Reading Comprehension

The comparison of 'Rickety foundation' in line 34, passage 2 is designed (i) to have a comparison of singing with architectural techniques (ii) to analogically state and expound the importance of voice training (iii) to prove that foundations are important for sturdy buildings same as natural qualities are important for a singer

Answer this question based on the following passages.

Passage 1

            In no other form of expression do art and
            nature seem so closely identified as in the
            art of singing. A perfect voice speaks so
            directly to the soul of the hearer that all
(5)        appearance of artfully prepared effect is
            absent. Every tone sung by a consummate
            vocal artist seems to be poured forth freely
            and spontaneously. There is no evidence of
            calculation, of carefully directed effort, of
(10)      attention to the workings of the voice, in the
            tones of a perfect singer. Yet if the accepted
            idea of Voice Culture is correct, this semblance
            of spontaneity in the use of the voice can result
            only from careful and incessant attention to
(15)      mechanical rules. That the voice must be
            managed or handled in some way neither
            spontaneous nor instinctive, is the settled
            conviction of almost every authority on the
            subject. All authorities believe also that this
(20)      manner of handling the voice must be acquired
            by every student of singing, in the course of
            carefully directed study.
            This training in the use of the voice is the
            most important feature of education in
(25)      singing. Voice Culture embraces a peculiar
            and distinct problem, that of the correct
            management of the vocal organs. Vocal
            training has indeed come to be considered
            synonymous with training in the correct use
(30)      of the voice. Every method of instruction
            in singing must contain as its most important
            element some means for dealing with the
            problem of tone-production.
            No complete and satisfactory solution of
(35)      this problem has ever been found. Of this
            fact every one acquainted with the practical
            side of Voice Culture must be well aware.
            It is advisable to define precisely what is
            meant by the problem of tone-production.
(40)      In theory the question may be stated very
            simply. It is generally believed throughout
            the vocal profession that the voice has one
            correct mode of action, different from a wide
            variety of incorrect actions of which it is
(45)      capable;—that this mode of action, though
            ordained by Nature, is not in the usual sense
            natural or instinctive;—that the correct vocal
            action must be acquired, through a definite
            understanding and conscious management
(50)      of the muscular movements involved. The
            theoretical problem therefore is: What is the
             correct vocal action, and how can it be
            acquired?

Passage 2
            There is only one way to sing correctly, and
            that is to sing naturally, easily, comfortably.
            The height of vocal art is to have no apparent
            method, but to be able to sing with perfect
(5)        facility from one end of the voice to the other,
            emitting all the notes clearly and yet with
            power and having each note of the scale
            sound the same in quality and tonal beauty
            as the ones before and after.
(10)      There are many methods which lead to the
            goal of natural singing — that is to say, the
            production of the voice with ease, beauty
            and with perfect control. Certainly the highest
            art and a lifetime of work and study are
(15)      necessary to acquire an easy emission of
            tone. There is a multitude of wonderful natural
            voices. But these naturally untrained voices
            soon break or fail if they are used much unless
            the singer supplements the natural, God-given
(20)      vocal gifts with a conscious understanding of
            how the vocal apparatus should be used.
            The singer must have some knowledge of
            his or her anatomical structure, particularly
            the structure of the throat, mouth and face,
(25)      with its resonant cavities, which are so
            necessary for the right production of the
            voice. Besides that, the lungs and diaphragm
            and the whole breathing apparatus must be
            understood, because the foundation of
(30)      singing is breathing and breath control.
            A singer must be able to rely on his breath,
            just as he relies upon the solidity of the
            ground beneath his feet. A shaky, uncontrolled
            breath is like a rickety foundation on which
(35)      nothing can be built, and until that foundation
            has been developed and strengthened the
            would-be singer need expect no satisfactory
            results.
            In order to insure proper breathing capacity
(40)      it is understood that the clothing must be
            absolutely loose around the chest and also
            across the lower part of the back, for one
            should breathe with the back of the lungs as
            well as with the front. A singer should stand
(45)      freely and easily and should feel as if the
            chest were leading, but should not feel
            constrained or stiff in any part of the ribs or lungs.

What is the central idea of passage 1?

Answer this question based on the following passages.

