Reading Comprehension

What does the author mean by کthe revival in England of the dramatic instinct?

Directions: Read the following passage and answer the question based on the passage.

PASSAGE – III:

There is a good deal of fascination, and some truth, in the theory that different nations enjoy opera in different ways. The Italian might be said to hear through what is euphemistically called his heart, the Frenchman through his palate, the Spaniard through his toes, the German through his brain, and the Englishman through his purse. But in truth this does not represent the case at all fairly. For, to take only modern instances, Italy, on whose congenial soil 'Cavalleria Rusticana' and the productions it suggested met with such extraordinary success, saw also in 'Falstaff' the wittiest and most brilliant musical comedy since 'Die Meistersinger', and in 'Madama Butterfly' a lyric of infinite delicacy, free from any suggestion of unworthy emotion. Among recent French operas, works of tragic import, treated with all the intricacy of the most advanced modern schools, have been received with far greater favour than have been shown to works of the lighter class which we associate with the genius of the French nation; and of late years the vogue of such works as 'Louise' or 'Pelléas et Mélisande' shows that the taste for music without any special form has conquered the very nation in which form has generally ranked highest. In Germany, on the other hand, some of the greatest successes with the public at large have been won by productions which seem to touch the lowest imaginable point of artistic imbecility; and the ever-increasing interest in musical drama that is manifested year after year by London audiences shows that higher motives than those referred to weigh even with Englishmen. The theory above mentioned will not hold water, for there are, as a matter of fact, only two ways of looking at opera: either as a means, whether expensive or not, of passing an evening with a very little intellectual trouble, some social éclat, and a certain amount of pleasure, or as a form of art, making serious and justifiable claims on the attention of rational people. These claims of opera are perhaps more widely recognised in England than they were some years ago; but there are still a certain number of persons, and among them not a few musical people, who hesitate to give opera a place beside what is usually called 'abstract' music. Music's highest dignity is, no doubt, reached when it is self-sufficient, when its powers are exerted upon its own creations, entirely without dependence upon predetermined emotions calling for illustration, and when the interest of the composition as well as the material is conveyed exclusively in terms of music. But the function of music in expressing those sides of human emotion which lie too deep for verbal utterance, a function of which the gradual recognition led on to the invention of opera, is one that cannot be slighted or ignored; in it lies a power of appeal to feeling that no words can reach, and a very wonderful definiteness in conveying exact shades of emotional sensation. Not that it can of itself suggest the direction in which the emotions are to be worked upon; but this direction once given from outside, whether by a 'programme' read by the listener or by the action and accessories of the stage, the force of feeling can be conveyed with overwhelming power, and the whole gamut of emotion, from the subtlest hint or foreshadowing to the fury of inevitable passion, is at the command of him who knows how to wield the means by which expression is carried to the hearer's mind. And in this fact lies the complete justification of opera as an art-form. The old-fashioned criticism of opera as such, based on the indisputable fact that, however excited people may be, they do not in real life express themselves in song, but in unmodulated speech, is not now very often heard. With the revival in England of the dramatic instinct, the conventions of stage declamation are readily accepted, and if it be conceded that the characters in a drama may be allowed to speak blank verse, it is hardly more than a step further to permit the action to be carried on by means of vocal utterance in music. Until latterly, however, English people, though taking pleasure in the opera, went to it rather to hear particular singers than to enjoy the work as a whole, or with any consideration for its dramatic significance. We should not expect a stern and uncompromising nature like Carlyle's to regard the opera as anything more than a trivial amusement, and that such was his attitude towards it appears from his letters; but it is curious to see that a man of such strongly pronounced dramatic tastes as Edward FitzGerald, though devoted to the opera in his own way, yet took what can only be called a superficial view of its possibilities.

The author refers to 'philistines' in order to

Directions: Read the following passage and answer the question based on 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 very few critics devote 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. Schumann was the first to recognize the revolutionary significance of Chopin's style. Chopin's works, he says, are cannons buried in flowers; and in another place he declares that he can see in Chopin's G minor Nocturne a terrible declaration of war against a whole musical past.

