This has certainly made (flexible) vegetarianism look more accessible and more appealing than it would have been if the guest had refused to eat meat. At the end of paragraph 3, why does the author say that " the guest who ate the [meat] chop was morally wrong"?

A. Because the vegetarian guest violated her morality and ethics by consuming meat
B. Because the message that it sends out to nonvegetarians is that eating meet is not that morally reprehensible if vegetarians also consume it occasionally
C. Because the message that it sends out to vegetarians is that eating meat is not that morally reprehensible if vegetarians also consume it occasionally
D. Because the message that it sends out is that a flexible moral position is more appealing than a rigid one

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Read the passage given below and answer the questions: (From 130 to 140) It's a common enough scenario. A vegetarian has been invited to a friend's place for dinner. The host forgets that the guest is a vegetarian, and places a [meat] chop in front of her. What is she to do? Probably her initial feelings will be of disgust and repulsion. Vegetarians often develop these sorts of attitudes towards meat-based food, making it easier for them to be absolutists about shunning meat. Suppose, though, that the vegetarian overcomes her feelings of distaste, and decides to eat the chop, perhaps out of politeness to her host. Has she done something morally reprehensible? Because eating meat typically supports the practice of raising animals in factory farms where they are inhumanely treated and killed, eating meat is likely to contribute to animal suffering ( or to the other bad consequences of factory farming)...... However, by not eating meat, and especially by not eating meat when they are offered it in front of non-vegetarians, vegetarians send out a message to other people. By sticking to their ethical commitment, vegetarians signal that there is something wrong with being a carnivore, thus prompting other people to consider the morality of their habit of eating meat and perhaps even persuading them that consuming meat is wrong. In other words, the positive impact of being a vegetarian, in terms of reduction of animal suffering, might be amplified when vegetarianism is publicly defended and demonstrated in social contexts. And, conversely, making exceptions to vegetarianism might convey the message that eating meat is not so bad after all. If even vegetarians sometimes eat meat, then eating meat can't be so reprehensible from a moral perspective, can it? So reprehensible from a moral perspective, can it? So perhaps the guest who ate the [meat] chop was morally wrong for this reason: she sent out the wrong message to the people who were having dinner with her. But it isn't as simple as that. Avoiding meat in all circumstances, including in the circumstances in which the vegetarian guest found herself, is a strategy that can backfire. Plausibly, the 'right' message to be sent to non-vegetarians is one that increases the chances that as many of them as possible will give up meat or at least reduce their meat consumption. If people perceive vegetarianism as a position that allows for to exception, they are probably less likely to become vegetarian. A flexible moral position is more appealing than a rigid one that allows for no exceptions. It is more likely that people would be convinced to become flexible vegetarians - that is, that they abstain from eating meat with some exceptions - that to become rigid vegetarian, and being a flexible vegetarian is preferable, from a moral perspective, to being a carnivore. So the vegetarian guest's eating meat when offered has probably shown the host that it is possible to be a (flexible) vegetarian and, at the same time, occasionally enjoy some meat without feeling guilty. This has certainly made (flexible) vegetarianism look more accessible and more appealing than it would have been if the guest had refused to eat meat. In paragraph 2, the author says, " Because eating meat typically supports the practice of raising animals in factory farms where they are inhumanely treated and killed, eating meat is likely to contribute to animal suffering ( or to the other bad consequences of factory farming)." Which of the following words can replace the word 'inhumanely' in the sentence without altering the sentence's meaning?

A. humanely
B. mercilessly
C. compassionately
D. considerately

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Read the passage given below and answer the questions: (From 130 to 140) It's a common enough scenario. A vegetarian has been invited to a friend's place for dinner. The host forgets that the guest is a vegetarian, and places a [meat] chop in front of her. What is she to do? Probably her initial feelings will be of disgust and repulsion. Vegetarians often develop these sorts of attitudes towards meat-based food, making it easier for them to be absolutists about shunning meat. Suppose, though, that the vegetarian overcomes her feelings of distaste, and decides to eat the chop, perhaps out of politeness to her host. Has she done something morally reprehensible? Because eating meat typically supports the practice of raising animals in factory farms where they are inhumanely treated and killed, eating meat is likely to contribute to animal suffering ( or to the other bad consequences of factory farming)...... However, by not eating meat, and especially by not eating meat when they are offered it in front of non-vegetarians, vegetarians send out a message to other people. By sticking to their ethical commitment, vegetarians signal that there is something wrong with being a carnivore, thus prompting other people to consider the morality of their habit of eating meat and perhaps even persuading them that consuming meat is wrong. In other words, the positive impact of being a vegetarian, in terms of reduction of animal suffering, might be amplified when vegetarianism is publicly defended and demonstrated in social contexts. And, conversely, making exceptions to vegetarianism might convey the message that eating meat is not so bad after all. If even vegetarians sometimes eat meat, then eating meat can't be so reprehensible from a moral perspective, can it? So reprehensible from a moral perspective, can it? So perhaps the guest who ate the [meat] chop was morally wrong for this reason: she sent out the wrong message to the people who were having dinner with her. But it isn't as simple as that. Avoiding meat in all circumstances, including in the circumstances in which the vegetarian guest found herself, is a strategy that can backfire. Plausibly, the 'right' message to be sent to non-vegetarians is one that increases the chances that as many of them as possible will give up meat or at least reduce their meat consumption. If people perceive vegetarianism as a position that allows for to exception, they are probably less likely to become vegetarian. A flexible moral position is more appealing than a rigid one that allows for no exceptions. It is more likely that people would be convinced to become flexible vegetarians - that is, that they abstain from eating meat with some exceptions - that to become rigid vegetarian, and being a flexible vegetarian is preferable, from a moral perspective, to being a carnivore. So the vegetarian guest's eating meat when offered has probably shown the host that it is possible to be a (flexible) vegetarian and, at the same time, occasionally enjoy some meat without feeling guilty. This has certainly made (flexible) vegetarianism look more accessible and more appealing than it would have been if the guest had refused to eat meat. In paragraph 1, the author says, " Vegetarians often develop these sorts of attitudes towards meat-based food, making it easier for them to be absolutists about shunning meat." Upon replacing the word ' absolutists' with which of the following words would the meaning of the sentence alter?

A. inexorable
B. inflexible
C. pliable
D. intransigent

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Read the passage given below and answer the questions: (From 130 to 140) It's a common enough scenario. A vegetarian has been invited to a friend's place for dinner. The host forgets that the guest is a vegetarian, and places a [meat] chop in front of her. What is she to do? Probably her initial feelings will be of disgust and repulsion. Vegetarians often develop these sorts of attitudes towards meat-based food, making it easier for them to be absolutists about shunning meat. Suppose, though, that the vegetarian overcomes her feelings of distaste, and decides to eat the chop, perhaps out of politeness to her host. Has she done something morally reprehensible? Because eating meat typically supports the practice of raising animals in factory farms where they are inhumanely treated and killed, eating meat is likely to contribute to animal suffering ( or to the other bad consequences of factory farming)...... However, by not eating meat, and especially by not eating meat when they are offered it in front of non-vegetarians, vegetarians send out a message to other people. By sticking to their ethical commitment, vegetarians signal that there is something wrong with being a carnivore, thus prompting other people to consider the morality of their habit of eating meat and perhaps even persuading them that consuming meat is wrong. In other words, the positive impact of being a vegetarian, in terms of reduction of animal suffering, might be amplified when vegetarianism is publicly defended and demonstrated in social contexts. And, conversely, making exceptions to vegetarianism might convey the message that eating meat is not so bad after all. If even vegetarians sometimes eat meat, then eating meat can't be so reprehensible from a moral perspective, can it? So reprehensible from a moral perspective, can it? So perhaps the guest who ate the [meat] chop was morally wrong for this reason: she sent out the wrong message to the people who were having dinner with her. But it isn't as simple as that. Avoiding meat in all circumstances, including in the circumstances in which the vegetarian guest found herself, is a strategy that can backfire. Plausibly, the 'right' message to be sent to non-vegetarians is one that increases the chances that as many of them as possible will give up meat or at least reduce their meat consumption. If people perceive vegetarianism as a position that allows for to exception, they are probably less likely to become vegetarian. A flexible moral position is more appealing than a rigid one that allows for no exceptions. It is more likely that people would be convinced to become flexible vegetarians - that is, that they abstain from eating meat with some exceptions - that to become rigid vegetarian, and being a flexible vegetarian is preferable, from a moral perspective, to being a carnivore. So the vegetarian guest's eating meat when offered has probably shown the host that it is possible to be a (flexible) vegetarian and, at the same time, occasionally enjoy some meat without feeling guilty. This has certainly made (flexible) vegetarianism look more accessible and more appealing than it would have been if the guest had refused to eat meat. In paragraph 2, the author says, "Has she done something morally reprehensible?" Which of the following words can replace the word ' reprehensible' in the sentence without altering the sentence's meaning?

A. sterling
B. creditable
C. complacent
D. deplorable

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Read the passage given below and answer the questions: (From 130 to 140) It's a common enough scenario. A vegetarian has been invited to a friend's place for dinner. The host forgets that the guest is a vegetarian, and places a [meat] chop in front of her. What is she to do? Probably her initial feelings will be of disgust and repulsion. Vegetarians often develop these sorts of attitudes towards meat-based food, making it easier for them to be absolutists about shunning meat. Suppose, though, that the vegetarian overcomes her feelings of distaste, and decides to eat the chop, perhaps out of politeness to her host. Has she done something morally reprehensible? Because eating meat typically supports the practice of raising animals in factory farms where they are inhumanely treated and killed, eating meat is likely to contribute to animal suffering ( or to the other bad consequences of factory farming)...... However, by not eating meat, and especially by not eating meat when they are offered it in front of non-vegetarians, vegetarians send out a message to other people. By sticking to their ethical commitment, vegetarians signal that there is something wrong with being a carnivore, thus prompting other people to consider the morality of their habit of eating meat and perhaps even persuading them that consuming meat is wrong. In other words, the positive impact of being a vegetarian, in terms of reduction of animal suffering, might be amplified when vegetarianism is publicly defended and demonstrated in social contexts. And, conversely, making exceptions to vegetarianism might convey the message that eating meat is not so bad after all. If even vegetarians sometimes eat meat, then eating meat can't be so reprehensible from a moral perspective, can it? So reprehensible from a moral perspective, can it? So perhaps the guest who ate the [meat] chop was morally wrong for this reason: she sent out the wrong message to the people who were having dinner with her. But it isn't as simple as that. Avoiding meat in all circumstances, including in the circumstances in which the vegetarian guest found herself, is a strategy that can backfire. Plausibly, the 'right' message to be sent to non-vegetarians is one that increases the chances that as many of them as possible will give up meat or at least reduce their meat consumption. If people perceive vegetarianism as a position that allows for to exception, they are probably less likely to become vegetarian. A flexible moral position is more appealing than a rigid one that allows for no exceptions. It is more likely that people would be convinced to become flexible vegetarians - that is, that they abstain from eating meat with some exceptions - that to become rigid vegetarian, and being a flexible vegetarian is preferable, from a moral perspective, to being a carnivore. So the vegetarian guest's eating meat when offered has probably shown the host that it is possible to be a (flexible) vegetarian and, at the same time, occasionally enjoy some meat without feeling guilty. This has certainly made (flexible) vegetarianism look more accessible and more appealing than it would have been if the guest had refused to eat meat. Which of the following, if true, will make the author's main argument redundant?

A. All animals in all meat factory farms are treatd humanely.
B. Non-vegetarians will not reduce their meat consumption even if they witness vegetarians consume meat occasionally.
C. If vegetarians who occasionally consume meat did so in private, instead of in front of non-vegetarians.
D. If all religions of the world start advocating non-vegetarianism.

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Read the passage given below and answer the questions: (From 130 to 140) It's a common enough scenario. A vegetarian has been invited to a friend's place for dinner. The host forgets that the guest is a vegetarian, and places a [meat] chop in front of her. What is she to do? Probably her initial feelings will be of disgust and repulsion. Vegetarians often develop these sorts of attitudes towards meat-based food, making it easier for them to be absolutists about shunning meat. Suppose, though, that the vegetarian overcomes her feelings of distaste, and decides to eat the chop, perhaps out of politeness to her host. Has she done something morally reprehensible? Because eating meat typically supports the practice of raising animals in factory farms where they are inhumanely treated and killed, eating meat is likely to contribute to animal suffering ( or to the other bad consequences of factory farming)...... However, by not eating meat, and especially by not eating meat when they are offered it in front of non-vegetarians, vegetarians send out a message to other people. By sticking to their ethical commitment, vegetarians signal that there is something wrong with being a carnivore, thus prompting other people to consider the morality of their habit of eating meat and perhaps even persuading them that consuming meat is wrong. In other words, the positive impact of being a vegetarian, in terms of reduction of animal suffering, might be amplified when vegetarianism is publicly defended and demonstrated in social contexts. And, conversely, making exceptions to vegetarianism might convey the message that eating meat is not so bad after all. If even vegetarians sometimes eat meat, then eating meat can't be so reprehensible from a moral perspective, can it? So reprehensible from a moral perspective, can it? So perhaps the guest who ate the [meat] chop was morally wrong for this reason: she sent out the wrong message to the people who were having dinner with her. But it isn't as simple as that. Avoiding meat in all circumstances, including in the circumstances in which the vegetarian guest found herself, is a strategy that can backfire. Plausibly, the 'right' message to be sent to non-vegetarians is one that increases the chances that as many of them as possible will give up meat or at least reduce their meat consumption. If people perceive vegetarianism as a position that allows for to exception, they are probably less likely to become vegetarian. A flexible moral position is more appealing than a rigid one that allows for no exceptions. It is more likely that people would be convinced to become flexible vegetarians - that is, that they abstain from eating meat with some exceptions - that to become rigid vegetarian, and being a flexible vegetarian is preferable, from a moral perspective, to being a carnivore. So the vegetarian guest's eating meat when offered has probably shown the host that it is possible to be a (flexible) vegetarian and, at the same time, occasionally enjoy some meat without feeling guilty. This has certainly made (flexible) vegetarianism look more accessible and more appealing than it would have been if the guest had refused to eat meat. In the situation delineated in the passage, the vegetarian guest would have showcased the author's argument if she would have:

A. eaten the meat chop.
B. not eaten the meat chop.
C. explained to the host how consuming meat supports the cruel practice of raising animals in factory farms, and then eaten the meat chop.
D. explained to the host how consuming meat supports the cruel practice of raising animals in factory farms, and then refuse to eat the meat chop.