Passage 1

            In no other form of expression do art and
            nature seem so closely identified as in the
            art of singing. A perfect voice speaks so
            directly to the soul of the hearer that all
(5)        appearance of artfully prepared effect is
            absent. Every tone sung by a consummate
            vocal artist seems to be poured forth freely
            and spontaneously. There is no evidence of
            calculation, of carefully directed effort, of
(10)      attention to the workings of the voice, in the
            tones of a perfect singer. Yet if the accepted
            idea of Voice Culture is correct, this semblance
            of spontaneity in the use of the voice can result
            only from careful and incessant attention to
(15)      mechanical rules. That the voice must be
            managed or handled in some way neither
            spontaneous nor instinctive, is the settled
            conviction of almost every authority on the
            subject. All authorities believe also that this
(20)      manner of handling the voice must be acquired
            by every student of singing, in the course of
            carefully directed study.
            This training in the use of the voice is the
            most important feature of education in
(25)      singing. Voice Culture embraces a peculiar
            and distinct problem, that of the correct
            management of the vocal organs. Vocal
            training has indeed come to be considered
            synonymous with training in the correct use
(30)      of the voice. Every method of instruction
            in singing must contain as its most important
            element some means for dealing with the
            problem of tone-production.
            No complete and satisfactory solution of
(35)      this problem has ever been found. Of this
            fact every one acquainted with the practical
            side of Voice Culture must be well aware.
            It is advisable to define precisely what is
            meant by the problem of tone-production.
(40)      In theory the question may be stated very
            simply. It is generally believed throughout
            the vocal profession that the voice has one
            correct mode of action, different from a wide
            variety of incorrect actions of which it is
(45)      capable;—that this mode of action, though
            ordained by Nature, is not in the usual sense
            natural or instinctive;—that the correct vocal
            action must be acquired, through a definite
            understanding and conscious management
(50)      of the muscular movements involved. The
            theoretical problem therefore is: What is the
             correct vocal action, and how can it be
            acquired?

Passage 2
            There is only one way to sing correctly, and
            that is to sing naturally, easily, comfortably.
            The height of vocal art is to have no apparent
            method, but to be able to sing with perfect
(5)        facility from one end of the voice to the other,
            emitting all the notes clearly and yet with
            power and having each note of the scale
            sound the same in quality and tonal beauty
            as the ones before and after.
(10)      There are many methods which lead to the
            goal of natural singing — that is to say, the
            production of the voice with ease, beauty
            and with perfect control. Certainly the highest
            art and a lifetime of work and study are
(15)      necessary to acquire an easy emission of
            tone. There is a multitude of wonderful natural
            voices. But these naturally untrained voices
            soon break or fail if they are used much unless
            the singer supplements the natural, God-given
(20)      vocal gifts with a conscious understanding of
            how the vocal apparatus should be used.
            The singer must have some knowledge of
            his or her anatomical structure, particularly
            the structure of the throat, mouth and face,
(25)      with its resonant cavities, which are so
            necessary for the right production of the
            voice. Besides that, the lungs and diaphragm
            and the whole breathing apparatus must be
            understood, because the foundation of
(30)      singing is breathing and breath control.
            A singer must be able to rely on his breath,
            just as he relies upon the solidity of the
            ground beneath his feet. A shaky, uncontrolled
            breath is like a rickety foundation on which
(35)      nothing can be built, and until that foundation
            has been developed and strengthened the
            would-be singer need expect no satisfactory
            results.
            In order to insure proper breathing capacity
(40)      it is understood that the clothing must be
            absolutely loose around the chest and also
            across the lower part of the back, for one
            should breathe with the back of the lungs as
            well as with the front. A singer should stand
(45)      freely and easily and should feel as if the
            chest were leading, but should not feel
            constrained or stiff in any part of the ribs or lungs.

The point of difference between both passages is

Answer this question based on the following passages.

