Reading Comprehension

Choose the word most similar in meaning to the word 'vitiated', 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 '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 similar in meaning to the word 'askance', 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 a fallacious mode of presenting the attainment of happiness; namely, that happiness is best secured by not being aimed at. We should be aiming always at something else. When examined closely, the doctrine resolves itself into a kind of paradox. All sorts of ambiguities come up when we attempt to follow it to its consequences.

Choose the word most similar in meaning to the word 'doctrine', 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 a fallacious mode of presenting the attainment of happiness; namely, that happiness is best secured by not being aimed at. We should be aiming always at something else. When examined closely, the doctrine resolves itself into a kind of paradox. All sorts of ambiguities come up when we attempt to follow it to its consequences.

Choose the word most similar in meaning to the word 'fallacious', 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 a fallacious mode of presenting the attainment of happiness; namely, that happiness is best secured by not being aimed at. We should be aiming always at something else. When examined closely, the doctrine resolves itself into a kind of paradox. All sorts of ambiguities come up when we attempt to follow it to its consequences.

Choose the word most similar in meaning to the word 'paradox', 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 a fallacious mode of presenting the attainment of happiness; namely, that happiness is best secured by not being aimed at. We should be aiming always at something else. When examined closely, the doctrine resolves itself into a kind of paradox. All sorts of ambiguities come up when we attempt to follow it to its consequences.

Choose the word most similar in meaning to the word 'predicament', 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 a fallacious mode of presenting the attainment of happiness; namely, that happiness is best secured by not being aimed at. We should be aiming always at something else. When examined closely, the doctrine resolves itself into a kind of paradox. All sorts of ambiguities come up when we attempt to follow it to its consequences.

Choose the word most similar in meaning to the word 'niggardly', 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.

Nothing can possibly be conceived in the world, or even out of it, which can be called good, without qualification, except for good will.
Intelligence, wit, judgement, and the other talents of the mind, however they may be named, or courage, resolution, perseverance, as qualities of temperament, are undoubtedly good and desirable in many respects; but these gifts of nature may also become extremely bad and mischievous if the will which is to make use of them, and which, therefore, constitutes what is called character, is not good. It is the same with the gifts of fortune. Power, riches, honour, even health, and the general well-being and contentment with one's condition which is called happiness, inspire pride, and often presumption, if there is not a good will to correct the influence of these on the mind, and with this also to rectify the whole principle of acting and adapt it to its end. The sight of a being that is not adorned with a single feature of a pure and good will, enjoying unbroken prosperity, can never give pleasure to an impartial rational spectator. Thus a goodwill appears to constitute the indispensable condition even of being worthy of happiness.
There are even some qualities which are of service to this good will itself and may facilitate its action, yet which have no intrinsic unconditional value, but always presuppose a good will, and this qualifies the esteem that we justly have for them and does not permit us to regard them as absolutely good. Moderation in the affections and passions, self-control, and calm deliberation are not only good in many respects, but even seem to constitute part of the intrinsic worth of the person; but they are far from deserving to be called good without qualification, although they have been so unconditionally praised by the ancients. For without the principles of a good will, they may become extremely bad, and the coolness of a villain not only makes him far more dangerous, but also directly makes him more abominable in our eyes than he would have been without it.
A good will is good not because of what it performs or effects, not by its aptness for the attainment of some proposed end, but simply by virtue of the volition; that is, it is good in itself, and considered by itself is to be esteemed much higher than all that can be brought about by it in favour of any inclination, not even of the sum total of all inclinations. Even if it should happen that, owing to special disfavour of fortune, or the niggardly provision of a step-motherly nature, this will should wholly lack power to accomplish its purpose, if with its greatest efforts it should yet achieve nothing, and there should remain only the good will (not, to be sure, a mere wish, but the summoning of all means in our power), then, like a jewel, it would still shine by its own light, as a thing which has its whole value in itself.

Choose the word most similar in meaning to the word 'deliberation', 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.

Nothing can possibly be conceived in the world, or even out of it, which can be called good, without qualification, except for good will.
Intelligence, wit, judgement, and the other talents of the mind, however they may be named, or courage, resolution, perseverance, as qualities of temperament, are undoubtedly good and desirable in many respects; but these gifts of nature may also become extremely bad and mischievous if the will which is to make use of them, and which, therefore, constitutes what is called character, is not good. It is the same with the gifts of fortune. Power, riches, honour, even health, and the general well-being and contentment with one's condition which is called happiness, inspire pride, and often presumption, if there is not a good will to correct the influence of these on the mind, and with this also to rectify the whole principle of acting and adapt it to its end. The sight of a being that is not adorned with a single feature of a pure and good will, enjoying unbroken prosperity, can never give pleasure to an impartial rational spectator. Thus a goodwill appears to constitute the indispensable condition even of being worthy of happiness.
There are even some qualities which are of service to this good will itself and may facilitate its action, yet which have no intrinsic unconditional value, but always presuppose a good will, and this qualifies the esteem that we justly have for them and does not permit us to regard them as absolutely good. Moderation in the affections and passions, self-control, and calm deliberation are not only good in many respects, but even seem to constitute part of the intrinsic worth of the person; but they are far from deserving to be called good without qualification, although they have been so unconditionally praised by the ancients. For without the principles of a good will, they may become extremely bad, and the coolness of a villain not only makes him far more dangerous, but also directly makes him more abominable in our eyes than he would have been without it.
A good will is good not because of what it performs or effects, not by its aptness for the attainment of some proposed end, but simply by virtue of the volition; that is, it is good in itself, and considered by itself is to be esteemed much higher than all that can be brought about by it in favour of any inclination, not even of the sum total of all inclinations. Even if it should happen that, owing to special disfavour of fortune, or the niggardly provision of a step-motherly nature, this will should wholly lack power to accomplish its purpose, if with its greatest efforts it should yet achieve nothing, and there should remain only the good will (not, to be sure, a mere wish, but the summoning of all means in our power), then, like a jewel, it would still shine by its own light, as a thing which has its whole value in itself.

