Aad GED Reading Comprehension

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Aad GED Reading Comprehension - Quiz

Be careful of questions that use words like exception and not.
Remember if you are asked a vocabulary question to read either the sentence in front or behind it to understand the context.

Questions and Answers
  • 1. 
    Review #1 by Garfield   A Streetcar Named Desire is a classic of the American theater. Tennessee Williams’ landmark work was a tour de force in its original stage production in 1947 and continues to resonate with audiences and readers today despite—or perhaps because of—its simplistic though layered story. A faded Southern belle, Blanche DuBois, arrives at her sister’s seedy New Orleans apartment where she is tortured by her brutish brother-in-law, Stanley Kowalski. Blanche puts on airs of class and happiness throughout the play, though internally she is miserable and haunted by her tragic and scandalous past. Stanley forces Blanche to face her dolorous reality with his vitriol and, finally, his act of sexual aggression, and in doing so, he causes her to lose her tenuous grip on sanity. Most have argued (correctly) that the play is about the ways the past haunts our present or (again correctly) that it is about the ways class and sexuality impact our lives. However, few have seen the play for what it is: an allegory for the theater itself.   Before Williams wrote Streetcar, the theater had been dominated by melodrama. A brief interlude in the 1930s brought political theater to center stage (pardon the pun), but by the 1940s, its principal playwright, Clifford Odets, had left New York for Hollywood, and the sensationalized and maudlin form of melodrama once again flourished. The theater was in limbo, and Williams had a desire to bring something new to the world. It would bring the realism of the political theater of the 1930s but without the political (read: socialist) underpinnings. To that end, he created lifelike characters who spoke in realistic dialect.   But to make his point that melodrama was flawed, he added an equally unrealistic character. Blanche, unlike the other characters, speaks theatrically, acts larger than life on stage, and uses floral language and heightened mannerisms. Blanche is a character not to be trusted. She lies about everything, and the only thing that finally exposes her lies is reality itself: Stanley. He finally forces her off the stage and into the insane asylum by forcing himself on her sexually. And with that, realism forcibly removed melodrama from the stage.  Review #2 by McKinley It is not possible to imagine A Streetcar Named Desire without the influence of Marlon Brando, the actor who rose to fame playing Stanley Kowalski. On the page, the part is fairly simplistic. Stanley is a monster and a beast without any redeeming qualities. But Brando and the play’s original director, Elia Kazan, imagined the character as having a soft underbelly, rooted in his own sorrow, insecurities, and soulful complexity. Brando’s Stanley is a brute, yes, but he is a brute who hates the fact that he is so awful. He is also unable to control himself and his passions, and this lack of control is equally embarrassing to him, even as it is also threatening to Blanche and alluring to her sister Stella.   For instance, after he hits Stella, he comes back to her, famously begging for forgiveness by shouting “Stella” outside their apartment. But in Brando’s depiction on the stage and later on the screen, he is soaked from the rain and looks completely desperate, as though he needs Stella to live. He looks and seems totally helpless and weak, the exact opposite of the brute he appears later when he forces himself onto Blanche.   The play is excellent and memorable, even when read. But it is Brando’s interpretation of the male lead role that makes the play indelible. Without Brando, the play would still have a deep meaning, but with Brando’s interpretation, the play becomes even more profound.  The first review provides each of the following EXCEPT  - ProProfs

    Review #1 by Garfield   A Streetcar Named Desire is a classic of the American theater. Tennessee Williams’ landmark work was a tour de force in its original stage production in 1947 and continues to resonate with audiences and readers today despite—or perhaps because of—its simplistic though layered story. A faded Southern belle, Blanche DuBois, arrives at her sister’s seedy New Orleans apartment where she is tortured by her brutish brother-in-law, Stanley Kowalski. Blanche puts on airs of class and happiness throughout the play, though internally she is miserable and haunted by her tragic and scandalous past. Stanley forces Blanche to face her dolorous reality with his vitriol and, finally, his act of sexual aggression, and in doing so, he causes her to lose her tenuous grip on sanity. Most have argued (correctly) that the play is about the ways the past haunts our present or (again correctly) that it is about the ways class and sexuality impact our lives. However, few have seen the play for what it is: an allegory for the theater itself.   Before Williams wrote Streetcar, the theater had been dominated by melodrama. A brief interlude in the 1930s brought political theater to center stage (pardon the pun), but by the 1940s, its principal playwright, Clifford Odets, had left New York for Hollywood, and the sensationalized and maudlin form of melodrama once again flourished. The theater was in limbo, and Williams had a desire to bring something new to the world. It would bring the realism of the political theater of the 1930s but without the political (read: socialist) underpinnings. To that end, he created lifelike characters who spoke in realistic dialect.   But to make his point that melodrama was flawed, he added an equally unrealistic character. Blanche, unlike the other characters, speaks theatrically, acts larger than life on stage, and uses floral language and heightened mannerisms. Blanche is a character not to be trusted. She lies about everything, and the only thing that finally exposes her lies is reality itself: Stanley. He finally forces her off the stage and into the insane asylum by forcing himself on her sexually. And with that, realism forcibly removed melodrama from the stage.  Review #2 by McKinley It is not possible to imagine A Streetcar Named Desire without the influence of Marlon Brando, the actor who rose to fame playing Stanley Kowalski. On the page, the part is fairly simplistic. Stanley is a monster and a beast without any redeeming qualities. But Brando and the play’s original director, Elia Kazan, imagined the character as having a soft underbelly, rooted in his own sorrow, insecurities, and soulful complexity. Brando’s Stanley is a brute, yes, but he is a brute who hates the fact that he is so awful. He is also unable to control himself and his passions, and this lack of control is equally embarrassing to him, even as it is also threatening to Blanche and alluring to her sister Stella.   For instance, after he hits Stella, he comes back to her, famously begging for forgiveness by shouting “Stella” outside their apartment. But in Brando’s depiction on the stage and later on the screen, he is soaked from the rain and looks completely desperate, as though he needs Stella to live. He looks and seems totally helpless and weak, the exact opposite of the brute he appears later when he forces himself onto Blanche.   The play is excellent and memorable, even when read. But it is Brando’s interpretation of the male lead role that makes the play indelible. Without Brando, the play would still have a deep meaning, but with Brando’s interpretation, the play becomes even more profound.  The first review provides each of the following EXCEPT 

    • A.

      A critical interpretation of A Streetcar Named Desire

    • B.

      An explanation of why modern audiences connect with A Streetcar Named Desire

    • C.

      A brief plot synopsis of A Streetcar Named Desire

    • D.

      Background information about the time period of the 1940s

    • E.

      The author’s main argument concerning A Streetcar Named Desire

    Correct Answer
    D. Background information about the time period of the 1940s
    Explanation
    detail question, although the date of 1947 is mentioned, there is no further information. There is a fact about the date but nothing more than that

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  • 2. 
    A review of Desire by Marshall    Review #1 by Garfield   A Streetcar Named Desire is a classic of the American theater. Tennessee Williams’ landmark work was a tour de force in its original stage production in 1947 and continues to resonate with audiences and readers today despite—or perhaps because of—its simplistic though layered story. A faded Southern belle, Blanche DuBois, arrives at her sister’s seedy New Orleans apartment where she is tortured by her brutish brother-in-law, Stanley Kowalski. Blanche puts on airs of class and happiness throughout the play, though internally she is miserable and haunted by her tragic and scandalous past. Stanley forces Blanche to face her dolorous reality with his vitriol and, finally, his act of sexual aggression, and in doing so, he causes her to lose her tenuous grip on sanity. Most have argued (correctly) that the play is about the ways the past haunts our present or (again correctly) that it is about the ways class and sexuality impact our lives. However, few have seen the play for what it is: an allegory for the theater itself.   Before Williams wrote Streetcar, the theater had been dominated by melodrama. A brief interlude in the 1930s brought political theater to center stage (pardon the pun), but by the 1940s, its principal playwright, Clifford Odets, had left New York for Hollywood, and the sensationalized and maudlin form of melodrama once again flourished. The theater was in limbo, and Williams had a desire to bring something new to the world. It would bring the realism of the political theater of the 1930s but without the political (read: socialist) underpinnings. To that end, he created lifelike characters who spoke in realistic dialect.   But to make his point that melodrama was flawed, he added an equally unrealistic character. Blanche, unlike the other characters, speaks theatrically, acts larger than life on stage, and uses floral language and heightened mannerisms. Blanche is a character not to be trusted. She lies about everything, and the only thing that finally exposes her lies is reality itself: Stanley. He finally forces her off the stage and into the insane asylum by forcing himself on her sexually. And with that, realism forcibly removed melodrama from the stage.  Review #2 by McKinley It is not possible to imagine A Streetcar Named Desire without the influence of Marlon Brando, the actor who rose to fame playing Stanley Kowalski. On the page, the part is fairly simplistic. Stanley is a monster and a beast without any redeeming qualities. But Brando and the play’s original director, Elia Kazan, imagined the character as having a soft underbelly, rooted in his own sorrow, insecurities, and soulful complexity. Brando’s Stanley is a brute, yes, but he is a brute who hates the fact that he is so awful. He is also unable to control himself and his passions, and this lack of control is equally embarrassing to him, even as it is also threatening to Blanche and alluring to her sister Stella.   For instance, after he hits Stella, he comes back to her, famously begging for forgiveness by shouting “Stella” outside their apartment. But in Brando’s depiction on the stage and later on the screen, he is soaked from the rain and looks completely desperate, as though he needs Stella to live. He looks and seems totally helpless and weak, the exact opposite of the brute he appears later when he forces himself onto Blanche.   The play is excellent and memorable, even when read. But it is Brando’s interpretation of the male lead role that makes the play indelible. Without Brando, the play would still have a deep meaning, but with Brando’s interpretation, the play becomes even more profound. .    It can be inferred from the 1st  passage that A Streetcar Named Desire   - ProProfs

    A review of Desire by Marshall    Review #1 by Garfield   A Streetcar Named Desire is a classic of the American theater. Tennessee Williams’ landmark work was a tour de force in its original stage production in 1947 and continues to resonate with audiences and readers today despite—or perhaps because of—its simplistic though layered story. A faded Southern belle, Blanche DuBois, arrives at her sister’s seedy New Orleans apartment where she is tortured by her brutish brother-in-law, Stanley Kowalski. Blanche puts on airs of class and happiness throughout the play, though internally she is miserable and haunted by her tragic and scandalous past. Stanley forces Blanche to face her dolorous reality with his vitriol and, finally, his act of sexual aggression, and in doing so, he causes her to lose her tenuous grip on sanity. Most have argued (correctly) that the play is about the ways the past haunts our present or (again correctly) that it is about the ways class and sexuality impact our lives. However, few have seen the play for what it is: an allegory for the theater itself.   Before Williams wrote Streetcar, the theater had been dominated by melodrama. A brief interlude in the 1930s brought political theater to center stage (pardon the pun), but by the 1940s, its principal playwright, Clifford Odets, had left New York for Hollywood, and the sensationalized and maudlin form of melodrama once again flourished. The theater was in limbo, and Williams had a desire to bring something new to the world. It would bring the realism of the political theater of the 1930s but without the political (read: socialist) underpinnings. To that end, he created lifelike characters who spoke in realistic dialect.   But to make his point that melodrama was flawed, he added an equally unrealistic character. Blanche, unlike the other characters, speaks theatrically, acts larger than life on stage, and uses floral language and heightened mannerisms. Blanche is a character not to be trusted. She lies about everything, and the only thing that finally exposes her lies is reality itself: Stanley. He finally forces her off the stage and into the insane asylum by forcing himself on her sexually. And with that, realism forcibly removed melodrama from the stage.  Review #2 by McKinley It is not possible to imagine A Streetcar Named Desire without the influence of Marlon Brando, the actor who rose to fame playing Stanley Kowalski. On the page, the part is fairly simplistic. Stanley is a monster and a beast without any redeeming qualities. But Brando and the play’s original director, Elia Kazan, imagined the character as having a soft underbelly, rooted in his own sorrow, insecurities, and soulful complexity. Brando’s Stanley is a brute, yes, but he is a brute who hates the fact that he is so awful. He is also unable to control himself and his passions, and this lack of control is equally embarrassing to him, even as it is also threatening to Blanche and alluring to her sister Stella.   For instance, after he hits Stella, he comes back to her, famously begging for forgiveness by shouting “Stella” outside their apartment. But in Brando’s depiction on the stage and later on the screen, he is soaked from the rain and looks completely desperate, as though he needs Stella to live. He looks and seems totally helpless and weak, the exact opposite of the brute he appears later when he forces himself onto Blanche.   The play is excellent and memorable, even when read. But it is Brando’s interpretation of the male lead role that makes the play indelible. Without Brando, the play would still have a deep meaning, but with Brando’s interpretation, the play becomes even more profound. .    It can be inferred from the 1st  passage that A Streetcar Named Desire  

    • A.

      Was Tennessee Williams’ first play

    • B.

      Is better on stage than in print

    • C.

      Did not have socialist leanings

    • D.

      Was not melodramatic

    • E.

      Would not have been successful without Marlon Brando

    Correct Answer
    C. Did not have socialist leanings
    Explanation
    global inference question, "bring the realism of the political theatre of the 1930s but without the political " if the author did not want political realism, they would not add in a socialist leaning. Socialism is a type of political movement.