Passage 1

            In no other form of expression do art and
            nature seem so closely identified as in the
            art of singing. A perfect voice speaks so
            directly to the soul of the hearer that all
(5)        appearance of artfully prepared effect is
            absent. Every tone sung by a consummate
            vocal artist seems to be poured forth freely
            and spontaneously. There is no evidence of
            calculation, of carefully directed effort, of
(10)      attention to the workings of the voice, in the
            tones of a perfect singer. Yet if the accepted
            idea of Voice Culture is correct, this semblance
            of spontaneity in the use of the voice can result
            only from careful and incessant attention to
(15)      mechanical rules. That the voice must be
            managed or handled in some way neither
            spontaneous nor instinctive, is the settled
            conviction of almost every authority on the
            subject. All authorities believe also that this
(20)      manner of handling the voice must be acquired
            by every student of singing, in the course of
            carefully directed study.
            This training in the use of the voice is the
            most important feature of education in
(25)      singing. Voice Culture embraces a peculiar
            and distinct problem, that of the correct
            management of the vocal organs. Vocal
            training has indeed come to be considered
            synonymous with training in the correct use
(30)      of the voice. Every method of instruction
            in singing must contain as its most important
            element some means for dealing with the
            problem of tone-production.
            No complete and satisfactory solution of
(35)      this problem has ever been found. Of this
            fact every one acquainted with the practical
            side of Voice Culture must be well aware.
            It is advisable to define precisely what is
            meant by the problem of tone-production.
(40)      In theory the question may be stated very
            simply. It is generally believed throughout
            the vocal profession that the voice has one
            correct mode of action, different from a wide
            variety of incorrect actions of which it is
(45)      capable;—that this mode of action, though
            ordained by Nature, is not in the usual sense
            natural or instinctive;—that the correct vocal
            action must be acquired, through a definite
            understanding and conscious management
(50)      of the muscular movements involved. The
            theoretical problem therefore is: What is the
             correct vocal action, and how can it be
            acquired?

Passage 2
            There is only one way to sing correctly, and
            that is to sing naturally, easily, comfortably.
            The height of vocal art is to have no apparent
            method, but to be able to sing with perfect
(5)        facility from one end of the voice to the other,
            emitting all the notes clearly and yet with
            power and having each note of the scale
            sound the same in quality and tonal beauty
            as the ones before and after.
(10)      There are many methods which lead to the
            goal of natural singing — that is to say, the
            production of the voice with ease, beauty
            and with perfect control. Certainly the highest
            art and a lifetime of work and study are
(15)      necessary to acquire an easy emission of
            tone. There is a multitude of wonderful natural
            voices. But these naturally untrained voices
            soon break or fail if they are used much unless
            the singer supplements the natural, God-given
(20)      vocal gifts with a conscious understanding of
            how the vocal apparatus should be used.
            The singer must have some knowledge of
            his or her anatomical structure, particularly
            the structure of the throat, mouth and face,
(25)      with its resonant cavities, which are so
            necessary for the right production of the
            voice. Besides that, the lungs and diaphragm
            and the whole breathing apparatus must be
            understood, because the foundation of
(30)      singing is breathing and breath control.
            A singer must be able to rely on his breath,
            just as he relies upon the solidity of the
            ground beneath his feet. A shaky, uncontrolled
            breath is like a rickety foundation on which
(35)      nothing can be built, and until that foundation
            has been developed and strengthened the
            would-be singer need expect no satisfactory
            results.
            In order to insure proper breathing capacity
(40)      it is understood that the clothing must be
            absolutely loose around the chest and also
            across the lower part of the back, for one
            should breathe with the back of the lungs as
            well as with the front. A singer should stand
(45)      freely and easily and should feel as if the
            chest were leading, but should not feel
            constrained or stiff in any part of the ribs or lungs.

What can be inferred about the relationship of the two passages?

Answer this question based on the following passages.