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Read the passage given below and answer the questions: (From 130 to 140) It's a common enough scenario. A vegetarian has been invited to a friend's place for dinner. The host forgets that the guest is a vegetarian, and places a [meat] chop in front of her. What is she to do? Probably her initial feelings will be of disgust and repulsion. Vegetarians often develop these sorts of attitudes towards meat-based food, making it easier for them to be absolutists about shunning meat. Suppose, though, that the vegetarian overcomes her feelings of distaste, and decides to eat the chop, perhaps out of politeness to her host. Has she done something morally reprehensible? Because eating meat typically supports the practice of raising animals in factory farms where they are inhumanely treated and killed, eating meat is likely to contribute to animal suffering ( or to the other bad consequences of factory farming)...... However, by not eating meat, and especially by not eating meat when they are offered it in front of non-vegetarians, vegetarians send out a message to other people. By sticking to their ethical commitment, vegetarians signal that there is something wrong with being a carnivore, thus prompting other people to consider the morality of their habit of eating meat and perhaps even persuading them that consuming meat is wrong. In other words, the positive impact of being a vegetarian, in terms of reduction of animal suffering, might be amplified when vegetarianism is publicly defended and demonstrated in social contexts. And, conversely, making exceptions to vegetarianism might convey the message that eating meat is not so bad after all. If even vegetarians sometimes eat meat, then eating meat can't be so reprehensible from a moral perspective, can it? So reprehensible from a moral perspective, can it? So perhaps the guest who ate the [meat] chop was morally wrong for this reason: she sent out the wrong message to the people who were having dinner with her. But it isn't as simple as that. Avoiding meat in all circumstances, including in the circumstances in which the vegetarian guest found herself, is a strategy that can backfire. Plausibly, the 'right' message to be sent to non-vegetarians is one that increases the chances that as many of them as possible will give up meat or at least reduce their meat consumption. If people perceive vegetarianism as a position that allows for to exception, they are probably less likely to become vegetarian. A flexible moral position is more appealing than a rigid one that allows for no exceptions. It is more likely that people would be convinced to become flexible vegetarians - that is, that they abstain from eating meat with some exceptions - that to become rigid vegetarian, and being a flexible vegetarian is preferable, from a moral perspective, to being a carnivore. So the vegetarian guest's eating meat when offered has probably shown the host that it is possible to be a (flexible) vegetarian and, at the same time, occasionally enjoy some meat without feeling guilty. This has certainly made (flexible) vegetarianism look more accessible and more appealing than it would have been if the guest had refused to eat meat. The author of the passage is likely to agree with all of the following EXCEPT:

A. A large number of non-vegetarian people reducing their meat consumption considerably is better than a few nonvegetarians absolutely giving up meat consumption.
B. The positive impact of absolute vegetarianism, under all circumstances, is less powerful than the impact of vegetarianism that occasionally gives in to nonvegetarianism.
C. Non-vegetarianism is morally deplorable because most of the meat that is consumed come from animal farms where animals are kept under harsh and cruel condition.
D. The positive impact of flexible vegetarianism is very little since making exceptions to vegetarianism might covey the message that eating meat is not so bad after all.

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Read the passage given below and answer the questions: (from 141 to 150) .... The kind of stewardship championed by David Brower, Paul Ehrlich, E.O. Wilson, Morris and Stewart Udall, Edmund Muskie and Richard Nixon reflected their awe at the grandeur, interconnectedness and unpredictability of the ecosystems and wild landscapes. That perspective was transformative. It ushered in the Clean Air Act, the Clean Water Act and the Endangered Species Act, name just a few successes. This suite of laws produced real results and is still working, protecting natural systems and the people who rely on them. After all we have the hopeful and heroic thinkers who gave us the Clean Air Act to thank for the 2015 Clean Power Plan, the only tool the United States has to enforce national climate change action. But from climate change denial to corporate malfeasance resistance to enforceable environmental protection is rampant. Seeking any conceivable path forward, many young leaders are exchanging their sympathy for the victims of environmental damage for the concerns of the regulated community. They turn away from enforceability - based approaches and promote more conservative techniques that they hope will impress and persuade reticent and cynical policymakers and power brokers. If this is environmentalism at all, it is "desperate environmentalism, " characterized not by awe, enthusiasm and enjoyment of nature but by appeasement. It relies on utilitarian efficiencies, costbenefit analyses, private sector indulgences and anthropocentric divvying of natural resources. It champions voluntary commitments, tweaks to corporate supply chains, protection not of the last great places on Earth but of those places that yield profit of services. From market-friendly cap-andtrade to profit-driven corporate social responsibility, desperate environmentalists angle for the least-bad of the worst options rather than the robust and enforceable safeguards that once defined the movement. At best, the desperate form of environmentalism is a greyhound chasing a rabbit lure futilely around the track. At worst it is the ratcheting of individually good policies into a sweeping, embedded ideology from which the movement cannot return. The environmentalists of old insisted on transformation not marginal gains. The Clean Water Act aimed to restore the integrity of all the nation's waters by eliminating water pollution. Now we quantify whether such improvement is economically efficient, and we politely ask whether an industrial facility might consider reducing its discharge. Perhaps, desperate environmentalists suggest, such a reduction would improve the bottom line by reducing some costs. Suddenly, economic efficiency moves from being one in a collection of cultural values that drive decisions to the only relevant value. And the ratchet turns in only one direction. Having conceded so much to conservative approaches, desperate environmentalists cannot advocate what is now a radical idea of the past: Government should force polluters to reduce pollution for the sake of healthy natural systems and human enjoyment. The problem is, desperate environmentalists strive for a mythical conservative embrace but cooperation from the right is unrealistic. As they move right in an attempt to meet their opponents, the opponents will not, at some undefined threshold of compromise, consent to new policies of protection. Rather, desperate environmentalists could continue to erode their position until environmentalism grows unrecognizable ....... In paragraph 3, the author says, "But from climate change denial to corporate malfeasance, resistance to enforceable environmental protection is rampant." Which of the following words can replace the word 'malfeasance' in the sentence without altering the sentence's meaning?

A. malefaction
B. benevolence
C. philanthropy
D. altruism

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Read the passage given below and answer the questions: (from 141 to 150) .... The kind of stewardship championed by David Brower, Paul Ehrlich, E.O. Wilson, Morris and Stewart Udall, Edmund Muskie and Richard Nixon reflected their awe at the grandeur, interconnectedness and unpredictability of the ecosystems and wild landscapes. That perspective was transformative. It ushered in the Clean Air Act, the Clean Water Act and the Endangered Species Act, name just a few successes. This suite of laws produced real results and is still working, protecting natural systems and the people who rely on them. After all we have the hopeful and heroic thinkers who gave us the Clean Air Act to thank for the 2015 Clean Power Plan, the only tool the United States has to enforce national climate change action. But from climate change denial to corporate malfeasance resistance to enforceable environmental protection is rampant. Seeking any conceivable path forward, many young leaders are exchanging their sympathy for the victims of environmental damage for the concerns of the regulated community. They turn away from enforceability - based approaches and promote more conservative techniques that they hope will impress and persuade reticent and cynical policymakers and power brokers. If this is environmentalism at all, it is "desperate environmentalism, " characterized not by awe, enthusiasm and enjoyment of nature but by appeasement. It relies on utilitarian efficiencies, costbenefit analyses, private sector indulgences and anthropocentric divvying of natural resources. It champions voluntary commitments, tweaks to corporate supply chains, protection not of the last great places on Earth but of those places that yield profit of services. From market-friendly cap-andtrade to profit-driven corporate social responsibility, desperate environmentalists angle for the least-bad of the worst options rather than the robust and enforceable safeguards that once defined the movement. At best, the desperate form of environmentalism is a greyhound chasing a rabbit lure futilely around the track. At worst it is the ratcheting of individually good policies into a sweeping, embedded ideology from which the movement cannot return. The environmentalists of old insisted on transformation not marginal gains. The Clean Water Act aimed to restore the integrity of all the nation's waters by eliminating water pollution. Now we quantify whether such improvement is economically efficient, and we politely ask whether an industrial facility might consider reducing its discharge. Perhaps, desperate environmentalists suggest, such a reduction would improve the bottom line by reducing some costs. Suddenly, economic efficiency moves from being one in a collection of cultural values that drive decisions to the only relevant value. And the ratchet turns in only one direction. Having conceded so much to conservative approaches, desperate environmentalists cannot advocate what is now a radical idea of the past: Government should force polluters to reduce pollution for the sake of healthy natural systems and human enjoyment. The problem is, desperate environmentalists strive for a mythical conservative embrace but cooperation from the right is unrealistic. As they move right in an attempt to meet their opponents, the opponents will not, at some undefined threshold of compromise, consent to new policies of protection. Rather, desperate environmentalists could continue to erode their position until environmentalism grows unrecognizable ....... In paragraph 3, the author says, " they turn away from enforceability- based approaches and promote more conservative techniques that they hope will impress and persuade reticent and cynical policymakers and power brokers." Upon replacing the word ' reticent' with which of the following words would the meaning of the sentence alter?

A. taciturn
B. loquacious
C. uncommunicative
D. reserved

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Read the passage given below and answer the questions: (from 141 to 150) .... The kind of stewardship championed by David Brower, Paul Ehrlich, E.O. Wilson, Morris and Stewart Udall, Edmund Muskie and Richard Nixon reflected their awe at the grandeur, interconnectedness and unpredictability of the ecosystems and wild landscapes. That perspective was transformative. It ushered in the Clean Air Act, the Clean Water Act and the Endangered Species Act, name just a few successes. This suite of laws produced real results and is still working, protecting natural systems and the people who rely on them. After all we have the hopeful and heroic thinkers who gave us the Clean Air Act to thank for the 2015 Clean Power Plan, the only tool the United States has to enforce national climate change action. But from climate change denial to corporate malfeasance resistance to enforceable environmental protection is rampant. Seeking any conceivable path forward, many young leaders are exchanging their sympathy for the victims of environmental damage for the concerns of the regulated community. They turn away from enforceability - based approaches and promote more conservative techniques that they hope will impress and persuade reticent and cynical policymakers and power brokers. If this is environmentalism at all, it is "desperate environmentalism, " characterized not by awe, enthusiasm and enjoyment of nature but by appeasement. It relies on utilitarian efficiencies, costbenefit analyses, private sector indulgences and anthropocentric divvying of natural resources. It champions voluntary commitments, tweaks to corporate supply chains, protection not of the last great places on Earth but of those places that yield profit of services. From market-friendly cap-andtrade to profit-driven corporate social responsibility, desperate environmentalists angle for the least-bad of the worst options rather than the robust and enforceable safeguards that once defined the movement. At best, the desperate form of environmentalism is a greyhound chasing a rabbit lure futilely around the track. At worst it is the ratcheting of individually good policies into a sweeping, embedded ideology from which the movement cannot return. The environmentalists of old insisted on transformation not marginal gains. The Clean Water Act aimed to restore the integrity of all the nation's waters by eliminating water pollution. Now we quantify whether such improvement is economically efficient, and we politely ask whether an industrial facility might consider reducing its discharge. Perhaps, desperate environmentalists suggest, such a reduction would improve the bottom line by reducing some costs. Suddenly, economic efficiency moves from being one in a collection of cultural values that drive decisions to the only relevant value. And the ratchet turns in only one direction. Having conceded so much to conservative approaches, desperate environmentalists cannot advocate what is now a radical idea of the past: Government should force polluters to reduce pollution for the sake of healthy natural systems and human enjoyment. The problem is, desperate environmentalists strive for a mythical conservative embrace but cooperation from the right is unrealistic. As they move right in an attempt to meet their opponents, the opponents will not, at some undefined threshold of compromise, consent to new policies of protection. Rather, desperate environmentalists could continue to erode their position until environmentalism grows unrecognizable ....... In the second last paragraph, the author says, " Having conceded so much to conservative approaches, desperate environmentalists cannot advocate what is now a radical idea of the past ....." Which of the following words can replace the word 'conceded' in the sentence without altering the sentence's meaning?

A. rebutted
B. disavowed
C. repudiated
D. agreed

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Read the passage given below and answer the questions: (from 141 to 150) .... The kind of stewardship championed by David Brower, Paul Ehrlich, E.O. Wilson, Morris and Stewart Udall, Edmund Muskie and Richard Nixon reflected their awe at the grandeur, interconnectedness and unpredictability of the ecosystems and wild landscapes. That perspective was transformative. It ushered in the Clean Air Act, the Clean Water Act and the Endangered Species Act, name just a few successes. This suite of laws produced real results and is still working, protecting natural systems and the people who rely on them. After all we have the hopeful and heroic thinkers who gave us the Clean Air Act to thank for the 2015 Clean Power Plan, the only tool the United States has to enforce national climate change action. But from climate change denial to corporate malfeasance resistance to enforceable environmental protection is rampant. Seeking any conceivable path forward, many young leaders are exchanging their sympathy for the victims of environmental damage for the concerns of the regulated community. They turn away from enforceability - based approaches and promote more conservative techniques that they hope will impress and persuade reticent and cynical policymakers and power brokers. If this is environmentalism at all, it is "desperate environmentalism, " characterized not by awe, enthusiasm and enjoyment of nature but by appeasement. It relies on utilitarian efficiencies, costbenefit analyses, private sector indulgences and anthropocentric divvying of natural resources. It champions voluntary commitments, tweaks to corporate supply chains, protection not of the last great places on Earth but of those places that yield profit of services. From market-friendly cap-andtrade to profit-driven corporate social responsibility, desperate environmentalists angle for the least-bad of the worst options rather than the robust and enforceable safeguards that once defined the movement. At best, the desperate form of environmentalism is a greyhound chasing a rabbit lure futilely around the track. At worst it is the ratcheting of individually good policies into a sweeping, embedded ideology from which the movement cannot return. The environmentalists of old insisted on transformation not marginal gains. The Clean Water Act aimed to restore the integrity of all the nation's waters by eliminating water pollution. Now we quantify whether such improvement is economically efficient, and we politely ask whether an industrial facility might consider reducing its discharge. Perhaps, desperate environmentalists suggest, such a reduction would improve the bottom line by reducing some costs. Suddenly, economic efficiency moves from being one in a collection of cultural values that drive decisions to the only relevant value. And the ratchet turns in only one direction. Having conceded so much to conservative approaches, desperate environmentalists cannot advocate what is now a radical idea of the past: Government should force polluters to reduce pollution for the sake of healthy natural systems and human enjoyment. The problem is, desperate environmentalists strive for a mythical conservative embrace but cooperation from the right is unrealistic. As they move right in an attempt to meet their opponents, the opponents will not, at some undefined threshold of compromise, consent to new policies of protection. Rather, desperate environmentalists could continue to erode their position until environmentalism grows unrecognizable ....... Which of the following best sums up the author's position on environmentalism?

A. The author critiques contemporary desperate environmentalists and their conservative approaches to environmentalism.
B. The author is supportive of contemporary desperate environmentalists and their conservative approaches to environmentalism.
C. The author supports old environmentalists but critiques their radical ideas of environmentalism.
D. The author critiques old environmentalists like David Brower, Paul Ehrlich, E. O. Wilson, Morris and Stewart Udall, Edmund Muskie and Richard Nixon.