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  • 3. 
    A review of Desire by Marshall     Review #1 by Garfield   A Streetcar Named Desire is a classic of the American theater. Tennessee Williams’ landmark work was a tour de force in its original stage production in 1947 and continues to resonate with audiences and readers today despite—or perhaps because of—its simplistic though layered story. A faded Southern belle, Blanche DuBois, arrives at her sister’s seedy New Orleans apartment where she is tortured by her brutish brother-in-law, Stanley Kowalski. Blanche puts on airs of class and happiness throughout the play, though internally she is miserable and haunted by her tragic and scandalous past. Stanley forces Blanche to face her dolorous reality with his vitriol and, finally, his act of sexual aggression, and in doing so, he causes her to lose her tenuous grip on sanity. Most have argued (correctly) that the play is about the ways the past haunts our present or (again correctly) that it is about the ways class and sexuality impact our lives. However, few have seen the play for what it is: an allegory for the theater itself.   Before Williams wrote Streetcar, the theater had been dominated by melodrama. A brief interlude in the 1930s brought political theater to center stage (pardon the pun), but by the 1940s, its principal playwright, Clifford Odets, had left New York for Hollywood, and the sensationalized and maudlin form of melodrama once again flourished. The theater was in limbo, and Williams had a desire to bring something new to the world. It would bring the realism of the political theater of the 1930s but without the political (read: socialist) underpinnings. To that end, he created lifelike characters who spoke in realistic dialect.   But to make his point that melodrama was flawed, he added an equally unrealistic character. Blanche, unlike the other characters, speaks theatrically, acts larger than life on stage, and uses floral language and heightened mannerisms. Blanche is a character not to be trusted. She lies about everything, and the only thing that finally exposes her lies is reality itself: Stanley. He finally forces her off the stage and into the insane asylum by forcing himself on her sexually. And with that, realism forcibly removed melodrama from the stage.  Review #2 by McKinley It is not possible to imagine A Streetcar Named Desire without the influence of Marlon Brando, the actor who rose to fame playing Stanley Kowalski. On the page, the part is fairly simplistic. Stanley is a monster and a beast without any redeeming qualities. But Brando and the play’s original director, Elia Kazan, imagined the character as having a soft underbelly, rooted in his own sorrow, insecurities, and soulful complexity. Brando’s Stanley is a brute, yes, but he is a brute who hates the fact that he is so awful. He is also unable to control himself and his passions, and this lack of control is equally embarrassing to him, even as it is also threatening to Blanche and alluring to her sister Stella.   For instance, after he hits Stella, he comes back to her, famously begging for forgiveness by shouting “Stella” outside their apartment. But in Brando’s depiction on the stage and later on the screen, he is soaked from the rain and looks completely desperate, as though he needs Stella to live. He looks and seems totally helpless and weak, the exact opposite of the brute he appears later when he forces himself onto Blanche.   The play is excellent and memorable, even when read. But it is Brando’s interpretation of the male lead role that makes the play indelible. Without Brando, the play would still have a deep meaning, but with Brando’s interpretation, the play becomes even more profound.    According to the first review, the character of Blanche DuBois - ProProfs

    A review of Desire by Marshall     Review #1 by Garfield   A Streetcar Named Desire is a classic of the American theater. Tennessee Williams’ landmark work was a tour de force in its original stage production in 1947 and continues to resonate with audiences and readers today despite—or perhaps because of—its simplistic though layered story. A faded Southern belle, Blanche DuBois, arrives at her sister’s seedy New Orleans apartment where she is tortured by her brutish brother-in-law, Stanley Kowalski. Blanche puts on airs of class and happiness throughout the play, though internally she is miserable and haunted by her tragic and scandalous past. Stanley forces Blanche to face her dolorous reality with his vitriol and, finally, his act of sexual aggression, and in doing so, he causes her to lose her tenuous grip on sanity. Most have argued (correctly) that the play is about the ways the past haunts our present or (again correctly) that it is about the ways class and sexuality impact our lives. However, few have seen the play for what it is: an allegory for the theater itself.   Before Williams wrote Streetcar, the theater had been dominated by melodrama. A brief interlude in the 1930s brought political theater to center stage (pardon the pun), but by the 1940s, its principal playwright, Clifford Odets, had left New York for Hollywood, and the sensationalized and maudlin form of melodrama once again flourished. The theater was in limbo, and Williams had a desire to bring something new to the world. It would bring the realism of the political theater of the 1930s but without the political (read: socialist) underpinnings. To that end, he created lifelike characters who spoke in realistic dialect.   But to make his point that melodrama was flawed, he added an equally unrealistic character. Blanche, unlike the other characters, speaks theatrically, acts larger than life on stage, and uses floral language and heightened mannerisms. Blanche is a character not to be trusted. She lies about everything, and the only thing that finally exposes her lies is reality itself: Stanley. He finally forces her off the stage and into the insane asylum by forcing himself on her sexually. And with that, realism forcibly removed melodrama from the stage.  Review #2 by McKinley It is not possible to imagine A Streetcar Named Desire without the influence of Marlon Brando, the actor who rose to fame playing Stanley Kowalski. On the page, the part is fairly simplistic. Stanley is a monster and a beast without any redeeming qualities. But Brando and the play’s original director, Elia Kazan, imagined the character as having a soft underbelly, rooted in his own sorrow, insecurities, and soulful complexity. Brando’s Stanley is a brute, yes, but he is a brute who hates the fact that he is so awful. He is also unable to control himself and his passions, and this lack of control is equally embarrassing to him, even as it is also threatening to Blanche and alluring to her sister Stella.   For instance, after he hits Stella, he comes back to her, famously begging for forgiveness by shouting “Stella” outside their apartment. But in Brando’s depiction on the stage and later on the screen, he is soaked from the rain and looks completely desperate, as though he needs Stella to live. He looks and seems totally helpless and weak, the exact opposite of the brute he appears later when he forces himself onto Blanche.   The play is excellent and memorable, even when read. But it is Brando’s interpretation of the male lead role that makes the play indelible. Without Brando, the play would still have a deep meaning, but with Brando’s interpretation, the play becomes even more profound.    According to the first review, the character of Blanche DuBois

    • A.

      is intentionally overly dramatic and theatrical

    • B.

      Has never been to the city of New Orleans before

    • C.

      is recently married to Stanley Kowalski

    • D.

      Is brutally honest and frank during the play

    • E.

      is firmly rooted in realism and sanity

    Correct Answer
    A. is intentionally overly dramatic and theatrical
    Explanation
    detail question, Blanche, in paragraph 3, is described as speaking theatrically, acting larger than life

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  • 4. 
      Review #1 by Garfield   A Streetcar Named Desire is a classic of the American theater. Tennessee Williams’ landmark work was a tour de force in its original stage production in 1947 and continues to resonate with audiences and readers today despite—or perhaps because of—its simplistic though layered story. A faded Southern belle, Blanche DuBois, arrives at her sister’s seedy New Orleans apartment where she is tortured by her brutish brother-in-law, Stanley Kowalski. Blanche puts on airs of class and happiness throughout the play, though internally she is miserable and haunted by her tragic and scandalous past. Stanley forces Blanche to face her dolorous reality with his vitriol and, finally, his act of sexual aggression, and in doing so, he causes her to lose her tenuous grip on sanity. Most have argued (correctly) that the play is about the ways the past haunts our present or (again correctly) that it is about the ways class and sexuality impact our lives. However, few have seen the play for what it is: an allegory for the theater itself.   Before Williams wrote Streetcar, the theater had been dominated by melodrama. A brief interlude in the 1930s brought political theater to center stage (pardon the pun), but by the 1940s, its principal playwright, Clifford Odets, had left New York for Hollywood, and the sensationalized and maudlin form of melodrama once again flourished. The theater was in limbo, and Williams had a desire to bring something new to the world. It would bring the realism of the political theater of the 1930s but without the political (read: socialist) underpinnings. To that end, he created lifelike characters who spoke in realistic dialect.   But to make his point that melodrama was flawed, he added an equally unrealistic character. Blanche, unlike the other characters, speaks theatrically, acts larger than life on stage, and uses floral language and heightened mannerisms. Blanche is a character not to be trusted. She lies about everything, and the only thing that finally exposes her lies is reality itself: Stanley. He finally forces her off the stage and into the insane asylum by forcing himself on her sexually. And with that, realism forcibly removed melodrama from the stage.  Review #2 by McKinley It is not possible to imagine A Streetcar Named Desire without the influence of Marlon Brando, the actor who rose to fame playing Stanley Kowalski. On the page, the part is fairly simplistic. Stanley is a monster and a beast without any redeeming qualities. But Brando and the play’s original director, Elia Kazan, imagined the character as having a soft underbelly, rooted in his own sorrow, insecurities, and soulful complexity. Brando’s Stanley is a brute, yes, but he is a brute who hates the fact that he is so awful. He is also unable to control himself and his passions, and this lack of control is equally embarrassing to him, even as it is also threatening to Blanche and alluring to her sister Stella.   For instance, after he hits Stella, he comes back to her, famously begging for forgiveness by shouting “Stella” outside their apartment. But in Brando’s depiction on the stage and later on the screen, he is soaked from the rain and looks completely desperate, as though he needs Stella to live. He looks and seems totally helpless and weak, the exact opposite of the brute he appears later when he forces himself onto Blanche.   The play is excellent and memorable, even when read. But it is Brando’s interpretation of the male lead role that makes the play indelible. Without Brando, the play would still have a deep meaning, but with Brando’s interpretation, the play becomes even more profound.  In the 2nd review, the author argues that Marlon Brando’s portrayal of Stanley Kowalski  - ProProfs

      Review #1 by Garfield   A Streetcar Named Desire is a classic of the American theater. Tennessee Williams’ landmark work was a tour de force in its original stage production in 1947 and continues to resonate with audiences and readers today despite—or perhaps because of—its simplistic though layered story. A faded Southern belle, Blanche DuBois, arrives at her sister’s seedy New Orleans apartment where she is tortured by her brutish brother-in-law, Stanley Kowalski. Blanche puts on airs of class and happiness throughout the play, though internally she is miserable and haunted by her tragic and scandalous past. Stanley forces Blanche to face her dolorous reality with his vitriol and, finally, his act of sexual aggression, and in doing so, he causes her to lose her tenuous grip on sanity. Most have argued (correctly) that the play is about the ways the past haunts our present or (again correctly) that it is about the ways class and sexuality impact our lives. However, few have seen the play for what it is: an allegory for the theater itself.   Before Williams wrote Streetcar, the theater had been dominated by melodrama. A brief interlude in the 1930s brought political theater to center stage (pardon the pun), but by the 1940s, its principal playwright, Clifford Odets, had left New York for Hollywood, and the sensationalized and maudlin form of melodrama once again flourished. The theater was in limbo, and Williams had a desire to bring something new to the world. It would bring the realism of the political theater of the 1930s but without the political (read: socialist) underpinnings. To that end, he created lifelike characters who spoke in realistic dialect.   But to make his point that melodrama was flawed, he added an equally unrealistic character. Blanche, unlike the other characters, speaks theatrically, acts larger than life on stage, and uses floral language and heightened mannerisms. Blanche is a character not to be trusted. She lies about everything, and the only thing that finally exposes her lies is reality itself: Stanley. He finally forces her off the stage and into the insane asylum by forcing himself on her sexually. And with that, realism forcibly removed melodrama from the stage.  Review #2 by McKinley It is not possible to imagine A Streetcar Named Desire without the influence of Marlon Brando, the actor who rose to fame playing Stanley Kowalski. On the page, the part is fairly simplistic. Stanley is a monster and a beast without any redeeming qualities. But Brando and the play’s original director, Elia Kazan, imagined the character as having a soft underbelly, rooted in his own sorrow, insecurities, and soulful complexity. Brando’s Stanley is a brute, yes, but he is a brute who hates the fact that he is so awful. He is also unable to control himself and his passions, and this lack of control is equally embarrassing to him, even as it is also threatening to Blanche and alluring to her sister Stella.   For instance, after he hits Stella, he comes back to her, famously begging for forgiveness by shouting “Stella” outside their apartment. But in Brando’s depiction on the stage and later on the screen, he is soaked from the rain and looks completely desperate, as though he needs Stella to live. He looks and seems totally helpless and weak, the exact opposite of the brute he appears later when he forces himself onto Blanche.   The play is excellent and memorable, even when read. But it is Brando’s interpretation of the male lead role that makes the play indelible. Without Brando, the play would still have a deep meaning, but with Brando’s interpretation, the play becomes even more profound.  In the 2nd review, the author argues that Marlon Brando’s portrayal of Stanley Kowalski 

    • A.

      A. earned the actor great fame

    • B.

      B. is more nuanced than the part that is written

    • C.

      C. is what really made A Streetcar Named Desire a classic

    • D.

      A & B

    • E.

      B & C

    Correct Answer
    E. B & C
    Explanation
    global inference question, Z is true but not the best choice, Y & X are really what made Brando stand out

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  • 5. 
      Review #1 by Garfield   A Streetcar Named Desire is a classic of the American theater. Tennessee Williams’ landmark work was a tour de force in its original stage production in 1947 and continues to resonate with audiences and readers today despite—or perhaps because of—its simplistic though layered story. A faded Southern belle, Blanche DuBois, arrives at her sister’s seedy New Orleans apartment where she is tortured by her brutish brother-in-law, Stanley Kowalski. Blanche puts on airs of class and happiness throughout the play, though internally she is miserable and haunted by her tragic and scandalous past. Stanley forces Blanche to face her dolorous reality with his vitriol and, finally, his act of sexual aggression, and in doing so, he causes her to lose her tenuous grip on sanity. Most have argued (correctly) that the play is about the ways the past haunts our present or (again correctly) that it is about the ways class and sexuality impact our lives. However, few have seen the play for what it is: an allegory for the theater itself.   Before Williams wrote Streetcar, the theater had been dominated by melodrama. A brief interlude in the 1930s brought political theater to center stage (pardon the pun), but by the 1940s, its principal playwright, Clifford Odets, had left New York for Hollywood, and the sensationalized and maudlin form of melodrama once again flourished. The theater was in limbo, and Williams had a desire to bring something new to the world. It would bring the realism of the political theater of the 1930s but without the political (read: socialist) underpinnings. To that end, he created lifelike characters who spoke in realistic dialect.   But to make his point that melodrama was flawed, he added an equally unrealistic character. Blanche, unlike the other characters, speaks theatrically, acts larger than life on stage, and uses floral language and heightened mannerisms. Blanche is a character not to be trusted. She lies about everything, and the only thing that finally exposes her lies is reality itself: Stanley. He finally forces her off the stage and into the insane asylum by forcing himself on her sexually. And with that, realism forcibly removed melodrama from the stage.  Review #2 by McKinley It is not possible to imagine A Streetcar Named Desire without the influence of Marlon Brando, the actor who rose to fame playing Stanley Kowalski. On the page, the part is fairly simplistic. Stanley is a monster and a beast without any redeeming qualities. But Brando and the play’s original director, Elia Kazan, imagined the character as having a soft underbelly, rooted in his own sorrow, insecurities, and soulful complexity. Brando’s Stanley is a brute, yes, but he is a brute who hates the fact that he is so awful. He is also unable to control himself and his passions, and this lack of control is equally embarrassing to him, even as it is also threatening to Blanche and alluring to her sister Stella.   For instance, after he hits Stella, he comes back to her, famously begging for forgiveness by shouting “Stella” outside their apartment. But in Brando’s depiction on the stage and later on the screen, he is soaked from the rain and looks completely desperate, as though he needs Stella to live. He looks and seems totally helpless and weak, the exact opposite of the brute he appears later when he forces himself onto Blanche.   The play is excellent and memorable, even when read. But it is Brando’s interpretation of the male lead role that makes the play indelible. Without Brando, the play would still have a deep meaning, but with Brando’s interpretation, the play becomes even more profound.      What would the author of Passage 2 argue makes for better drama? - ProProfs