Chopin was quiet and retiring in his personal disposition so much so that his 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.

Which of the following statements support(s) the notion of 'aesthetic jumboism'?

I. A painting of a sunflower is appreciated more than a painting of a violet. II. Big oxen have been proved to perform better than the dwarfs. III. Tall people are aesthetically pleasing to the eye. IV. A disbelief in the notion that God is in the details. V. All the accolades are reserved for the best; the next best only becomes the also ran.

Directions: Read the following passage and answer the question based on 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 very few critics devote 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. Schumann was the first to recognize the revolutionary significance of Chopin's style. Chopin's works, he says, are cannons buried in flowers; and in another place he declares that he can see in Chopin's G minor Nocturne a terrible declaration of war against a whole musical past.

Chopin was quiet and retiring in his personal disposition so much so that his 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.

How according to the author have the purely artistic singers attained artistic perfection?

Directions: Read the following passage and answer the question based on the passage.

PASSAGE – III:

The moral conditions of the operatic stage are no doubt far more satisfactory than they were, and in England the general deodorisation of the theatre has not been unfelt in opera; but even without the unworthy motives which too often drew the bucks and the dandies of a past day to the opera-house, the influence of the unintelligent part of the audience upon the performers is far from good in an artistic sense. It is this which fosters that mental condition with which all who are acquainted with the operatic world are only too familiar. Now, just as in the days when Marcello wrote his Teatro alla moda, there is scarcely a singer who does not hold, and extremely few who do not express, the opinion that all the rest of the profession is in league against them; and by this supposition, as well as by many other circumstances, an atmosphere is created which is wholly antagonistic to the attainment of artistic perfection. All honour is due to the purely artistic singers who have reached their position without intrigue, and whose influence on their colleagues is the best stimulus to wholesome endeavour. It is beyond question that the greater the proportion of intelligent hearers in any audience or set of subscribers, the higher will the standard be, not only in vocalisation, but in that combination which makes the artist as distinguished from the mere singer.

For every reason, too, it is desirable that opera should be given, as a general rule, in the language of the country in which the performance takes place, and although the system of giving each work with its own original words is an ideally perfect one for trained hearers, yet the difficulties in the way of its realisation, and the absurdities that result from such expedients as a mixture of two or more languages in the same piece, render it practically inexpedient for ordinary operatic undertakings. The recognition of English as a possible medium of vocal expression may be slow, but it is certainly making progress, and in the last seasons at Covent Garden it was occasionally employed even before the fashionable subscribers, who may be presumed to have tolerated it, since they did not manifest any disapproval of its use. Since the first edition of this book was published, the Utopian idea, as it then seemed, of a national opera for London has advanced considerably towards realisation, and it is certain that when it is set on foot, the English language alone will be employed.

Which of the following is the author not likely to agree with? I. English as a medium of exchange is certainly making progress. II. There is a certain combination of traits that make the artist distinguished from the mere singer. III. All artistic singers are highly moral and they should be honoured. IV. Opera is a subset of theatre.

Directions: Read the following passage and answer the question based on the passage.

PASSAGE – III:

The moral conditions of the operatic stage are no doubt far more satisfactory than they were, and in England the general deodorisation of the theatre has not been unfelt in opera; but even without the unworthy motives which too often drew the bucks and the dandies of a past day to the opera-house, the influence of the unintelligent part of the audience upon the performers is far from good in an artistic sense. It is this which fosters that mental condition with which all who are acquainted with the operatic world are only too familiar. Now, just as in the days when Marcello wrote his Teatro alla moda, there is scarcely a singer who does not hold, and extremely few who do not express, the opinion that all the rest of the profession is in league against them; and by this supposition, as well as by many other circumstances, an atmosphere is created which is wholly antagonistic to the attainment of artistic perfection. All honour is due to the purely artistic singers who have reached their position without intrigue, and whose influence on their colleagues is the best stimulus to wholesome endeavour. It is beyond question that the greater the proportion of intelligent hearers in any audience or set of subscribers, the higher will the standard be, not only in vocalisation, but in that combination which makes the artist as distinguished from the mere singer.