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Read the passage given below and answer the questions: (from 141 to 150) .... The kind of stewardship championed by David Brower, Paul Ehrlich, E.O. Wilson, Morris and Stewart Udall, Edmund Muskie and Richard Nixon reflected their awe at the grandeur, interconnectedness and unpredictability of the ecosystems and wild landscapes. That perspective was transformative. It ushered in the Clean Air Act, the Clean Water Act and the Endangered Species Act, name just a few successes. This suite of laws produced real results and is still working, protecting natural systems and the people who rely on them. After all we have the hopeful and heroic thinkers who gave us the Clean Air Act to thank for the 2015 Clean Power Plan, the only tool the United States has to enforce national climate change action. But from climate change denial to corporate malfeasance resistance to enforceable environmental protection is rampant. Seeking any conceivable path forward, many young leaders are exchanging their sympathy for the victims of environmental damage for the concerns of the regulated community. They turn away from enforceability - based approaches and promote more conservative techniques that they hope will impress and persuade reticent and cynical policymakers and power brokers. If this is environmentalism at all, it is "desperate environmentalism, " characterized not by awe, enthusiasm and enjoyment of nature but by appeasement. It relies on utilitarian efficiencies, costbenefit analyses, private sector indulgences and anthropocentric divvying of natural resources. It champions voluntary commitments, tweaks to corporate supply chains, protection not of the last great places on Earth but of those places that yield profit of services. From market-friendly cap-andtrade to profit-driven corporate social responsibility, desperate environmentalists angle for the least-bad of the worst options rather than the robust and enforceable safeguards that once defined the movement. At best, the desperate form of environmentalism is a greyhound chasing a rabbit lure futilely around the track. At worst it is the ratcheting of individually good policies into a sweeping, embedded ideology from which the movement cannot return. The environmentalists of old insisted on transformation not marginal gains. The Clean Water Act aimed to restore the integrity of all the nation's waters by eliminating water pollution. Now we quantify whether such improvement is economically efficient, and we politely ask whether an industrial facility might consider reducing its discharge. Perhaps, desperate environmentalists suggest, such a reduction would improve the bottom line by reducing some costs. Suddenly, economic efficiency moves from being one in a collection of cultural values that drive decisions to the only relevant value. And the ratchet turns in only one direction. Having conceded so much to conservative approaches, desperate environmentalists cannot advocate what is now a radical idea of the past: Government should force polluters to reduce pollution for the sake of healthy natural systems and human enjoyment. The problem is, desperate environmentalists strive for a mythical conservative embrace but cooperation from the right is unrealistic. As they move right in an attempt to meet their opponents, the opponents will not, at some undefined threshold of compromise, consent to new policies of protection. Rather, desperate environmentalists could continue to erode their position until environmentalism grows unrecognizable ....... According to the author, the 2015 Clean Power Plan become possible because of:

A. the Endangered Species Act
B. the Clean Water Act
C. desperate environmentalism
D. the Clean Air Act

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Read the passage given below and answer the questions: (from 141 to 150) .... The kind of stewardship championed by David Brower, Paul Ehrlich, E.O. Wilson, Morris and Stewart Udall, Edmund Muskie and Richard Nixon reflected their awe at the grandeur, interconnectedness and unpredictability of the ecosystems and wild landscapes. That perspective was transformative. It ushered in the Clean Air Act, the Clean Water Act and the Endangered Species Act, name just a few successes. This suite of laws produced real results and is still working, protecting natural systems and the people who rely on them. After all we have the hopeful and heroic thinkers who gave us the Clean Air Act to thank for the 2015 Clean Power Plan, the only tool the United States has to enforce national climate change action. But from climate change denial to corporate malfeasance resistance to enforceable environmental protection is rampant. Seeking any conceivable path forward, many young leaders are exchanging their sympathy for the victims of environmental damage for the concerns of the regulated community. They turn away from enforceability - based approaches and promote more conservative techniques that they hope will impress and persuade reticent and cynical policymakers and power brokers. If this is environmentalism at all, it is "desperate environmentalism, " characterized not by awe, enthusiasm and enjoyment of nature but by appeasement. It relies on utilitarian efficiencies, costbenefit analyses, private sector indulgences and anthropocentric divvying of natural resources. It champions voluntary commitments, tweaks to corporate supply chains, protection not of the last great places on Earth but of those places that yield profit of services. From market-friendly cap-andtrade to profit-driven corporate social responsibility, desperate environmentalists angle for the least-bad of the worst options rather than the robust and enforceable safeguards that once defined the movement. At best, the desperate form of environmentalism is a greyhound chasing a rabbit lure futilely around the track. At worst it is the ratcheting of individually good policies into a sweeping, embedded ideology from which the movement cannot return. The environmentalists of old insisted on transformation not marginal gains. The Clean Water Act aimed to restore the integrity of all the nation's waters by eliminating water pollution. Now we quantify whether such improvement is economically efficient, and we politely ask whether an industrial facility might consider reducing its discharge. Perhaps, desperate environmentalists suggest, such a reduction would improve the bottom line by reducing some costs. Suddenly, economic efficiency moves from being one in a collection of cultural values that drive decisions to the only relevant value. And the ratchet turns in only one direction. Having conceded so much to conservative approaches, desperate environmentalists cannot advocate what is now a radical idea of the past: Government should force polluters to reduce pollution for the sake of healthy natural systems and human enjoyment. The problem is, desperate environmentalists strive for a mythical conservative embrace but cooperation from the right is unrealistic. As they move right in an attempt to meet their opponents, the opponents will not, at some undefined threshold of compromise, consent to new policies of protection. Rather, desperate environmentalists could continue to erode their position until environmentalism grows unrecognizable ....... According to the passage, which of the following is NOT a feature of desperate environmentalism?

A. A mythical conservative embrace.
B. Cost-benefit analyses.
C. Belief in the interconnectedness and unpredictability of the ecosystems and wild landscapes.
D. Economic efficiency as the sole factor to be considered decision-making.

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Read the passage given below and answer the questions: (from 141 to 150) .... The kind of stewardship championed by David Brower, Paul Ehrlich, E.O. Wilson, Morris and Stewart Udall, Edmund Muskie and Richard Nixon reflected their awe at the grandeur, interconnectedness and unpredictability of the ecosystems and wild landscapes. That perspective was transformative. It ushered in the Clean Air Act, the Clean Water Act and the Endangered Species Act, name just a few successes. This suite of laws produced real results and is still working, protecting natural systems and the people who rely on them. After all we have the hopeful and heroic thinkers who gave us the Clean Air Act to thank for the 2015 Clean Power Plan, the only tool the United States has to enforce national climate change action. But from climate change denial to corporate malfeasance resistance to enforceable environmental protection is rampant. Seeking any conceivable path forward, many young leaders are exchanging their sympathy for the victims of environmental damage for the concerns of the regulated community. They turn away from enforceability - based approaches and promote more conservative techniques that they hope will impress and persuade reticent and cynical policymakers and power brokers. If this is environmentalism at all, it is "desperate environmentalism, " characterized not by awe, enthusiasm and enjoyment of nature but by appeasement. It relies on utilitarian efficiencies, costbenefit analyses, private sector indulgences and anthropocentric divvying of natural resources. It champions voluntary commitments, tweaks to corporate supply chains, protection not of the last great places on Earth but of those places that yield profit of services. From market-friendly cap-andtrade to profit-driven corporate social responsibility, desperate environmentalists angle for the least-bad of the worst options rather than the robust and enforceable safeguards that once defined the movement. At best, the desperate form of environmentalism is a greyhound chasing a rabbit lure futilely around the track. At worst it is the ratcheting of individually good policies into a sweeping, embedded ideology from which the movement cannot return. The environmentalists of old insisted on transformation not marginal gains. The Clean Water Act aimed to restore the integrity of all the nation's waters by eliminating water pollution. Now we quantify whether such improvement is economically efficient, and we politely ask whether an industrial facility might consider reducing its discharge. Perhaps, desperate environmentalists suggest, such a reduction would improve the bottom line by reducing some costs. Suddenly, economic efficiency moves from being one in a collection of cultural values that drive decisions to the only relevant value. And the ratchet turns in only one direction. Having conceded so much to conservative approaches, desperate environmentalists cannot advocate what is now a radical idea of the past: Government should force polluters to reduce pollution for the sake of healthy natural systems and human enjoyment. The problem is, desperate environmentalists strive for a mythical conservative embrace but cooperation from the right is unrealistic. As they move right in an attempt to meet their opponents, the opponents will not, at some undefined threshold of compromise, consent to new policies of protection. Rather, desperate environmentalists could continue to erode their position until environmentalism grows unrecognizable ....... According to the passage, which of the following is NOT true about "many young leaders"?

A. They are concerned less about the victims of environmental damage and more about the regulated community.
B. If they are made aware of the seriousness of environmental issues, they may come up with radical and transformative policies like those of the old environmentalists.
C. They are concerned less about environment and more about pleasing policymakers.
D. They are inclined more towards conservative techniques.

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Read the passage given below and answer the questions: (from 141 to 150) .... The kind of stewardship championed by David Brower, Paul Ehrlich, E.O. Wilson, Morris and Stewart Udall, Edmund Muskie and Richard Nixon reflected their awe at the grandeur, interconnectedness and unpredictability of the ecosystems and wild landscapes. That perspective was transformative. It ushered in the Clean Air Act, the Clean Water Act and the Endangered Species Act, name just a few successes. This suite of laws produced real results and is still working, protecting natural systems and the people who rely on them. After all we have the hopeful and heroic thinkers who gave us the Clean Air Act to thank for the 2015 Clean Power Plan, the only tool the United States has to enforce national climate change action. But from climate change denial to corporate malfeasance resistance to enforceable environmental protection is rampant. Seeking any conceivable path forward, many young leaders are exchanging their sympathy for the victims of environmental damage for the concerns of the regulated community. They turn away from enforceability - based approaches and promote more conservative techniques that they hope will impress and persuade reticent and cynical policymakers and power brokers. If this is environmentalism at all, it is "desperate environmentalism, " characterized not by awe, enthusiasm and enjoyment of nature but by appeasement. It relies on utilitarian efficiencies, costbenefit analyses, private sector indulgences and anthropocentric divvying of natural resources. It champions voluntary commitments, tweaks to corporate supply chains, protection not of the last great places on Earth but of those places that yield profit of services. From market-friendly cap-andtrade to profit-driven corporate social responsibility, desperate environmentalists angle for the least-bad of the worst options rather than the robust and enforceable safeguards that once defined the movement. At best, the desperate form of environmentalism is a greyhound chasing a rabbit lure futilely around the track. At worst it is the ratcheting of individually good policies into a sweeping, embedded ideology from which the movement cannot return. The environmentalists of old insisted on transformation not marginal gains. The Clean Water Act aimed to restore the integrity of all the nation's waters by eliminating water pollution. Now we quantify whether such improvement is economically efficient, and we politely ask whether an industrial facility might consider reducing its discharge. Perhaps, desperate environmentalists suggest, such a reduction would improve the bottom line by reducing some costs. Suddenly, economic efficiency moves from being one in a collection of cultural values that drive decisions to the only relevant value. And the ratchet turns in only one direction. Having conceded so much to conservative approaches, desperate environmentalists cannot advocate what is now a radical idea of the past: Government should force polluters to reduce pollution for the sake of healthy natural systems and human enjoyment. The problem is, desperate environmentalists strive for a mythical conservative embrace but cooperation from the right is unrealistic. As they move right in an attempt to meet their opponents, the opponents will not, at some undefined threshold of compromise, consent to new policies of protection. Rather, desperate environmentalists could continue to erode their position until environmentalism grows unrecognizable ....... Why does the author say that "desperate environmentalists could continue to erode their position until environmentalism grows unrecognizable?

A. Because environmentalism divorced from economic considerations and profit-driven corporate social responsibilities is not true environmentalism but is a greyhound chasing a rabbit lure futilely around the track.
B. Because as desperate environmentalists give in increasingly to conservative approaches to accommodate economic efficiency and marginal gains, they are increasingly moving towards a position that might make environmentalism impossible.
C. Because radicals and transformative positions of old environmentalists have become redundant and obsolete in the present scenario.
D. Because economic efficiency has transformation from being one in a collection of various cultural values that drove decision -making to being the only relevant value.

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Read the passage given below and answer the questions: (from 141 to 150) .... The kind of stewardship championed by David Brower, Paul Ehrlich, E.O. Wilson, Morris and Stewart Udall, Edmund Muskie and Richard Nixon reflected their awe at the grandeur, interconnectedness and unpredictability of the ecosystems and wild landscapes. That perspective was transformative. It ushered in the Clean Air Act, the Clean Water Act and the Endangered Species Act, name just a few successes. This suite of laws produced real results and is still working, protecting natural systems and the people who rely on them. After all we have the hopeful and heroic thinkers who gave us the Clean Air Act to thank for the 2015 Clean Power Plan, the only tool the United States has to enforce national climate change action. But from climate change denial to corporate malfeasance resistance to enforceable environmental protection is rampant. Seeking any conceivable path forward, many young leaders are exchanging their sympathy for the victims of environmental damage for the concerns of the regulated community. They turn away from enforceability - based approaches and promote more conservative techniques that they hope will impress and persuade reticent and cynical policymakers and power brokers. If this is environmentalism at all, it is "desperate environmentalism, " characterized not by awe, enthusiasm and enjoyment of nature but by appeasement. It relies on utilitarian efficiencies, costbenefit analyses, private sector indulgences and anthropocentric divvying of natural resources. It champions voluntary commitments, tweaks to corporate supply chains, protection not of the last great places on Earth but of those places that yield profit of services. From market-friendly cap-andtrade to profit-driven corporate social responsibility, desperate environmentalists angle for the least-bad of the worst options rather than the robust and enforceable safeguards that once defined the movement. At best, the desperate form of environmentalism is a greyhound chasing a rabbit lure futilely around the track. At worst it is the ratcheting of individually good policies into a sweeping, embedded ideology from which the movement cannot return. The environmentalists of old insisted on transformation not marginal gains. The Clean Water Act aimed to restore the integrity of all the nation's waters by eliminating water pollution. Now we quantify whether such improvement is economically efficient, and we politely ask whether an industrial facility might consider reducing its discharge. Perhaps, desperate environmentalists suggest, such a reduction would improve the bottom line by reducing some costs. Suddenly, economic efficiency moves from being one in a collection of cultural values that drive decisions to the only relevant value. And the ratchet turns in only one direction. Having conceded so much to conservative approaches, desperate environmentalists cannot advocate what is now a radical idea of the past: Government should force polluters to reduce pollution for the sake of healthy natural systems and human enjoyment. The problem is, desperate environmentalists strive for a mythical conservative embrace but cooperation from the right is unrealistic. As they move right in an attempt to meet their opponents, the opponents will not, at some undefined threshold of compromise, consent to new policies of protection. Rather, desperate environmentalists could continue to erode their position until environmentalism grows unrecognizable ....... Why does the author compare desperate environmentalism to " a greyhound chasing a rabbit lure futilely around the track"?

A. Because the environmental is ratcheting into a sweeping, embedded ideology from which the movement cannot return.
B. Because the Government should force polluters to reduce pollution for the sake of healthy natural systems and human enjoyment.
C. Because the economic considerations that desperate environmentalism continues to give in is gradually reducing the efficacy of old and radical environmental policies, and taking them to a point of no return.
D. Because both greyhounds and rabbits become endangered species owing to environmental degradation.

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Read the passage given below and answer the questions: (from 141 to 150) .... The kind of stewardship championed by David Brower, Paul Ehrlich, E.O. Wilson, Morris and Stewart Udall, Edmund Muskie and Richard Nixon reflected their awe at the grandeur, interconnectedness and unpredictability of the ecosystems and wild landscapes. That perspective was transformative. It ushered in the Clean Air Act, the Clean Water Act and the Endangered Species Act, name just a few successes. This suite of laws produced real results and is still working, protecting natural systems and the people who rely on them. After all we have the hopeful and heroic thinkers who gave us the Clean Air Act to thank for the 2015 Clean Power Plan, the only tool the United States has to enforce national climate change action. But from climate change denial to corporate malfeasance resistance to enforceable environmental protection is rampant. Seeking any conceivable path forward, many young leaders are exchanging their sympathy for the victims of environmental damage for the concerns of the regulated community. They turn away from enforceability - based approaches and promote more conservative techniques that they hope will impress and persuade reticent and cynical policymakers and power brokers. If this is environmentalism at all, it is "desperate environmentalism, " characterized not by awe, enthusiasm and enjoyment of nature but by appeasement. It relies on utilitarian efficiencies, costbenefit analyses, private sector indulgences and anthropocentric divvying of natural resources. It champions voluntary commitments, tweaks to corporate supply chains, protection not of the last great places on Earth but of those places that yield profit of services. From market-friendly cap-andtrade to profit-driven corporate social responsibility, desperate environmentalists angle for the least-bad of the worst options rather than the robust and enforceable safeguards that once defined the movement. At best, the desperate form of environmentalism is a greyhound chasing a rabbit lure futilely around the track. At worst it is the ratcheting of individually good policies into a sweeping, embedded ideology from which the movement cannot return. The environmentalists of old insisted on transformation not marginal gains. The Clean Water Act aimed to restore the integrity of all the nation's waters by eliminating water pollution. Now we quantify whether such improvement is economically efficient, and we politely ask whether an industrial facility might consider reducing its discharge. Perhaps, desperate environmentalists suggest, such a reduction would improve the bottom line by reducing some costs. Suddenly, economic efficiency moves from being one in a collection of cultural values that drive decisions to the only relevant value. And the ratchet turns in only one direction. Having conceded so much to conservative approaches, desperate environmentalists cannot advocate what is now a radical idea of the past: Government should force polluters to reduce pollution for the sake of healthy natural systems and human enjoyment. The problem is, desperate environmentalists strive for a mythical conservative embrace but cooperation from the right is unrealistic. As they move right in an attempt to meet their opponents, the opponents will not, at some undefined threshold of compromise, consent to new policies of protection. Rather, desperate environmentalists could continue to erode their position until environmentalism grows unrecognizable ....... What is the primary purpose of the evidence --- " The Clean Water Act aimed to restore the integrity of all the nation's waters by eliminating water pollution. Now we quantify Whether such improvement is economically efficient, and we politely ask whether an industrial facility might consider reducing its discharge." _____ in the passage?