      Review #1 by Garfield   A Streetcar Named Desire is a classic of the American theater. Tennessee Williams’ landmark work was a tour de force in its original stage production in 1947 and continues to resonate with audiences and readers today despite—or perhaps because of—its simplistic though layered story. A faded Southern belle, Blanche DuBois, arrives at her sister’s seedy New Orleans apartment where she is tortured by her brutish brother-in-law, Stanley Kowalski. Blanche puts on airs of class and happiness throughout the play, though internally she is miserable and haunted by her tragic and scandalous past. Stanley forces Blanche to face her dolorous reality with his vitriol and, finally, his act of sexual aggression, and in doing so, he causes her to lose her tenuous grip on sanity. Most have argued (correctly) that the play is about the ways the past haunts our present or (again correctly) that it is about the ways class and sexuality impact our lives. However, few have seen the play for what it is: an allegory for the theater itself.   Before Williams wrote Streetcar, the theater had been dominated by melodrama. A brief interlude in the 1930s brought political theater to center stage (pardon the pun), but by the 1940s, its principal playwright, Clifford Odets, had left New York for Hollywood, and the sensationalized and maudlin form of melodrama once again flourished. The theater was in limbo, and Williams had a desire to bring something new to the world. It would bring the realism of the political theater of the 1930s but without the political (read: socialist) underpinnings. To that end, he created lifelike characters who spoke in realistic dialect.   But to make his point that melodrama was flawed, he added an equally unrealistic character. Blanche, unlike the other characters, speaks theatrically, acts larger than life on stage, and uses floral language and heightened mannerisms. Blanche is a character not to be trusted. She lies about everything, and the only thing that finally exposes her lies is reality itself: Stanley. He finally forces her off the stage and into the insane asylum by forcing himself on her sexually. And with that, realism forcibly removed melodrama from the stage.  Review #2 by McKinley It is not possible to imagine A Streetcar Named Desire without the influence of Marlon Brando, the actor who rose to fame playing Stanley Kowalski. On the page, the part is fairly simplistic. Stanley is a monster and a beast without any redeeming qualities. But Brando and the play’s original director, Elia Kazan, imagined the character as having a soft underbelly, rooted in his own sorrow, insecurities, and soulful complexity. Brando’s Stanley is a brute, yes, but he is a brute who hates the fact that he is so awful. He is also unable to control himself and his passions, and this lack of control is equally embarrassing to him, even as it is also threatening to Blanche and alluring to her sister Stella.   For instance, after he hits Stella, he comes back to her, famously begging for forgiveness by shouting “Stella” outside their apartment. But in Brando’s depiction on the stage and later on the screen, he is soaked from the rain and looks completely desperate, as though he needs Stella to live. He looks and seems totally helpless and weak, the exact opposite of the brute he appears later when he forces himself onto Blanche.   The play is excellent and memorable, even when read. But it is Brando’s interpretation of the male lead role that makes the play indelible. Without Brando, the play would still have a deep meaning, but with Brando’s interpretation, the play becomes even more profound.      What would the author of Passage 2 argue makes for better drama?

    • A.

      Any movie with Marlon Brando

    • B.

      Tennessee Williams’ skilled writing

    • C.

      High quality script

    • D.

      Unparalled acting

    • E.

      Both unparalled acting & a high quality script

    Correct Answer
    D. Unparalled acting
    Explanation
    global inference questions
    The acting is the best answer, this review focuses on the acting not the script. Marlon Brando is too specific and not a generalized answer

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  • 6. 
    A Streetcar by any other name by McKinley    It is not possible to imagine A Streetcar Named Desire without the influence of Marlon Brando, the actor who rose to fame playing Stanley Kowalski. On the page, the part is fairly simplistic. Stanley is a monster and a beast without any redeeming qualities. But Brando and the play’s original director, Elia Kazan, imagined the character as having a soft underbelly, rooted in his own sorrow, insecurities, and soulful complexity. Brando’s Stanley is a brute, yes, but he is a brute who hates the fact that he is so awful. He is also unable to control himself and his passions, and this lack of control is equally embarrassing to him, even as it is also threatening to Blanche and alluring to her sister Stella.   For instance, after he hits Stella, he comes back to her, famously begging for forgiveness by shouting “Stella” outside their apartment. But in Brando’s depiction on the stage and later on the screen, he is soaked from the rain and looks completely desperate, as though he needs Stella to live. He looks and seems totally helpless and weak, the exact opposite of the brute he appears later when he forces himself onto Blanche.   The play is excellent and memorable, even when read. But it is Brando’s interpretation of the male lead role that makes the play indelible. Without Brando, the play would still have a deep meaning, but with Brando’s interpretation, the play becomes even more profound.      7) What does the word indelible mean in the passage? - ProProfs

    A Streetcar by any other name by McKinley    It is not possible to imagine A Streetcar Named Desire without the influence of Marlon Brando, the actor who rose to fame playing Stanley Kowalski. On the page, the part is fairly simplistic. Stanley is a monster and a beast without any redeeming qualities. But Brando and the play’s original director, Elia Kazan, imagined the character as having a soft underbelly, rooted in his own sorrow, insecurities, and soulful complexity. Brando’s Stanley is a brute, yes, but he is a brute who hates the fact that he is so awful. He is also unable to control himself and his passions, and this lack of control is equally embarrassing to him, even as it is also threatening to Blanche and alluring to her sister Stella.   For instance, after he hits Stella, he comes back to her, famously begging for forgiveness by shouting “Stella” outside their apartment. But in Brando’s depiction on the stage and later on the screen, he is soaked from the rain and looks completely desperate, as though he needs Stella to live. He looks and seems totally helpless and weak, the exact opposite of the brute he appears later when he forces himself onto Blanche.   The play is excellent and memorable, even when read. But it is Brando’s interpretation of the male lead role that makes the play indelible. Without Brando, the play would still have a deep meaning, but with Brando’s interpretation, the play becomes even more profound.      7) What does the word indelible mean in the passage?

    • A.

      A personal memory of great influence

    • B.

      Something that cannot be eliminated

    • C.

      An impression that cannot be removed

    • D.

      Marks that cannot be erased

    Correct Answer
    C. An impression that cannot be removed
    Explanation
    context vocabulary
    an impression is more global, while personal memory is too specific

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  • 7. 
      Chronic Traumatic Encephalopathy              Concussions are brain injuries that occur when a person receives a blow to the head, face, or neck. Although most people who suffer a concussion experience initial bouts of dizziness, nausea, and drowsiness, these symptoms often disappear after a few days. The long-term effects of concussions, however, are less understood and far more severe. Recent studies suggest that people who suffer multiple concussions are at a significant risk for developing chronic traumatic encephalopathy (CTE), a degenerative brain disorder that causes a variety of dangerous mental and emotional problems to arise weeks, months, or even years after the initial injury. These psychological problems can include depression, anxiety, memory loss, inability to concentrate, and aggression. In extreme cases, people suffering from CTE have even committed suicide or homicide. The majority of people who develop these issues are athletes who participate in popular high-impact sports, especially football. Although both new sports regulations and improvements in helmet technology can help protect players, the sports media and fans alike bear some of the responsibility for reducing the incidence of these devastating injuries.  Improvements in diagnostic technology have provided substantial evidence to link severe—and often fatal—psychological disorders to the head injuries players receive while on the field. Recent autopsies performed on the brains of football players who have committed suicide have shown advanced cases of CTE in every single victim.                  In response to the growing understanding of this danger, the National Football League (NFL) has revised its safety regulations. Players who have suffered a head injury on the field must undergo a "concussion sideline assessment"—a series of mental and physical fitness tests—before being allowed back in the game. In an effort to diminish the amount of head and neck injuries on the field, NFL officials have begun enforcing stricter penalty calls for helmet-to-helmet contact, leading with the head, and hitting a defenseless player. Furthermore, as of 2010, if a player’s helmet is accidentally wrenched from his head during play, the ball is immediately whistled dead. There is hope that these new regulations, coupled with advances in helmet design, will reduce the number of concussions player endure, and thus curb the number of CTE cases.             Efforts by the NFL and other professional sports leagues are certainly laudable; indeed, we should commend every attempt to protect the mental and physical health of players. However, new regulations at the professional level cannot protect amateur players, especially young people. Fatal cases of CTE have been reported in victims as young as 21. With appropriate equipment and form, tackling need not be dangerous. Proper tackling form—using the arms and shoulders to aim for a player’s midsection rather than leading with the top of the head—should be taught at an early age. Youth, high school, and college leagues should also adopt safety rules even more stringent that the NFL’s. Furthermore, at an early age, athletes should be educated about the serious dangers of head injuries.             Perhaps the most important factor in reducing the number of traumatic brain injuries, however, lies not with the players, the coaches, or the administrators, but with the media and fans. Sports media producers have become accustomed to showcasing the most aggressive tackles and the most intense plays. NFL broadcasts often replay especially violent collisions, while the commentators marvel at the physical prowess of the players involved. Some sports programs even feature weekly countdowns of the hardest hits. When the media exalts such hazardous behavior, professionals are rewarded for injuring each other on the field, and amateurs become more likely to try to imitate their favorite NFL athletes. Announcers, commentators, television producers, and sportswriters should engage in a collective effort to cease glorifying brutal plays. In turn, fans should stop expecting their favorite players to put their lives on the line for the purposes of entertainment. Players must stop being encouraged to trade their careers, health, happiness, and their lives for the sake of a game. The author apparently believes that - ProProfs

      Chronic Traumatic Encephalopathy              Concussions are brain injuries that occur when a person receives a blow to the head, face, or neck. Although most people who suffer a concussion experience initial bouts of dizziness, nausea, and drowsiness, these symptoms often disappear after a few days. The long-term effects of concussions, however, are less understood and far more severe. Recent studies suggest that people who suffer multiple concussions are at a significant risk for developing chronic traumatic encephalopathy (CTE), a degenerative brain disorder that causes a variety of dangerous mental and emotional problems to arise weeks, months, or even years after the initial injury. These psychological problems can include depression, anxiety, memory loss, inability to concentrate, and aggression. In extreme cases, people suffering from CTE have even committed suicide or homicide. The majority of people who develop these issues are athletes who participate in popular high-impact sports, especially football. Although both new sports regulations and improvements in helmet technology can help protect players, the sports media and fans alike bear some of the responsibility for reducing the incidence of these devastating injuries.  Improvements in diagnostic technology have provided substantial evidence to link severe—and often fatal—psychological disorders to the head injuries players receive while on the field. Recent autopsies performed on the brains of football players who have committed suicide have shown advanced cases of CTE in every single victim.                  In response to the growing understanding of this danger, the National Football League (NFL) has revised its safety regulations. Players who have suffered a head injury on the field must undergo a "concussion sideline assessment"—a series of mental and physical fitness tests—before being allowed back in the game. In an effort to diminish the amount of head and neck injuries on the field, NFL officials have begun enforcing stricter penalty calls for helmet-to-helmet contact, leading with the head, and hitting a defenseless player. Furthermore, as of 2010, if a player’s helmet is accidentally wrenched from his head during play, the ball is immediately whistled dead. There is hope that these new regulations, coupled with advances in helmet design, will reduce the number of concussions player endure, and thus curb the number of CTE cases.             Efforts by the NFL and other professional sports leagues are certainly laudable; indeed, we should commend every attempt to protect the mental and physical health of players. However, new regulations at the professional level cannot protect amateur players, especially young people. Fatal cases of CTE have been reported in victims as young as 21. With appropriate equipment and form, tackling need not be dangerous. Proper tackling form—using the arms and shoulders to aim for a player’s midsection rather than leading with the top of the head—should be taught at an early age. Youth, high school, and college leagues should also adopt safety rules even more stringent that the NFL’s. Furthermore, at an early age, athletes should be educated about the serious dangers of head injuries.             Perhaps the most important factor in reducing the number of traumatic brain injuries, however, lies not with the players, the coaches, or the administrators, but with the media and fans. Sports media producers have become accustomed to showcasing the most aggressive tackles and the most intense plays. NFL broadcasts often replay especially violent collisions, while the commentators marvel at the physical prowess of the players involved. Some sports programs even feature weekly countdowns of the hardest hits. When the media exalts such hazardous behavior, professionals are rewarded for injuring each other on the field, and amateurs become more likely to try to imitate their favorite NFL athletes. Announcers, commentators, television producers, and sportswriters should engage in a collective effort to cease glorifying brutal plays. In turn, fans should stop expecting their favorite players to put their lives on the line for the purposes of entertainment. Players must stop being encouraged to trade their careers, health, happiness, and their lives for the sake of a game. The author apparently believes that

    • A.

      NFL officials have not thoroughly implemented stricter safety regulations

    • B.

      Doctors need to do more research about the potential long-term effects of CTE

    • C.

      Amateur athletes suffer more serious long-term effects of CTE than professional athletes

    • D.

      Fans share some of the blame for athletes’ injuries

    • E.

      Young people should not be encouraged to play football due to CTE risks

    Correct Answer
    D. Fans share some of the blame for athletes’ injuries
    Explanation
    global inference question
    Final paragraph one has to infer that the sports media & NFL boradcasts replay hits because it is what the fans want.

