English Reading Comprehension

Choose the word most similar in meaning to the word 'opus', as used in the passage.

Directions: Read the following passage carefully and select the most suitable answer according to the underlined word per corresponding number in the passage.

There is hardly a composer concerning whom so many erroneous notions are current as concerning Chopin, and of all the histories of music I have seen that of Langhans is the only one which devotes to Chopin an amount of space approximately proportionate to his importance. One of the most absurd of the misconceptions is that Chopin's genius was born in full armor, and that it did not pass through several stages of development, like that of other composers. Chopin did display remarkable originality at the very beginning, but the apparent maturity of his first published works is due to the fact that he destroyed his earliest efforts and disowned those works which are known as posthumous, and which may have created confusion in some minds by having received a higher "opus" number than his last works.
Another misconception regarding Chopin is that his latest works are morbid and unintelligible. The same charge was brought by philistines against the best works of Beethoven, Schumann, and Wagner. The fact is that these last works are of an almost matchless harmonic depth and originality, as superior to his earlier works as Wagner's last music dramas are to his first operas. I make this comparison with Wagner advisedly because, although I have the most exalted notions of Wagner's grandeur and importance, I do not for a moment hesitate to say that in his own sphere Chopin is quite as original and has been almost as revolutionary and epoch-making as Wagner. Now, why has the world been so slow in recognizing that Chopin stands in the very front rank of creative musicians? One reason doubtless is that he was so quiet and retiring in his personal disposition. His still, small voice was lost in the din of musical warfare. He warmly defended the principles of the romantic school, if necessary, and had decided opinions of other musicians, especially of the popular pianists of his day who vitiated the public taste with their show pieces; but he generally kept them to himself or confided them only to his friends, whom he even occasionally implored to keep them secret. Had he, like Richard Wagner, attacked everybody, right and left, who stood in the way of the general recognition of his genius, his cause would have doubtless assumed greater prominence in the eyes of the public, even though the parlor piano does not afford so much play-ground for warfare as the operatic stage.

Choose the word most similar in meaning to the word 'ponderous', as used in the passage.

Directions: Read the following passage carefully and select the most suitable answer according to the underlined word per corresponding number in the passage.

There is hardly a composer concerning whom so many erroneous notions are current as concerning Chopin, and of all the histories of music I have seen that of Langhans is the only one which devotes to Chopin an amount of space approximately proportionate to his importance. One of the most absurd of the misconceptions is that Chopin's genius was born in full armor, and that it did not pass through several stages of development, like that of other composers. Chopin did display remarkable originality at the very beginning, but the apparent maturity of his first published works is due to the fact that he destroyed his earliest efforts and disowned those works which are known as posthumous, and which may have created confusion in some minds by having received a higher "opus" number than his last works.
Another misconception regarding Chopin is that his latest works are morbid and unintelligible. The same charge was brought by philistines against the best works of Beethoven, Schumann, and Wagner. The fact is that these last works are of an almost matchless harmonic depth and originality, as superior to his earlier works as Wagner's last music dramas are to his first operas. I make this comparison with Wagner advisedly because, although I have the most exalted notions of Wagner's grandeur and importance, I do not for a moment hesitate to say that in his own sphere Chopin is quite as original and has been almost as revolutionary and epoch-making as Wagner. Now, why has the world been so slow in recognizing that Chopin stands in the very front rank of creative musicians? One reason doubtless is that he was so quiet and retiring in his personal disposition. His still, small voice was lost in the din of musical warfare. He warmly defended the principles of the romantic school, if necessary, and had decided opinions of other musicians, especially of the popular pianists of his day who vitiated the public taste with their show pieces; but he generally kept them to himself or confided them only to his friends, whom he even occasionally implored to keep them secret. Had he, like Richard Wagner, attacked everybody, right and left, who stood in the way of the general recognition of his genius, his cause would have doubtless assumed greater prominence in the eyes of the public, even though the parlor piano does not afford so much play-ground for warfare as the operatic stage.

Choose the word most similar in meaning to the word 'morbid', as used in the passage.

