SAT Section 5 - Group 5

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1. The child had a tendency toward aggressive behavior, a ------- fighting rather than resolving differences amicably.

Explanation

The correct answer is "propensity for". This means that the child has a natural inclination or tendency towards aggressive behavior, preferring to fight instead of resolving conflicts peacefully.

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About This Quiz
SAT Quizzes & Trivia

For each question in this section, select the best answer from among the choices given.

2. Each passage below is followed by questions based on its content. Answer the questions on the basis of what is stated or implied in each passage and in any introductory material that may be provided. "Mechanical pencils rule," my fifteen-year-old grandniece, Genevieve, declared when I invited her to be her generation's voice on school supplies. "Nobody sharpens anymore." Then, continuing with a fashion (Line 5) maven's hyperbole and arbitrary imperatives, she gave a passionate disquisition on types of clickers, new grips, smaller lead sizes, and other niceties of pencil selection. As she consigned the yellow-painted wooden pencil to the wastebasket of history, I felt a rush of nostalgia for (Line 10) the perfumed sharpener shavings of my youth. The author mentions "sharpener shavings" (line 10) in order to portray a mood of

Explanation

The author mentions "sharpener shavings" in order to evoke a sense of nostalgia and sentimental reminiscence. This phrase reminds the author of their youth and the joy they felt while using a traditional pencil sharpener. It suggests that the author has a fondness for the old-fashioned method of sharpening pencils and feels a sense of loss or longing for the past. The mention of "sharpener shavings" creates a mood of sentimental reminiscence rather than any of the other options provided.

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3. The new antifungal agent has such ------- uses, from treating Dutch elm disease to rescuing water-damaged works of art from molds, that it is considered one of the more ------- antibiotics.

Explanation

The correct answer is "varied . . versatile". The sentence states that the new antifungal agent has a wide range of uses, from treating Dutch elm disease to rescuing water-damaged works of art from molds. This indicates that the agent can be applied to different situations and is adaptable, making it versatile. The word "varied" also supports this idea, as it suggests a diverse range of applications for the agent.

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4. The following passage is adapted from a book about television and popular culture.   Ridiculing television, and warning about its inherent evils, is nothing new. It has been that way since the medium was invented, and television hasn't exactly been lavished with respect as the decades have passed. (Line 5) I suspect, though, that a lot of the fear and loathing directed at television comes out of a time-honored, reflexive overreaction to the dominant medium of the moment. For the past several decades, television has been blamed for corrupting our youth and exciting (Line 10) our adults, distorting reality, and basically being a big, perhaps dangerous, waste of time. Before TV, radio and film were accused of the same things. And long before that—in fact, some 2,500 years earlier— philosophers were arguing that poetry and drama (Line 15) should be excluded from any ideal city on much the same grounds. In Book 10 of the Republic, Plato (428-348 B.C.) attacks epic poet Homer (c. 850 B.C.) and the tragedians on several grounds, all of which have a familiar (Line 20) ring. "Their productions are appearances and not realities," he gripes. "Drawing, and in fact all imitation . . . [is] quite removed from the truth." The audience, as well as the art form, troubled Plato, whose remarks are colored by an implied disdain for the popularity of public performances. (Line 25) The "common people," as Plato so charitably calls them, are drawn to "peevish and diverse" characters—such as Odysseus and other heroes in the Iliad and the Odyssey— who (to Plato, anyway) engage in such questionable displays of emotion as "spinning out a long melancholy (Line 30) lamentation" or "disfiguring themselves in grief." To Plato, baring such intimate sorrows is not to be condoned. (Clearly, he would have given thumbs down to the central characters of Shakespeare's Hamlet and Macbeth.) "If you receive the pleasure-seasoned Muse1 of song and epic," (Line 35) Plato warns, "pleasure and pain will be kings in your city, instead of law." Finally, Plato sums up his anti-arts argument with the cold, sweeping pronouncement that "poetry is not to be taken seriously." One academic who has studied and written extensively (Line 40) about both Plato and television suggests that Plato, rather than being anti-arts, was merely an elitist. Plato wanted to ban poetry readings and live theater, the argument goes, because, being free and accessible and raucous and extremely popular, they were the mass entertainment (Line 45) of that era. "If, instead of 'tragedy' and 'poetry,' and 'Homer' and 'Aeschylus,'2 you read 'mass entertainment' or 'popular media,' you'll recognize Plato's arguments as the ancestor of all the reasons we have today for being suspicious of television." (Line 50) To wit: poetry, by which Plato means drama, confuses us between appearance and reality. The action it presents is too extreme and violent. Most important, it's a corrupting influence, perverting its audience by bombarding it with inferior characters and vulgar subjects—and  (Line 55) constituting, in Plato's own words, "a harm to the mind of its audience." If Plato's Republic had become reality, it would have been a republic with a lot of empty libraries, theaters, and museums—if, indeed, those repositories of the arts would (Line 60) have survived at all. Plato's personal utopia never came to pass—but throughout the centuries, wherever and whenever a new medium of artistic expression attracted a lot of people, someone has been ready, waiting, and eager to attack its content and fear its impact. 1 The Muses inspired poetry and song in Greek mythology. 2 Aeschylus (525-456 B.C.) was a Greek tragic dramatist. The opening paragraph primarily serves to