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  • 8. 
    Chronic Traumatic Encephalopathy   Concussions are brain injuries that occur when a person receives a blow to the head, face, or neck. Although most people who suffer a concussion experience initial bouts of dizziness, nausea, and drowsiness, these symptoms often disappear after a few days. The long-term effects of concussions, however, are less understood and far more severe. Recent studies suggest that people who suffer multiple concussions are at a significant risk for developing chronic traumatic encephalopathy (CTE), a degenerative brain disorder that causes a variety of dangerous mental and emotional problems to arise weeks, months, or even years after the initial injury. These psychological problems can include depression, anxiety, memory loss, inability to concentrate, and aggression. In extreme cases, people suffering from CTE have even committed suicide or homicide. The majority of people who develop these issues are athletes who participate in popular high-impact sports, especially football. Although both new sports regulations and improvements in helmet technology can help protect players, the sports media and fans alike bear some of the responsibility for reducing the incidence of these devastating injuries.  Improvements in diagnostic technology have provided substantial evidence to link severe—and often fatal—psychological disorders to the head injuries players receive while on the field. Recent autopsies performed on the brains of football players who have committed suicide have shown advanced cases of CTE in every single victim.    In response to the growing understanding of this danger, the National Football League (NFL) has revised its safety regulations. Players who have suffered a head injury on the field must undergo a "concussion sideline assessment"—a series of mental and physical fitness tests—before being allowed back in the game. In an effort to diminish the amount of head and neck injuries on the field, NFL officials have begun enforcing stricter penalty calls for helmet-to-helmet contact, leading with the head, and hitting a defenseless player. Furthermore, as of 2010, if a player’s helmet is accidentally wrenched from his head during play, the ball is immediately whistled dead. There is hope that these new regulations, coupled with advances in helmet design, will reduce the number of concussions player endure, and thus curb the number of CTE cases.   Efforts by the NFL and other professional sports leagues are certainly laudable; indeed, we should commend every attempt to protect the mental and physical health of players. However, new regulations at the professional level cannot protect amateur players, especially young people. Fatal cases of CTE have been reported in victims as young as 21. With appropriate equipment and form, tackling need not be dangerous. Proper tackling form—using the arms and shoulders to aim for a player’s midsection rather than leading with the top of the head—should be taught at an early age. Youth, high school, and college leagues should also adopt safety rules even more stringent that the NFL’s. Furthermore, at an early age, athletes should be educated about the serious dangers of head injuries.   Perhaps the most important factor in reducing the number of traumatic brain injuries, however, lies not with the players, the coaches, or the administrators, but with the media and fans. Sports media producers have become accustomed to showcasing the most aggressive tackles and the most intense plays. NFL broadcasts often replay especially violent collisions, while the commentators marvel at the physical prowess of the players involved. Some sports programs even feature weekly countdowns of the hardest hits. When the media exalts such hazardous behavior, professionals are rewarded for injuring each other on the field, and amateurs become more likely to try to imitate their favorite NFL athletes. Announcers, commentators, television producers, and sportswriters should engage in a collective effort to cease glorifying brutal plays. In turn, fans should stop expecting their favorite players to put their lives on the line for the purposes of entertainment. Players must stop being encouraged to trade their careers, health, happiness, and their lives for the sake of a game.  According to the author, each of the following statements are true EXCEPT which one? - ProProfs

    Chronic Traumatic Encephalopathy   Concussions are brain injuries that occur when a person receives a blow to the head, face, or neck. Although most people who suffer a concussion experience initial bouts of dizziness, nausea, and drowsiness, these symptoms often disappear after a few days. The long-term effects of concussions, however, are less understood and far more severe. Recent studies suggest that people who suffer multiple concussions are at a significant risk for developing chronic traumatic encephalopathy (CTE), a degenerative brain disorder that causes a variety of dangerous mental and emotional problems to arise weeks, months, or even years after the initial injury. These psychological problems can include depression, anxiety, memory loss, inability to concentrate, and aggression. In extreme cases, people suffering from CTE have even committed suicide or homicide. The majority of people who develop these issues are athletes who participate in popular high-impact sports, especially football. Although both new sports regulations and improvements in helmet technology can help protect players, the sports media and fans alike bear some of the responsibility for reducing the incidence of these devastating injuries.  Improvements in diagnostic technology have provided substantial evidence to link severe—and often fatal—psychological disorders to the head injuries players receive while on the field. Recent autopsies performed on the brains of football players who have committed suicide have shown advanced cases of CTE in every single victim.    In response to the growing understanding of this danger, the National Football League (NFL) has revised its safety regulations. Players who have suffered a head injury on the field must undergo a "concussion sideline assessment"—a series of mental and physical fitness tests—before being allowed back in the game. In an effort to diminish the amount of head and neck injuries on the field, NFL officials have begun enforcing stricter penalty calls for helmet-to-helmet contact, leading with the head, and hitting a defenseless player. Furthermore, as of 2010, if a player’s helmet is accidentally wrenched from his head during play, the ball is immediately whistled dead. There is hope that these new regulations, coupled with advances in helmet design, will reduce the number of concussions player endure, and thus curb the number of CTE cases.   Efforts by the NFL and other professional sports leagues are certainly laudable; indeed, we should commend every attempt to protect the mental and physical health of players. However, new regulations at the professional level cannot protect amateur players, especially young people. Fatal cases of CTE have been reported in victims as young as 21. With appropriate equipment and form, tackling need not be dangerous. Proper tackling form—using the arms and shoulders to aim for a player’s midsection rather than leading with the top of the head—should be taught at an early age. Youth, high school, and college leagues should also adopt safety rules even more stringent that the NFL’s. Furthermore, at an early age, athletes should be educated about the serious dangers of head injuries.   Perhaps the most important factor in reducing the number of traumatic brain injuries, however, lies not with the players, the coaches, or the administrators, but with the media and fans. Sports media producers have become accustomed to showcasing the most aggressive tackles and the most intense plays. NFL broadcasts often replay especially violent collisions, while the commentators marvel at the physical prowess of the players involved. Some sports programs even feature weekly countdowns of the hardest hits. When the media exalts such hazardous behavior, professionals are rewarded for injuring each other on the field, and amateurs become more likely to try to imitate their favorite NFL athletes. Announcers, commentators, television producers, and sportswriters should engage in a collective effort to cease glorifying brutal plays. In turn, fans should stop expecting their favorite players to put their lives on the line for the purposes of entertainment. Players must stop being encouraged to trade their careers, health, happiness, and their lives for the sake of a game.  According to the author, each of the following statements are true EXCEPT which one?

    • A.

      Tackling itself is not dangerous; however, players who use improper tackling form may suffer injury.

    • B.

      Scientists have established a link between players who shoot themselves and others and the onset of CTE.

    • C.

      NFL officials have done nothing to address the problem of CTE.

    • D.

      Athletes who are praised for exceptionally brutal hits are likely to continue engaging in such dangerous behavior.

    • E.

      Sports programs showcase exceptionally hard hits.

    Correct Answer
    C. NFL officials have done nothing to address the problem of CTE.
    Explanation
    detail question, NFL has made some efforts, in par. 3 NFL officials have started to enforce stricter penalties.

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  • 9. 
    Chronic Traumatic Encephalopathy   Concussions are brain injuries that occur when a person receives a blow to the head, face, or neck. Although most people who suffer a concussion experience initial bouts of dizziness, nausea, and drowsiness, these symptoms often disappear after a few days. The long-term effects of concussions, however, are less understood and far more severe. Recent studies suggest that people who suffer multiple concussions are at a significant risk for developing chronic traumatic encephalopathy (CTE), a degenerative brain disorder that causes a variety of dangerous mental and emotional problems to arise weeks, months, or even years after the initial injury. These psychological problems can include depression, anxiety, memory loss, inability to concentrate, and aggression. In extreme cases, people suffering from CTE have even committed suicide or homicide. The majority of people who develop these issues are athletes who participate in popular high-impact sports, especially football. Although both new sports regulations and improvements in helmet technology can help protect players, the sports media and fans alike bear some of the responsibility for reducing the incidence of these devastating injuries.  Improvements in diagnostic technology have provided substantial evidence to link severe—and often fatal—psychological disorders to the head injuries players receive while on the field. Recent autopsies performed on the brains of football players who have committed suicide have shown advanced cases of CTE in every single victim.    In response to the growing understanding of this danger, the National Football League (NFL) has revised its safety regulations. Players who have suffered a head injury on the field must undergo a "concussion sideline assessment"—a series of mental and physical fitness tests—before being allowed back in the game. In an effort to diminish the amount of head and neck injuries on the field, NFL officials have begun enforcing stricter penalty calls for helmet-to-helmet contact, leading with the head, and hitting a defenseless player. Furthermore, as of 2010, if a player’s helmet is accidentally wrenched from his head during play, the ball is immediately whistled dead. There is hope that these new regulations, coupled with advances in helmet design, will reduce the number of concussions player endure, and thus curb the number of CTE cases.   Efforts by the NFL and other professional sports leagues are certainly laudable; indeed, we should commend every attempt to protect the mental and physical health of players. However, new regulations at the professional level cannot protect amateur players, especially young people. Fatal cases of CTE have been reported in victims as young as 21. With appropriate equipment and form, tackling need not be dangerous. Proper tackling form—using the arms and shoulders to aim for a player’s midsection rather than leading with the top of the head—should be taught at an early age. Youth, high school, and college leagues should also adopt safety rules even more stringent that the NFL’s. Furthermore, at an early age, athletes should be educated about the serious dangers of head injuries.               Perhaps the most important factor in reducing the number of traumatic brain injuries, however, lies not with the players, the coaches, or the administrators, but with the media and fans. Sports media producers have become accustomed to showcasing the most aggressive tackles and the most intense plays. NFL broadcasts often replay especially violent collisions, while the commentators marvel at the physical prowess of the players involved. Some sports programs even feature weekly countdowns of the hardest hits. When the media exalts such hazardous behavior, professionals are rewarded for injuring each other on the field, and amateurs become more likely to try to imitate their favorite NFL athletes. Announcers, commentators, television producers, and sportswriters should engage in a collective effort to cease glorifying brutal plays. In turn, fans should stop expecting their favorite players to put their lives on the line for the purposes of entertainment. Players must stop being encouraged to trade their careers, health, happiness, and their lives for the sake of a game.  According to the author, which of the following contribute(s) to an increase in incidences of CTE in amateur players? - ProProfs

    Chronic Traumatic Encephalopathy   Concussions are brain injuries that occur when a person receives a blow to the head, face, or neck. Although most people who suffer a concussion experience initial bouts of dizziness, nausea, and drowsiness, these symptoms often disappear after a few days. The long-term effects of concussions, however, are less understood and far more severe. Recent studies suggest that people who suffer multiple concussions are at a significant risk for developing chronic traumatic encephalopathy (CTE), a degenerative brain disorder that causes a variety of dangerous mental and emotional problems to arise weeks, months, or even years after the initial injury. These psychological problems can include depression, anxiety, memory loss, inability to concentrate, and aggression. In extreme cases, people suffering from CTE have even committed suicide or homicide. The majority of people who develop these issues are athletes who participate in popular high-impact sports, especially football. Although both new sports regulations and improvements in helmet technology can help protect players, the sports media and fans alike bear some of the responsibility for reducing the incidence of these devastating injuries.  Improvements in diagnostic technology have provided substantial evidence to link severe—and often fatal—psychological disorders to the head injuries players receive while on the field. Recent autopsies performed on the brains of football players who have committed suicide have shown advanced cases of CTE in every single victim.    In response to the growing understanding of this danger, the National Football League (NFL) has revised its safety regulations. Players who have suffered a head injury on the field must undergo a "concussion sideline assessment"—a series of mental and physical fitness tests—before being allowed back in the game. In an effort to diminish the amount of head and neck injuries on the field, NFL officials have begun enforcing stricter penalty calls for helmet-to-helmet contact, leading with the head, and hitting a defenseless player. Furthermore, as of 2010, if a player’s helmet is accidentally wrenched from his head during play, the ball is immediately whistled dead. There is hope that these new regulations, coupled with advances in helmet design, will reduce the number of concussions player endure, and thus curb the number of CTE cases.   Efforts by the NFL and other professional sports leagues are certainly laudable; indeed, we should commend every attempt to protect the mental and physical health of players. However, new regulations at the professional level cannot protect amateur players, especially young people. Fatal cases of CTE have been reported in victims as young as 21. With appropriate equipment and form, tackling need not be dangerous. Proper tackling form—using the arms and shoulders to aim for a player’s midsection rather than leading with the top of the head—should be taught at an early age. Youth, high school, and college leagues should also adopt safety rules even more stringent that the NFL’s. Furthermore, at an early age, athletes should be educated about the serious dangers of head injuries.               Perhaps the most important factor in reducing the number of traumatic brain injuries, however, lies not with the players, the coaches, or the administrators, but with the media and fans. Sports media producers have become accustomed to showcasing the most aggressive tackles and the most intense plays. NFL broadcasts often replay especially violent collisions, while the commentators marvel at the physical prowess of the players involved. Some sports programs even feature weekly countdowns of the hardest hits. When the media exalts such hazardous behavior, professionals are rewarded for injuring each other on the field, and amateurs become more likely to try to imitate their favorite NFL athletes. Announcers, commentators, television producers, and sportswriters should engage in a collective effort to cease glorifying brutal plays. In turn, fans should stop expecting their favorite players to put their lives on the line for the purposes of entertainment. Players must stop being encouraged to trade their careers, health, happiness, and their lives for the sake of a game.  According to the author, which of the following contribute(s) to an increase in incidences of CTE in amateur players?

    • A.

      A. fewer safety regulations than professional players

    • B.

      B. a lack of education geared to youth players about the dangers of head injuries

    • C.

      C. a desire to emulate professionals

    • D.

      A & B

    • E.

      B & C

    • F.