Passage 1

            In no other form of expression do art and
            nature seem so closely identified as in the
            art of singing. A perfect voice speaks so
            directly to the soul of the hearer that all
(5)        appearance of artfully prepared effect is
            absent. Every tone sung by a consummate
            vocal artist seems to be poured forth freely
            and spontaneously. There is no evidence of
            calculation, of carefully directed effort, of
(10)      attention to the workings of the voice, in the
            tones of a perfect singer. Yet if the accepted
            idea of Voice Culture is correct, this semblance
            of spontaneity in the use of the voice can result
            only from careful and incessant attention to
(15)      mechanical rules. That the voice must be
            managed or handled in some way neither
            spontaneous nor instinctive, is the settled
            conviction of almost every authority on the
            subject. All authorities believe also that this
(20)      manner of handling the voice must be acquired
            by every student of singing, in the course of
            carefully directed study.
            This training in the use of the voice is the
            most important feature of education in
(25)      singing. Voice Culture embraces a peculiar
            and distinct problem, that of the correct
            management of the vocal organs. Vocal
            training has indeed come to be considered
            synonymous with training in the correct use
(30)      of the voice. Every method of instruction
            in singing must contain as its most important
            element some means for dealing with the
            problem of tone-production.
            No complete and satisfactory solution of
(35)      this problem has ever been found. Of this
            fact every one acquainted with the practical
            side of Voice Culture must be well aware.
            It is advisable to define precisely what is
            meant by the problem of tone-production.
(40)      In theory the question may be stated very
            simply. It is generally believed throughout
            the vocal profession that the voice has one
            correct mode of action, different from a wide
            variety of incorrect actions of which it is
(45)      capable;—that this mode of action, though
            ordained by Nature, is not in the usual sense
            natural or instinctive;—that the correct vocal
            action must be acquired, through a definite
            understanding and conscious management
(50)      of the muscular movements involved. The
            theoretical problem therefore is: What is the
             correct vocal action, and how can it be
            acquired?

Passage 2
            There is only one way to sing correctly, and
            that is to sing naturally, easily, comfortably.
            The height of vocal art is to have no apparent
            method, but to be able to sing with perfect
(5)        facility from one end of the voice to the other,
            emitting all the notes clearly and yet with
            power and having each note of the scale
            sound the same in quality and tonal beauty
            as the ones before and after.
(10)      There are many methods which lead to the
            goal of natural singing — that is to say, the
            production of the voice with ease, beauty
            and with perfect control. Certainly the highest
            art and a lifetime of work and study are
(15)      necessary to acquire an easy emission of
            tone. There is a multitude of wonderful natural
            voices. But these naturally untrained voices
            soon break or fail if they are used much unless
            the singer supplements the natural, God-given
(20)      vocal gifts with a conscious understanding of
            how the vocal apparatus should be used.
            The singer must have some knowledge of
            his or her anatomical structure, particularly
            the structure of the throat, mouth and face,
(25)      with its resonant cavities, which are so
            necessary for the right production of the
            voice. Besides that, the lungs and diaphragm
            and the whole breathing apparatus must be
            understood, because the foundation of
(30)      singing is breathing and breath control.
            A singer must be able to rely on his breath,
            just as he relies upon the solidity of the
            ground beneath his feet. A shaky, uncontrolled
            breath is like a rickety foundation on which
(35)      nothing can be built, and until that foundation
            has been developed and strengthened the
            would-be singer need expect no satisfactory
            results.
            In order to insure proper breathing capacity
(40)      it is understood that the clothing must be
            absolutely loose around the chest and also
            across the lower part of the back, for one
            should breathe with the back of the lungs as
            well as with the front. A singer should stand
(45)      freely and easily and should feel as if the
            chest were leading, but should not feel
            constrained or stiff in any part of the ribs or lungs.

What is the main purpose of the passage?

Answer this question based on the following passage.

            The Germans were formerly the best fighting
            men and the most warlike nation of Europe.
            Germans have bled and conquered on
            countless battlefields in every part of the
(5)        world. In striking contrast to this military
            attitude they have today become a peace
            loving nation. The change springs first from
            the reverses the Germans suffered in the
            two world wars, but also in part from the
(10)      good-natured character of the German
            people, which finds intense satisfaction in
            doctrinaire disputations and partisanship,
            but dislikes pushing things to an extreme.
            It is connected with another characteristic of
(15)      the German nature. Our aim is to be just,
            and we strangely imagine that all other
            nations with whom we exchange relations
            share this aim. We are always ready to
            consider the peaceful assurances of foreign
(20)      diplomacy. We obstinately resist the view
            that the political world is only ruled by
            interests and never from ideal aims of
            philanthropy. "Justice," Goethe says aptly,
            "is a quality and a phantom of the Germans."
(25)      We are always inclined to assume that
            disputes between States can find a peaceful
            solution on the basis of justice without clearly
            realizing what international justice is.
            An additional cause of the love of peace,
(30)      besides those which are rooted in the very
            soul of the German people, is the wish not
            to be disturbed in commercial life. The
            Germans are born businessmen, more than
            any others in the world. Notwithstanding the
(35)      reverses in the none-too-distant past, we
            have made marvelous progress, and our
            young industries challenge competition with
            all the great industrial states. German
            merchants traverse every quarter of the
(40)      globe. Under these conditions our national
            wealth has increased with rapid strides. Our
            trade and our industries -- owners no less
            than employees -- do not want this
            development to be interrupted. They believe
(45)      that peace is the essential condition of
            commerce.