Directions: Read the following passage carefully and select the most suitable answer according to the underlined word per corresponding number in the passage.

There is hardly a composer concerning whom so many erroneous notions are current as concerning Chopin, and of all the histories of music I have seen that of Langhans is the only one which devotes to Chopin an amount of space approximately proportionate to his importance. One of the most absurd of the misconceptions is that Chopin's genius was born in full armor, and that it did not pass through several stages of development, like that of other composers. Chopin did display remarkable originality at the very beginning, but the apparent maturity of his first published works is due to the fact that he destroyed his earliest efforts and disowned those works which are known as posthumous, and which may have created confusion in some minds by having received a higher "opus" number than his last works.
Another misconception regarding Chopin is that his latest works are morbid and unintelligible. The same charge was brought by philistines against the best works of Beethoven, Schumann, and Wagner. The fact is that these last works are of an almost matchless harmonic depth and originality, as superior to his earlier works as Wagner's last music dramas are to his first operas. I make this comparison with Wagner advisedly because, although I have the most exalted notions of Wagner's grandeur and importance, I do not for a moment hesitate to say that in his own sphere Chopin is quite as original and has been almost as revolutionary and epoch-making as Wagner. Now, why has the world been so slow in recognizing that Chopin stands in the very front rank of creative musicians? One reason doubtless is that he was so quiet and retiring in his personal disposition. His still, small voice was lost in the din of musical warfare. He warmly defended the principles of the romantic school, if necessary, and had decided opinions of other musicians, especially of the popular pianists of his day who vitiated the public taste with their show pieces; but he generally kept them to himself or confided them only to his friends, whom he even occasionally implored to keep them secret. Had he, like Richard Wagner, attacked everybody, right and left, who stood in the way of the general recognition of his genius, his cause would have doubtless assumed greater prominence in the eyes of the public, even though the parlor piano does not afford so much play-ground for warfare as the operatic stage.

Choose the word most similar in meaning to the word 'unintelligible', as used in the passage.

Directions: Read the following passage carefully and select the most suitable answer according to the underlined word per corresponding number in the passage.

There is hardly a composer concerning whom so many erroneous notions are current as concerning Chopin, and of all the histories of music I have seen that of Langhans is the only one which devotes to Chopin an amount of space approximately proportionate to his importance. One of the most absurd of the misconceptions is that Chopin's genius was born in full armor, and that it did not pass through several stages of development, like that of other composers. Chopin did display remarkable originality at the very beginning, but the apparent maturity of his first published works is due to the fact that he destroyed his earliest efforts and disowned those works which are known as posthumous, and which may have created confusion in some minds by having received a higher "opus" number than his last works.
Another misconception regarding Chopin is that his latest works are morbid and unintelligible. The same charge was brought by philistines against the best works of Beethoven, Schumann, and Wagner. The fact is that these last works are of an almost matchless harmonic depth and originality, as superior to his earlier works as Wagner's last music dramas are to his first operas. I make this comparison with Wagner advisedly because, although I have the most exalted notions of Wagner's grandeur and importance, I do not for a moment hesitate to say that in his own sphere Chopin is quite as original and has been almost as revolutionary and epoch-making as Wagner. Now, why has the world been so slow in recognizing that Chopin stands in the very front rank of creative musicians? One reason doubtless is that he was so quiet and retiring in his personal disposition. His still, small voice was lost in the din of musical warfare. He warmly defended the principles of the romantic school, if necessary, and had decided opinions of other musicians, especially of the popular pianists of his day who vitiated the public taste with their show pieces; but he generally kept them to himself or confided them only to his friends, whom he even occasionally implored to keep them secret. Had he, like Richard Wagner, attacked everybody, right and left, who stood in the way of the general recognition of his genius, his cause would have doubtless assumed greater prominence in the eyes of the public, even though the parlor piano does not afford so much play-ground for warfare as the operatic stage.

Choose the option which conveys same meaning as the phrase 'born in full armour', as used in the passage.

Directions: Read the following passage carefully and select the most suitable answer according to the underlined word per corresponding number in the passage.