For every reason, too, it is desirable that opera should be given, as a general rule, in the language of the country in which the performance takes place, and although the system of giving each work with its own original words is an ideally perfect one for trained hearers, yet the difficulties in the way of its realisation, and the absurdities that result from such expedients as a mixture of two or more languages in the same piece, render it practically inexpedient for ordinary operatic undertakings. The recognition of English as a possible medium of vocal expression may be slow, but it is certainly making progress, and in the last seasons at Covent Garden it was occasionally employed even before the fashionable subscribers, who may be presumed to have tolerated it, since they did not manifest any disapproval of its use. Since the first edition of this book was published, the Utopian idea, as it then seemed, of a national opera for London has advanced considerably towards realisation, and it is certain that when it is set on foot, the English language alone will be employed.

Why does the author consider the atmosphere 'wholly antagonistic to the attainment of artistic perfection'?

Directions: Read the following passage and answer the question based on the passage.

PASSAGE – III:

The moral conditions of the operatic stage are no doubt far more satisfactory than they were, and in England the general deodorisation of the theatre has not been unfelt in opera; but even without the unworthy motives which too often drew the bucks and the dandies of a past day to the opera-house, the influence of the unintelligent part of the audience upon the performers is far from good in an artistic sense. It is this which fosters that mental condition with which all who are acquainted with the operatic world are only too familiar. Now, just as in the days when Marcello wrote his Teatro alla moda, there is scarcely a singer who does not hold, and extremely few who do not express, the opinion that all the rest of the profession is in league against them; and by this supposition, as well as by many other circumstances, an atmosphere is created which is wholly antagonistic to the attainment of artistic perfection. All honour is due to the purely artistic singers who have reached their position without intrigue, and whose influence on their colleagues is the best stimulus to wholesome endeavour. It is beyond question that the greater the proportion of intelligent hearers in any audience or set of subscribers, the higher will the standard be, not only in vocalisation, but in that combination which makes the artist as distinguished from the mere singer.

For every reason, too, it is desirable that opera should be given, as a general rule, in the language of the country in which the performance takes place, and although the system of giving each work with its own original words is an ideally perfect one for trained hearers, yet the difficulties in the way of its realisation, and the absurdities that result from such expedients as a mixture of two or more languages in the same piece, render it practically inexpedient for ordinary operatic undertakings. The recognition of English as a possible medium of vocal expression may be slow, but it is certainly making progress, and in the last seasons at Covent Garden it was occasionally employed even before the fashionable subscribers, who may be presumed to have tolerated it, since they did not manifest any disapproval of its use. Since the first edition of this book was published, the Utopian idea, as it then seemed, of a national opera for London has advanced considerably towards realisation, and it is certain that when it is set on foot, the English language alone will be employed.

What does the author mean by 'deodorisation'?

Directions: Read the following passage and answer the question based on the passage.

PASSAGE – III:

The moral conditions of the operatic stage are no doubt far more satisfactory than they were, and in England the general deodorisation of the theatre has not been unfelt in opera; but even without the unworthy motives which too often drew the bucks and the dandies of a past day to the opera-house, the influence of the unintelligent part of the audience upon the performers is far from good in an artistic sense. It is this which fosters that mental condition with which all who are acquainted with the operatic world are only too familiar. Now, just as in the days when Marcello wrote his Teatro alla moda, there is scarcely a singer who does not hold, and extremely few who do not express, the opinion that all the rest of the profession is in league against them; and by this supposition, as well as by many other circumstances, an atmosphere is created which is wholly antagonistic to the attainment of artistic perfection. All honour is due to the purely artistic singers who have reached their position without intrigue, and whose influence on their colleagues is the best stimulus to wholesome endeavour. It is beyond question that the greater the proportion of intelligent hearers in any audience or set of subscribers, the higher will the standard be, not only in vocalisation, but in that combination which makes the artist as distinguished from the mere singer.