      All of the options

    Correct Answer
    F. All of the options
    Explanation
    detail question, all three options are supported by the text

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  • 10. 
    Chronic Traumatic Encephalopathy               Concussions are brain injuries that occur when a person receives a blow to the head, face, or neck. Although most people who suffer a concussion experience initial bouts of dizziness, nausea, and drowsiness, these symptoms often disappear after a few days. The long-term effects of concussions, however, are less understood and far more severe. Recent studies suggest that people who suffer multiple concussions are at a significant risk for developing chronic traumatic encephalopathy (CTE), a degenerative brain disorder that causes a variety of dangerous mental and emotional problems to arise weeks, months, or even years after the initial injury. These psychological problems can include depression, anxiety, memory loss, inability to concentrate, and aggression. In extreme cases, people suffering from CTE have even committed suicide or homicide. The majority of people who develop these issues are athletes who participate in popular high-impact sports, especially football. Although both new sports regulations and improvements in helmet technology can help protect players, the sports media and fans alike bear some of the responsibility for reducing the incidence of these devastating injuries.  Improvements in diagnostic technology have provided substantial evidence to link severe—and often fatal—psychological disorders to the head injuries players receive while on the field. Recent autopsies performed on the brains of football players who have committed suicide have shown advanced cases of CTE in every single victim.               In response to the growing understanding of this danger, the National Football League (NFL) has revised its safety regulations. Players who have suffered a head injury on the field must undergo a "concussion sideline assessment"—a series of mental and physical fitness tests—before being allowed back in the game. In an effort to diminish the amount of head and neck injuries on the field, NFL officials have begun enforcing stricter penalty calls for helmet-to-helmet contact, leading with the head, and hitting a defenseless player. Furthermore, as of 2010, if a player’s helmet is accidentally wrenched from his head during play, the ball is immediately whistled dead. There is hope that these new regulations, coupled with advances in helmet design, will reduce the number of concussions player endure, and thus curb the number of CTE cases.               Efforts by the NFL and other professional sports leagues are certainly laudable; indeed, we should commend every attempt to protect the mental and physical health of players. However, new regulations at the professional level cannot protect amateur players, especially young people. Fatal cases of CTE have been reported in victims as young as 21. With appropriate equipment and form, tackling need not be dangerous. Proper tackling form—using the arms and shoulders to aim for a player’s midsection rather than leading with the top of the head—should be taught at an early age. Youth, high school, and college leagues should also adopt safety rules even more stringent that the NFL’s. Furthermore, at an early age, athletes should be educated about the serious dangers of head injuries.               Perhaps the most important factor in reducing the number of traumatic brain injuries, however, lies not with the players, the coaches, or the administrators, but with the media and fans. Sports media producers have become accustomed to showcasing the most aggressive tackles and the most intense plays. NFL broadcasts often replay especially violent collisions, while the commentators marvel at the physical prowess of the players involved. Some sports programs even feature weekly countdowns of the hardest hits. When the media exalts such hazardous behavior, professionals are rewarded for injuring each other on the field, and amateurs become more likely to try to imitate their favorite NFL athletes. Announcers, commentators, television producers, and sportswriters should engage in a collective effort to cease glorifying brutal plays. In turn, fans should stop expecting their favorite players to put their lives on the line for the purposes of entertainment. Players must stop being encouraged to trade their careers, health, happiness, and their lives for the sake of a game.  Based on the passage, which is the best synonym for laudable? - ProProfs

    Chronic Traumatic Encephalopathy               Concussions are brain injuries that occur when a person receives a blow to the head, face, or neck. Although most people who suffer a concussion experience initial bouts of dizziness, nausea, and drowsiness, these symptoms often disappear after a few days. The long-term effects of concussions, however, are less understood and far more severe. Recent studies suggest that people who suffer multiple concussions are at a significant risk for developing chronic traumatic encephalopathy (CTE), a degenerative brain disorder that causes a variety of dangerous mental and emotional problems to arise weeks, months, or even years after the initial injury. These psychological problems can include depression, anxiety, memory loss, inability to concentrate, and aggression. In extreme cases, people suffering from CTE have even committed suicide or homicide. The majority of people who develop these issues are athletes who participate in popular high-impact sports, especially football. Although both new sports regulations and improvements in helmet technology can help protect players, the sports media and fans alike bear some of the responsibility for reducing the incidence of these devastating injuries.  Improvements in diagnostic technology have provided substantial evidence to link severe—and often fatal—psychological disorders to the head injuries players receive while on the field. Recent autopsies performed on the brains of football players who have committed suicide have shown advanced cases of CTE in every single victim.               In response to the growing understanding of this danger, the National Football League (NFL) has revised its safety regulations. Players who have suffered a head injury on the field must undergo a "concussion sideline assessment"—a series of mental and physical fitness tests—before being allowed back in the game. In an effort to diminish the amount of head and neck injuries on the field, NFL officials have begun enforcing stricter penalty calls for helmet-to-helmet contact, leading with the head, and hitting a defenseless player. Furthermore, as of 2010, if a player’s helmet is accidentally wrenched from his head during play, the ball is immediately whistled dead. There is hope that these new regulations, coupled with advances in helmet design, will reduce the number of concussions player endure, and thus curb the number of CTE cases.               Efforts by the NFL and other professional sports leagues are certainly laudable; indeed, we should commend every attempt to protect the mental and physical health of players. However, new regulations at the professional level cannot protect amateur players, especially young people. Fatal cases of CTE have been reported in victims as young as 21. With appropriate equipment and form, tackling need not be dangerous. Proper tackling form—using the arms and shoulders to aim for a player’s midsection rather than leading with the top of the head—should be taught at an early age. Youth, high school, and college leagues should also adopt safety rules even more stringent that the NFL’s. Furthermore, at an early age, athletes should be educated about the serious dangers of head injuries.               Perhaps the most important factor in reducing the number of traumatic brain injuries, however, lies not with the players, the coaches, or the administrators, but with the media and fans. Sports media producers have become accustomed to showcasing the most aggressive tackles and the most intense plays. NFL broadcasts often replay especially violent collisions, while the commentators marvel at the physical prowess of the players involved. Some sports programs even feature weekly countdowns of the hardest hits. When the media exalts such hazardous behavior, professionals are rewarded for injuring each other on the field, and amateurs become more likely to try to imitate their favorite NFL athletes. Announcers, commentators, television producers, and sportswriters should engage in a collective effort to cease glorifying brutal plays. In turn, fans should stop expecting their favorite players to put their lives on the line for the purposes of entertainment. Players must stop being encouraged to trade their careers, health, happiness, and their lives for the sake of a game.  Based on the passage, which is the best synonym for laudable?

    • A.

      Praiseworthy

    • B.

      Healthy; favorable

    • C.

      Determined

    • D.

      Wholesome

    • E.

      Satisfactory

    Correct Answer
    A. Praiseworthy
    Explanation
    context vocabulary, In paragraph 3, laudable is used as a adjective to mean worthy of praise

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  • 11. 
    Chronic Traumatic Encephalopathy               Concussions are brain injuries that occur when a person receives a blow to the head, face, or neck. Although most people who suffer a concussion experience initial bouts of dizziness, nausea, and drowsiness, these symptoms often disappear after a few days. The long-term effects of concussions, however, are less understood and far more severe. Recent studies suggest that people who suffer multiple concussions are at a significant risk for developing chronic traumatic encephalopathy (CTE), a degenerative brain disorder that causes a variety of dangerous mental and emotional problems to arise weeks, months, or even years after the initial injury. These psychological problems can include depression, anxiety, memory loss, inability to concentrate, and aggression. In extreme cases, people suffering from CTE have even committed suicide or homicide. The majority of people who develop these issues are athletes who participate in popular high-impact sports, especially football. Although both new sports regulations and improvements in helmet technology can help protect players, the sports media and fans alike bear some of the responsibility for reducing the incidence of these devastating injuries.  Improvements in diagnostic technology have provided substantial evidence to link severe—and often fatal—psychological disorders to the head injuries players receive while on the field. Recent autopsies performed on the brains of football players who have committed suicide have shown advanced cases of CTE in every single victim.               In response to the growing understanding of this danger, the National Football League (NFL) has revised its safety regulations. Players who have suffered a head injury on the field must undergo a "concussion sideline assessment"—a series of mental and physical fitness tests—before being allowed back in the game. In an effort to diminish the amount of head and neck injuries on the field, NFL officials have begun enforcing stricter penalty calls for helmet-to-helmet contact, leading with the head, and hitting a defenseless player. Furthermore, as of 2010, if a player’s helmet is accidentally wrenched from his head during play, the ball is immediately whistled dead. There is hope that these new regulations, coupled with advances in helmet design, will reduce the number of concussions player endure, and thus curb the number of CTE cases.               Efforts by the NFL and other professional sports leagues are certainly laudable; indeed, we should commend every attempt to protect the mental and physical health of players. However, new regulations at the professional level cannot protect amateur players, especially young people. Fatal cases of CTE have been reported in victims as young as 21. With appropriate equipment and form, tackling need not be dangerous. Proper tackling form—using the arms and shoulders to aim for a player’s midsection rather than leading with the top of the head—should be taught at an early age. Youth, high school, and college leagues should also adopt safety rules even more stringent that the NFL’s. Furthermore, at an early age, athletes should be educated about the serious dangers of head injuries.               Perhaps the most important factor in reducing the number of traumatic brain injuries, however, lies not with the players, the coaches, or the administrators, but with the media and fans. Sports media producers have become accustomed to showcasing the most aggressive tackles and the most intense plays. NFL broadcasts often replay especially violent collisions, while the commentators marvel at the physical prowess of the players involved. Some sports programs even feature weekly countdowns of the hardest hits. When the media exalts such hazardous behavior, professionals are rewarded for injuring each other on the field, and amateurs become more likely to try to imitate their favorite NFL athletes. Announcers, commentators, television producers, and sportswriters should engage in a collective effort to cease glorifying brutal plays. In turn, fans should stop expecting their favorite players to put their lives on the line for the purposes of entertainment. Players must stop being encouraged to trade their careers, health, happiness, and their lives for the sake of a game.     The author’s tone in the final paragraph can best be described as - ProProfs

    Chronic Traumatic Encephalopathy               Concussions are brain injuries that occur when a person receives a blow to the head, face, or neck. Although most people who suffer a concussion experience initial bouts of dizziness, nausea, and drowsiness, these symptoms often disappear after a few days. The long-term effects of concussions, however, are less understood and far more severe. Recent studies suggest that people who suffer multiple concussions are at a significant risk for developing chronic traumatic encephalopathy (CTE), a degenerative brain disorder that causes a variety of dangerous mental and emotional problems to arise weeks, months, or even years after the initial injury. These psychological problems can include depression, anxiety, memory loss, inability to concentrate, and aggression. In extreme cases, people suffering from CTE have even committed suicide or homicide. The majority of people who develop these issues are athletes who participate in popular high-impact sports, especially football. Although both new sports regulations and improvements in helmet technology can help protect players, the sports media and fans alike bear some of the responsibility for reducing the incidence of these devastating injuries.  Improvements in diagnostic technology have provided substantial evidence to link severe—and often fatal—psychological disorders to the head injuries players receive while on the field. Recent autopsies performed on the brains of football players who have committed suicide have shown advanced cases of CTE in every single victim.               In response to the growing understanding of this danger, the National Football League (NFL) has revised its safety regulations. Players who have suffered a head injury on the field must undergo a "concussion sideline assessment"—a series of mental and physical fitness tests—before being allowed back in the game. In an effort to diminish the amount of head and neck injuries on the field, NFL officials have begun enforcing stricter penalty calls for helmet-to-helmet contact, leading with the head, and hitting a defenseless player. Furthermore, as of 2010, if a player’s helmet is accidentally wrenched from his head during play, the ball is immediately whistled dead. There is hope that these new regulations, coupled with advances in helmet design, will reduce the number of concussions player endure, and thus curb the number of CTE cases.               Efforts by the NFL and other professional sports leagues are certainly laudable; indeed, we should commend every attempt to protect the mental and physical health of players. However, new regulations at the professional level cannot protect amateur players, especially young people. Fatal cases of CTE have been reported in victims as young as 21. With appropriate equipment and form, tackling need not be dangerous. Proper tackling form—using the arms and shoulders to aim for a player’s midsection rather than leading with the top of the head—should be taught at an early age. Youth, high school, and college leagues should also adopt safety rules even more stringent that the NFL’s. Furthermore, at an early age, athletes should be educated about the serious dangers of head injuries.               Perhaps the most important factor in reducing the number of traumatic brain injuries, however, lies not with the players, the coaches, or the administrators, but with the media and fans. Sports media producers have become accustomed to showcasing the most aggressive tackles and the most intense plays. NFL broadcasts often replay especially violent collisions, while the commentators marvel at the physical prowess of the players involved. Some sports programs even feature weekly countdowns of the hardest hits. When the media exalts such hazardous behavior, professionals are rewarded for injuring each other on the field, and amateurs become more likely to try to imitate their favorite NFL athletes. Announcers, commentators, television producers, and sportswriters should engage in a collective effort to cease glorifying brutal plays. In turn, fans should stop expecting their favorite players to put their lives on the line for the purposes of entertainment. Players must stop being encouraged to trade their careers, health, happiness, and their lives for the sake of a game.     The author’s tone in the final paragraph can best be described as

    • A.

      Apologetic

    • B.

      Depressed

    • C.

      Confused

    • D.

      Solemn

    • E.

      Hopeless

    Correct Answer
    D. Solemn
    Explanation
    global inference question, Tone is the author's attitude, in the last paragraph the author is serious when saying "their lives for the sake of a game"

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  • 12. 
    Chronic Traumatic Encephalopathy               Concussions are brain injuries that occur when a person receives a blow to the head, face, or neck. Although most people who suffer a concussion experience initial bouts of dizziness, nausea, and drowsiness, these symptoms often disappear after a few days. The long-term effects of concussions, however, are less understood and far more severe. Recent studies suggest that people who suffer multiple concussions are at a significant risk for developing chronic traumatic encephalopathy (CTE), a degenerative brain disorder that causes a variety of dangerous mental and emotional problems to arise weeks, months, or even years after the initial injury. These psychological problems can include depression, anxiety, memory loss, inability to concentrate, and aggression. In extreme cases, people suffering from CTE have even committed suicide or homicide. The majority of people who develop these issues are athletes who participate in popular high-impact sports, especially football. Although both new sports regulations and improvements in helmet technology can help protect players, the sports media and fans alike bear some of the responsibility for reducing the incidence of these devastating injuries.  Improvements in diagnostic technology have provided substantial evidence to link severe—and often fatal—psychological disorders to the head injuries players receive while on the field. Recent autopsies performed on the brains of football players who have committed suicide have shown advanced cases of CTE in every single victim.               In response to the growing understanding of this danger, the National Football League (NFL) has revised its safety regulations. Players who have suffered a head injury on the field must undergo a "concussion sideline assessment"—a series of mental and physical fitness tests—before being allowed back in the game. In an effort to diminish the amount of head and neck injuries on the field, NFL officials have begun enforcing stricter penalty calls for helmet-to-helmet contact, leading with the head, and hitting a defenseless player. Furthermore, as of 2010, if a player’s helmet is accidentally wrenched from his head during play, the ball is immediately whistled dead. There is hope that these new regulations, coupled with advances in helmet design, will reduce the number of concussions player endure, and thus curb the number of CTE cases.               Efforts by the NFL and other professional sports leagues are certainly laudable; indeed, we should commend every attempt to protect the mental and physical health of players. However, new regulations at the professional level cannot protect amateur players, especially young people. Fatal cases of CTE have been reported in victims as young as 21. With appropriate equipment and form, tackling need not be dangerous. Proper tackling form—using the arms and shoulders to aim for a player’s midsection rather than leading with the top of the head—should be taught at an early age. Youth, high school, and college leagues should also adopt safety rules even more stringent that the NFL’s. Furthermore, at an early age, athletes should be educated about the serious dangers of head injuries.               Perhaps the most important factor in reducing the number of traumatic brain injuries, however, lies not with the players, the coaches, or the administrators, but with the media and fans. Sports media producers have become accustomed to showcasing the most aggressive tackles and the most intense plays. NFL broadcasts often replay especially violent collisions, while the commentators marvel at the physical prowess of the players involved. Some sports programs even feature weekly countdowns of the hardest hits. When the media exalts such hazardous behavior, professionals are rewarded for injuring each other on the field, and amateurs become more likely to try to imitate their favorite NFL athletes. Announcers, commentators, television producers, and sportswriters should engage in a collective effort to cease glorifying brutal plays. In turn, fans should stop expecting their favorite players to put their lives on the line for the purposes of entertainment. Players must stop being encouraged to trade their careers, health, happiness, and their lives for the sake of a game.  Which is the best antonym for exalts?   - ProProfs