The tone of the passage is

Answer this question based on the following passage.

            The Germans were formerly the best fighting
            men and the most warlike nation of Europe.
            Germans have bled and conquered on
            countless battlefields in every part of the
(5)        world. In striking contrast to this military
            attitude they have today become a peace
            loving nation. The change springs first from
            the reverses the Germans suffered in the
            two world wars, but also in part from the
(10)      good-natured character of the German
            people, which finds intense satisfaction in
            doctrinaire disputations and partisanship,
            but dislikes pushing things to an extreme.
            It is connected with another characteristic of
(15)      the German nature. Our aim is to be just,
            and we strangely imagine that all other
            nations with whom we exchange relations
            share this aim. We are always ready to
            consider the peaceful assurances of foreign
(20)      diplomacy. We obstinately resist the view
            that the political world is only ruled by
            interests and never from ideal aims of
            philanthropy. "Justice," Goethe says aptly,
            "is a quality and a phantom of the Germans."
(25)      We are always inclined to assume that
            disputes between States can find a peaceful
            solution on the basis of justice without clearly
            realizing what international justice is.
            An additional cause of the love of peace,
(30)      besides those which are rooted in the very
            soul of the German people, is the wish not
            to be disturbed in commercial life. The
            Germans are born businessmen, more than
            any others in the world. Notwithstanding the
(35)      reverses in the none-too-distant past, we
            have made marvelous progress, and our
            young industries challenge competition with
            all the great industrial states. German
            merchants traverse every quarter of the
(40)      globe. Under these conditions our national
            wealth has increased with rapid strides. Our
            trade and our industries -- owners no less
            than employees -- do not want this
            development to be interrupted. They believe
(45)      that peace is the essential condition of
            commerce.

All the following causes are helpful to the Germans for maintaining peace, except

Answer this question based on the following passage.

            The Germans were formerly the best fighting
            men and the most warlike nation of Europe.
            Germans have bled and conquered on
            countless battlefields in every part of the
(5)        world. In striking contrast to this military
            attitude they have today become a peace
            loving nation. The change springs first from
            the reverses the Germans suffered in the
            two world wars, but also in part from the
(10)      good-natured character of the German
            people, which finds intense satisfaction in
            doctrinaire disputations and partisanship,
            but dislikes pushing things to an extreme.
            It is connected with another characteristic of
(15)      the German nature. Our aim is to be just,
            and we strangely imagine that all other
            nations with whom we exchange relations
            share this aim. We are always ready to
            consider the peaceful assurances of foreign
(20)      diplomacy. We obstinately resist the view
            that the political world is only ruled by
            interests and never from ideal aims of
            philanthropy. "Justice," Goethe says aptly,
            "is a quality and a phantom of the Germans."
(25)      We are always inclined to assume that
            disputes between States can find a peaceful
            solution on the basis of justice without clearly
            realizing what international justice is.
            An additional cause of the love of peace,
(30)      besides those which are rooted in the very
            soul of the German people, is the wish not
            to be disturbed in commercial life. The
            Germans are born businessmen, more than
            any others in the world. Notwithstanding the
(35)      reverses in the none-too-distant past, we
            have made marvelous progress, and our
            young industries challenge competition with
            all the great industrial states. German
            merchants traverse every quarter of the
(40)      globe. Under these conditions our national
            wealth has increased with rapid strides. Our
            trade and our industries -- owners no less
            than employees -- do not want this
            development to be interrupted. They believe
(45)      that peace is the essential condition of
            commerce.