A. To showcase how desperate environmentalism entails ratcheting of old and good policies into a sweeping, embedded ideology which would eventually consume it.
B. To showcase the importance of improving the bottom line by reducing some costs, as desperate environmentalists have been doing.
C. To showcase the increasingly altruistic nature of industrial facilities.
D. To showcase that no matter what, environmentalists will always force the Government to reduce pollution for the sake of healthy natural systems and human enjoyment.

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Read the passage given below and answer teh questions: (From 151 to 160) ... Upon more closely examining the place, I surmised that for an indefinite period Bartleby must have ate, dressed, and slept in my office, and that too without plate, mirror, or bed. The cushioned seat of a rickety old sofa in one corner bore the faint impress of a lean, reclining form. Rolled away under his desk, I found a blanket; under the empty grate, a blacking box and brush; on a chair, a tin basin, with soap and a ragged towel; in a newspaper a few crumbs of ginger-nuts and a morsel of cheese. Yes, thought I, it is evident enough that Bartleby has been making his home here, keeping bachelor's hall all by himself. Immediately then the thought came sweeping across me, what miserable friendlessness and loneliness are here revealed! His poverty is great; but his solitude, how horrible!.. For the first time in my life, a feeling of overpowering stinging melancholy seized me. Before, I had never experienced aught but a not-unpleasing sadness. The bond of a common humanity now drew me irresistibly to gloom. A fraternal melancholy! For both I and Bartleby were sons of Adam. I remembered the bright silks and sparkling faces I had seen that day, in gala trim, swan-like sailing down the Mississippi of Broadway; and I contrasted them with the pallid copyist, and thought to myself, Ah, happiness courts the light, so we deem the world is gay; but misery hides aloof, so we deem that misery there is none. These sad fancyings––chimeras, doubtless, of a sick and silly brain–––led on to other and more special thoughts, concerning the eccentricities of Bartleby ...... Revolving all these things, and coupling them with the recently discovered fact that he made my office his constant abiding place and home, and not forgetful of his morbid moodiness; revolving all these things, a prudential feeling began to steal over me. My first emotions had been those of pure melancholy and sincerest pity; but just in proportion as the forlornness of Bartleby grew and grew to my imagination, did that same melancholy merge into fear, that pity into repulsion. So true it is, and so melancholy merge into fear, that pity into repulsion. So true it is, and so terrible too, that up to a certain point the thought or sight of misery enlists our best affections; but, in certain special cases, beyond that point it does not. They err who would assert that invariably this is owing to the inherent selfishness of the human heart. It rather proceeds from a certain hopelessness of remedying excessive and organic ill. To a sensitive being, pity is not seldom pain. succor, common sense bids the soul rid it. What I saw that morning persuaded me that the scrivener was the victim of innate and incurable disorder. I might give alms to his body; but his body did not pain him; it was his soul that suffered, and his soul I could not reach . ... Which of the following best represents the narrator of the passage?

A. Unnamed first person narrator
B. Omniscient narrator
C. Bartleby
D. Second person narrator

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Read the passage given below and answer teh questions: (From 151 to 160) ... Upon more closely examining the place, I surmised that for an indefinite period Bartleby must have ate, dressed, and slept in my office, and that too without plate, mirror, or bed. The cushioned seat of a rickety old sofa in one corner bore the faint impress of a lean, reclining form. Rolled away under his desk, I found a blanket; under the empty grate, a blacking box and brush; on a chair, a tin basin, with soap and a ragged towel; in a newspaper a few crumbs of ginger-nuts and a morsel of cheese. Yes, thought I, it is evident enough that Bartleby has been making his home here, keeping bachelor's hall all by himself. Immediately then the thought came sweeping across me, what miserable friendlessness and loneliness are here revealed! His poverty is great; but his solitude, how horrible!.. For the first time in my life, a feeling of overpowering stinging melancholy seized me. Before, I had never experienced aught but a not-unpleasing sadness. The bond of a common humanity now drew me irresistibly to gloom. A fraternal melancholy! For both I and Bartleby were sons of Adam. I remembered the bright silks and sparkling faces I had seen that day, in gala trim, swan-like sailing down the Mississippi of Broadway; and I contrasted them with the pallid copyist, and thought to myself, Ah, happiness courts the light, so we deem the world is gay; but misery hides aloof, so we deem that misery there is none. These sad fancyings––chimeras, doubtless, of a sick and silly brain–––led on to other and more special thoughts, concerning the eccentricities of Bartleby ...... Revolving all these things, and coupling them with the recently discovered fact that he made my office his constant abiding place and home, and not forgetful of his morbid moodiness; revolving all these things, a prudential feeling began to steal over me. My first emotions had been those of pure melancholy and sincerest pity; but just in proportion as the forlornness of Bartleby grew and grew to my imagination, did that same melancholy merge into fear, that pity into repulsion. So true it is, and so melancholy merge into fear, that pity into repulsion. So true it is, and so terrible too, that up to a certain point the thought or sight of misery enlists our best affections; but, in certain special cases, beyond that point it does not. They err who would assert that invariably this is owing to the inherent selfishness of the human heart. It rather proceeds from a certain hopelessness of remedying excessive and organic ill. To a sensitive being, pity is not seldom pain. succor, common sense bids the soul rid it. What I saw that morning persuaded me that the scrivener was the victim of innate and incurable disorder. I might give alms to his body; but his body did not pain him; it was his soul that suffered, and his soul I could not reach . ... In paragraph one, the phrase " the faint impress of a lean, reclining form" serves as an evidence for which of the following?

A. Bartleby's meagre salary.
B. Bartleby's bad health and extreme poverty.
C. The sofa in the office was old and needed to be replaced urgently.
D. Bartleby has been sleeping on the sofa in the narrator's office.

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Read the passage given below and answer teh questions: (From 151 to 160) ... Upon more closely examining the place, I surmised that for an indefinite period Bartleby must have ate, dressed, and slept in my office, and that too without plate, mirror, or bed. The cushioned seat of a rickety old sofa in one corner bore the faint impress of a lean, reclining form. Rolled away under his desk, I found a blanket; under the empty grate, a blacking box and brush; on a chair, a tin basin, with soap and a ragged towel; in a newspaper a few crumbs of ginger-nuts and a morsel of cheese. Yes, thought I, it is evident enough that Bartleby has been making his home here, keeping bachelor's hall all by himself. Immediately then the thought came sweeping across me, what miserable friendlessness and loneliness are here revealed! His poverty is great; but his solitude, how horrible!.. For the first time in my life, a feeling of overpowering stinging melancholy seized me. Before, I had never experienced aught but a not-unpleasing sadness. The bond of a common humanity now drew me irresistibly to gloom. A fraternal melancholy! For both I and Bartleby were sons of Adam. I remembered the bright silks and sparkling faces I had seen that day, in gala trim, swan-like sailing down the Mississippi of Broadway; and I contrasted them with the pallid copyist, and thought to myself, Ah, happiness courts the light, so we deem the world is gay; but misery hides aloof, so we deem that misery there is none. These sad fancyings––chimeras, doubtless, of a sick and silly brain–––led on to other and more special thoughts, concerning the eccentricities of Bartleby ...... Revolving all these things, and coupling them with the recently discovered fact that he made my office his constant abiding place and home, and not forgetful of his morbid moodiness; revolving all these things, a prudential feeling began to steal over me. My first emotions had been those of pure melancholy and sincerest pity; but just in proportion as the forlornness of Bartleby grew and grew to my imagination, did that same melancholy merge into fear, that pity into repulsion. So true it is, and so melancholy merge into fear, that pity into repulsion. So true it is, and so terrible too, that up to a certain point the thought or sight of misery enlists our best affections; but, in certain special cases, beyond that point it does not. They err who would assert that invariably this is owing to the inherent selfishness of the human heart. It rather proceeds from a certain hopelessness of remedying excessive and organic ill. To a sensitive being, pity is not seldom pain. succor, common sense bids the soul rid it. What I saw that morning persuaded me that the scrivener was the victim of innate and incurable disorder. I might give alms to his body; but his body did not pain him; it was his soul that suffered, and his soul I could not reach . ... Which of the following aspects of Bartleby most upsets the narrator?

A. His poverty
B. His forlornness
C. His bad health
D. His gregariousness

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Read the passage given below and answer teh questions: (From 151 to 160) ... Upon more closely examining the place, I surmised that for an indefinite period Bartleby must have ate, dressed, and slept in my office, and that too without plate, mirror, or bed. The cushioned seat of a rickety old sofa in one corner bore the faint impress of a lean, reclining form. Rolled away under his desk, I found a blanket; under the empty grate, a blacking box and brush; on a chair, a tin basin, with soap and a ragged towel; in a newspaper a few crumbs of ginger-nuts and a morsel of cheese. Yes, thought I, it is evident enough that Bartleby has been making his home here, keeping bachelor's hall all by himself. Immediately then the thought came sweeping across me, what miserable friendlessness and loneliness are here revealed! His poverty is great; but his solitude, how horrible!.. For the first time in my life, a feeling of overpowering stinging melancholy seized me. Before, I had never experienced aught but a not-unpleasing sadness. The bond of a common humanity now drew me irresistibly to gloom. A fraternal melancholy! For both I and Bartleby were sons of Adam. I remembered the bright silks and sparkling faces I had seen that day, in gala trim, swan-like sailing down the Mississippi of Broadway; and I contrasted them with the pallid copyist, and thought to myself, Ah, happiness courts the light, so we deem the world is gay; but misery hides aloof, so we deem that misery there is none. These sad fancyings––chimeras, doubtless, of a sick and silly brain–––led on to other and more special thoughts, concerning the eccentricities of Bartleby ...... Revolving all these things, and coupling them with the recently discovered fact that he made my office his constant abiding place and home, and not forgetful of his morbid moodiness; revolving all these things, a prudential feeling began to steal over me. My first emotions had been those of pure melancholy and sincerest pity; but just in proportion as the forlornness of Bartleby grew and grew to my imagination, did that same melancholy merge into fear, that pity into repulsion. So true it is, and so melancholy merge into fear, that pity into repulsion. So true it is, and so terrible too, that up to a certain point the thought or sight of misery enlists our best affections; but, in certain special cases, beyond that point it does not. They err who would assert that invariably this is owing to the inherent selfishness of the human heart. It rather proceeds from a certain hopelessness of remedying excessive and organic ill. To a sensitive being, pity is not seldom pain. succor, common sense bids the soul rid it. What I saw that morning persuaded me that the scrivener was the victim of innate and incurable disorder. I might give alms to his body; but his body did not pain him; it was his soul that suffered, and his soul I could not reach . ... In paragraph 2, the narrator says, " Before, I had never experienced aught but a notunpleasing sadness." Which of the following best explains the meaning of this sentence in the context?

A. Before meeting Bartleby, the narrator had only experienced sadness that was pleasing.
B. Before meeting Bartley, the narrator had only experienced sadness that was unpleasing.
C. Before meeting Bartleby, the narrator was indifferent to pleasure and sadness.
D. Before meeting Bartleby, the narrator had never experienced any emotion.

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Read the passage given below and answer teh questions: (From 151 to 160) ... Upon more closely examining the place, I surmised that for an indefinite period Bartleby must have ate, dressed, and slept in my office, and that too without plate, mirror, or bed. The cushioned seat of a rickety old sofa in one corner bore the faint impress of a lean, reclining form. Rolled away under his desk, I found a blanket; under the empty grate, a blacking box and brush; on a chair, a tin basin, with soap and a ragged towel; in a newspaper a few crumbs of ginger-nuts and a morsel of cheese. Yes, thought I, it is evident enough that Bartleby has been making his home here, keeping bachelor's hall all by himself. Immediately then the thought came sweeping across me, what miserable friendlessness and loneliness are here revealed! His poverty is great; but his solitude, how horrible!.. For the first time in my life, a feeling of overpowering stinging melancholy seized me. Before, I had never experienced aught but a not-unpleasing sadness. The bond of a common humanity now drew me irresistibly to gloom. A fraternal melancholy! For both I and Bartleby were sons of Adam. I remembered the bright silks and sparkling faces I had seen that day, in gala trim, swan-like sailing down the Mississippi of Broadway; and I contrasted them with the pallid copyist, and thought to myself, Ah, happiness courts the light, so we deem the world is gay; but misery hides aloof, so we deem that misery there is none. These sad fancyings––chimeras, doubtless, of a sick and silly brain–––led on to other and more special thoughts, concerning the eccentricities of Bartleby ...... Revolving all these things, and coupling them with the recently discovered fact that he made my office his constant abiding place and home, and not forgetful of his morbid moodiness; revolving all these things, a prudential feeling began to steal over me. My first emotions had been those of pure melancholy and sincerest pity; but just in proportion as the forlornness of Bartleby grew and grew to my imagination, did that same melancholy merge into fear, that pity into repulsion. So true it is, and so melancholy merge into fear, that pity into repulsion. So true it is, and so terrible too, that up to a certain point the thought or sight of misery enlists our best affections; but, in certain special cases, beyond that point it does not. They err who would assert that invariably this is owing to the inherent selfishness of the human heart. It rather proceeds from a certain hopelessness of remedying excessive and organic ill. To a sensitive being, pity is not seldom pain. succor, common sense bids the soul rid it. What I saw that morning persuaded me that the scrivener was the victim of innate and incurable disorder. I might give alms to his body; but his body did not pain him; it was his soul that suffered, and his soul I could not reach . ... Choose the phrase that is dissimilar in meaning to the other three.