There is hardly a composer concerning whom so many erroneous notions are current as concerning Chopin, and of all the histories of music I have seen that of Langhans is the only one which devotes to Chopin an amount of space approximately proportionate to his importance. One of the most absurd of the misconceptions is that Chopin's genius was born in full armor, and that it did not pass through several stages of development, like that of other composers. Chopin did display remarkable originality at the very beginning, but the apparent maturity of his first published works is due to the fact that he destroyed his earliest efforts and disowned those works which are known as posthumous, and which may have created confusion in some minds by having received a higher "opus" number than his last works.
Another misconception regarding Chopin is that his latest works are morbid and unintelligible. The same charge was brought by philistines against the best works of Beethoven, Schumann, and Wagner. The fact is that these last works are of an almost matchless harmonic depth and originality, as superior to his earlier works as Wagner's last music dramas are to his first operas. I make this comparison with Wagner advisedly because, although I have the most exalted notions of Wagner's grandeur and importance, I do not for a moment hesitate to say that in his own sphere Chopin is quite as original and has been almost as revolutionary and epoch-making as Wagner. Now, why has the world been so slow in recognizing that Chopin stands in the very front rank of creative musicians? One reason doubtless is that he was so quiet and retiring in his personal disposition. His still, small voice was lost in the din of musical warfare. He warmly defended the principles of the romantic school, if necessary, and had decided opinions of other musicians, especially of the popular pianists of his day who vitiated the public taste with their show pieces; but he generally kept them to himself or confided them only to his friends, whom he even occasionally implored to keep them secret. Had he, like Richard Wagner, attacked everybody, right and left, who stood in the way of the general recognition of his genius, his cause would have doubtless assumed greater prominence in the eyes of the public, even though the parlor piano does not afford so much play-ground for warfare as the operatic stage.

Choose the word most opposite in meaning to the word 'escape', as used in the passage.

Directions: Read the following passage carefully and select the most suitable answer according to the underlined word per corresponding number in the passage.

Three years ago, a little-known craftsman from the dusty backstreets of southern China's Guangzhou city caught the world of classical musicians off guard. Zhu Ming-Jiang was awarded a gold medal from the prestigious Violin Society of America - its highest accolade - for an instrument handcrafted in the tradition of Italian masters of the 17th century, the great age of violinmakers. Seasoned music critics were aghast. China was one of the world’s biggest exporters of violins, but its instruments were notorious for their inferiority and sold by the truckload primarily because they were cheap. That general picture won't change overnight, since Zhu makes just 10 violins a year, but at least China can now lay claim to producing a contemporary equivalent to the famed Stradivarius.
Zhu's life has been full of surprising turns. The second son of two accountants, Zhu was forced as a teenager to abandon his education and like tens of thousands of other intellectual young Chinese during the 1960s and 70s, was sent to the countryside to be "re-educated" by tillers. "I wanted to be a carpenter, even a painter", says Zhu. "But I was labouring in fields of sugarcane and looking for a way out”. Zhu seized his chance to escape the rural backwaters of Panyu County just south of Guangzhou two years later in 1976 when China set up the Guangzhou Musical Instruments School. He was one of the 25 students chosen nationwide because he had shown promise as a sculptor of wood, an essential skill in the delicate crafting of musical instruments.
Zhu rapidly improved his skills and by 1986 he had graduated from the school and was working for the Guangzhou Musical Instruments Research Institute. Zhu's craft gained international recognition because senior Communist Party cadres often entered his violins in international competitions. They also flitted abroad to collect the prizes giving him little opportunity to enjoy the acclaim. By that time Zhu was secretly making violins at home because he wanted to use his own name in competitions and he felt that many of the violins produced by the institute were of poor quality.

Choose the word most similar in meaning to the word 'notorious', as used in the passage.

Directions: Read the following passage carefully and select the most suitable answer according to the underlined word per corresponding number in the passage.