Explanation

The opening paragraph of the passage serves to place contemporary criticism of television in a historical context. It explains that ridiculing television and warning about its evils is not a new phenomenon, and that similar criticisms have been made about previous dominant mediums such as radio, film, poetry, and drama. The paragraph suggests that the fear and loathing directed at television may be a reflexive overreaction to the dominant medium of the moment, highlighting the cyclical nature of criticism towards popular forms of entertainment.

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5. Physical exercise often has a ------- effect, releasing emotional tension and refreshing the spirit.

Explanation

Physical exercise is known to have a cathartic effect, which means it helps release emotional tension and refreshes the spirit. This is because exercise stimulates the release of endorphins, which are known as "feel-good" hormones. These endorphins help improve mood and reduce stress and anxiety. Therefore, engaging in physical activity can be a beneficial way to alleviate emotional tension and rejuvenate one's spirit.

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6. The following passage is an excerpt from a 1909 novel. Georgia, the main character, is a reporter in an otherwise all-male newsroom.   Georgia was to be married. It was the week before Christmas, and on the last day of the year she would become Mrs. Joseph Tank. She had told Joe that if they were to be married at all they might as well get it (Line 5) over with this year, and still there was no need of being married any earlier in the year than was necessary. She assured him that she married him simply because she was tired of having paper bags waved before her eyes everywhere she went and she thought if she were once officially (Line 10) associated with him people would not flaunt his idiosyncrasies at her that way. And then Ernestine, her best friend, approved of getting married, and Ernestine's ideas were usually good. To all of which Joe responded that she certainly had a splendid head to figure it out that way. (Line 15) Joe said that to his mind reasons for doing things weren't very important anyhow; it was doing them that counted. Yesterday had been her last day on the paper. She had felt queer about that thing of taking her last assignment, though it was hard to reach just the proper state, for the (Line 20) last story related to pork-packers, and pork-packing is not a setting favorable to sentimental regrets. It was just like the newspaper business not even to allow one a little sentimental harrowing over one's exodus from it. But the time for gentle melancholy came later on when she was (Line 25) sorting her things at her desk just before leaving, and was wondering what girl would have that old desk—if they cared to risk another girl, and whether the other poor girl would slave through the years she should have been frivolous, only to have some man step in at the end and (Line 30) induce her to surrender the things she had gained through sacrifice and toil. As she wrote a final letter on her typewriter—she did hate letting the old machine go—Georgia did considerable philosophizing about the irony of working for things only (Line 35) to the end of giving them up. She had waded through snowdrifts and been drenched in pouring rains, she had been frozen with the cold and prostrated with the heat, she had been blown about by Chicago wind until it was strange there was any of her left in one piece, she had had front (Line 40) doors—yes, and back doors too—slammed in her face, she had been the butt of the alleged wit of menials and hirelings, she had been patronized by vapid women as the poor girl who must make her living some way, she had been roasted by—but never mind—she had had (Line 45) a beat* or two! And now she was to wind it all up by marrying Joseph Tank, who had made a great deal of money out of the manufacture of paper bags. This from her—who had always believed she would end her days in New York, or perhaps write a realistic novel exposing 50 some mighty evil! * the area regularly covered by a reporter Which most resembles the "irony" mentioned in line 34 ?

Explanation

The passage mentions the irony of working hard for something only to give it up in the end. This is similar to an athlete earning a starting position on a good team, which is a great achievement, but then quitting in the middle of the season, thereby giving up the opportunity and not fully benefiting from it.