Which of the following statements will the author most likely agree with?

Answer this question based on the following passage.

            The Germans were formerly the best fighting
            men and the most warlike nation of Europe.
            Germans have bled and conquered on
            countless battlefields in every part of the
(5)        world. In striking contrast to this military
            attitude they have today become a peace
            loving nation. The change springs first from
            the reverses the Germans suffered in the
            two world wars, but also in part from the
(10)      good-natured character of the German
            people, which finds intense satisfaction in
            doctrinaire disputations and partisanship,
            but dislikes pushing things to an extreme.
            It is connected with another characteristic of
(15)      the German nature. Our aim is to be just,
            and we strangely imagine that all other
            nations with whom we exchange relations
            share this aim. We are always ready to
            consider the peaceful assurances of foreign
(20)      diplomacy. We obstinately resist the view
            that the political world is only ruled by
            interests and never from ideal aims of
            philanthropy. "Justice," Goethe says aptly,
            "is a quality and a phantom of the Germans."
(25)      We are always inclined to assume that
            disputes between States can find a peaceful
            solution on the basis of justice without clearly
            realizing what international justice is.
            An additional cause of the love of peace,
(30)      besides those which are rooted in the very
            soul of the German people, is the wish not
            to be disturbed in commercial life. The
            Germans are born businessmen, more than
            any others in the world. Notwithstanding the
(35)      reverses in the none-too-distant past, we
            have made marvelous progress, and our
            young industries challenge competition with
            all the great industrial states. German
            merchants traverse every quarter of the
(40)      globe. Under these conditions our national
            wealth has increased with rapid strides. Our
            trade and our industries -- owners no less
            than employees -- do not want this
            development to be interrupted. They believe
(45)      that peace is the essential condition of
            commerce.

Which of the following is not a quality of the Germans as per the passage?

Answer this question based on the following passage.

            The Germans were formerly the best fighting
            men and the most warlike nation of Europe.
            Germans have bled and conquered on
            countless battlefields in every part of the
(5)        world. In striking contrast to this military
            attitude they have today become a peace
            loving nation. The change springs first from
            the reverses the Germans suffered in the
            two world wars, but also in part from the
(10)      good-natured character of the German
            people, which finds intense satisfaction in
            doctrinaire disputations and partisanship,
            but dislikes pushing things to an extreme.
            It is connected with another characteristic of
(15)      the German nature. Our aim is to be just,
            and we strangely imagine that all other
            nations with whom we exchange relations
            share this aim. We are always ready to
            consider the peaceful assurances of foreign
(20)      diplomacy. We obstinately resist the view
            that the political world is only ruled by
            interests and never from ideal aims of
            philanthropy. "Justice," Goethe says aptly,
            "is a quality and a phantom of the Germans."
(25)      We are always inclined to assume that
            disputes between States can find a peaceful
            solution on the basis of justice without clearly
            realizing what international justice is.
            An additional cause of the love of peace,
(30)      besides those which are rooted in the very
            soul of the German people, is the wish not
            to be disturbed in commercial life. The
            Germans are born businessmen, more than
            any others in the world. Notwithstanding the
(35)      reverses in the none-too-distant past, we
            have made marvelous progress, and our
            young industries challenge competition with
            all the great industrial states. German
            merchants traverse every quarter of the
(40)      globe. Under these conditions our national
            wealth has increased with rapid strides. Our
            trade and our industries -- owners no less
            than employees -- do not want this
            development to be interrupted. They believe
(45)      that peace is the essential condition of
            commerce.

Why does the author use the phrase “without clearly realizing what international justice is“ (lines 27 - 28) in the context of German people?

Answer this question based on the following passage.