Choose the word most similar in meaning to the word 'volition', 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.

Nothing can possibly be conceived in the world, or even out of it, which can be called good, without qualification, except for good will.
Intelligence, wit, judgement, and the other talents of the mind, however they may be named, or courage, resolution, perseverance, as qualities of temperament, are undoubtedly good and desirable in many respects; but these gifts of nature may also become extremely bad and mischievous if the will which is to make use of them, and which, therefore, constitutes what is called character, is not good. It is the same with the gifts of fortune. Power, riches, honour, even health, and the general well-being and contentment with one's condition which is called happiness, inspire pride, and often presumption, if there is not a good will to correct the influence of these on the mind, and with this also to rectify the whole principle of acting and adapt it to its end. The sight of a being that is not adorned with a single feature of a pure and good will, enjoying unbroken prosperity, can never give pleasure to an impartial rational spectator. Thus a goodwill appears to constitute the indispensable condition even of being worthy of happiness.
There are even some qualities which are of service to this good will itself and may facilitate its action, yet which have no intrinsic unconditional value, but always presuppose a good will, and this qualifies the esteem that we justly have for them and does not permit us to regard them as absolutely good. Moderation in the affections and passions, self-control, and calm deliberation are not only good in many respects, but even seem to constitute part of the intrinsic worth of the person; but they are far from deserving to be called good without qualification, although they have been so unconditionally praised by the ancients. For without the principles of a good will, they may become extremely bad, and the coolness of a villain not only makes him far more dangerous, but also directly makes him more abominable in our eyes than he would have been without it.
A good will is good not because of what it performs or effects, not by its aptness for the attainment of some proposed end, but simply by virtue of the volition; that is, it is good in itself, and considered by itself is to be esteemed much higher than all that can be brought about by it in favour of any inclination, not even of the sum total of all inclinations. Even if it should happen that, owing to special disfavour of fortune, or the niggardly provision of a step-motherly nature, this will should wholly lack power to accomplish its purpose, if with its greatest efforts it should yet achieve nothing, and there should remain only the good will (not, to be sure, a mere wish, but the summoning of all means in our power), then, like a jewel, it would still shine by its own light, as a thing which has its whole value in itself.

Choose the word most similar in meaning to the word 'conceived', 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.

Nothing can possibly be conceived in the world, or even out of it, which can be called good, without qualification, except for good will.
Intelligence, wit, judgement, and the other talents of the mind, however they may be named, or courage, resolution, perseverance, as qualities of temperament, are undoubtedly good and desirable in many respects; but these gifts of nature may also become extremely bad and mischievous if the will which is to make use of them, and which, therefore, constitutes what is called character, is not good. It is the same with the gifts of fortune. Power, riches, honour, even health, and the general well-being and contentment with one's condition which is called happiness, inspire pride, and often presumption, if there is not a good will to correct the influence of these on the mind, and with this also to rectify the whole principle of acting and adapt it to its end. The sight of a being that is not adorned with a single feature of a pure and good will, enjoying unbroken prosperity, can never give pleasure to an impartial rational spectator. Thus a goodwill appears to constitute the indispensable condition even of being worthy of happiness.
There are even some qualities which are of service to this good will itself and may facilitate its action, yet which have no intrinsic unconditional value, but always presuppose a good will, and this qualifies the esteem that we justly have for them and does not permit us to regard them as absolutely good. Moderation in the affections and passions, self-control, and calm deliberation are not only good in many respects, but even seem to constitute part of the intrinsic worth of the person; but they are far from deserving to be called good without qualification, although they have been so unconditionally praised by the ancients. For without the principles of a good will, they may become extremely bad, and the coolness of a villain not only makes him far more dangerous, but also directly makes him more abominable in our eyes than he would have been without it.
A good will is good not because of what it performs or effects, not by its aptness for the attainment of some proposed end, but simply by virtue of the volition; that is, it is good in itself, and considered by itself is to be esteemed much higher than all that can be brought about by it in favour of any inclination, not even of the sum total of all inclinations. Even if it should happen that, owing to special disfavour of fortune, or the niggardly provision of a step-motherly nature, this will should wholly lack power to accomplish its purpose, if with its greatest efforts it should yet achieve nothing, and there should remain only the good will (not, to be sure, a mere wish, but the summoning of all means in our power), then, like a jewel, it would still shine by its own light, as a thing which has its whole value in itself.