A. Bond of a common humanity
B. A fraternal melancholy
C. Sons of Adam
D. Swan-like sailing down the Mississippi of Broadway

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Read the passage given below and answer teh questions: (From 151 to 160) ... Upon more closely examining the place, I surmised that for an indefinite period Bartleby must have ate, dressed, and slept in my office, and that too without plate, mirror, or bed. The cushioned seat of a rickety old sofa in one corner bore the faint impress of a lean, reclining form. Rolled away under his desk, I found a blanket; under the empty grate, a blacking box and brush; on a chair, a tin basin, with soap and a ragged towel; in a newspaper a few crumbs of ginger-nuts and a morsel of cheese. Yes, thought I, it is evident enough that Bartleby has been making his home here, keeping bachelor's hall all by himself. Immediately then the thought came sweeping across me, what miserable friendlessness and loneliness are here revealed! His poverty is great; but his solitude, how horrible!.. For the first time in my life, a feeling of overpowering stinging melancholy seized me. Before, I had never experienced aught but a not-unpleasing sadness. The bond of a common humanity now drew me irresistibly to gloom. A fraternal melancholy! For both I and Bartleby were sons of Adam. I remembered the bright silks and sparkling faces I had seen that day, in gala trim, swan-like sailing down the Mississippi of Broadway; and I contrasted them with the pallid copyist, and thought to myself, Ah, happiness courts the light, so we deem the world is gay; but misery hides aloof, so we deem that misery there is none. These sad fancyings––chimeras, doubtless, of a sick and silly brain–––led on to other and more special thoughts, concerning the eccentricities of Bartleby ...... Revolving all these things, and coupling them with the recently discovered fact that he made my office his constant abiding place and home, and not forgetful of his morbid moodiness; revolving all these things, a prudential feeling began to steal over me. My first emotions had been those of pure melancholy and sincerest pity; but just in proportion as the forlornness of Bartleby grew and grew to my imagination, did that same melancholy merge into fear, that pity into repulsion. So true it is, and so melancholy merge into fear, that pity into repulsion. So true it is, and so terrible too, that up to a certain point the thought or sight of misery enlists our best affections; but, in certain special cases, beyond that point it does not. They err who would assert that invariably this is owing to the inherent selfishness of the human heart. It rather proceeds from a certain hopelessness of remedying excessive and organic ill. To a sensitive being, pity is not seldom pain. succor, common sense bids the soul rid it. What I saw that morning persuaded me that the scrivener was the victim of innate and incurable disorder. I might give alms to his body; but his body did not pain him; it was his soul that suffered, and his soul I could not reach . ... _ and __ were the emotions experienced initially by the narrator because of his encounters with Bartleby.

A. helplessness, misery
B. fear, repulsion
C. compassion, melancholy
D. kindness, charity

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Read the passage given below and answer teh questions: (From 151 to 160) ... Upon more closely examining the place, I surmised that for an indefinite period Bartleby must have ate, dressed, and slept in my office, and that too without plate, mirror, or bed. The cushioned seat of a rickety old sofa in one corner bore the faint impress of a lean, reclining form. Rolled away under his desk, I found a blanket; under the empty grate, a blacking box and brush; on a chair, a tin basin, with soap and a ragged towel; in a newspaper a few crumbs of ginger-nuts and a morsel of cheese. Yes, thought I, it is evident enough that Bartleby has been making his home here, keeping bachelor's hall all by himself. Immediately then the thought came sweeping across me, what miserable friendlessness and loneliness are here revealed! His poverty is great; but his solitude, how horrible!.. For the first time in my life, a feeling of overpowering stinging melancholy seized me. Before, I had never experienced aught but a not-unpleasing sadness. The bond of a common humanity now drew me irresistibly to gloom. A fraternal melancholy! For both I and Bartleby were sons of Adam. I remembered the bright silks and sparkling faces I had seen that day, in gala trim, swan-like sailing down the Mississippi of Broadway; and I contrasted them with the pallid copyist, and thought to myself, Ah, happiness courts the light, so we deem the world is gay; but misery hides aloof, so we deem that misery there is none. These sad fancyings––chimeras, doubtless, of a sick and silly brain–––led on to other and more special thoughts, concerning the eccentricities of Bartleby ...... Revolving all these things, and coupling them with the recently discovered fact that he made my office his constant abiding place and home, and not forgetful of his morbid moodiness; revolving all these things, a prudential feeling began to steal over me. My first emotions had been those of pure melancholy and sincerest pity; but just in proportion as the forlornness of Bartleby grew and grew to my imagination, did that same melancholy merge into fear, that pity into repulsion. So true it is, and so melancholy merge into fear, that pity into repulsion. So true it is, and so terrible too, that up to a certain point the thought or sight of misery enlists our best affections; but, in certain special cases, beyond that point it does not. They err who would assert that invariably this is owing to the inherent selfishness of the human heart. It rather proceeds from a certain hopelessness of remedying excessive and organic ill. To a sensitive being, pity is not seldom pain. succor, common sense bids the soul rid it. What I saw that morning persuaded me that the scrivener was the victim of innate and incurable disorder. I might give alms to his body; but his body did not pain him; it was his soul that suffered, and his soul I could not reach . ... Which of the following CANNOT be inferred from the passage?

A. Suffering is more visible in the world than happiness.
B. When pity proves ineffective, it metamorphoses into repulsion.
C. Pity often becomes the source of pain for sensitive individuals.
D. There are certain organic illnesses of the soul that compassion cannot heal.

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Read the passage given below and answer teh questions: (From 151 to 160) ... Upon more closely examining the place, I surmised that for an indefinite period Bartleby must have ate, dressed, and slept in my office, and that too without plate, mirror, or bed. The cushioned seat of a rickety old sofa in one corner bore the faint impress of a lean, reclining form. Rolled away under his desk, I found a blanket; under the empty grate, a blacking box and brush; on a chair, a tin basin, with soap and a ragged towel; in a newspaper a few crumbs of ginger-nuts and a morsel of cheese. Yes, thought I, it is evident enough that Bartleby has been making his home here, keeping bachelor's hall all by himself. Immediately then the thought came sweeping across me, what miserable friendlessness and loneliness are here revealed! His poverty is great; but his solitude, how horrible!.. For the first time in my life, a feeling of overpowering stinging melancholy seized me. Before, I had never experienced aught but a not-unpleasing sadness. The bond of a common humanity now drew me irresistibly to gloom. A fraternal melancholy! For both I and Bartleby were sons of Adam. I remembered the bright silks and sparkling faces I had seen that day, in gala trim, swan-like sailing down the Mississippi of Broadway; and I contrasted them with the pallid copyist, and thought to myself, Ah, happiness courts the light, so we deem the world is gay; but misery hides aloof, so we deem that misery there is none. These sad fancyings––chimeras, doubtless, of a sick and silly brain–––led on to other and more special thoughts, concerning the eccentricities of Bartleby ...... Revolving all these things, and coupling them with the recently discovered fact that he made my office his constant abiding place and home, and not forgetful of his morbid moodiness; revolving all these things, a prudential feeling began to steal over me. My first emotions had been those of pure melancholy and sincerest pity; but just in proportion as the forlornness of Bartleby grew and grew to my imagination, did that same melancholy merge into fear, that pity into repulsion. So true it is, and so melancholy merge into fear, that pity into repulsion. So true it is, and so terrible too, that up to a certain point the thought or sight of misery enlists our best affections; but, in certain special cases, beyond that point it does not. They err who would assert that invariably this is owing to the inherent selfishness of the human heart. It rather proceeds from a certain hopelessness of remedying excessive and organic ill. To a sensitive being, pity is not seldom pain. succor, common sense bids the soul rid it. What I saw that morning persuaded me that the scrivener was the victim of innate and incurable disorder. I might give alms to his body; but his body did not pain him; it was his soul that suffered, and his soul I could not reach . ... Which of the following does NOT describe the illness of Bartleby?

A. Innate and incurable disorder
B. Illness of the soul
C. Excess and organic illness
D. Inherent selfishness of the human heart

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Read the passage given below and answer teh questions: (From 151 to 160) ... Upon more closely examining the place, I surmised that for an indefinite period Bartleby must have ate, dressed, and slept in my office, and that too without plate, mirror, or bed. The cushioned seat of a rickety old sofa in one corner bore the faint impress of a lean, reclining form. Rolled away under his desk, I found a blanket; under the empty grate, a blacking box and brush; on a chair, a tin basin, with soap and a ragged towel; in a newspaper a few crumbs of ginger-nuts and a morsel of cheese. Yes, thought I, it is evident enough that Bartleby has been making his home here, keeping bachelor's hall all by himself. Immediately then the thought came sweeping across me, what miserable friendlessness and loneliness are here revealed! His poverty is great; but his solitude, how horrible!.. For the first time in my life, a feeling of overpowering stinging melancholy seized me. Before, I had never experienced aught but a not-unpleasing sadness. The bond of a common humanity now drew me irresistibly to gloom. A fraternal melancholy! For both I and Bartleby were sons of Adam. I remembered the bright silks and sparkling faces I had seen that day, in gala trim, swan-like sailing down the Mississippi of Broadway; and I contrasted them with the pallid copyist, and thought to myself, Ah, happiness courts the light, so we deem the world is gay; but misery hides aloof, so we deem that misery there is none. These sad fancyings––chimeras, doubtless, of a sick and silly brain–––led on to other and more special thoughts, concerning the eccentricities of Bartleby ...... Revolving all these things, and coupling them with the recently discovered fact that he made my office his constant abiding place and home, and not forgetful of his morbid moodiness; revolving all these things, a prudential feeling began to steal over me. My first emotions had been those of pure melancholy and sincerest pity; but just in proportion as the forlornness of Bartleby grew and grew to my imagination, did that same melancholy merge into fear, that pity into repulsion. So true it is, and so melancholy merge into fear, that pity into repulsion. So true it is, and so terrible too, that up to a certain point the thought or sight of misery enlists our best affections; but, in certain special cases, beyond that point it does not. They err who would assert that invariably this is owing to the inherent selfishness of the human heart. It rather proceeds from a certain hopelessness of remedying excessive and organic ill. To a sensitive being, pity is not seldom pain. succor, common sense bids the soul rid it. What I saw that morning persuaded me that the scrivener was the victim of innate and incurable disorder. I might give alms to his body; but his body did not pain him; it was his soul that suffered, and his soul I could not reach . ... Which of the following best explains the reason for the transformation of the narrator's pity into repulsion and melancholy into fear?

A. Most human beings are inherently selfish by nature.
B. The narrator was helpless because Bartleby's illness was beyond his ability and power to alter.
C. Ah, happiness courts the light, so deem the world is gay; but misery hides aloof, so we deem that misery there is none.
D. Bartleby's body was in as much pain as his soul.

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Read the passage given below and answer teh questions: (From 151 to 160) ... Upon more closely examining the place, I surmised that for an indefinite period Bartleby must have ate, dressed, and slept in my office, and that too without plate, mirror, or bed. The cushioned seat of a rickety old sofa in one corner bore the faint impress of a lean, reclining form. Rolled away under his desk, I found a blanket; under the empty grate, a blacking box and brush; on a chair, a tin basin, with soap and a ragged towel; in a newspaper a few crumbs of ginger-nuts and a morsel of cheese. Yes, thought I, it is evident enough that Bartleby has been making his home here, keeping bachelor's hall all by himself. Immediately then the thought came sweeping across me, what miserable friendlessness and loneliness are here revealed! His poverty is great; but his solitude, how horrible!.. For the first time in my life, a feeling of overpowering stinging melancholy seized me. Before, I had never experienced aught but a not-unpleasing sadness. The bond of a common humanity now drew me irresistibly to gloom. A fraternal melancholy! For both I and Bartleby were sons of Adam. I remembered the bright silks and sparkling faces I had seen that day, in gala trim, swan-like sailing down the Mississippi of Broadway; and I contrasted them with the pallid copyist, and thought to myself, Ah, happiness courts the light, so we deem the world is gay; but misery hides aloof, so we deem that misery there is none. These sad fancyings––chimeras, doubtless, of a sick and silly brain–––led on to other and more special thoughts, concerning the eccentricities of Bartleby ...... Revolving all these things, and coupling them with the recently discovered fact that he made my office his constant abiding place and home, and not forgetful of his morbid moodiness; revolving all these things, a prudential feeling began to steal over me. My first emotions had been those of pure melancholy and sincerest pity; but just in proportion as the forlornness of Bartleby grew and grew to my imagination, did that same melancholy merge into fear, that pity into repulsion. So true it is, and so melancholy merge into fear, that pity into repulsion. So true it is, and so terrible too, that up to a certain point the thought or sight of misery enlists our best affections; but, in certain special cases, beyond that point it does not. They err who would assert that invariably this is owing to the inherent selfishness of the human heart. It rather proceeds from a certain hopelessness of remedying excessive and organic ill. To a sensitive being, pity is not seldom pain. succor, common sense bids the soul rid it. What I saw that morning persuaded me that the scrivener was the victim of innate and incurable disorder. I might give alms to his body; but his body did not pain him; it was his soul that suffered, and his soul I could not reach . ... Identify the figure of speech used in the phrase " Mississippi of Broadway".

A. Personification
B. Simile
C. Metaphor
D. Euphemism

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Read the passage given below and answer the questions: (From 161 to 170) After the cruelest of winters, the house still stood. It was pale, washed clean by elements gone wild, and here there a shutter dangled from a broken hinge. But the structure was sound, the corners had held. I walked around it slowly, studying every detail: the fine edge where window frame met clapboard, the slice of shadow across the roofline, the old wooden railing around the porch. When I climbed the stairs toward the door, I heard the floorboards groan beneath my weight as they had always done. Hello yourself, old friend, I said. Inside, I made those wounds my own again, drew the curtains back, threw open the window, pulled the covers from the furniture, slapped at the upholstery with my hands .. I made myself at home, kicked off my shoes so I could feed the floor beneath my feet again. I tilted my head, read the titles on the spines of all my books. I played old songs I hadn't heard in months, felt the summer music move through me as if my muscles were the strings. It carried me from room to room while I swept away the mustiness of winter, shook the rugs, cleaned cobwebs out of corners, hung laundered linens on the blind to whip dry in the outdoor air. I pulled closed boxes out of closets and unwrapped all my things, slowly, one by one. I held and turned them in my hands before I put them out again on shelves in cupboards and drawers. And when I had each room all full of me again, I showered and washed away the last of winter's claims in hot lather and steam. .... For me, the end of grief was a homecoming like this one, a returning to myself made sweeter by the long separation. I remember well the months that had followed that most unexpected death, when I felt cut loose, caught in my own cold storm far away from all that made me feel at home. I wondered if I would ever again belong to any time or place. People spoke to me of sadness and loss, as if they were burdens to carry in my hands. I nodded in agreement, afraid to tell them that I felt no burdens, only weightlessness. I though the world had pulled itself away from me, that I would drift, beyond reach, forever. But Winter ends and grief does pass as I had reclaimed my house and made it my own again, so I slowly reclaimed my life. I resumed my small daily rituals: a cup of coffee with a friend, long walks at sunset. I felt like myself again, and when I laughed it was my own laugh I heard, rich and full. I had feared that, in my absence, the space that I had left behind would close over from disuse, but I returned to find that my house still stood even after the cruelest of winters. The narrative style of the passage is:

A. first person narrative
B. second person narrative
C. third person narrative
D. an omniscient narrator

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Read the passage given below and answer the questions: (From 161 to 170) After the cruelest of winters, the house still stood. It was pale, washed clean by elements gone wild, and here there a shutter dangled from a broken hinge. But the structure was sound, the corners had held. I walked around it slowly, studying every detail: the fine edge where window frame met clapboard, the slice of shadow across the roofline, the old wooden railing around the porch. When I climbed the stairs toward the door, I heard the floorboards groan beneath my weight as they had always done. Hello yourself, old friend, I said. Inside, I made those wounds my own again, drew the curtains back, threw open the window, pulled the covers from the furniture, slapped at the upholstery with my hands .. I made myself at home, kicked off my shoes so I could feed the floor beneath my feet again. I tilted my head, read the titles on the spines of all my books. I played old songs I hadn't heard in months, felt the summer music move through me as if my muscles were the strings. It carried me from room to room while I swept away the mustiness of winter, shook the rugs, cleaned cobwebs out of corners, hung laundered linens on the blind to whip dry in the outdoor air. I pulled closed boxes out of closets and unwrapped all my things, slowly, one by one. I held and turned them in my hands before I put them out again on shelves in cupboards and drawers. And when I had each room all full of me again, I showered and washed away the last of winter's claims in hot lather and steam. .... For me, the end of grief was a homecoming like this one, a returning to myself made sweeter by the long separation. I remember well the months that had followed that most unexpected death, when I felt cut loose, caught in my own cold storm far away from all that made me feel at home. I wondered if I would ever again belong to any time or place. People spoke to me of sadness and loss, as if they were burdens to carry in my hands. I nodded in agreement, afraid to tell them that I felt no burdens, only weightlessness. I though the world had pulled itself away from me, that I would drift, beyond reach, forever. But Winter ends and grief does pass as I had reclaimed my house and made it my own again, so I slowly reclaimed my life. I resumed my small daily rituals: a cup of coffee with a friend, long walks at sunset. I felt like myself again, and when I laughed it was my own laugh I heard, rich and full. I had feared that, in my absence, the space that I had left behind would close over from disuse, but I returned to find that my house still stood even after the cruelest of winters. Which of the following best describes the primary purpose of the passage?