    Chronic Traumatic Encephalopathy               Concussions are brain injuries that occur when a person receives a blow to the head, face, or neck. Although most people who suffer a concussion experience initial bouts of dizziness, nausea, and drowsiness, these symptoms often disappear after a few days. The long-term effects of concussions, however, are less understood and far more severe. Recent studies suggest that people who suffer multiple concussions are at a significant risk for developing chronic traumatic encephalopathy (CTE), a degenerative brain disorder that causes a variety of dangerous mental and emotional problems to arise weeks, months, or even years after the initial injury. These psychological problems can include depression, anxiety, memory loss, inability to concentrate, and aggression. In extreme cases, people suffering from CTE have even committed suicide or homicide. The majority of people who develop these issues are athletes who participate in popular high-impact sports, especially football. Although both new sports regulations and improvements in helmet technology can help protect players, the sports media and fans alike bear some of the responsibility for reducing the incidence of these devastating injuries.  Improvements in diagnostic technology have provided substantial evidence to link severe—and often fatal—psychological disorders to the head injuries players receive while on the field. Recent autopsies performed on the brains of football players who have committed suicide have shown advanced cases of CTE in every single victim.               In response to the growing understanding of this danger, the National Football League (NFL) has revised its safety regulations. Players who have suffered a head injury on the field must undergo a "concussion sideline assessment"—a series of mental and physical fitness tests—before being allowed back in the game. In an effort to diminish the amount of head and neck injuries on the field, NFL officials have begun enforcing stricter penalty calls for helmet-to-helmet contact, leading with the head, and hitting a defenseless player. Furthermore, as of 2010, if a player’s helmet is accidentally wrenched from his head during play, the ball is immediately whistled dead. There is hope that these new regulations, coupled with advances in helmet design, will reduce the number of concussions player endure, and thus curb the number of CTE cases.               Efforts by the NFL and other professional sports leagues are certainly laudable; indeed, we should commend every attempt to protect the mental and physical health of players. However, new regulations at the professional level cannot protect amateur players, especially young people. Fatal cases of CTE have been reported in victims as young as 21. With appropriate equipment and form, tackling need not be dangerous. Proper tackling form—using the arms and shoulders to aim for a player’s midsection rather than leading with the top of the head—should be taught at an early age. Youth, high school, and college leagues should also adopt safety rules even more stringent that the NFL’s. Furthermore, at an early age, athletes should be educated about the serious dangers of head injuries.               Perhaps the most important factor in reducing the number of traumatic brain injuries, however, lies not with the players, the coaches, or the administrators, but with the media and fans. Sports media producers have become accustomed to showcasing the most aggressive tackles and the most intense plays. NFL broadcasts often replay especially violent collisions, while the commentators marvel at the physical prowess of the players involved. Some sports programs even feature weekly countdowns of the hardest hits. When the media exalts such hazardous behavior, professionals are rewarded for injuring each other on the field, and amateurs become more likely to try to imitate their favorite NFL athletes. Announcers, commentators, television producers, and sportswriters should engage in a collective effort to cease glorifying brutal plays. In turn, fans should stop expecting their favorite players to put their lives on the line for the purposes of entertainment. Players must stop being encouraged to trade their careers, health, happiness, and their lives for the sake of a game.  Which is the best antonym for exalts?  

    • A.

      ignores

    • B.

      Misrepresents

    • C.

      Praises

    • D.

      Congratulate

    • E.

      Criticizes

    Correct Answer
    E. Criticizes
    Explanation
    context vocabulary, antonym means opposite anti (root) exalt = to praise, so the opposite of that would be criticize

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  • 13. 
    The Battle of Chancellorsville   The Battle of Chancellorsville, one of the most famous battles of the Civil War, took place in Virginia in the spring of 1863. For months, the two armies had been staked out on opposite banks of a narrow river. The Confederate troops were led by perhaps the most revered military tactician in American history, General Robert E. Lee. The Union soldiers were led by "Fighting" Joe Hooker.  In appearance, personality, and lifestyle, these men were nearly perfect opposites. Lee, an older man in poor health with a gray beard, had a somber, measured demeanor. Hooker was a blond, strapping young man whose vanity over his appearance was but one aspect of his egotism. Whereas Lee was devout and principled, Hooker was known for his rollicking enjoyment of both women and whiskey. Despite the fact that the Confederacy had won the last four major battles and the Union soldiers were famished, exhausted, and demoralized, Hooker proclaimed, "My plans are perfect. And when I start to carry them out, may God have mercy on Bobby Lee, for I shall have none." Why, aside from a propensity for narcissism, was Hooker so confident?  Hooker had used spies, analysts, and even hot air balloons to compile a vast amount of intelligence about Lee’s army. He had discerned, for example, that Lee had only 61,000 men to Hooker’s own 134,000. Buoyed by his superior numbers, Hooker covertly moved 70,000 of his men fifteen miles up and across the river, and then ordered them to sneak back down to position themselves behind Lee’s army. In effect, Hooker had cut off the Confederate soldiers in front and behind. They were trapped. Satisfied with his advantage, Hooker became convinced that Lee’s only option was to retreat to Richmond, thus assuring a Union victory. Yet Lee, despite his disadvantages of both numbers and position, did not retreat. Instead, he moved his troops into position to attack. Union soldiers who tried to warn Hooker that Lee was on the offensive were dismissed as cowards. Having become convinced that Lee had no choice but to retreat, Hooker began to ignore reality. When Lee’s army attacked the Union soldiers at 5:00 p.m., they were eating supper, completely unprepared for battle. They abandoned their rifles and fled as Lee’s troops came shrieking out of the brush, bayonets drawn. Against all odds, Lee won the Battle of Chancellorsville, and Hooker’s forces withdrew in defeat.  The contrast drawn between Lee and Hooker is intended to - ProProfs

    The Battle of Chancellorsville   The Battle of Chancellorsville, one of the most famous battles of the Civil War, took place in Virginia in the spring of 1863. For months, the two armies had been staked out on opposite banks of a narrow river. The Confederate troops were led by perhaps the most revered military tactician in American history, General Robert E. Lee. The Union soldiers were led by "Fighting" Joe Hooker.  In appearance, personality, and lifestyle, these men were nearly perfect opposites. Lee, an older man in poor health with a gray beard, had a somber, measured demeanor. Hooker was a blond, strapping young man whose vanity over his appearance was but one aspect of his egotism. Whereas Lee was devout and principled, Hooker was known for his rollicking enjoyment of both women and whiskey. Despite the fact that the Confederacy had won the last four major battles and the Union soldiers were famished, exhausted, and demoralized, Hooker proclaimed, "My plans are perfect. And when I start to carry them out, may God have mercy on Bobby Lee, for I shall have none." Why, aside from a propensity for narcissism, was Hooker so confident?  Hooker had used spies, analysts, and even hot air balloons to compile a vast amount of intelligence about Lee’s army. He had discerned, for example, that Lee had only 61,000 men to Hooker’s own 134,000. Buoyed by his superior numbers, Hooker covertly moved 70,000 of his men fifteen miles up and across the river, and then ordered them to sneak back down to position themselves behind Lee’s army. In effect, Hooker had cut off the Confederate soldiers in front and behind. They were trapped. Satisfied with his advantage, Hooker became convinced that Lee’s only option was to retreat to Richmond, thus assuring a Union victory. Yet Lee, despite his disadvantages of both numbers and position, did not retreat. Instead, he moved his troops into position to attack. Union soldiers who tried to warn Hooker that Lee was on the offensive were dismissed as cowards. Having become convinced that Lee had no choice but to retreat, Hooker began to ignore reality. When Lee’s army attacked the Union soldiers at 5:00 p.m., they were eating supper, completely unprepared for battle. They abandoned their rifles and fled as Lee’s troops came shrieking out of the brush, bayonets drawn. Against all odds, Lee won the Battle of Chancellorsville, and Hooker’s forces withdrew in defeat.  The contrast drawn between Lee and Hooker is intended to

    • A.

      Showcase the different backgrounds and personal histories of these two enemy soldiers

    • B.

      Provide support for the idea that Lee was a more virtuous person than Hooker, and therefore a better military commander

    • C.

      Prove that two men with very different values could end up in similar positions of power

    • D.

      suggest that if Hooker had been more devout and principled, he might not have been outwitted by Lee

    • E.

      imply that these men fundamentally differed in their approaches to nearly everything, including battle

    Correct Answer
    E. imply that these men fundamentally differed in their approaches to nearly everything, including battle
    Explanation
    Global Inference
    E The passage spends most of its time describing the difference between the two men

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  • 14. 
    The Battle of Chancellorsville   The Battle of Chancellorsville, one of the most famous battles of the Civil War, took place in Virginia in the spring of 1863. For months, the two armies had been staked out on opposite banks of a narrow river. The Confederate troops were led by perhaps the most revered military tactician in American history, General Robert E. Lee. The Union soldiers were led by "Fighting" Joe Hooker.  In appearance, personality, and lifestyle, these men were nearly perfect opposites. Lee, an older man in poor health with a gray beard, had a somber, measured demeanor. Hooker was a blond, strapping young man whose vanity over his appearance was but one aspect of his egotism. Whereas Lee was devout and principled, Hooker was known for his rollicking enjoyment of both women and whiskey. Despite the fact that the Confederacy had won the last four major battles and the Union soldiers were famished, exhausted, and demoralized, Hooker proclaimed, "My plans are perfect. And when I start to carry them out, may God have mercy on Bobby Lee, for I shall have none." Why, aside from a propensity for narcissism, was Hooker so confident?  Hooker had used spies, analysts, and even hot air balloons to compile a vast amount of intelligence about Lee’s army. He had discerned, for example, that Lee had only 61,000 men to Hooker’s own 134,000. Buoyed by his superior numbers, Hooker covertly moved 70,000 of his men fifteen miles up and across the river, and then ordered them to sneak back down to position themselves behind Lee’s army. In effect, Hooker had cut off the Confederate soldiers in front and behind. They were trapped. Satisfied with his advantage, Hooker became convinced that Lee’s only option was to retreat to Richmond, thus assuring a Union victory. Yet Lee, despite his disadvantages of both numbers and position, did not retreat. Instead, he moved his troops into position to attack. Union soldiers who tried to warn Hooker that Lee was on the offensive were dismissed as cowards. Having become convinced that Lee had no choice but to retreat, Hooker began to ignore reality. When Lee’s army attacked the Union soldiers at 5:00 p.m., they were eating supper, completely unprepared for battle. They abandoned their rifles and fled as Lee’s troops came shrieking out of the brush, bayonets drawn. Against all odds, Lee won the Battle of Chancellorsville, and Hooker’s forces withdrew in defeat.  Based on information in the passage, it can be concluded that Hooker lost the Battle of Chancellorsville mostly because of his - ProProfs

    The Battle of Chancellorsville   The Battle of Chancellorsville, one of the most famous battles of the Civil War, took place in Virginia in the spring of 1863. For months, the two armies had been staked out on opposite banks of a narrow river. The Confederate troops were led by perhaps the most revered military tactician in American history, General Robert E. Lee. The Union soldiers were led by "Fighting" Joe Hooker.  In appearance, personality, and lifestyle, these men were nearly perfect opposites. Lee, an older man in poor health with a gray beard, had a somber, measured demeanor. Hooker was a blond, strapping young man whose vanity over his appearance was but one aspect of his egotism. Whereas Lee was devout and principled, Hooker was known for his rollicking enjoyment of both women and whiskey. Despite the fact that the Confederacy had won the last four major battles and the Union soldiers were famished, exhausted, and demoralized, Hooker proclaimed, "My plans are perfect. And when I start to carry them out, may God have mercy on Bobby Lee, for I shall have none." Why, aside from a propensity for narcissism, was Hooker so confident?  Hooker had used spies, analysts, and even hot air balloons to compile a vast amount of intelligence about Lee’s army. He had discerned, for example, that Lee had only 61,000 men to Hooker’s own 134,000. Buoyed by his superior numbers, Hooker covertly moved 70,000 of his men fifteen miles up and across the river, and then ordered them to sneak back down to position themselves behind Lee’s army. In effect, Hooker had cut off the Confederate soldiers in front and behind. They were trapped. Satisfied with his advantage, Hooker became convinced that Lee’s only option was to retreat to Richmond, thus assuring a Union victory. Yet Lee, despite his disadvantages of both numbers and position, did not retreat. Instead, he moved his troops into position to attack. Union soldiers who tried to warn Hooker that Lee was on the offensive were dismissed as cowards. Having become convinced that Lee had no choice but to retreat, Hooker began to ignore reality. When Lee’s army attacked the Union soldiers at 5:00 p.m., they were eating supper, completely unprepared for battle. They abandoned their rifles and fled as Lee’s troops came shrieking out of the brush, bayonets drawn. Against all odds, Lee won the Battle of Chancellorsville, and Hooker’s forces withdrew in defeat.  Based on information in the passage, it can be concluded that Hooker lost the Battle of Chancellorsville mostly because of his

    • A.

      Vanity

    • B.

      Ignorance

    • C.

      Overconfidence

    • D.