Three years ago, a little-known craftsman from the dusty backstreets of southern China's Guangzhou city caught the world of classical musicians off guard. Zhu Ming-Jiang was awarded a gold medal from the prestigious Violin Society of America - its highest accolade - for an instrument handcrafted in the tradition of Italian masters of the 17th century, the great age of violinmakers. Seasoned music critics were aghast. China was one of the world’s biggest exporters of violins, but its instruments were notorious for their inferiority and sold by the truckload primarily because they were cheap. That general picture won't change overnight, since Zhu makes just 10 violins a year, but at least China can now lay claim to producing a contemporary equivalent to the famed Stradivarius.
Zhu's life has been full of surprising turns. The second son of two accountants, Zhu was forced as a teenager to abandon his education and like tens of thousands of other intellectual young Chinese during the 1960s and 70s, was sent to the countryside to be "re-educated" by tillers. "I wanted to be a carpenter, even a painter", says Zhu. "But I was labouring in fields of sugarcane and looking for a way out”. Zhu seized his chance to escape the rural backwaters of Panyu County just south of Guangzhou two years later in 1976 when China set up the Guangzhou Musical Instruments School. He was one of the 25 students chosen nationwide because he had shown promise as a sculptor of wood, an essential skill in the delicate crafting of musical instruments.
Zhu rapidly improved his skills and by 1986 he had graduated from the school and was working for the Guangzhou Musical Instruments Research Institute. Zhu's craft gained international recognition because senior Communist Party cadres often entered his violins in international competitions. They also flitted abroad to collect the prizes giving him little opportunity to enjoy the acclaim. By that time Zhu was secretly making violins at home because he wanted to use his own name in competitions and he felt that many of the violins produced by the institute were of poor quality.

Choose the word most similar in meaning to the word 'tillers', as used in the passage.

Directions: Read the following passage carefully and select the most suitable answer according to the underlined word per corresponding number in the passage.

Three years ago, a little-known craftsman from the dusty backstreets of southern China's Guangzhou city caught the world of classical musicians off guard. Zhu Ming-Jiang was awarded a gold medal from the prestigious Violin Society of America - its highest accolade - for an instrument handcrafted in the tradition of Italian masters of the 17th century, the great age of violinmakers. Seasoned music critics were aghast. China was one of the world’s biggest exporters of violins, but its instruments were notorious for their inferiority and sold by the truckload primarily because they were cheap. That general picture won't change overnight, since Zhu makes just 10 violins a year, but at least China can now lay claim to producing a contemporary equivalent to the famed Stradivarius.
Zhu's life has been full of surprising turns. The second son of two accountants, Zhu was forced as a teenager to abandon his education and like tens of thousands of other intellectual young Chinese during the 1960s and 70s, was sent to the countryside to be "re-educated" by tillers. "I wanted to be a carpenter, even a painter", says Zhu. "But I was labouring in fields of sugarcane and looking for a way out”. Zhu seized his chance to escape the rural backwaters of Panyu County just south of Guangzhou two years later in 1976 when China set up the Guangzhou Musical Instruments School. He was one of the 25 students chosen nationwide because he had shown promise as a sculptor of wood, an essential skill in the delicate crafting of musical instruments.
Zhu rapidly improved his skills and by 1986 he had graduated from the school and was working for the Guangzhou Musical Instruments Research Institute. Zhu's craft gained international recognition because senior Communist Party cadres often entered his violins in international competitions. They also flitted abroad to collect the prizes giving him little opportunity to enjoy the acclaim. By that time Zhu was secretly making violins at home because he wanted to use his own name in competitions and he felt that many of the violins produced by the institute were of poor quality.

Choose the word most similar in meaning to the word 'reluctantly', as used in the passage.

Directions: Read the following passage carefully and select the most suitable answer according to the underlined word per corresponding number in the passage.