A. To describe the narrator's old house.
B. To describe the return of the narrator to her old house.
C. To showcase the narrator overcome her grief through homecoming.
D. To showcase the inevitability of homecoming in everyone's life.

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Read the passage given below and answer the questions: (From 161 to 170) After the cruelest of winters, the house still stood. It was pale, washed clean by elements gone wild, and here there a shutter dangled from a broken hinge. But the structure was sound, the corners had held. I walked around it slowly, studying every detail: the fine edge where window frame met clapboard, the slice of shadow across the roofline, the old wooden railing around the porch. When I climbed the stairs toward the door, I heard the floorboards groan beneath my weight as they had always done. Hello yourself, old friend, I said. Inside, I made those wounds my own again, drew the curtains back, threw open the window, pulled the covers from the furniture, slapped at the upholstery with my hands .. I made myself at home, kicked off my shoes so I could feed the floor beneath my feet again. I tilted my head, read the titles on the spines of all my books. I played old songs I hadn't heard in months, felt the summer music move through me as if my muscles were the strings. It carried me from room to room while I swept away the mustiness of winter, shook the rugs, cleaned cobwebs out of corners, hung laundered linens on the blind to whip dry in the outdoor air. I pulled closed boxes out of closets and unwrapped all my things, slowly, one by one. I held and turned them in my hands before I put them out again on shelves in cupboards and drawers. And when I had each room all full of me again, I showered and washed away the last of winter's claims in hot lather and steam. .... For me, the end of grief was a homecoming like this one, a returning to myself made sweeter by the long separation. I remember well the months that had followed that most unexpected death, when I felt cut loose, caught in my own cold storm far away from all that made me feel at home. I wondered if I would ever again belong to any time or place. People spoke to me of sadness and loss, as if they were burdens to carry in my hands. I nodded in agreement, afraid to tell them that I felt no burdens, only weightlessness. I though the world had pulled itself away from me, that I would drift, beyond reach, forever. But Winter ends and grief does pass as I had reclaimed my house and made it my own again, so I slowly reclaimed my life. I resumed my small daily rituals: a cup of coffee with a friend, long walks at sunset. I felt like myself again, and when I laughed it was my own laugh I heard, rich and full. I had feared that, in my absence, the space that I had left behind would close over from disuse, but I returned to find that my house still stood even after the cruelest of winters. To whom does the phrase ' old friend' in the sentence, "Hello yourself, old friend, I said." (paragraph 1) refers to?

A. The narrator
B. The narrator's house
C. The old friend of the narrator whose death she is mourning
D. Life and its ups and downs

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Read the passage given below and answer the questions: (From 161 to 170) After the cruelest of winters, the house still stood. It was pale, washed clean by elements gone wild, and here there a shutter dangled from a broken hinge. But the structure was sound, the corners had held. I walked around it slowly, studying every detail: the fine edge where window frame met clapboard, the slice of shadow across the roofline, the old wooden railing around the porch. When I climbed the stairs toward the door, I heard the floorboards groan beneath my weight as they had always done. Hello yourself, old friend, I said. Inside, I made those wounds my own again, drew the curtains back, threw open the window, pulled the covers from the furniture, slapped at the upholstery with my hands .. I made myself at home, kicked off my shoes so I could feed the floor beneath my feet again. I tilted my head, read the titles on the spines of all my books. I played old songs I hadn't heard in months, felt the summer music move through me as if my muscles were the strings. It carried me from room to room while I swept away the mustiness of winter, shook the rugs, cleaned cobwebs out of corners, hung laundered linens on the blind to whip dry in the outdoor air. I pulled closed boxes out of closets and unwrapped all my things, slowly, one by one. I held and turned them in my hands before I put them out again on shelves in cupboards and drawers. And when I had each room all full of me again, I showered and washed away the last of winter's claims in hot lather and steam. .... For me, the end of grief was a homecoming like this one, a returning to myself made sweeter by the long separation. I remember well the months that had followed that most unexpected death, when I felt cut loose, caught in my own cold storm far away from all that made me feel at home. I wondered if I would ever again belong to any time or place. People spoke to me of sadness and loss, as if they were burdens to carry in my hands. I nodded in agreement, afraid to tell them that I felt no burdens, only weightlessness. I though the world had pulled itself away from me, that I would drift, beyond reach, forever. But Winter ends and grief does pass as I had reclaimed my house and made it my own again, so I slowly reclaimed my life. I resumed my small daily rituals: a cup of coffee with a friend, long walks at sunset. I felt like myself again, and when I laughed it was my own laugh I heard, rich and full. I had feared that, in my absence, the space that I had left behind would close over from disuse, but I returned to find that my house still stood even after the cruelest of winters. Which of the following best sums up the condition of the narrator's house?

A. The house was old and dilapidated, and was in an imminent danger of falling apart.
B. Even though the house was old and worn out in places, its structure and foundations were strong.
C. The cruelest of winters was responsible for the groaning floorboards.
D. Since "that most unexpected death", the narrator hated the house.

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Read the passage given below and answer the questions: (From 161 to 170) After the cruelest of winters, the house still stood. It was pale, washed clean by elements gone wild, and here there a shutter dangled from a broken hinge. But the structure was sound, the corners had held. I walked around it slowly, studying every detail: the fine edge where window frame met clapboard, the slice of shadow across the roofline, the old wooden railing around the porch. When I climbed the stairs toward the door, I heard the floorboards groan beneath my weight as they had always done. Hello yourself, old friend, I said. Inside, I made those wounds my own again, drew the curtains back, threw open the window, pulled the covers from the furniture, slapped at the upholstery with my hands .. I made myself at home, kicked off my shoes so I could feed the floor beneath my feet again. I tilted my head, read the titles on the spines of all my books. I played old songs I hadn't heard in months, felt the summer music move through me as if my muscles were the strings. It carried me from room to room while I swept away the mustiness of winter, shook the rugs, cleaned cobwebs out of corners, hung laundered linens on the blind to whip dry in the outdoor air. I pulled closed boxes out of closets and unwrapped all my things, slowly, one by one. I held and turned them in my hands before I put them out again on shelves in cupboards and drawers. And when I had each room all full of me again, I showered and washed away the last of winter's claims in hot lather and steam. .... For me, the end of grief was a homecoming like this one, a returning to myself made sweeter by the long separation. I remember well the months that had followed that most unexpected death, when I felt cut loose, caught in my own cold storm far away from all that made me feel at home. I wondered if I would ever again belong to any time or place. People spoke to me of sadness and loss, as if they were burdens to carry in my hands. I nodded in agreement, afraid to tell them that I felt no burdens, only weightlessness. I though the world had pulled itself away from me, that I would drift, beyond reach, forever. But Winter ends and grief does pass as I had reclaimed my house and made it my own again, so I slowly reclaimed my life. I resumed my small daily rituals: a cup of coffee with a friend, long walks at sunset. I felt like myself again, and when I laughed it was my own laugh I heard, rich and full. I had feared that, in my absence, the space that I had left behind would close over from disuse, but I returned to find that my house still stood even after the cruelest of winters. Upon replacing the word ' mustiness' with which of the following words in the phrase "while I swept away the mustiness of winter" (paragraph 2) would the meaning remain unaltered?

A. invigorating
B. mushiness
C. manliness
D. moldiness

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Read the passage given below and answer the questions: (From 161 to 170) After the cruelest of winters, the house still stood. It was pale, washed clean by elements gone wild, and here there a shutter dangled from a broken hinge. But the structure was sound, the corners had held. I walked around it slowly, studying every detail: the fine edge where window frame met clapboard, the slice of shadow across the roofline, the old wooden railing around the porch. When I climbed the stairs toward the door, I heard the floorboards groan beneath my weight as they had always done. Hello yourself, old friend, I said. Inside, I made those wounds my own again, drew the curtains back, threw open the window, pulled the covers from the furniture, slapped at the upholstery with my hands .. I made myself at home, kicked off my shoes so I could feed the floor beneath my feet again. I tilted my head, read the titles on the spines of all my books. I played old songs I hadn't heard in months, felt the summer music move through me as if my muscles were the strings. It carried me from room to room while I swept away the mustiness of winter, shook the rugs, cleaned cobwebs out of corners, hung laundered linens on the blind to whip dry in the outdoor air. I pulled closed boxes out of closets and unwrapped all my things, slowly, one by one. I held and turned them in my hands before I put them out again on shelves in cupboards and drawers. And when I had each room all full of me again, I showered and washed away the last of winter's claims in hot lather and steam. .... For me, the end of grief was a homecoming like this one, a returning to myself made sweeter by the long separation. I remember well the months that had followed that most unexpected death, when I felt cut loose, caught in my own cold storm far away from all that made me feel at home. I wondered if I would ever again belong to any time or place. People spoke to me of sadness and loss, as if they were burdens to carry in my hands. I nodded in agreement, afraid to tell them that I felt no burdens, only weightlessness. I though the world had pulled itself away from me, that I would drift, beyond reach, forever. But Winter ends and grief does pass as I had reclaimed my house and made it my own again, so I slowly reclaimed my life. I resumed my small daily rituals: a cup of coffee with a friend, long walks at sunset. I felt like myself again, and when I laughed it was my own laugh I heard, rich and full. I had feared that, in my absence, the space that I had left behind would close over from disuse, but I returned to find that my house still stood even after the cruelest of winters. The pronoun 'It' in the sentence –––" It carried me from room to room while I swept away the mustiness of winter, shook the rugs, cleaned cobwebs out of corners, hung laundered linens on the blind to whip dry in the outdoor air." (paragraph 2) - refers to which of the following?

A. The narrator's grief
B. The narrator's feet
C. Summer music
D. The narrator's memories of the house

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Read the passage given below and answer the questions: (From 161 to 170) After the cruelest of winters, the house still stood. It was pale, washed clean by elements gone wild, and here there a shutter dangled from a broken hinge. But the structure was sound, the corners had held. I walked around it slowly, studying every detail: the fine edge where window frame met clapboard, the slice of shadow across the roofline, the old wooden railing around the porch. When I climbed the stairs toward the door, I heard the floorboards groan beneath my weight as they had always done. Hello yourself, old friend, I said. Inside, I made those wounds my own again, drew the curtains back, threw open the window, pulled the covers from the furniture, slapped at the upholstery with my hands .. I made myself at home, kicked off my shoes so I could feed the floor beneath my feet again. I tilted my head, read the titles on the spines of all my books. I played old songs I hadn't heard in months, felt the summer music move through me as if my muscles were the strings. It carried me from room to room while I swept away the mustiness of winter, shook the rugs, cleaned cobwebs out of corners, hung laundered linens on the blind to whip dry in the outdoor air. I pulled closed boxes out of closets and unwrapped all my things, slowly, one by one. I held and turned them in my hands before I put them out again on shelves in cupboards and drawers. And when I had each room all full of me again, I showered and washed away the last of winter's claims in hot lather and steam. .... For me, the end of grief was a homecoming like this one, a returning to myself made sweeter by the long separation. I remember well the months that had followed that most unexpected death, when I felt cut loose, caught in my own cold storm far away from all that made me feel at home. I wondered if I would ever again belong to any time or place. People spoke to me of sadness and loss, as if they were burdens to carry in my hands. I nodded in agreement, afraid to tell them that I felt no burdens, only weightlessness. I though the world had pulled itself away from me, that I would drift, beyond reach, forever. But Winter ends and grief does pass as I had reclaimed my house and made it my own again, so I slowly reclaimed my life. I resumed my small daily rituals: a cup of coffee with a friend, long walks at sunset. I felt like myself again, and when I laughed it was my own laugh I heard, rich and full. I had feared that, in my absence, the space that I had left behind would close over from disuse, but I returned to find that my house still stood even after the cruelest of winters. Which of the following option best describes the meaning of " And when I had each room all full of me again ... " ( paragraph 2) within the context of the passage?

A. The narrator cleaned all the room in the house by herself.
B. The narrator claims life by returning to the house and cleaning it thoroughly.
C. The narrator re-inhabits the house by unpacking all her belongings, and reconnects with life.
D. The narrator is extremely possessive about the rooms in the house and her belongings.

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Read the passage given below and answer the questions: (From 161 to 170) After the cruelest of winters, the house still stood. It was pale, washed clean by elements gone wild, and here there a shutter dangled from a broken hinge. But the structure was sound, the corners had held. I walked around it slowly, studying every detail: the fine edge where window frame met clapboard, the slice of shadow across the roofline, the old wooden railing around the porch. When I climbed the stairs toward the door, I heard the floorboards groan beneath my weight as they had always done. Hello yourself, old friend, I said. Inside, I made those wounds my own again, drew the curtains back, threw open the window, pulled the covers from the furniture, slapped at the upholstery with my hands .. I made myself at home, kicked off my shoes so I could feed the floor beneath my feet again. I tilted my head, read the titles on the spines of all my books. I played old songs I hadn't heard in months, felt the summer music move through me as if my muscles were the strings. It carried me from room to room while I swept away the mustiness of winter, shook the rugs, cleaned cobwebs out of corners, hung laundered linens on the blind to whip dry in the outdoor air. I pulled closed boxes out of closets and unwrapped all my things, slowly, one by one. I held and turned them in my hands before I put them out again on shelves in cupboards and drawers. And when I had each room all full of me again, I showered and washed away the last of winter's claims in hot lather and steam. .... For me, the end of grief was a homecoming like this one, a returning to myself made sweeter by the long separation. I remember well the months that had followed that most unexpected death, when I felt cut loose, caught in my own cold storm far away from all that made me feel at home. I wondered if I would ever again belong to any time or place. People spoke to me of sadness and loss, as if they were burdens to carry in my hands. I nodded in agreement, afraid to tell them that I felt no burdens, only weightlessness. I though the world had pulled itself away from me, that I would drift, beyond reach, forever. But Winter ends and grief does pass as I had reclaimed my house and made it my own again, so I slowly reclaimed my life. I resumed my small daily rituals: a cup of coffee with a friend, long walks at sunset. I felt like myself again, and when I laughed it was my own laugh I heard, rich and full. I had feared that, in my absence, the space that I had left behind would close over from disuse, but I returned to find that my house still stood even after the cruelest of winters. Which of the following options best sums up the difference between the narrator's perception of her grief and that of the people around her?

A. While the people around the narrator saw her loss as a burden to be endured, the narrator experienced it as a lightness of being without any anchors.
B. While the people around the narrator saw her loss as a kind of weightlessness, the narrator experienced it as a burden to be carried in her hands.
C. While the people around the narrator saw her grief as a burden, the narrator experienced it as fear of the people around her.
D. While most people around the narrator were indifferent to her grief, the narrator saw it as a permanent loss that she would never be able to overcome.