For every reason, too, it is desirable that opera should be given, as a general rule, in the language of the country in which the performance takes place, and although the system of giving each work with its own original words is an ideally perfect one for trained hearers, yet the difficulties in the way of its realisation, and the absurdities that result from such expedients as a mixture of two or more languages in the same piece, render it practically inexpedient for ordinary operatic undertakings. The recognition of English as a possible medium of vocal expression may be slow, but it is certainly making progress, and in the last seasons at Covent Garden it was occasionally employed even before the fashionable subscribers, who may be presumed to have tolerated it, since they did not manifest any disapproval of its use. Since the first edition of this book was published, the Utopian idea, as it then seemed, of a national opera for London has advanced considerably towards realisation, and it is certain that when it is set on foot, the English language alone will be employed.

What is opus number in the passage?

Directions: Read the following passage and answer the question based on 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 very few critics devote 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. Schumann was the first to recognize the revolutionary significance of Chopin's style. Chopin's works, he says, are cannons buried in flowers; and in another place he declares that he can see in Chopin's G minor Nocturne a terrible declaration of war against a whole musical past.

Chopin was quiet and retiring in his personal disposition so much so that his 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.

Which of the following cannot be inferred from the passage?

I. Chopin was head and shoulders above his contemporaries in the field of music. II. Despite his showing of extraordinary originality, Chopin's genius was not recognised. III. Chopin's personality was not strong enough to have warranted attention. IV. Liszt regrets that Chopin does not have enough operas, oratories and symphonies to his credit.

Directions: Read the following passage and answer the question based on 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 very few critics devote 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. Schumann was the first to recognize the revolutionary significance of Chopin's style. Chopin's works, he says, are cannons buried in flowers; and in another place he declares that he can see in Chopin's G minor Nocturne a terrible declaration of war against a whole musical past.

Chopin was quiet and retiring in his personal disposition so much so that his 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.

The author is most likely

Directions: Read the following passage and answer the question based on the passage.

PASSAGE – I

Other more or less popular opinions of the way to determine right or wrong are found to be no more satisfactory. Many believe that the question of whether an act is right or wrong is to be settled by a religious doctrine; but the difficulties are still greater in this direction. First of all, this involves a thorough and judicial inquiry into the merits of many, if not all, forms of religion, an investigation which has never been made, and from the nature of things cannot be made. The fact is, that one's religious opinions are settled long before he begins to investigate and quite by other processes than reason. Then, too, all religious precepts rest on interpretation, and even the things that seem the plainest have ever been subject to manifold and sometimes conflicting construction. Few if any religious commands can be, or ever were, implicitly relied on without interpretation. The command, Thou shalt not kill, seems plain, but does even this furnish an infallible rule of conduct?

Of course this commandment could not be meant to forbid killing animals. Yet there are many people who believe that it does, or at least should. No Christian state makes it apply to men convicted of crime, or against killing in war, and yet a considerable minority has always held that both forms of killing violate the commandment. Neither can it be held to apply to accidental killings, or killings in self-defense, or in defense of property or family. Laws, too, provide all grades of punishment for different kinds of killing, from very light penalties up to death. Manifestly, then, the commandment must be interpreted, Thou shalt not kill when it is wrong to kill, and therefore it furnishes no guide to conduct. As well say: Thou shalt do nothing that is wrong. Religious doctrines do not and clearly cannot be adopted as the criminal code of a state.

In this uncertainty as to the basis of good and bad conduct, many appeal to conscience as the infallible guide. What is conscience? It manifestly is not a distinct faculty of the mind, and if it were, would it be more reliable than the other faculties? It has been often said that some divine power implanted conscience in every human being. Apart from the question of whether human beings are different in kind from other organisms, if conscience has been placed in man by a divine power, why have not all peoples been furnished with the same guide? There is no doubt that all men of any mentality have a conscience; a feeling that certain things are good, and certain other things are bad. This conscience does not affect all the actions of life, but probably the ones which to them are the most important. It varies, however, with the individual.

What is the central idea of the passage?

Directions: Read the following passage and answer the question based on the passage.