Three years ago, a little-known craftsman from the dusty backstreets of southern China's Guangzhou city caught the world of classical musicians off guard. Zhu Ming-Jiang was awarded a gold medal from the prestigious Violin Society of America - its highest accolade - for an instrument handcrafted in the tradition of Italian masters of the 17th century, the great age of violinmakers. Seasoned music critics were aghast. China was one of the world’s biggest exporters of violins, but its instruments were notorious for their inferiority and sold by the truckload primarily because they were cheap. That general picture won't change overnight, since Zhu makes just 10 violins a year, but at least China can now lay claim to producing a contemporary equivalent to the famed Stradivarius.
Zhu's life has been full of surprising turns. The second son of two accountants, Zhu was forced as a teenager to abandon his education and like tens of thousands of other intellectual young Chinese during the 1960s and 70s, was sent to the countryside to be "re-educated" by tillers. "I wanted to be a carpenter, even a painter", says Zhu. "But I was labouring in fields of sugarcane and looking for a way out”. Zhu seized his chance to escape the rural backwaters of Panyu County just south of Guangzhou two years later in 1976 when China set up the Guangzhou Musical Instruments School. He was one of the 25 students chosen nationwide because he had shown promise as a sculptor of wood, an essential skill in the delicate crafting of musical instruments.
Zhu rapidly improved his skills and by 1986 he had graduated from the school and was working for the Guangzhou Musical Instruments Research Institute. Zhu's craft gained international recognition because senior Communist Party cadres often entered his violins in international competitions. They also flitted abroad to collect the prizes giving him little opportunity to enjoy the acclaim. By that time Zhu was secretly making violins at home because he wanted to use his own name in competitions and he felt that many of the violins produced by the institute were of poor quality.

Choose the word most similar in meaning to the word 'aghast', as used in the passage.

Directions: Read the following passage carefully and select the most suitable answer according to the underlined word per corresponding number in the passage.

Three years ago, a little-known craftsman from the dusty backstreets of southern China's Guangzhou city caught the world of classical musicians off guard. Zhu Ming-Jiang was awarded a gold medal from the prestigious Violin Society of America - its highest accolade - for an instrument handcrafted in the tradition of Italian masters of the 17th century, the great age of violinmakers. Seasoned music critics were aghast. China was one of the world’s biggest exporters of violins, but its instruments were notorious for their inferiority and sold by the truckload primarily because they were cheap. That general picture won't change overnight, since Zhu makes just 10 violins a year, but at least China can now lay claim to producing a contemporary equivalent to the famed Stradivarius.
Zhu's life has been full of surprising turns. The second son of two accountants, Zhu was forced as a teenager to abandon his education and like tens of thousands of other intellectual young Chinese during the 1960s and 70s, was sent to the countryside to be "re-educated" by tillers. "I wanted to be a carpenter, even a painter", says Zhu. "But I was labouring in fields of sugarcane and looking for a way out”. Zhu seized his chance to escape the rural backwaters of Panyu County just south of Guangzhou two years later in 1976 when China set up the Guangzhou Musical Instruments School. He was one of the 25 students chosen nationwide because he had shown promise as a sculptor of wood, an essential skill in the delicate crafting of musical instruments.
Zhu rapidly improved his skills and by 1986 he had graduated from the school and was working for the Guangzhou Musical Instruments Research Institute. Zhu's craft gained international recognition because senior Communist Party cadres often entered his violins in international competitions. They also flitted abroad to collect the prizes giving him little opportunity to enjoy the acclaim. By that time Zhu was secretly making violins at home because he wanted to use his own name in competitions and he felt that many of the violins produced by the institute were of poor quality.

Choose the word most similar in meaning to the word 'cadres', as used in the passage.

Directions: Read the following passage carefully and select the most suitable answer according to the underlined word per corresponding number in the passage.