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7. Black Americans in Flight, a mural honoring several aviation pioneers, also ------- the 1992 spaceflight of astronaut Mae Jemison.

Explanation

The mural "Black Americans in Flight" honors aviation pioneers and also commemorates the 1992 spaceflight of astronaut Mae Jemison.

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8. The following passage is an excerpt from a 1909 novel. Georgia, the main character, is a reporter in an otherwise all-male newsroom.   Georgia was to be married. It was the week before Christmas, and on the last day of the year she would become Mrs. Joseph Tank. She had told Joe that if they were to be married at all they might as well get it (Line 5) over with this year, and still there was no need of being married any earlier in the year than was necessary. She assured him that she married him simply because she was tired of having paper bags waved before her eyes everywhere she went and she thought if she were once officially (Line 10) associated with him people would not flaunt his idiosyncrasies at her that way. And then Ernestine, her best friend, approved of getting married, and Ernestine's ideas were usually good. To all of which Joe responded that she certainly had a splendid head to figure it out that way. (Line 15) Joe said that to his mind reasons for doing things weren't very important anyhow; it was doing them that counted. Yesterday had been her last day on the paper. She had felt queer about that thing of taking her last assignment, though it was hard to reach just the proper state, for the (Line 20) last story related to pork-packers, and pork-packing is not a setting favorable to sentimental regrets. It was just like the newspaper business not even to allow one a little sentimental harrowing over one's exodus from it. But the time for gentle melancholy came later on when she was (Line 25) sorting her things at her desk just before leaving, and was wondering what girl would have that old desk—if they cared to risk another girl, and whether the other poor girl would slave through the years she should have been frivolous, only to have some man step in at the end and (Line 30) induce her to surrender the things she had gained through sacrifice and toil. As she wrote a final letter on her typewriter—she did hate letting the old machine go—Georgia did considerable philosophizing about the irony of working for things only (Line 35) to the end of giving them up. She had waded through snowdrifts and been drenched in pouring rains, she had been frozen with the cold and prostrated with the heat, she had been blown about by Chicago wind until it was strange there was any of her left in one piece, she had had front (Line 40) doors—yes, and back doors too—slammed in her face, she had been the butt of the alleged wit of menials and hirelings, she had been patronized by vapid women as the poor girl who must make her living some way, she had been roasted by—but never mind—she had had (Line 45) a beat* or two! And now she was to wind it all up by marrying Joseph Tank, who had made a great deal of money out of the manufacture of paper bags. This from her—who had always believed she would end her days in New York, or perhaps write a realistic novel exposing 50 some mighty evil! * the area regularly covered by a reporter Based on information presented in the passage, which best describes what Georgia was "tired of " (line 8) ?

Explanation

In the passage, Georgia mentions that she married Joe because she was tired of having paper bags waved before her eyes everywhere she went. She thought that if she were officially associated with him, people would not flaunt his idiosyncrasies at her. This suggests that Georgia was tired of being teased or mocked about Joseph Tank.