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Read the passage given below and answer the questions: (From 161 to 170) After the cruelest of winters, the house still stood. It was pale, washed clean by elements gone wild, and here there a shutter dangled from a broken hinge. But the structure was sound, the corners had held. I walked around it slowly, studying every detail: the fine edge where window frame met clapboard, the slice of shadow across the roofline, the old wooden railing around the porch. When I climbed the stairs toward the door, I heard the floorboards groan beneath my weight as they had always done. Hello yourself, old friend, I said. Inside, I made those wounds my own again, drew the curtains back, threw open the window, pulled the covers from the furniture, slapped at the upholstery with my hands .. I made myself at home, kicked off my shoes so I could feed the floor beneath my feet again. I tilted my head, read the titles on the spines of all my books. I played old songs I hadn't heard in months, felt the summer music move through me as if my muscles were the strings. It carried me from room to room while I swept away the mustiness of winter, shook the rugs, cleaned cobwebs out of corners, hung laundered linens on the blind to whip dry in the outdoor air. I pulled closed boxes out of closets and unwrapped all my things, slowly, one by one. I held and turned them in my hands before I put them out again on shelves in cupboards and drawers. And when I had each room all full of me again, I showered and washed away the last of winter's claims in hot lather and steam. .... For me, the end of grief was a homecoming like this one, a returning to myself made sweeter by the long separation. I remember well the months that had followed that most unexpected death, when I felt cut loose, caught in my own cold storm far away from all that made me feel at home. I wondered if I would ever again belong to any time or place. People spoke to me of sadness and loss, as if they were burdens to carry in my hands. I nodded in agreement, afraid to tell them that I felt no burdens, only weightlessness. I though the world had pulled itself away from me, that I would drift, beyond reach, forever. But Winter ends and grief does pass as I had reclaimed my house and made it my own again, so I slowly reclaimed my life. I resumed my small daily rituals: a cup of coffee with a friend, long walks at sunset. I felt like myself again, and when I laughed it was my own laugh I heard, rich and full. I had feared that, in my absence, the space that I had left behind would close over from disuse, but I returned to find that my house still stood even after the cruelest of winters. Which of the following best describes the tone of the passage?

A. introspective
B. Romantic
C. Dogmatic
D. Vitriolic

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Read the passage given below and answer the questions: (From 161 to 170) After the cruelest of winters, the house still stood. It was pale, washed clean by elements gone wild, and here there a shutter dangled from a broken hinge. But the structure was sound, the corners had held. I walked around it slowly, studying every detail: the fine edge where window frame met clapboard, the slice of shadow across the roofline, the old wooden railing around the porch. When I climbed the stairs toward the door, I heard the floorboards groan beneath my weight as they had always done. Hello yourself, old friend, I said. Inside, I made those wounds my own again, drew the curtains back, threw open the window, pulled the covers from the furniture, slapped at the upholstery with my hands .. I made myself at home, kicked off my shoes so I could feed the floor beneath my feet again. I tilted my head, read the titles on the spines of all my books. I played old songs I hadn't heard in months, felt the summer music move through me as if my muscles were the strings. It carried me from room to room while I swept away the mustiness of winter, shook the rugs, cleaned cobwebs out of corners, hung laundered linens on the blind to whip dry in the outdoor air. I pulled closed boxes out of closets and unwrapped all my things, slowly, one by one. I held and turned them in my hands before I put them out again on shelves in cupboards and drawers. And when I had each room all full of me again, I showered and washed away the last of winter's claims in hot lather and steam. .... For me, the end of grief was a homecoming like this one, a returning to myself made sweeter by the long separation. I remember well the months that had followed that most unexpected death, when I felt cut loose, caught in my own cold storm far away from all that made me feel at home. I wondered if I would ever again belong to any time or place. People spoke to me of sadness and loss, as if they were burdens to carry in my hands. I nodded in agreement, afraid to tell them that I felt no burdens, only weightlessness. I though the world had pulled itself away from me, that I would drift, beyond reach, forever. But Winter ends and grief does pass as I had reclaimed my house and made it my own again, so I slowly reclaimed my life. I resumed my small daily rituals: a cup of coffee with a friend, long walks at sunset. I felt like myself again, and when I laughed it was my own laugh I heard, rich and full. I had feared that, in my absence, the space that I had left behind would close over from disuse, but I returned to find that my house still stood even after the cruelest of winters. Which figure of speech is used in the sentence: " People spoke to me of sadness and loss, as if they were burdens to carry in my hands." (paragraph 3)?

A. Metaphor
B. Simile
C. Personification
D. Exaggeration

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Read the passage given below and answer the questions: (From 171 to 180) In many countries, television is limited in its spread and its creative abilities, either by the lack of resources or by the constrictions of governmental ownership or both. the The cinema, on the other hand, reflects a more vital and spontaneous expression, of the secret hopes and fears, ideals and enthusiasms, of a country's people. A small, seriouscreative cinema grows alongside the larger, more conventional product and begins to engage the attention of a select national and internatinal audience ... Both wings of India cinema -- the popular, commercial blockbuster (song-dance-fightnightclub formula) and the serious-creative minority product (Satyajit Ray, Mrinal Sen, Shyam Benegal et al) -- are full of restless vitality. On the whole, today's big popular cinema is conservation. It reflects, even though its song-dancefight- chase-formula, the fears of a traditional society, a honeycomb of regional-linguistic-religious identities, of being swept away by the winds of change, by scientific progress and large-scale homogenization, shattering the values that have held its complex structure together of many centuries. The modern elements in this cinema are the superficial; they consist of no more than the surface manifestations of industrialization and urbanization. One sees them in the proliferation of mass-produced products and services of recent introduction [in these films] .... The sharp division between the popular and the serious-creative "New Cinema" came about gradually after the independence of the country in 1947. ... The "New Cinema" [is] a wave rising along a wide front all over India, no longer confined to industrially advanced states. It represents a substantial body of new talent devoted to the exploration of the values of a traditional society in the grip of rapid change. From Satyajit Ray to Nirad Mahapatra, it is a highly bi-cultural product, its makers as sensitive to tremors in world cinema as to its own country's agonies. The language of cinema it speaks is familiar to informed film audiences of the West; yet its voice is new and fresh and commands attention. The new cinema is thus the voice of modern India, western in its inflections like the vast wealth of fiction in Indian languages created in the aftermath of British conquest, but deeply concerned with the development of India tradition towards viability and relevance in the modern world. This bi-cultural synthesis has assured its acceptance in industrially advance countries. It is authentic and accessible to audiences in Europe in America, in Australia and Japan. Some of the film-makers are trying to break out of the middle class film buff environment and seeking a middle ground where they can claim a share of the vast audience of the commercial cinema even if this somewhat dilutes their purity. Some, like Benegal and Govind Nihalani (Aakrosh and Ardhsatya), have achieved notable success in creating what some critics have described as " Middle Cinema" __ another aspect of the cinema's effort, at levels, from the most commercial to the most purist, to come to terms with the problems, of tradition and change in contemporary India. The tone of the passage can be best describes as:

A. Nostalgic
B. Analytical
C. Emotional
D. Bellicose

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Read the passage given below and answer the questions: (From 171 to 180) In many countries, television is limited in its spread and its creative abilities, either by the lack of resources or by the constrictions of governmental ownership or both. the The cinema, on the other hand, reflects a more vital and spontaneous expression, of the secret hopes and fears, ideals and enthusiasms, of a country's people. A small, seriouscreative cinema grows alongside the larger, more conventional product and begins to engage the attention of a select national and internatinal audience ... Both wings of India cinema -- the popular, commercial blockbuster (song-dance-fightnightclub formula) and the serious-creative minority product (Satyajit Ray, Mrinal Sen, Shyam Benegal et al) -- are full of restless vitality. On the whole, today's big popular cinema is conservation. It reflects, even though its song-dancefight- chase-formula, the fears of a traditional society, a honeycomb of regional-linguistic-religious identities, of being swept away by the winds of change, by scientific progress and large-scale homogenization, shattering the values that have held its complex structure together of many centuries. The modern elements in this cinema are the superficial; they consist of no more than the surface manifestations of industrialization and urbanization. One sees them in the proliferation of mass-produced products and services of recent introduction [in these films] .... The sharp division between the popular and the serious-creative "New Cinema" came about gradually after the independence of the country in 1947. ... The "New Cinema" [is] a wave rising along a wide front all over India, no longer confined to industrially advanced states. It represents a substantial body of new talent devoted to the exploration of the values of a traditional society in the grip of rapid change. From Satyajit Ray to Nirad Mahapatra, it is a highly bi-cultural product, its makers as sensitive to tremors in world cinema as to its own country's agonies. The language of cinema it speaks is familiar to informed film audiences of the West; yet its voice is new and fresh and commands attention. The new cinema is thus the voice of modern India, western in its inflections like the vast wealth of fiction in Indian languages created in the aftermath of British conquest, but deeply concerned with the development of India tradition towards viability and relevance in the modern world. This bi-cultural synthesis has assured its acceptance in industrially advance countries. It is authentic and accessible to audiences in Europe in America, in Australia and Japan. Some of the film-makers are trying to break out of the middle class film buff environment and seeking a middle ground where they can claim a share of the vast audience of the commercial cinema even if this somewhat dilutes their purity. Some, like Benegal and Govind Nihalani (Aakrosh and Ardhsatya), have achieved notable success in creating what some critics have described as " Middle Cinema" __ another aspect of the cinema's effort, at levels, from the most commercial to the most purist, to come to terms with the problems, of tradition and change in contemporary India. According to the passage, which o the following is NOT a reason for the conservation nature to popular cinema?

A. Fear of dissipation of traditional forces and structures of society at the hands of forces of modernisation and urbanisation.
B. Fear of the loss traditional regional-linguisticreligious identities at the hands of homogenising forces of modernization.
C. Striking absence of commodities and services produced by modernisation in popular cinema.
D. Superficial engagement with forces and elements of modernization.

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Read the passage given below and answer the questions: (From 171 to 180) In many countries, television is limited in its spread and its creative abilities, either by the lack of resources or by the constrictions of governmental ownership or both. the The cinema, on the other hand, reflects a more vital and spontaneous expression, of the secret hopes and fears, ideals and enthusiasms, of a country's people. A small, seriouscreative cinema grows alongside the larger, more conventional product and begins to engage the attention of a select national and internatinal audience ... Both wings of India cinema -- the popular, commercial blockbuster (song-dance-fightnightclub formula) and the serious-creative minority product (Satyajit Ray, Mrinal Sen, Shyam Benegal et al) -- are full of restless vitality. On the whole, today's big popular cinema is conservation. It reflects, even though its song-dancefight- chase-formula, the fears of a traditional society, a honeycomb of regional-linguistic-religious identities, of being swept away by the winds of change, by scientific progress and large-scale homogenization, shattering the values that have held its complex structure together of many centuries. The modern elements in this cinema are the superficial; they consist of no more than the surface manifestations of industrialization and urbanization. One sees them in the proliferation of mass-produced products and services of recent introduction [in these films] .... The sharp division between the popular and the serious-creative "New Cinema" came about gradually after the independence of the country in 1947. ... The "New Cinema" [is] a wave rising along a wide front all over India, no longer confined to industrially advanced states. It represents a substantial body of new talent devoted to the exploration of the values of a traditional society in the grip of rapid change. From Satyajit Ray to Nirad Mahapatra, it is a highly bi-cultural product, its makers as sensitive to tremors in world cinema as to its own country's agonies. The language of cinema it speaks is familiar to informed film audiences of the West; yet its voice is new and fresh and commands attention. The new cinema is thus the voice of modern India, western in its inflections like the vast wealth of fiction in Indian languages created in the aftermath of British conquest, but deeply concerned with the development of India tradition towards viability and relevance in the modern world. This bi-cultural synthesis has assured its acceptance in industrially advance countries. It is authentic and accessible to audiences in Europe in America, in Australia and Japan. Some of the film-makers are trying to break out of the middle class film buff environment and seeking a middle ground where they can claim a share of the vast audience of the commercial cinema even if this somewhat dilutes their purity. Some, like Benegal and Govind Nihalani (Aakrosh and Ardhsatya), have achieved notable success in creating what some critics have described as " Middle Cinema" __ another aspect of the cinema's effort, at levels, from the most commercial to the most purist, to come to terms with the problems, of tradition and change in contemporary India. Which of the following is NOT a feature of New cinema?

A. It's marked by synthesis of elements of popular and serious-creative cinema.
B. It captures the conflict between forces of tradition and modernity.
C. Despite the influence of Western cinema, it is also distinctly Indian.
D. Its reach and expanse transcends the industrially advanced states.

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Read the passage given below and answer the questions: (From 171 to 180) In many countries, television is limited in its spread and its creative abilities, either by the lack of resources or by the constrictions of governmental ownership or both. the The cinema, on the other hand, reflects a more vital and spontaneous expression, of the secret hopes and fears, ideals and enthusiasms, of a country's people. A small, seriouscreative cinema grows alongside the larger, more conventional product and begins to engage the attention of a select national and internatinal audience ... Both wings of India cinema -- the popular, commercial blockbuster (song-dance-fightnightclub formula) and the serious-creative minority product (Satyajit Ray, Mrinal Sen, Shyam Benegal et al) -- are full of restless vitality. On the whole, today's big popular cinema is conservation. It reflects, even though its song-dancefight- chase-formula, the fears of a traditional society, a honeycomb of regional-linguistic-religious identities, of being swept away by the winds of change, by scientific progress and large-scale homogenization, shattering the values that have held its complex structure together of many centuries. The modern elements in this cinema are the superficial; they consist of no more than the surface manifestations of industrialization and urbanization. One sees them in the proliferation of mass-produced products and services of recent introduction [in these films] .... The sharp division between the popular and the serious-creative "New Cinema" came about gradually after the independence of the country in 1947. ... The "New Cinema" [is] a wave rising along a wide front all over India, no longer confined to industrially advanced states. It represents a substantial body of new talent devoted to the exploration of the values of a traditional society in the grip of rapid change. From Satyajit Ray to Nirad Mahapatra, it is a highly bi-cultural product, its makers as sensitive to tremors in world cinema as to its own country's agonies. The language of cinema it speaks is familiar to informed film audiences of the West; yet its voice is new and fresh and commands attention. The new cinema is thus the voice of modern India, western in its inflections like the vast wealth of fiction in Indian languages created in the aftermath of British conquest, but deeply concerned with the development of India tradition towards viability and relevance in the modern world. This bi-cultural synthesis has assured its acceptance in industrially advance countries. It is authentic and accessible to audiences in Europe in America, in Australia and Japan. Some of the film-makers are trying to break out of the middle class film buff environment and seeking a middle ground where they can claim a share of the vast audience of the commercial cinema even if this somewhat dilutes their purity. Some, like Benegal and Govind Nihalani (Aakrosh and Ardhsatya), have achieved notable success in creating what some critics have described as " Middle Cinema" __ another aspect of the cinema's effort, at levels, from the most commercial to the most purist, to come to terms with the problems, of tradition and change in contemporary India. Why does the author compare New Cinema with the vast wealth of fiction in Indian languages created in the aftermath of British conquest?

A. Because both them are sensitive to world cinema and world literature respectively.
B. Because both of them are accessible to Western audiences and have found acceptance among them.
C. Because both of them are concerned with the question of relevance of Indian traditions in the face of force of modernisation, despite their own western inflections.
D. To trace common hybrid origins.