Three years ago, a little-known craftsman from the dusty backstreets of southern China's Guangzhou city caught the world of classical musicians off guard. Zhu Ming-Jiang was awarded a gold medal from the prestigious Violin Society of America - its highest accolade - for an instrument handcrafted in the tradition of Italian masters of the 17th century, the great age of violinmakers. Seasoned music critics were aghast. China was one of the world’s biggest exporters of violins, but its instruments were notorious for their inferiority and sold by the truckload primarily because they were cheap. That general picture won't change overnight, since Zhu makes just 10 violins a year, but at least China can now lay claim to producing a contemporary equivalent to the famed Stradivarius.
Zhu's life has been full of surprising turns. The second son of two accountants, Zhu was forced as a teenager to abandon his education and like tens of thousands of other intellectual young Chinese during the 1960s and 70s, was sent to the countryside to be "re-educated" by tillers. "I wanted to be a carpenter, even a painter", says Zhu. "But I was labouring in fields of sugarcane and looking for a way out”. Zhu seized his chance to escape the rural backwaters of Panyu County just south of Guangzhou two years later in 1976 when China set up the Guangzhou Musical Instruments School. He was one of the 25 students chosen nationwide because he had shown promise as a sculptor of wood, an essential skill in the delicate crafting of musical instruments.
Zhu rapidly improved his skills and by 1986 he had graduated from the school and was working for the Guangzhou Musical Instruments Research Institute. Zhu's craft gained international recognition because senior Communist Party cadres often entered his violins in international competitions. They also flitted abroad to collect the prizes giving him little opportunity to enjoy the acclaim. By that time Zhu was secretly making violins at home because he wanted to use his own name in competitions and he felt that many of the violins produced by the institute were of poor quality.

Choose the word most similar in meaning to the word 'flitted', as used in the passage.

Directions: Read the following passage carefully and select the most suitable answer according to the underlined word per corresponding number in the passage.

Three years ago, a little-known craftsman from the dusty backstreets of southern China's Guangzhou city caught the world of classical musicians off guard. Zhu Ming-Jiang was awarded a gold medal from the prestigious Violin Society of America - its highest accolade - for an instrument handcrafted in the tradition of Italian masters of the 17th century, the great age of violinmakers. Seasoned music critics were aghast. China was one of the world’s biggest exporters of violins, but its instruments were notorious for their inferiority and sold by the truckload primarily because they were cheap. That general picture won't change overnight, since Zhu makes just 10 violins a year, but at least China can now lay claim to producing a contemporary equivalent to the famed Stradivarius.
Zhu's life has been full of surprising turns. The second son of two accountants, Zhu was forced as a teenager to abandon his education and like tens of thousands of other intellectual young Chinese during the 1960s and 70s, was sent to the countryside to be "re-educated" by tillers. "I wanted to be a carpenter, even a painter", says Zhu. "But I was labouring in fields of sugarcane and looking for a way out”. Zhu seized his chance to escape the rural backwaters of Panyu County just south of Guangzhou two years later in 1976 when China set up the Guangzhou Musical Instruments School. He was one of the 25 students chosen nationwide because he had shown promise as a sculptor of wood, an essential skill in the delicate crafting of musical instruments.
Zhu rapidly improved his skills and by 1986 he had graduated from the school and was working for the Guangzhou Musical Instruments Research Institute. Zhu's craft gained international recognition because senior Communist Party cadres often entered his violins in international competitions. They also flitted abroad to collect the prizes giving him little opportunity to enjoy the acclaim. By that time Zhu was secretly making violins at home because he wanted to use his own name in competitions and he felt that many of the violins produced by the institute were of poor quality.

'Cloning', according to the writer, would be one of the greatest milestones of human intellectual development because

Directions: Answer the given question based on the following passage:

Like the geography of the planet, the human body has, until now, represented a fixed point in human experience, a ‘given’. Today we are fast approaching the day when the body can no longer be regarded as fixed. Man will be able, within a reasonably short period, to redesign not merely individual bodies, but the entire human race.
In 1962 Drs. J.D. Watson and F.H.C. Crick received the Nobel Prize for describing the DNA molecules. Since then advances in genetics have come tripping over one another at a rapid pace. Molecular biology is now about to explode from the laboratories. New genetic knowledge will permit us to tinker with human heredity and manipulate the genes to create altogether new versions of man.
One of the more fantastic possibilities is that man will be able to make biological carbon copies of himself. Through a process called ‘cloning’ it will be possible to grow from the nucleus of an adult cell a new organism that has the same genetic characteristics of the person contributing the cell nucleus. The resultant human ‘copy’ would start life with a genetic endowment identical to that of the donor, although cultural differences might thereafter alter the personality or physical development of the clone.
Cloning will make it possible for people to see themselves born anew, to fill the world with twins of themselves. Cloning would, among other things, provide us with solid empirical evidence to help us resolve, once and for all, the ancient controversy over ‘nature v nurture’ or ‘heredity v environment’. The solution of this problem, through the determination of the role played by each, would be one of the greatest milestones of human intellectual development. Whole libraries of philosophical speculation could, by a single stroke, be rendered irrelevant. An answer to this question would open the way for speedy, qualitative advances in psychology, moral philosophy and a dozen other fields.
But cloning could also create undreamed of complications for the race. There is a certain charm to the idea of Albert Einstein bequeathing copies of himself to posterity. But what of Adolf Hitler? Should there be laws to regulate cloning? Nobel Laureate Joshua Lederberg, a scientist who takes his social responsibility very seriously, believes it conceivable that those most likely to replicate themselves will be those who are most narcissistic, and that the clones they produce will also be narcissists.
Even if narcissism, however, is culturally rather than biologically transmitted, there are other eerie difficulties. Thus Lederberg raises a question as to whether human cloning, if permitted, might not ‘go critical.’ ‘I use that phrase,’ he told me, ‘in almost exactly the same sense that is involved in nuclear energy. It will go critical if there is a sufficient positive advantage to doing so....This has to do with whether the efficiency of communication, particularly along educational lines, is increased as between identical genotypes or not. The similarity of neurological hardware might make it easier for identical copies to transmit technical and other insights from one generation to the next.’

What, according to the passage, will enable man 'to redesign not merely individual bodies, but the entire human race'? (a) DNA Molecules (b) Advances in genetics (c) Molecular biology (d) New genetic knowledge (e) Biological carbon copies

Directions: Answer the given question based on the following passage:

Like the geography of the planet, the human body has, until now, represented a fixed point in human experience, a ‘given’. Today we are fast approaching the day when the body can no longer be regarded as fixed. Man will be able, within a reasonably short period, to redesign not merely individual bodies, but the entire human race.
In 1962 Drs. J.D. Watson and F.H.C. Crick received the Nobel Prize for describing the DNA molecules. Since then advances in genetics have come tripping over one another at a rapid pace. Molecular biology is now about to explode from the laboratories. New genetic knowledge will permit us to tinker with human heredity and manipulate the genes to create altogether new versions of man.
One of the more fantastic possibilities is that man will be able to make biological carbon copies of himself. Through a process called ‘cloning’ it will be possible to grow from the nucleus of an adult cell a new organism that has the same genetic characteristics of the person contributing the cell nucleus. The resultant human ‘copy’ would start life with a genetic endowment identical to that of the donor, although cultural differences might thereafter alter the personality or physical development of the clone.
Cloning will make it possible for people to see themselves born anew, to fill the world with twins of themselves. Cloning would, among other things, provide us with solid empirical evidence to help us resolve, once and for all, the ancient controversy over ‘nature v nurture’ or ‘heredity v environment’. The solution of this problem, through the determination of the role played by each, would be one of the greatest milestones of human intellectual development. Whole libraries of philosophical speculation could, by a single stroke, be rendered irrelevant. An answer to this question would open the way for speedy, qualitative advances in psychology, moral philosophy and a dozen other fields.
But cloning could also create undreamed of complications for the race. There is a certain charm to the idea of Albert Einstein bequeathing copies of himself to posterity. But what of Adolf Hitler? Should there be laws to regulate cloning? Nobel Laureate Joshua Lederberg, a scientist who takes his social responsibility very seriously, believes it conceivable that those most likely to replicate themselves will be those who are most narcissistic, and that the clones they produce will also be narcissists.
Even if narcissism, however, is culturally rather than biologically transmitted, there are other eerie difficulties. Thus Lederberg raises a question as to whether human cloning, if permitted, might not ‘go critical.’ ‘I use that phrase,’ he told me, ‘in almost exactly the same sense that is involved in nuclear energy. It will go critical if there is a sufficient positive advantage to doing so....This has to do with whether the efficiency of communication, particularly along educational lines, is increased as between identical genotypes or not. The similarity of neurological hardware might make it easier for identical copies to transmit technical and other insights from one generation to the next.’