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9. The following passage is adapted from a book about television and popular culture.   Ridiculing television, and warning about its inherent evils, is nothing new. It has been that way since the medium was invented, and television hasn't exactly been lavished with respect as the decades have passed. 5 I suspect, though, that a lot of the fear and loathing directed at television comes out of a time-honored, reflexive overreaction to the dominant medium of the moment. For the past several decades, television has been blamed for corrupting our youth and exciting 10 our adults, distorting reality, and basically being a big, perhaps dangerous, waste of time. Before TV, radio and film were accused of the same things. And long before that—in fact, some 2,500 years earlier— philosophers were arguing that poetry and drama 15 should be excluded from any ideal city on much the same grounds. In Book 10 of the Republic, Plato (428-348 B.C.) attacks epic poet Homer (c. 850 B.C.) and the tragedians on several grounds, all of which have a familiar 20 ring. "Their productions are appearances and not realities," he gripes. "Drawing, and in fact all imitation . . . [is] quite removed from the truth." The audience, as well as the art form, troubled Plato, whose remarks are colored by an implied disdain for the popularity of public performances. 25 The "common people," as Plato so charitably calls them, are drawn to "peevish and diverse" characters—such as Odysseus and other heroes in the Iliad and the Odyssey— who (to Plato, anyway) engage in such questionable displays of emotion as "spinning out a long melancholy 30 lamentation" or "disfiguring themselves in grief." To Plato, baring such intimate sorrows is not to be condoned. (Clearly, he would have given thumbs down to the central characters of Shakespeare's Hamlet and Macbeth.) "If you receive the pleasure-seasoned Muse1 of song and epic," 35 Plato warns, "pleasure and pain will be kings in your city, instead of law." Finally, Plato sums up his anti-arts argument with the cold, sweeping pronouncement that "poetry is not to be taken seriously." One academic who has studied and written extensively 40 about both Plato and television suggests that Plato, rather than being anti-arts, was merely an elitist. Plato wanted to ban poetry readings and live theater, the argument goes, because, being free and accessible and raucous and extremely popular, they were the mass entertainment 45 of that era. "If, instead of 'tragedy' and 'poetry,' and 'Homer' and 'Aeschylus,'2 you read 'mass entertainment' or 'popular media,' you'll recognize Plato's arguments as the ancestor of all the reasons we have today for being suspicious of television." 50 To wit: poetry, by which Plato means drama, confuses us between appearance and reality. The action it presents is too extreme and violent. Most important, it's a corrupting influence, perverting its audience by bombarding it with inferior characters and vulgar subjects—and con55 stituting, in Plato's own words, "a harm to the mind of its audience." If Plato's Republic had become reality, it would have been a republic with a lot of empty libraries, theaters, and museums—if, indeed, those repositories of the arts would 60 have survived at all. Plato's personal utopia never came to pass—but throughout the centuries, wherever and whenever a new medium of artistic expression attracted a lot of people, someone has been ready, waiting, and eager to attack its content and fear its impact. 1 The Muses inspired poetry and song in Greek mythology. 2 Aeschylus (525-456 B.C.) was a Greek tragic dramatist. Which of the following television shows would be LEAST vulnerable to the criticism expressed in lines 8-11 ("For . . . time") ?

Explanation

A documentary on the state of education in the nation would be the least vulnerable to the criticism expressed in lines 8-11 because it does not fall into the category of "corrupting our youth and exciting our adults, distorting reality, and basically being a big, perhaps dangerous, waste of time." This type of show is focused on providing informative content and raising awareness about a specific topic, rather than being purely for entertainment purposes.

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10. The following passage is adapted from a book about television and popular culture.   Ridiculing television, and warning about its inherent evils, is nothing new. It has been that way since the medium was invented, and television hasn't exactly been lavished with respect as the decades have passed. (Line 5) I suspect, though, that a lot of the fear and loathing directed at television comes out of a time-honored, reflexive overreaction to the dominant medium of the moment. For the past several decades, television has been blamed for corrupting our youth and exciting (Line 10) our adults, distorting reality, and basically being a big, perhaps dangerous, waste of time. Before TV, radio and film were accused of the same things. And long before that—in fact, some 2,500 years earlier— philosophers were arguing that poetry and drama (Line 15) should be excluded from any ideal city on much the same grounds. In Book 10 of the Republic, Plato (428-348 B.C.) attacks epic poet Homer (c. 850 B.C.) and the tragedians on several grounds, all of which have a familiar (Line 20) ring. "Their productions are appearances and not realities," he gripes. "Drawing, and in fact all imitation . . . [is] quite removed from the truth." The audience, as well as the art form, troubled Plato, whose remarks are colored by an implied disdain for the popularity of public performances. (Line 25) The "common people," as Plato so charitably calls them, are drawn to "peevish and diverse" characters—such as Odysseus and other heroes in the Iliad and the Odyssey— who (to Plato, anyway) engage in such questionable displays of emotion as "spinning out a long melancholy (Line 30) lamentation" or "disfiguring themselves in grief." To Plato, baring such intimate sorrows is not to be condoned. (Clearly, he would have given thumbs down to the central characters of Shakespeare's Hamlet and Macbeth.) "If you receive the pleasure-seasoned Muse1 of song and epic," (Line 35) Plato warns, "pleasure and pain will be kings in your city, instead of law." Finally, Plato sums up his anti-arts argument with the cold, sweeping pronouncement that "poetry is not to be taken seriously." One academic who has studied and written extensively (Line 40) about both Plato and television suggests that Plato, rather than being anti-arts, was merely an elitist. Plato wanted to ban poetry readings and live theater, the argument goes, because, being free and accessible and raucous and extremely popular, they were the mass entertainment (Line 45) of that era. "If, instead of 'tragedy' and 'poetry,' and 'Homer' and 'Aeschylus,'2 you read 'mass entertainment' or 'popular media,' you'll recognize Plato's arguments as the ancestor of all the reasons we have today for being suspicious of television." (Line 50) To wit: poetry, by which Plato means drama, confuses us between appearance and reality. The action it presents is too extreme and violent. Most important, it's a corrupting influence, perverting its audience by bombarding it with inferior characters and vulgar subjects—and  (Line 55) constituting, in Plato's own words, "a harm to the mind of its audience." If Plato's Republic had become reality, it would have been a republic with a lot of empty libraries, theaters, and museums—if, indeed, those repositories of the arts would (Line 60) have survived at all. Plato's personal utopia never came to pass—but throughout the centuries, wherever and whenever a new medium of artistic expression attracted a lot of people, someone has been ready, waiting, and eager to attack its content and fear its impact. 1 The Muses inspired poetry and song in Greek mythology. 2 Aeschylus (525-456 B.C.) was a Greek tragic dramatist. In line 26, "drawn" most nearly means