PASSAGE – I

Other more or less popular opinions of the way to determine right or wrong are found to be no more satisfactory. Many believe that the question of whether an act is right or wrong is to be settled by a religious doctrine; but the difficulties are still greater in this direction. First of all, this involves a thorough and judicial inquiry into the merits of many, if not all, forms of religion, an investigation which has never been made, and from the nature of things cannot be made. The fact is, that one's religious opinions are settled long before he begins to investigate and quite by other processes than reason. Then, too, all religious precepts rest on interpretation, and even the things that seem the plainest have ever been subject to manifold and sometimes conflicting construction. Few if any religious commands can be, or ever were, implicitly relied on without interpretation. The command, Thou shalt not kill, seems plain, but does even this furnish an infallible rule of conduct?

Of course this commandment could not be meant to forbid killing animals. Yet there are many people who believe that it does, or at least should. No Christian state makes it apply to men convicted of crime, or against killing in war, and yet a considerable minority has always held that both forms of killing violate the commandment. Neither can it be held to apply to accidental killings, or killings in self-defense, or in defense of property or family. Laws, too, provide all grades of punishment for different kinds of killing, from very light penalties up to death. Manifestly, then, the commandment must be interpreted, Thou shalt not kill when it is wrong to kill, and therefore it furnishes no guide to conduct. As well say: Thou shalt do nothing that is wrong. Religious doctrines do not and clearly cannot be adopted as the criminal code of a state.

In this uncertainty as to the basis of good and bad conduct, many appeal to conscience as the infallible guide. What is conscience? It manifestly is not a distinct faculty of the mind, and if it were, would it be more reliable than the other faculties? It has been often said that some divine power implanted conscience in every human being. Apart from the question of whether human beings are different in kind from other organisms, if conscience has been placed in man by a divine power, why have not all peoples been furnished with the same guide? There is no doubt that all men of any mentality have a conscience; a feeling that certain things are good, and certain other things are bad. This conscience does not affect all the actions of life, but probably the ones which to them are the most important. It varies, however, with the individual.

What is the import of the line 'conscience as the infallible guide'?

Directions: Read the following passage and answer the question based on the passage.

PASSAGE – I

Other more or less popular opinions of the way to determine right or wrong are found to be no more satisfactory. Many believe that the question of whether an act is right or wrong is to be settled by a religious doctrine; but the difficulties are still greater in this direction. First of all, this involves a thorough and judicial inquiry into the merits of many, if not all, forms of religion, an investigation which has never been made, and from the nature of things cannot be made. The fact is, that one's religious opinions are settled long before he begins to investigate and quite by other processes than reason. Then, too, all religious precepts rest on interpretation, and even the things that seem the plainest have ever been subject to manifold and sometimes conflicting construction. Few if any religious commands can be, or ever were, implicitly relied on without interpretation. The command, Thou shalt not kill, seems plain, but does even this furnish an infallible rule of conduct?

Of course this commandment could not be meant to forbid killing animals. Yet there are many people who believe that it does, or at least should. No Christian state makes it apply to men convicted of crime, or against killing in war, and yet a considerable minority has always held that both forms of killing violate the commandment. Neither can it be held to apply to accidental killings, or killings in self-defense, or in defense of property or family. Laws, too, provide all grades of punishment for different kinds of killing, from very light penalties up to death. Manifestly, then, the commandment must be interpreted, Thou shalt not kill when it is wrong to kill, and therefore it furnishes no guide to conduct. As well say: Thou shalt do nothing that is wrong. Religious doctrines do not and clearly cannot be adopted as the criminal code of a state.

In this uncertainty as to the basis of good and bad conduct, many appeal to conscience as the infallible guide. What is conscience? It manifestly is not a distinct faculty of the mind, and if it were, would it be more reliable than the other faculties? It has been often said that some divine power implanted conscience in every human being. Apart from the question of whether human beings are different in kind from other organisms, if conscience has been placed in man by a divine power, why have not all peoples been furnished with the same guide? There is no doubt that all men of any mentality have a conscience; a feeling that certain things are good, and certain other things are bad. This conscience does not affect all the actions of life, but probably the ones which to them are the most important. It varies, however, with the individual.