            The Germans were formerly the best fighting
            men and the most warlike nation of Europe.
            Germans have bled and conquered on
            countless battlefields in every part of the
(5)        world. In striking contrast to this military
            attitude they have today become a peace
            loving nation. The change springs first from
            the reverses the Germans suffered in the
            two world wars, but also in part from the
(10)      good-natured character of the German
            people, which finds intense satisfaction in
            doctrinaire disputations and partisanship,
            but dislikes pushing things to an extreme.
            It is connected with another characteristic of
(15)      the German nature. Our aim is to be just,
            and we strangely imagine that all other
            nations with whom we exchange relations
            share this aim. We are always ready to
            consider the peaceful assurances of foreign
(20)      diplomacy. We obstinately resist the view
            that the political world is only ruled by
            interests and never from ideal aims of
            philanthropy. "Justice," Goethe says aptly,
            "is a quality and a phantom of the Germans."
(25)      We are always inclined to assume that
            disputes between States can find a peaceful
            solution on the basis of justice without clearly
            realizing what international justice is.
            An additional cause of the love of peace,
(30)      besides those which are rooted in the very
            soul of the German people, is the wish not
            to be disturbed in commercial life. The
            Germans are born businessmen, more than
            any others in the world. Notwithstanding the
(35)      reverses in the none-too-distant past, we
            have made marvelous progress, and our
            young industries challenge competition with
            all the great industrial states. German
            merchants traverse every quarter of the
(40)      globe. Under these conditions our national
            wealth has increased with rapid strides. Our
            trade and our industries -- owners no less
            than employees -- do not want this
            development to be interrupted. They believe
(45)      that peace is the essential condition of
            commerce.

“A palliative for shortcomings” (line 16) relates to

Questions are based on the following passage.

            Despite a current impression to the contrary,
            implicit in nearly every printed utterance on
            the subject, there should not be any essential
            functional disparity between the journalist male
(5)        and the journalist female. A woman doctor
            (to instance another open calling) is rightly
            regarded as a doctor who happens to be a
            woman, not as a woman who happens to
            be a doctor. She undergoes the same
 (10)      training, and submits to the same tests, as
            the young men who find their distraction in
            the music-halls and flirt with nurses. Her
            sex is properly sunk, except where it may
            prove an advantage, and certainly it is
(15)       never allowed to pose as an excuse for
            limitations, a palliative for shortcomings.
            Least of all is she credited (or debited) with
            any abnormality on account of it. But towards
            the woman journalist our attitude, and her
(20)       own, is mysteriously different. Though
            perhaps we do not say so, we leave it to be
            inferred that of the dwellers in Fleet Street
            there are, not two sexes, but two species–
            journalists and women-journalists--and that
(25)       the one is about as far removed organically
            from the other as a dog from a cat. And we
            treat these two species differently. They are
            not expected to suffer the same discipline,
            nor are they judged by the same standards.
(30)       In Fleet Street femininity is an absolution, not
            an accident. The statement may be denied,
            but it is broadly true, and can easily be
            demonstrated.

What is the author's purpose in stating in the opening lines that “Medicine is No Sinecure”?

Answer this question based on the following passage.

            The profession of medicine is no sinecure;
            its labors are constant, its toils unremitting,
            its cares unceasing. The physician is
            expected to meet the grim monster, "break
(5)        the jaws of death, and pluck the spoil out of
            his teeth." His ear is ever attentive to entreaty,
            and within his faithful breast are concealed the
            disclosures of the suffering. Success may elate
            him, as conquest flushes the victor. Honors are
 (10)     lavished upon the brave soldiers who, in the
            struggle with the foe, have covered themselves
            with glory, and returned victorious from the field
            of battle; but how much more brilliant is the
            achievement of those who overwhelm disease,
(15)      that common enemy of mankind, whose victims
            are numbered by millions! Is it meritorious in the
            physician to modestly veil his discoveries,
            regardless of their importance? If he have light,
            why hide it from the world? Truth should be
(20)      made as universal and health-giving as
            sunlight. We say, give light to all who are in
            darkness, and a remedy to the afflicted
            everywhere.

All of the following categories of expression/figure of speech have been used in the given passage, except

Answer this question based on the following passage.

            The profession of medicine is no sinecure;
            its labors are constant, its toils unremitting,
            its cares unceasing. The physician is
            expected to meet the grim monster, "break
(5)        the jaws of death, and pluck the spoil out of
            his teeth." His ear is ever attentive to entreaty,
            and within his faithful breast are concealed the
            disclosures of the suffering. Success may elate
            him, as conquest flushes the victor. Honors are
 (10)     lavished upon the brave soldiers who, in the
            struggle with the foe, have covered themselves
            with glory, and returned victorious from the field
            of battle; but how much more brilliant is the
            achievement of those who overwhelm disease,
(15)      that common enemy of mankind, whose victims
            are numbered by millions! Is it meritorious in the
            physician to modestly veil his discoveries,
            regardless of their importance? If he have light,
            why hide it from the world? Truth should be
(20)      made as universal and health-giving as
            sunlight. We say, give light to all who are in
            darkness, and a remedy to the afflicted
            everywhere.