Explanation

In line 26, the word "drawn" means attracted. This can be inferred from the context of the sentence, which states that the "common people" are drawn to characters like Odysseus and other heroes in the Iliad and the Odyssey. The word "drawn" suggests that the common people are attracted to these characters and are interested in their stories and emotions.

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11. Because rap and hip-hop offer such ------- commentary on contemporary issues, they are often said to be sharp-edged musical genres.

Explanation

Rap and hip-hop are known for their sharp-edged commentary on contemporary issues, making them powerful and impactful musical genres. The word "trenchant" means sharp or incisive, which accurately describes the kind of commentary that rap and hip-hop offer. Therefore, "trenchant" is the correct answer.

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12. The following passage is an excerpt from a 1909 novel. Georgia, the main character, is a reporter in an otherwise all-male newsroom. Georgia was to be married. It was the week before Christmas, and on the last day of the year she would become Mrs. Joseph Tank. She had told Joe that if they were to be married at all they might as well get it (Line 5) over with this year, and still there was no need of being married any earlier in the year than was necessary. She assured him that she married him simply because she was tired of having paper bags waved before her eyes everywhere she went and she thought if she were once officially (Line 10) associated with him people would not flaunt his idiosyncrasies at her that way. And then Ernestine, her best friend, approved of getting married, and Ernestine's ideas were usually good. To all of which Joe responded that she certainly had a splendid head to figure it out that way. (Line 15) Joe said that to his mind reasons for doing things weren't very important anyhow; it was doing them that counted. Yesterday had been her last day on the paper. She had felt queer about that thing of taking her last assignment, though it was hard to reach just the proper state, for the (Line 20) last story related to pork-packers, and pork-packing is not a setting favorable to sentimental regrets. It was just like the newspaper business not even to allow one a little sentimental harrowing over one's exodus from it. But the time for gentle melancholy came later on when she was (Line 25) sorting her things at her desk just before leaving, and was wondering what girl would have that old desk—if they cared to risk another girl, and whether the other poor girl would slave through the years she should have been frivolous, only to have some man step in at the end and (Line 30) induce her to surrender the things she had gained through sacrifice and toil. As she wrote a final letter on her typewriter—she did hate letting the old machine go—Georgia did considerable philosophizing about the irony of working for things only (Line 35) to the end of giving them up. She had waded through snowdrifts and been drenched in pouring rains, she had been frozen with the cold and prostrated with the heat, she had been blown about by Chicago wind until it was strange there was any of her left in one piece, she had had front (Line 40) doors—yes, and back doors too—slammed in her face, she had been the butt of the alleged wit of menials and hirelings, she had been patronized by vapid women as the poor girl who must make her living some way, she had been roasted by—but never mind—she had had (Line 45) a beat* or two! And now she was to wind it all up by marrying Joseph Tank, who had made a great deal of money out of the manufacture of paper bags. This from her—who had always believed she would end her days in New York, or perhaps write a realistic novel exposing 50 some mighty evil! * the area regularly covered by a reporter In line 27, "poor" most nearly means

Explanation

In line 27, the word "poor" most nearly means "pitiable". This can be inferred from the context of the sentence, where the protagonist wonders if the other girl who takes her place at the desk will have to sacrifice and toil like she did. The word "poor" here suggests that the protagonist feels sympathy or pity for the girl who may have to go through similar hardships.