      Faulty information

    • E.

      vices

    Correct Answer
    C. Overconfidence
    Explanation
    Global inference
    Hooker was vain and had vices (women & whiskey) but was accurately informed by his soldiers what was happening it was his overconfidence that persuaded him to keep fighting

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  • 15. 
    The Battle of Chancellorsville   The Battle of Chancellorsville, one of the most famous battles of the Civil War, took place in Virginia in the spring of 1863. For months, the two armies had been staked out on opposite banks of a narrow river. The Confederate troops were led by perhaps the most revered military tactician in American history, General Robert E. Lee. The Union soldiers were led by "Fighting" Joe Hooker.  In appearance, personality, and lifestyle, these men were nearly perfect opposites. Lee, an older man in poor health with a gray beard, had a somber, measured demeanor. Hooker was a blond, strapping young man whose vanity over his appearance was but one aspect of his egotism. Whereas Lee was devout and principled, Hooker was known for his rollicking enjoyment of both women and whiskey.   Despite the fact that the Confederacy had won the last four major battles and the Union soldiers were famished, exhausted, and demoralized, Hooker proclaimed, "My plans are perfect. And when I start to carry them out, may God have mercy on Bobby Lee, for I shall have none." Why, aside from a propensity for narcissism, was Hooker so confident?  Hooker had used spies, analysts, and even hot air balloons to compile a vast amount of intelligence about Lee’s army. He had discerned, for example, that Lee had only 61,000 men to Hooker’s own 134,000. Buoyed by his superior numbers, Hooker covertly moved 70,000 of his men fifteen miles up and across the river, and then ordered them to sneak back down to position themselves behind Lee’s army. In effect, Hooker had cut off the Confederate soldiers in front and behind. They were trapped. Satisfied with his advantage, Hooker became convinced that Lee’s only option was to retreat to Richmond, thus assuring a Union victory.   Yet Lee, despite his disadvantages of both numbers and position, did not retreat. Instead, he moved his troops into position to attack. Union soldiers who tried to warn Hooker that Lee was on the offensive were dismissed as cowards. Having become convinced that Lee had no choice but to retreat, Hooker began to ignore reality. When Lee’s army attacked the Union soldiers at 5:00 p.m., they were eating supper, completely unprepared for battle. They abandoned their rifles and fled as Lee’s troops came shrieking out of the brush, bayonets drawn. Against all odds, Lee won the Battle of Chancellorsville, and Hooker’s forces withdrew in defeat.  " ...........may God have mercy on Bobby Lee........" Look at the entire quote in the passage.  The author most likely includes this to    - ProProfs

    The Battle of Chancellorsville   The Battle of Chancellorsville, one of the most famous battles of the Civil War, took place in Virginia in the spring of 1863. For months, the two armies had been staked out on opposite banks of a narrow river. The Confederate troops were led by perhaps the most revered military tactician in American history, General Robert E. Lee. The Union soldiers were led by "Fighting" Joe Hooker.  In appearance, personality, and lifestyle, these men were nearly perfect opposites. Lee, an older man in poor health with a gray beard, had a somber, measured demeanor. Hooker was a blond, strapping young man whose vanity over his appearance was but one aspect of his egotism. Whereas Lee was devout and principled, Hooker was known for his rollicking enjoyment of both women and whiskey.   Despite the fact that the Confederacy had won the last four major battles and the Union soldiers were famished, exhausted, and demoralized, Hooker proclaimed, "My plans are perfect. And when I start to carry them out, may God have mercy on Bobby Lee, for I shall have none." Why, aside from a propensity for narcissism, was Hooker so confident?  Hooker had used spies, analysts, and even hot air balloons to compile a vast amount of intelligence about Lee’s army. He had discerned, for example, that Lee had only 61,000 men to Hooker’s own 134,000. Buoyed by his superior numbers, Hooker covertly moved 70,000 of his men fifteen miles up and across the river, and then ordered them to sneak back down to position themselves behind Lee’s army. In effect, Hooker had cut off the Confederate soldiers in front and behind. They were trapped. Satisfied with his advantage, Hooker became convinced that Lee’s only option was to retreat to Richmond, thus assuring a Union victory.   Yet Lee, despite his disadvantages of both numbers and position, did not retreat. Instead, he moved his troops into position to attack. Union soldiers who tried to warn Hooker that Lee was on the offensive were dismissed as cowards. Having become convinced that Lee had no choice but to retreat, Hooker began to ignore reality. When Lee’s army attacked the Union soldiers at 5:00 p.m., they were eating supper, completely unprepared for battle. They abandoned their rifles and fled as Lee’s troops came shrieking out of the brush, bayonets drawn. Against all odds, Lee won the Battle of Chancellorsville, and Hooker’s forces withdrew in defeat.  " ...........may God have mercy on Bobby Lee........" Look at the entire quote in the passage.  The author most likely includes this to   

    • A.

      Demonstrate Hooker’s belief in his own infallibility

    • B.

      Provide an example of the way language has changed since 1863

    • C.

      Reveal that Hooker was a deeply religious man in spite of his lifestyle

    • D.

      Foreshadow Hooker’s defeat at the hands of Lee’s army

    • E.

      Portray Hooker as a merciless general who was compelled by his hated of Lee

    Correct Answer
    A. Demonstrate Hooker’s belief in his own infallibility
    Explanation
    Global inference
    A Without looking at the entire quote, it would be more easier to pick that he was a religious man. But the entire quote repeats the theme of pride on Hooker's part

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  • 16. 
    The Battle of Chancellorsville   The Battle of Chancellorsville, one of the most famous battles of the Civil War, took place in Virginia in the spring of 1863. For months, the two armies had been staked out on opposite banks of a narrow river. The Confederate troops were led by perhaps the most revered military tactician in American history, General Robert E. Lee. The Union soldiers were led by "Fighting" Joe Hooker.  In appearance, personality, and lifestyle, these men were nearly perfect opposites. Lee, an older man in poor health with a gray beard, had a somber, measured demeanor. Hooker was a blond, strapping young man whose vanity over his appearance was but one aspect of his egotism. Whereas Lee was devout and principled, Hooker was known for his rollicking enjoyment of both women and whiskey.   Despite the fact that the Confederacy had won the last four major battles and the Union soldiers were famished, exhausted, and demoralized, Hooker proclaimed, "My plans are perfect. And when I start to carry them out, may God have mercy on Bobby Lee, for I shall have none." Why, aside from a propensity for narcissism, was Hooker so confident?  Hooker had used spies, analysts, and even hot air balloons to compile a vast amount of intelligence about Lee’s army. He had discerned, for example, that Lee had only 61,000 men to Hooker’s own 134,000. Buoyed by his superior numbers, Hooker covertly moved 70,000 of his men fifteen miles up and across the river, and then ordered them to sneak back down to position themselves behind Lee’s army. In effect, Hooker had cut off the Confederate soldiers in front and behind. They were trapped. Satisfied with his advantage, Hooker became convinced that Lee’s only option was to retreat to Richmond, thus assuring a Union victory.   Yet Lee, despite his disadvantages of both numbers and position, did not retreat. Instead, he moved his troops into position to attack. Union soldiers who tried to warn Hooker that Lee was on the offensive were dismissed as cowards. Having become convinced that Lee had no choice but to retreat, Hooker began to ignore reality. When Lee’s army attacked the Union soldiers at 5:00 p.m., they were eating supper, completely unprepared for battle. They abandoned their rifles and fled as Lee’s troops came shrieking out of the brush, bayonets drawn. Against all odds, Lee won the Battle of Chancellorsville, and Hooker’s forces withdrew in defeat.  Based on its use, it can be inferred that the word propensity belongs to which of the following word groups?  - ProProfs

    The Battle of Chancellorsville   The Battle of Chancellorsville, one of the most famous battles of the Civil War, took place in Virginia in the spring of 1863. For months, the two armies had been staked out on opposite banks of a narrow river. The Confederate troops were led by perhaps the most revered military tactician in American history, General Robert E. Lee. The Union soldiers were led by "Fighting" Joe Hooker.  In appearance, personality, and lifestyle, these men were nearly perfect opposites. Lee, an older man in poor health with a gray beard, had a somber, measured demeanor. Hooker was a blond, strapping young man whose vanity over his appearance was but one aspect of his egotism. Whereas Lee was devout and principled, Hooker was known for his rollicking enjoyment of both women and whiskey.   Despite the fact that the Confederacy had won the last four major battles and the Union soldiers were famished, exhausted, and demoralized, Hooker proclaimed, "My plans are perfect. And when I start to carry them out, may God have mercy on Bobby Lee, for I shall have none." Why, aside from a propensity for narcissism, was Hooker so confident?  Hooker had used spies, analysts, and even hot air balloons to compile a vast amount of intelligence about Lee’s army. He had discerned, for example, that Lee had only 61,000 men to Hooker’s own 134,000. Buoyed by his superior numbers, Hooker covertly moved 70,000 of his men fifteen miles up and across the river, and then ordered them to sneak back down to position themselves behind Lee’s army. In effect, Hooker had cut off the Confederate soldiers in front and behind. They were trapped. Satisfied with his advantage, Hooker became convinced that Lee’s only option was to retreat to Richmond, thus assuring a Union victory.   Yet Lee, despite his disadvantages of both numbers and position, did not retreat. Instead, he moved his troops into position to attack. Union soldiers who tried to warn Hooker that Lee was on the offensive were dismissed as cowards. Having become convinced that Lee had no choice but to retreat, Hooker began to ignore reality. When Lee’s army attacked the Union soldiers at 5:00 p.m., they were eating supper, completely unprepared for battle. They abandoned their rifles and fled as Lee’s troops came shrieking out of the brush, bayonets drawn. Against all odds, Lee won the Battle of Chancellorsville, and Hooker’s forces withdrew in defeat.  Based on its use, it can be inferred that the word propensity belongs to which of the following word groups? 

    • A.

      Hatred, anger, attitude

    • B.

      Flaw, fault, shortcoming

    • C.

      Distaste, aversion, dissatisfaction

    • D.

      Tendency, inclination, predisposition

    • E.

      Confidence, self-assurance, certitude

    Correct Answer
    D. Tendency, inclination, predisposition
    Explanation
    Context Vocabulary
    Paragraph 3 "A propensity for narcissism" pro (root) = in favor of. The first 2 choices are negative, the last one (the main distractor) describes arrogance or narcissism.

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  • 17. 
    The Battle of Chancellorsville   The Battle of Chancellorsville, one of the most famous battles of the Civil War, took place in Virginia in the spring of 1863. For months, the two armies had been staked out on opposite banks of a narrow river. The Confederate troops were led by perhaps the most revered military tactician in American history, General Robert E. Lee. The Union soldiers were led by "Fighting" Joe Hooker.  In appearance, personality, and lifestyle, these men were nearly perfect opposites. Lee, an older man in poor health with a gray beard, had a somber, measured demeanor. Hooker was a blond, strapping young man whose vanity over his appearance was but one aspect of his egotism. Whereas Lee was devout and principled, Hooker was known for his rollicking enjoyment of both women and whiskey.   Despite the fact that the Confederacy had won the last four major battles and the Union soldiers were famished, exhausted, and demoralized, Hooker proclaimed, "My plans are perfect. And when I start to carry them out, may God have mercy on Bobby Lee, for I shall have none." Why, aside from a propensity for narcissism, was Hooker so confident?  Hooker had used spies, analysts, and even hot air balloons to compile a vast amount of intelligence about Lee’s army. He had discerned, for example, that Lee had only 61,000 men to Hooker’s own 134,000. Buoyed by his superior numbers, Hooker covertly moved 70,000 of his men fifteen miles up and across the river, and then ordered them to sneak back down to position themselves behind Lee’s army. In effect, Hooker had cut off the Confederate soldiers in front and behind. They were trapped. Satisfied with his advantage, Hooker became convinced that Lee’s only option was to retreat to Richmond, thus assuring a Union victory.   Yet Lee, despite his disadvantages of both numbers and position, did not retreat. Instead, he moved his troops into position to attack. Union soldiers who tried to warn Hooker that Lee was on the offensive were dismissed as cowards. Having become convinced that Lee had no choice but to retreat, Hooker began to ignore reality. When Lee’s army attacked the Union soldiers at 5:00 p.m., they were eating supper, completely unprepared for battle. They abandoned their rifles and fled as Lee’s troops came shrieking out of the brush, bayonets drawn. Against all odds, Lee won the Battle of Chancellorsville, and Hooker’s forces withdrew in defeat.   How many men did Hooker position behind Lee's army?   - ProProfs

    The Battle of Chancellorsville   The Battle of Chancellorsville, one of the most famous battles of the Civil War, took place in Virginia in the spring of 1863. For months, the two armies had been staked out on opposite banks of a narrow river. The Confederate troops were led by perhaps the most revered military tactician in American history, General Robert E. Lee. The Union soldiers were led by "Fighting" Joe Hooker.  In appearance, personality, and lifestyle, these men were nearly perfect opposites. Lee, an older man in poor health with a gray beard, had a somber, measured demeanor. Hooker was a blond, strapping young man whose vanity over his appearance was but one aspect of his egotism. Whereas Lee was devout and principled, Hooker was known for his rollicking enjoyment of both women and whiskey.   Despite the fact that the Confederacy had won the last four major battles and the Union soldiers were famished, exhausted, and demoralized, Hooker proclaimed, "My plans are perfect. And when I start to carry them out, may God have mercy on Bobby Lee, for I shall have none." Why, aside from a propensity for narcissism, was Hooker so confident?  Hooker had used spies, analysts, and even hot air balloons to compile a vast amount of intelligence about Lee’s army. He had discerned, for example, that Lee had only 61,000 men to Hooker’s own 134,000. Buoyed by his superior numbers, Hooker covertly moved 70,000 of his men fifteen miles up and across the river, and then ordered them to sneak back down to position themselves behind Lee’s army. In effect, Hooker had cut off the Confederate soldiers in front and behind. They were trapped. Satisfied with his advantage, Hooker became convinced that Lee’s only option was to retreat to Richmond, thus assuring a Union victory.   Yet Lee, despite his disadvantages of both numbers and position, did not retreat. Instead, he moved his troops into position to attack. Union soldiers who tried to warn Hooker that Lee was on the offensive were dismissed as cowards. Having become convinced that Lee had no choice but to retreat, Hooker began to ignore reality. When Lee’s army attacked the Union soldiers at 5:00 p.m., they were eating supper, completely unprepared for battle. They abandoned their rifles and fled as Lee’s troops came shrieking out of the brush, bayonets drawn. Against all odds, Lee won the Battle of Chancellorsville, and Hooker’s forces withdrew in defeat.   How many men did Hooker position behind Lee's army?  

    • A.

      Less than half of 70,000

    • B.

      Less than 61,000

    • C.

      70,000

    • D.

      More than 134,000

    • E.