What is the meaning of 'religion' in the context of the passage?

Directions: Read the following passage and answer the question based on the passage.

PASSAGE – I

Other more or less popular opinions of the way to determine right or wrong are found to be no more satisfactory. Many believe that the question of whether an act is right or wrong is to be settled by a religious doctrine; but the difficulties are still greater in this direction. First of all, this involves a thorough and judicial inquiry into the merits of many, if not all, forms of religion, an investigation which has never been made, and from the nature of things cannot be made. The fact is, that one's religious opinions are settled long before he begins to investigate and quite by other processes than reason. Then, too, all religious precepts rest on interpretation, and even the things that seem the plainest have ever been subject to manifold and sometimes conflicting construction. Few if any religious commands can be, or ever were, implicitly relied on without interpretation. The command, Thou shalt not kill, seems plain, but does even this furnish an infallible rule of conduct?

Of course this commandment could not be meant to forbid killing animals. Yet there are many people who believe that it does, or at least should. No Christian state makes it apply to men convicted of crime, or against killing in war, and yet a considerable minority has always held that both forms of killing violate the commandment. Neither can it be held to apply to accidental killings, or killings in self-defense, or in defense of property or family. Laws, too, provide all grades of punishment for different kinds of killing, from very light penalties up to death. Manifestly, then, the commandment must be interpreted, Thou shalt not kill when it is wrong to kill, and therefore it furnishes no guide to conduct. As well say: Thou shalt do nothing that is wrong. Religious doctrines do not and clearly cannot be adopted as the criminal code of a state.

In this uncertainty as to the basis of good and bad conduct, many appeal to conscience as the infallible guide. What is conscience? It manifestly is not a distinct faculty of the mind, and if it were, would it be more reliable than the other faculties? It has been often said that some divine power implanted conscience in every human being. Apart from the question of whether human beings are different in kind from other organisms, if conscience has been placed in man by a divine power, why have not all peoples been furnished with the same guide? There is no doubt that all men of any mentality have a conscience; a feeling that certain things are good, and certain other things are bad. This conscience does not affect all the actions of life, but probably the ones which to them are the most important. It varies, however, with the individual.

Which of the following regarding Confucius is true as per the passage?

Directions: Read the following passage and answer the question based on the passage.

PASSAGE – I

God appeared to man, then, as a pure and permanent essence, placing himself before him as a monarch before his servant, and expressing himself now through the mouth of poets, legislators, and soothsayers, musa, nomos, numen; now through the popular voice. This may serve, among other things, to explain the existence of true and false oracles; why individuals secluded from birth do not attain of themselves to the idea of God, while they eagerly grasp it as soon as it is presented to them by the collective mind; why, finally, stationary races, like the Chinese, end by losing it.

In the first place, as to oracles, it is clear that all their accuracy depends upon the universal conscience which inspires them; and, as to the idea of God, it is easily seen why isolation and status quo are alike fatal to it. On the one hand, absence of communication keeps the mind absorbed in animal self-contemplation; on the other, absence of motion, gradually changing social life into mechanical routine, finally eliminates the idea of will and providence.

What is the central idea of the passage?

Directions: Read the following passage and answer the question based on the passage.

PASSAGE – I

God appeared to man, then, as a pure and permanent essence, placing himself before him as a monarch before his servant, and expressing himself now through the mouth of poets, legislators, and soothsayers, musa, nomos, numen; now through the popular voice. This may serve, among other things, to explain the existence of true and false oracles; why individuals secluded from birth do not attain of themselves to the idea of God, while they eagerly grasp it as soon as it is presented to them by the collective mind; why, finally, stationary races, like the Chinese, end by losing it.

In the first place, as to oracles, it is clear that all their accuracy depends upon the universal conscience which inspires them; and, as to the idea of God, it is easily seen why isolation and status quo are alike fatal to it. On the one hand, absence of communication keeps the mind absorbed in animal self-contemplation; on the other, absence of motion, gradually changing social life into mechanical routine, finally eliminates the idea of will and providence.