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Read the passage given below and answer the questions: (From 171 to 180) In many countries, television is limited in its spread and its creative abilities, either by the lack of resources or by the constrictions of governmental ownership or both. the The cinema, on the other hand, reflects a more vital and spontaneous expression, of the secret hopes and fears, ideals and enthusiasms, of a country's people. A small, seriouscreative cinema grows alongside the larger, more conventional product and begins to engage the attention of a select national and internatinal audience ... Both wings of India cinema -- the popular, commercial blockbuster (song-dance-fightnightclub formula) and the serious-creative minority product (Satyajit Ray, Mrinal Sen, Shyam Benegal et al) -- are full of restless vitality. On the whole, today's big popular cinema is conservation. It reflects, even though its song-dancefight- chase-formula, the fears of a traditional society, a honeycomb of regional-linguistic-religious identities, of being swept away by the winds of change, by scientific progress and large-scale homogenization, shattering the values that have held its complex structure together of many centuries. The modern elements in this cinema are the superficial; they consist of no more than the surface manifestations of industrialization and urbanization. One sees them in the proliferation of mass-produced products and services of recent introduction [in these films] .... The sharp division between the popular and the serious-creative "New Cinema" came about gradually after the independence of the country in 1947. ... The "New Cinema" [is] a wave rising along a wide front all over India, no longer confined to industrially advanced states. It represents a substantial body of new talent devoted to the exploration of the values of a traditional society in the grip of rapid change. From Satyajit Ray to Nirad Mahapatra, it is a highly bi-cultural product, its makers as sensitive to tremors in world cinema as to its own country's agonies. The language of cinema it speaks is familiar to informed film audiences of the West; yet its voice is new and fresh and commands attention. The new cinema is thus the voice of modern India, western in its inflections like the vast wealth of fiction in Indian languages created in the aftermath of British conquest, but deeply concerned with the development of India tradition towards viability and relevance in the modern world. This bi-cultural synthesis has assured its acceptance in industrially advance countries. It is authentic and accessible to audiences in Europe in America, in Australia and Japan. Some of the film-makers are trying to break out of the middle class film buff environment and seeking a middle ground where they can claim a share of the vast audience of the commercial cinema even if this somewhat dilutes their purity. Some, like Benegal and Govind Nihalani (Aakrosh and Ardhsatya), have achieved notable success in creating what some critics have described as " Middle Cinema" __ another aspect of the cinema's effort, at levels, from the most commercial to the most purist, to come to terms with the problems, of tradition and change in contemporary India. Aakrosh and Ardhsatya are examples of:

A. Middle Cinema
B. New Cinema
C. Popular Conservative Cinema
D. World Cinema

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Read the passage given below and answer the questions: (From 171 to 180) In many countries, television is limited in its spread and its creative abilities, either by the lack of resources or by the constrictions of governmental ownership or both. the The cinema, on the other hand, reflects a more vital and spontaneous expression, of the secret hopes and fears, ideals and enthusiasms, of a country's people. A small, seriouscreative cinema grows alongside the larger, more conventional product and begins to engage the attention of a select national and internatinal audience ... Both wings of India cinema -- the popular, commercial blockbuster (song-dance-fightnightclub formula) and the serious-creative minority product (Satyajit Ray, Mrinal Sen, Shyam Benegal et al) -- are full of restless vitality. On the whole, today's big popular cinema is conservation. It reflects, even though its song-dancefight- chase-formula, the fears of a traditional society, a honeycomb of regional-linguistic-religious identities, of being swept away by the winds of change, by scientific progress and large-scale homogenization, shattering the values that have held its complex structure together of many centuries. The modern elements in this cinema are the superficial; they consist of no more than the surface manifestations of industrialization and urbanization. One sees them in the proliferation of mass-produced products and services of recent introduction [in these films] .... The sharp division between the popular and the serious-creative "New Cinema" came about gradually after the independence of the country in 1947. ... The "New Cinema" [is] a wave rising along a wide front all over India, no longer confined to industrially advanced states. It represents a substantial body of new talent devoted to the exploration of the values of a traditional society in the grip of rapid change. From Satyajit Ray to Nirad Mahapatra, it is a highly bi-cultural product, its makers as sensitive to tremors in world cinema as to its own country's agonies. The language of cinema it speaks is familiar to informed film audiences of the West; yet its voice is new and fresh and commands attention. The new cinema is thus the voice of modern India, western in its inflections like the vast wealth of fiction in Indian languages created in the aftermath of British conquest, but deeply concerned with the development of India tradition towards viability and relevance in the modern world. This bi-cultural synthesis has assured its acceptance in industrially advance countries. It is authentic and accessible to audiences in Europe in America, in Australia and Japan. Some of the film-makers are trying to break out of the middle class film buff environment and seeking a middle ground where they can claim a share of the vast audience of the commercial cinema even if this somewhat dilutes their purity. Some, like Benegal and Govind Nihalani (Aakrosh and Ardhsatya), have achieved notable success in creating what some critics have described as " Middle Cinema" __ another aspect of the cinema's effort, at levels, from the most commercial to the most purist, to come to terms with the problems, of tradition and change in contemporary India. The author calls New Cinema "a highly bicultural product" for all of the following reasons, EXCEPT?

A. New Cinema is the voice of modern India despite being influenced by the western world.
B. New Cinema explores the woes of modernising Indian society but its form is aware of world cinema.
C. It resonates with audiences in India as well as abroad.
D. It successfully combines the song-dancefight- nightclub formula of popular cinema with the serious-creative element of parallel cinema.

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Read the passage given below and answer the questions: (From 171 to 180) In many countries, television is limited in its spread and its creative abilities, either by the lack of resources or by the constrictions of governmental ownership or both. the The cinema, on the other hand, reflects a more vital and spontaneous expression, of the secret hopes and fears, ideals and enthusiasms, of a country's people. A small, seriouscreative cinema grows alongside the larger, more conventional product and begins to engage the attention of a select national and internatinal audience ... Both wings of India cinema -- the popular, commercial blockbuster (song-dance-fightnightclub formula) and the serious-creative minority product (Satyajit Ray, Mrinal Sen, Shyam Benegal et al) -- are full of restless vitality. On the whole, today's big popular cinema is conservation. It reflects, even though its song-dancefight- chase-formula, the fears of a traditional society, a honeycomb of regional-linguistic-religious identities, of being swept away by the winds of change, by scientific progress and large-scale homogenization, shattering the values that have held its complex structure together of many centuries. The modern elements in this cinema are the superficial; they consist of no more than the surface manifestations of industrialization and urbanization. One sees them in the proliferation of mass-produced products and services of recent introduction [in these films] .... The sharp division between the popular and the serious-creative "New Cinema" came about gradually after the independence of the country in 1947. ... The "New Cinema" [is] a wave rising along a wide front all over India, no longer confined to industrially advanced states. It represents a substantial body of new talent devoted to the exploration of the values of a traditional society in the grip of rapid change. From Satyajit Ray to Nirad Mahapatra, it is a highly bi-cultural product, its makers as sensitive to tremors in world cinema as to its own country's agonies. The language of cinema it speaks is familiar to informed film audiences of the West; yet its voice is new and fresh and commands attention. The new cinema is thus the voice of modern India, western in its inflections like the vast wealth of fiction in Indian languages created in the aftermath of British conquest, but deeply concerned with the development of India tradition towards viability and relevance in the modern world. This bi-cultural synthesis has assured its acceptance in industrially advance countries. It is authentic and accessible to audiences in Europe in America, in Australia and Japan. Some of the film-makers are trying to break out of the middle class film buff environment and seeking a middle ground where they can claim a share of the vast audience of the commercial cinema even if this somewhat dilutes their purity. Some, like Benegal and Govind Nihalani (Aakrosh and Ardhsatya), have achieved notable success in creating what some critics have described as " Middle Cinema" __ another aspect of the cinema's effort, at levels, from the most commercial to the most purist, to come to terms with the problems, of tradition and change in contemporary India. Upon replacing the word ' inflections' in the sentence, " The new cinema is thus the voice of modern India, western in its inflections ..." ] (paragraph 3) with which of the following words would the meaning of the sentence remain unaltered?

A. cornucopia
B. influences
C. monotone
D. echo chamber

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Read the passage given below and answer the questions: (From 171 to 180) In many countries, television is limited in its spread and its creative abilities, either by the lack of resources or by the constrictions of governmental ownership or both. the The cinema, on the other hand, reflects a more vital and spontaneous expression, of the secret hopes and fears, ideals and enthusiasms, of a country's people. A small, seriouscreative cinema grows alongside the larger, more conventional product and begins to engage the attention of a select national and internatinal audience ... Both wings of India cinema -- the popular, commercial blockbuster (song-dance-fightnightclub formula) and the serious-creative minority product (Satyajit Ray, Mrinal Sen, Shyam Benegal et al) -- are full of restless vitality. On the whole, today's big popular cinema is conservation. It reflects, even though its song-dancefight- chase-formula, the fears of a traditional society, a honeycomb of regional-linguistic-religious identities, of being swept away by the winds of change, by scientific progress and large-scale homogenization, shattering the values that have held its complex structure together of many centuries. The modern elements in this cinema are the superficial; they consist of no more than the surface manifestations of industrialization and urbanization. One sees them in the proliferation of mass-produced products and services of recent introduction [in these films] .... The sharp division between the popular and the serious-creative "New Cinema" came about gradually after the independence of the country in 1947. ... The "New Cinema" [is] a wave rising along a wide front all over India, no longer confined to industrially advanced states. It represents a substantial body of new talent devoted to the exploration of the values of a traditional society in the grip of rapid change. From Satyajit Ray to Nirad Mahapatra, it is a highly bi-cultural product, its makers as sensitive to tremors in world cinema as to its own country's agonies. The language of cinema it speaks is familiar to informed film audiences of the West; yet its voice is new and fresh and commands attention. The new cinema is thus the voice of modern India, western in its inflections like the vast wealth of fiction in Indian languages created in the aftermath of British conquest, but deeply concerned with the development of India tradition towards viability and relevance in the modern world. This bi-cultural synthesis has assured its acceptance in industrially advance countries. It is authentic and accessible to audiences in Europe in America, in Australia and Japan. Some of the film-makers are trying to break out of the middle class film buff environment and seeking a middle ground where they can claim a share of the vast audience of the commercial cinema even if this somewhat dilutes their purity. Some, like Benegal and Govind Nihalani (Aakrosh and Ardhsatya), have achieved notable success in creating what some critics have described as " Middle Cinema" __ another aspect of the cinema's effort, at levels, from the most commercial to the most purist, to come to terms with the problems, of tradition and change in contemporary India. Upon replacing the word 'viability' which of the following words in the sentence "... but deeply concerned with the development of Indian tradition towards viability and relevance in the modern world" would the meaning of the sentence remain unaltered?

A. apathy
B. inactivity
C. inanimacy
D. sustainability

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Read the passage given below and answer the questions: (From 171 to 180) In many countries, television is limited in its spread and its creative abilities, either by the lack of resources or by the constrictions of governmental ownership or both. the The cinema, on the other hand, reflects a more vital and spontaneous expression, of the secret hopes and fears, ideals and enthusiasms, of a country's people. A small, seriouscreative cinema grows alongside the larger, more conventional product and begins to engage the attention of a select national and internatinal audience ... Both wings of India cinema -- the popular, commercial blockbuster (song-dance-fightnightclub formula) and the serious-creative minority product (Satyajit Ray, Mrinal Sen, Shyam Benegal et al) -- are full of restless vitality. On the whole, today's big popular cinema is conservation. It reflects, even though its song-dancefight- chase-formula, the fears of a traditional society, a honeycomb of regional-linguistic-religious identities, of being swept away by the winds of change, by scientific progress and large-scale homogenization, shattering the values that have held its complex structure together of many centuries. The modern elements in this cinema are the superficial; they consist of no more than the surface manifestations of industrialization and urbanization. One sees them in the proliferation of mass-produced products and services of recent introduction [in these films] .... The sharp division between the popular and the serious-creative "New Cinema" came about gradually after the independence of the country in 1947. ... The "New Cinema" [is] a wave rising along a wide front all over India, no longer confined to industrially advanced states. It represents a substantial body of new talent devoted to the exploration of the values of a traditional society in the grip of rapid change. From Satyajit Ray to Nirad Mahapatra, it is a highly bi-cultural product, its makers as sensitive to tremors in world cinema as to its own country's agonies. The language of cinema it speaks is familiar to informed film audiences of the West; yet its voice is new and fresh and commands attention. The new cinema is thus the voice of modern India, western in its inflections like the vast wealth of fiction in Indian languages created in the aftermath of British conquest, but deeply concerned with the development of India tradition towards viability and relevance in the modern world. This bi-cultural synthesis has assured its acceptance in industrially advance countries. It is authentic and accessible to audiences in Europe in America, in Australia and Japan. Some of the film-makers are trying to break out of the middle class film buff environment and seeking a middle ground where they can claim a share of the vast audience of the commercial cinema even if this somewhat dilutes their purity. Some, like Benegal and Govind Nihalani (Aakrosh and Ardhsatya), have achieved notable success in creating what some critics have described as " Middle Cinema" __ another aspect of the cinema's effort, at levels, from the most commercial to the most purist, to come to terms with the problems, of tradition and change in contemporary India. According to the passage, which of the following is NOT a feature of popular cinema?

A. A profound engagement with modernity and its forces
B. Fight and nightclub sequences
C. Song and dance sequences
D. Restless vitality

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Read the passage given below and answer the questions: (From 171 to 180) In many countries, television is limited in its spread and its creative abilities, either by the lack of resources or by the constrictions of governmental ownership or both. the The cinema, on the other hand, reflects a more vital and spontaneous expression, of the secret hopes and fears, ideals and enthusiasms, of a country's people. A small, seriouscreative cinema grows alongside the larger, more conventional product and begins to engage the attention of a select national and internatinal audience ... Both wings of India cinema -- the popular, commercial blockbuster (song-dance-fightnightclub formula) and the serious-creative minority product (Satyajit Ray, Mrinal Sen, Shyam Benegal et al) -- are full of restless vitality. On the whole, today's big popular cinema is conservation. It reflects, even though its song-dancefight- chase-formula, the fears of a traditional society, a honeycomb of regional-linguistic-religious identities, of being swept away by the winds of change, by scientific progress and large-scale homogenization, shattering the values that have held its complex structure together of many centuries. The modern elements in this cinema are the superficial; they consist of no more than the surface manifestations of industrialization and urbanization. One sees them in the proliferation of mass-produced products and services of recent introduction [in these films] .... The sharp division between the popular and the serious-creative "New Cinema" came about gradually after the independence of the country in 1947. ... The "New Cinema" [is] a wave rising along a wide front all over India, no longer confined to industrially advanced states. It represents a substantial body of new talent devoted to the exploration of the values of a traditional society in the grip of rapid change. From Satyajit Ray to Nirad Mahapatra, it is a highly bi-cultural product, its makers as sensitive to tremors in world cinema as to its own country's agonies. The language of cinema it speaks is familiar to informed film audiences of the West; yet its voice is new and fresh and commands attention. The new cinema is thus the voice of modern India, western in its inflections like the vast wealth of fiction in Indian languages created in the aftermath of British conquest, but deeply concerned with the development of India tradition towards viability and relevance in the modern world. This bi-cultural synthesis has assured its acceptance in industrially advance countries. It is authentic and accessible to audiences in Europe in America, in Australia and Japan. Some of the film-makers are trying to break out of the middle class film buff environment and seeking a middle ground where they can claim a share of the vast audience of the commercial cinema even if this somewhat dilutes their purity. Some, like Benegal and Govind Nihalani (Aakrosh and Ardhsatya), have achieved notable success in creating what some critics have described as " Middle Cinema" __ another aspect of the cinema's effort, at levels, from the most commercial to the most purist, to come to terms with the problems, of tradition and change in contemporary India. Towards the end of paragraph 3, the author writes: "Some of the film-makers are trying to break out of the middle class film buff environment and seeking a middle ground where they can claim a share of the vast audience of the commercial cinema even if this somewhat dilutes their purity." The word ' purity' in the sentence refers to the purity of:

A. New Cinema
B. Middle Cinema
C. Popular Cinema
D. World Cinema

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