Which of the following would be the most logical insertion between sentence 2 and sentence 3?

Directions: The following passage is an early draft of an essay. Some parts of the passage need to be rewritten. Read the passage and select the best answer for the question that follows. Keep in mind that some questions are about particular sentences or parts of sentences and ask you to improve sentence structure or word choice. Other questions ask to consider organization and development. In choosing the answer, follow the requirements of standard written English.

[1] The girl, educated to earn her living in the market of the world, no longer marries simply because no other career is open to her. [2] When she does marry, she is less likely than formerly, statistics tell us, to have children-the only remaining work which, in these days, definitely requires a home. [3] Girls are willing to undertake matrimony, but often with the distinct understanding that their "careers" are not to be interfered with. [4] To them, then, marriage becomes more and more an incident in life rather than a life work. [5] For the good of coming generations the true home spirit must be saved; this is a belief, we shall do well to admit at once that the old-time home was an institution suited to its own day, but that we cannot now call it back to being. [6] Nor would we wish to do so. [7] There is no possible reason for wishing our women to spin, weave, knit, bake, brew, preserve, clean, if the products she formerly made can be produced more cheaply and more efficiently outside the home. [8] But generalizing too soon in this regard about these industries, this is dangerous. [9] At least, the factory method has not yet brought really satisfactory results, there are doubts in this directions. [10] How many women can give you reasons why they believe that it no longer "pays" to do this or that at home as they once did and do the factories always turn out as good a product as the housekeeper? [11] If they do, does the housekeeper obtain that product with as little expenditure as when she made it? [12] If she spends more, can she show that the leisure she has thus bought has been a wise purchase? [13] Is she justified in accepting vague generalizations to the effect that it is better economy to buy than to make, or should she test for herself, checking up her individual conditions and results?

In context, which of the following is the best way to rephrase the underlined portion of sentence 5 (reproduced below)? For the good of coming generations the true home spirit must be saved; this is a belief, we shall do well to admit at once that the old-time home was an institution suited to its own day, but that we cannot now call it back to being.

Directions: The following passage is an early draft of an essay. Some parts of the passage need to be rewritten. Read the passage and select the best answer for the question that follows. Keep in mind that some questions are about particular sentences or parts of sentences and ask you to improve sentence structure or word choice. Other questions ask to consider organization and development. In choosing the answer, follow the requirements of standard written English.

[1] The girl, educated to earn her living in the market of the world, no longer marries simply because no other career is open to her. [2] When she does marry, she is less likely than formerly, statistics tell us, to have children-the only remaining work which, in these days, definitely requires a home. [3] Girls are willing to undertake matrimony, but often with the distinct understanding that their "careers" are not to be interfered with. [4] To them, then, marriage becomes more and more an incident in life rather than a life work. [5] For the good of coming generations the true home spirit must be saved; this is a belief, we shall do well to admit at once that the old-time home was an institution suited to its own day, but that we cannot now call it back to being. [6] Nor would we wish to do so. [7] There is no possible reason for wishing our women to spin, weave, knit, bake, brew, preserve, clean, if the products she formerly made can be produced more cheaply and more efficiently outside the home. [8] But generalizing too soon in this regard about these industries, this is dangerous. [9] At least, the factory method has not yet brought really satisfactory results, there are doubts in this directions. [10] How many women can give you reasons why they believe that it no longer "pays" to do this or that at home as they once did and do the factories always turn out as good a product as the housekeeper? [11] If they do, does the housekeeper obtain that product with as little expenditure as when she made it? [12] If she spends more, can she show that the leisure she has thus bought has been a wise purchase? [13] Is she justified in accepting vague generalizations to the effect that it is better economy to buy than to make, or should she test for herself, checking up her individual conditions and results?