      Twice as many men as 70,000

    Correct Answer
    C. 70,000
    Explanation
    detail question
    In par 2 it states 70,000

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  • 18. 
    The Battle of Chancellorsville   The Battle of Chancellorsville, one of the most famous battles of the Civil War, took place in Virginia in the spring of 1863. For months, the two armies had been staked out on opposite banks of a narrow river. The Confederate troops were led by perhaps the most revered military tactician in American history, General Robert E. Lee. The Union soldiers were led by "Fighting" Joe Hooker.  In appearance, personality, and lifestyle, these men were nearly perfect opposites. Lee, an older man in poor health with a gray beard, had a somber, measured demeanor. Hooker was a blond, strapping young man whose vanity over his appearance was but one aspect of his egotism. Whereas Lee was devout and principled, Hooker was known for his rollicking enjoyment of both women and whiskey.   Despite the fact that the Confederacy had won the last four major battles and the Union soldiers were famished, exhausted, and demoralized, Hooker proclaimed, "My plans are perfect. And when I start to carry them out, may God have mercy on Bobby Lee, for I shall have none." Why, aside from a propensity for narcissism, was Hooker so confident?  Hooker had used spies, analysts, and even hot air balloons to compile a vast amount of intelligence about Lee’s army. He had discerned, for example, that Lee had only 61,000 men to Hooker’s own 134,000. Buoyed by his superior numbers, Hooker covertly moved 70,000 of his men fifteen miles up and across the river, and then ordered them to sneak back down to position themselves behind Lee’s army. In effect, Hooker had cut off the Confederate soldiers in front and behind. They were trapped. Satisfied with his advantage, Hooker became convinced that Lee’s only option was to retreat to Richmond, thus assuring a Union victory.   Yet Lee, despite his disadvantages of both numbers and position, did not retreat. Instead, he moved his troops into position to attack. Union soldiers who tried to warn Hooker that Lee was on the offensive were dismissed as cowards. Having become convinced that Lee had no choice but to retreat, Hooker began to ignore reality. When Lee’s army attacked the Union soldiers at 5:00 p.m., they were eating supper, completely unprepared for battle. They abandoned their rifles and fled as Lee’s troops came shrieking out of the brush, bayonets drawn. Against all odds, Lee won the Battle of Chancellorsville, and Hooker’s forces withdrew in defeat. As used in the passage, buoyed most nearly means   - ProProfs

    The Battle of Chancellorsville   The Battle of Chancellorsville, one of the most famous battles of the Civil War, took place in Virginia in the spring of 1863. For months, the two armies had been staked out on opposite banks of a narrow river. The Confederate troops were led by perhaps the most revered military tactician in American history, General Robert E. Lee. The Union soldiers were led by "Fighting" Joe Hooker.  In appearance, personality, and lifestyle, these men were nearly perfect opposites. Lee, an older man in poor health with a gray beard, had a somber, measured demeanor. Hooker was a blond, strapping young man whose vanity over his appearance was but one aspect of his egotism. Whereas Lee was devout and principled, Hooker was known for his rollicking enjoyment of both women and whiskey.   Despite the fact that the Confederacy had won the last four major battles and the Union soldiers were famished, exhausted, and demoralized, Hooker proclaimed, "My plans are perfect. And when I start to carry them out, may God have mercy on Bobby Lee, for I shall have none." Why, aside from a propensity for narcissism, was Hooker so confident?  Hooker had used spies, analysts, and even hot air balloons to compile a vast amount of intelligence about Lee’s army. He had discerned, for example, that Lee had only 61,000 men to Hooker’s own 134,000. Buoyed by his superior numbers, Hooker covertly moved 70,000 of his men fifteen miles up and across the river, and then ordered them to sneak back down to position themselves behind Lee’s army. In effect, Hooker had cut off the Confederate soldiers in front and behind. They were trapped. Satisfied with his advantage, Hooker became convinced that Lee’s only option was to retreat to Richmond, thus assuring a Union victory.   Yet Lee, despite his disadvantages of both numbers and position, did not retreat. Instead, he moved his troops into position to attack. Union soldiers who tried to warn Hooker that Lee was on the offensive were dismissed as cowards. Having become convinced that Lee had no choice but to retreat, Hooker began to ignore reality. When Lee’s army attacked the Union soldiers at 5:00 p.m., they were eating supper, completely unprepared for battle. They abandoned their rifles and fled as Lee’s troops came shrieking out of the brush, bayonets drawn. Against all odds, Lee won the Battle of Chancellorsville, and Hooker’s forces withdrew in defeat. As used in the passage, buoyed most nearly means  

    • A.

      Strengthened

    • B.

      Anchored

    • C.

      Floated

    • D.

      Sharpened

    • E.

      Heartened

    Correct Answer
    A. Strengthened
    Explanation
    context vocabulary
    buoyed by his superior numbers, a buoy is a flotation device, but this is used a s verb meaning that the general's heart was encouraged by the numbers

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  • 19. 
    The Battle of Chancellorsville   The Battle of Chancellorsville, one of the most famous battles of the Civil War, took place in Virginia in the spring of 1863. For months, the two armies had been staked out on opposite banks of a narrow river. The Confederate troops were led by perhaps the most revered military tactician in American history, General Robert E. Lee. The Union soldiers were led by "Fighting" Joe Hooker.  In appearance, personality, and lifestyle, these men were nearly perfect opposites. Lee, an older man in poor health with a gray beard, had a somber, measured demeanor. Hooker was a blond, strapping young man whose vanity over his appearance was but one aspect of his egotism. Whereas Lee was devout and principled, Hooker was known for his rollicking enjoyment of both women and whiskey.   Despite the fact that the Confederacy had won the last four major battles and the Union soldiers were famished, exhausted, and demoralized, Hooker proclaimed, "My plans are perfect. And when I start to carry them out, may God have mercy on Bobby Lee, for I shall have none." Why, aside from a propensity for narcissism, was Hooker so confident?  Hooker had used spies, analysts, and even hot air balloons to compile a vast amount of intelligence about Lee’s army. He had discerned, for example, that Lee had only 61,000 men to Hooker’s own 134,000. Buoyed by his superior numbers, Hooker covertly moved 70,000 of his men fifteen miles up and across the river, and then ordered them to sneak back down to position themselves behind Lee’s army. In effect, Hooker had cut off the Confederate soldiers in front and behind. They were trapped. Satisfied with his advantage, Hooker became convinced that Lee’s only option was to retreat to Richmond, thus assuring a Union victory.   Yet Lee, despite his disadvantages of both numbers and position, did not retreat. Instead, he moved his troops into position to attack. Union soldiers who tried to warn Hooker that Lee was on the offensive were dismissed as cowards. Having become convinced that Lee had no choice but to retreat, Hooker began to ignore reality. When Lee’s army attacked the Union soldiers at 5:00 p.m., they were eating supper, completely unprepared for battle. They abandoned their rifles and fled as Lee’s troops came shrieking out of the brush, bayonets drawn. Against all odds, Lee won the Battle of Chancellorsville, and Hooker’s forces withdrew in defeat. If this passage were to continue, which of the following would most likely be the first sentence of the next paragraph?   - ProProfs

    The Battle of Chancellorsville   The Battle of Chancellorsville, one of the most famous battles of the Civil War, took place in Virginia in the spring of 1863. For months, the two armies had been staked out on opposite banks of a narrow river. The Confederate troops were led by perhaps the most revered military tactician in American history, General Robert E. Lee. The Union soldiers were led by "Fighting" Joe Hooker.  In appearance, personality, and lifestyle, these men were nearly perfect opposites. Lee, an older man in poor health with a gray beard, had a somber, measured demeanor. Hooker was a blond, strapping young man whose vanity over his appearance was but one aspect of his egotism. Whereas Lee was devout and principled, Hooker was known for his rollicking enjoyment of both women and whiskey.   Despite the fact that the Confederacy had won the last four major battles and the Union soldiers were famished, exhausted, and demoralized, Hooker proclaimed, "My plans are perfect. And when I start to carry them out, may God have mercy on Bobby Lee, for I shall have none." Why, aside from a propensity for narcissism, was Hooker so confident?  Hooker had used spies, analysts, and even hot air balloons to compile a vast amount of intelligence about Lee’s army. He had discerned, for example, that Lee had only 61,000 men to Hooker’s own 134,000. Buoyed by his superior numbers, Hooker covertly moved 70,000 of his men fifteen miles up and across the river, and then ordered them to sneak back down to position themselves behind Lee’s army. In effect, Hooker had cut off the Confederate soldiers in front and behind. They were trapped. Satisfied with his advantage, Hooker became convinced that Lee’s only option was to retreat to Richmond, thus assuring a Union victory.   Yet Lee, despite his disadvantages of both numbers and position, did not retreat. Instead, he moved his troops into position to attack. Union soldiers who tried to warn Hooker that Lee was on the offensive were dismissed as cowards. Having become convinced that Lee had no choice but to retreat, Hooker began to ignore reality. When Lee’s army attacked the Union soldiers at 5:00 p.m., they were eating supper, completely unprepared for battle. They abandoned their rifles and fled as Lee’s troops came shrieking out of the brush, bayonets drawn. Against all odds, Lee won the Battle of Chancellorsville, and Hooker’s forces withdrew in defeat. If this passage were to continue, which of the following would most likely be the first sentence of the next paragraph?  

    • A.

      His army routed, Hooker and his reduced forces hobbled south, back to the center of Confederate operations where he was harshly rebuked for having squandered his vast army.

    • B.

      In all his days of fighting, Hooker had never been met with such surprise and opposition; he took to solemn contemplation of the events that had transpired as well as the lessons he might learn from them.

    • C.

      Wounded in both body and spirit, Hooker and his severely diminished forces retreated to higher ground where they proceeded to reload their weapons and prepare for a counter attack.

    • D.

      Upon returning to camp, the triumphant Lee immediately ordered for supplies to be brought up and provisions made for a raucous victory celebration.

    • E.

      Not one to gloat over his success, Lee remarked that the victory had been the product of valiant fighting and good luck, as he began to map out strategies for their next move.

    Correct Answer
    E. Not one to gloat over his success, Lee remarked that the victory had been the product of valiant fighting and good luck, as he began to map out strategies for their next move.
    Explanation
    Global inference
    Inference questions look down before you leap
    The author focuses on Lee's humility, so it doesn't sound like his character to loudly celebrate.
    Hooker was a Union general and would retreat north
    He was arrogant and did not learn from his mistakes
    He wouldn't attack would because he had no resources and little soldiers left

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  • 20. 
    The Battle of Chancellorsville   The Battle of Chancellorsville, one of the most famous battles of the Civil War, took place in Virginia in the spring of 1863. For months, the two armies had been staked out on opposite banks of a narrow river. The Confederate troops were led by perhaps the most revered military tactician in American history, General Robert E. Lee. The Union soldiers were led by "Fighting" Joe Hooker.  In appearance, personality, and lifestyle, these men were nearly perfect opposites. Lee, an older man in poor health with a gray beard, had a somber, measured demeanor. Hooker was a blond, strapping young man whose vanity over his appearance was but one aspect of his egotism. Whereas Lee was devout and principled, Hooker was known for his rollicking enjoyment of both women and whiskey.   Despite the fact that the Confederacy had won the last four major battles and the Union soldiers were famished, exhausted, and demoralized, Hooker proclaimed, "My plans are perfect. And when I start to carry them out, may God have mercy on Bobby Lee, for I shall have none." Why, aside from a propensity for narcissism, was Hooker so confident?  Hooker had used spies, analysts, and even hot air balloons to compile a vast amount of intelligence about Lee’s army. He had discerned, for example, that Lee had only 61,000 men to Hooker’s own 134,000. Buoyed by his superior numbers, Hooker covertly moved 70,000 of his men fifteen miles up and across the river, and then ordered them to sneak back down to position themselves behind Lee’s army. In effect, Hooker had cut off the Confederate soldiers in front and behind. They were trapped. Satisfied with his advantage, Hooker became convinced that Lee’s only option was to retreat to Richmond, thus assuring a Union victory.   Yet Lee, despite his disadvantages of both numbers and position, did not retreat. Instead, he moved his troops into position to attack. Union soldiers who tried to warn Hooker that Lee was on the offensive were dismissed as cowards. Having become convinced that Lee had no choice but to retreat, Hooker began to ignore reality. When Lee’s army attacked the Union soldiers at 5:00 p.m., they were eating supper, completely unprepared for battle. They abandoned their rifles and fled as Lee’s troops came shrieking out of the brush, bayonets drawn. Against all odds, Lee won the Battle of Chancellorsville, and Hooker’s forces withdrew in defeat. According to the author, Hooker’s advantages going into the Battle of Chancellorsville did not include - ProProfs

    The Battle of Chancellorsville   The Battle of Chancellorsville, one of the most famous battles of the Civil War, took place in Virginia in the spring of 1863. For months, the two armies had been staked out on opposite banks of a narrow river. The Confederate troops were led by perhaps the most revered military tactician in American history, General Robert E. Lee. The Union soldiers were led by "Fighting" Joe Hooker.  In appearance, personality, and lifestyle, these men were nearly perfect opposites. Lee, an older man in poor health with a gray beard, had a somber, measured demeanor. Hooker was a blond, strapping young man whose vanity over his appearance was but one aspect of his egotism. Whereas Lee was devout and principled, Hooker was known for his rollicking enjoyment of both women and whiskey.   Despite the fact that the Confederacy had won the last four major battles and the Union soldiers were famished, exhausted, and demoralized, Hooker proclaimed, "My plans are perfect. And when I start to carry them out, may God have mercy on Bobby Lee, for I shall have none." Why, aside from a propensity for narcissism, was Hooker so confident?  Hooker had used spies, analysts, and even hot air balloons to compile a vast amount of intelligence about Lee’s army. He had discerned, for example, that Lee had only 61,000 men to Hooker’s own 134,000. Buoyed by his superior numbers, Hooker covertly moved 70,000 of his men fifteen miles up and across the river, and then ordered them to sneak back down to position themselves behind Lee’s army. In effect, Hooker had cut off the Confederate soldiers in front and behind. They were trapped. Satisfied with his advantage, Hooker became convinced that Lee’s only option was to retreat to Richmond, thus assuring a Union victory.   Yet Lee, despite his disadvantages of both numbers and position, did not retreat. Instead, he moved his troops into position to attack. Union soldiers who tried to warn Hooker that Lee was on the offensive were dismissed as cowards. Having become convinced that Lee had no choice but to retreat, Hooker began to ignore reality. When Lee’s army attacked the Union soldiers at 5:00 p.m., they were eating supper, completely unprepared for battle. They abandoned their rifles and fled as Lee’s troops came shrieking out of the brush, bayonets drawn. Against all odds, Lee won the Battle of Chancellorsville, and Hooker’s forces withdrew in defeat. According to the author, Hooker’s advantages going into the Battle of Chancellorsville did not include

    • A.

      A. numbers

    • B.

      B. position

    • C.

      C. strategy

    • D.

      A & B

    • E.

      B & C

    Correct Answer
    C. C. strategy
    Explanation
    detail & negative stem question
    C Hooker had the better numbers and position, what he DID NOT HAVE was strategy

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  • Current Version
  • Aug 21, 2023
    Quiz Edited by
    ProProfs Editorial Team
  • May 20, 2014
    Quiz Created by
    Nctomprescott

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