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13. Each passage below is followed by questions based on its content. Answer the questions on the basis of what is stated or implied in each passage and in any introductory material that may be provided. Black holes are the most efficient engines of destruction known to humanity. Their intense gravity is a one-way ticket to oblivion, and material spiraling into them can heat up to millions of degrees and glow brightly. Yet, they (Line 5) are not all-powerful. Even supermassive black holes are minuscule by cosmic standards. They typically account for less than one percent of their galaxy's mass. Accordingly, astronomers long assumed that supermassive holes, let alone their smaller cousins, would have little effect beyond (Line 10) their immediate neighborhoods. So it has come as a surprise over the past decade that black hole activity is closely intertwined with star formation occurring farther out in the galaxy. Which best describes the function of the statement in lines 10-13 ("So it . . . galaxy") ?

Explanation

The statement in lines 10-13 introduces a new view of information presented earlier in the passage. It states that the activity of black holes is closely intertwined with star formation occurring farther out in the galaxy. This contradicts the assumption that black holes, even supermassive ones, have little effect beyond their immediate neighborhoods. Therefore, the statement presents a new perspective on the relationship between black holes and star formation.

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14. The following passage is an excerpt from a 1909 novel. Georgia, the main character, is a reporter in an otherwise all-male newsroom.   Georgia was to be married. It was the week before Christmas, and on the last day of the year she would become Mrs. Joseph Tank. She had told Joe that if they were to be married at all they might as well get it (Line 5) over with this year, and still there was no need of being married any earlier in the year than was necessary. She assured him that she married him simply because she was tired of having paper bags waved before her eyes everywhere she went and she thought if she were once officially (Line 10) associated with him people would not flaunt his idiosyncrasies at her that way. And then Ernestine, her best friend, approved of getting married, and Ernestine's ideas were usually good. To all of which Joe responded that she certainly had a splendid head to figure it out that way. (Line 15) Joe said that to his mind reasons for doing things weren't very important anyhow; it was doing them that counted. Yesterday had been her last day on the paper. She had felt queer about that thing of taking her last assignment, though it was hard to reach just the proper state, for the (Line 20) last story related to pork-packers, and pork-packing is not a setting favorable to sentimental regrets. It was just like the newspaper business not even to allow one a little sentimental harrowing over one's exodus from it. But the time for gentle melancholy came later on when she was (Line 25) sorting her things at her desk just before leaving, and was wondering what girl would have that old desk—if they cared to risk another girl, and whether the other poor girl would slave through the years she should have been frivolous, only to have some man step in at the end and (Line 30) induce her to surrender the things she had gained through sacrifice and toil. As she wrote a final letter on her typewriter—she did hate letting the old machine go—Georgia did considerable philosophizing about the irony of working for things only (Line 35) to the end of giving them up. She had waded through snowdrifts and been drenched in pouring rains, she had been frozen with the cold and prostrated with the heat, she had been blown about by Chicago wind until it was strange there was any of her left in one piece, she had had front (Line 40) doors—yes, and back doors too—slammed in her face, she had been the butt of the alleged wit of menials and hirelings, she had been patronized by vapid women as the poor girl who must make her living some way, she had been roasted by—but never mind—she had had (Line 45) a beat* or two! And now she was to wind it all up by marrying Joseph Tank, who had made a great deal of money out of the manufacture of paper bags. This from her—who had always believed she would end her days in New York, or perhaps write a realistic novel exposing 50 some mighty evil! * the area regularly covered by a reporter In context, the phrase "This from her" (lines 47-48) helps to suggest that a

Explanation

The phrase "This from her" suggests that the decision of marrying Joseph Tank, who made money out of the manufacture of paper bags, is unexpected or out of character for Georgia. It implies that she had different expectations or aspirations for herself, such as ending her days in New York or writing a realistic novel exposing some evil. The phrase indicates that Georgia's decision to marry Joseph Tank contradicts her previous beliefs or plans, making it out of character for her.

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15. Each passage below is followed by questions based on its content. Answer the questions on the basis of what is stated or implied in each passage and in any introductory material that may be provided. Black holes are the most efficient engines of destruction known to humanity. Their intense gravity is a one-way ticket to oblivion, and material spiraling into them can heat up to millions of degrees and glow brightly. Yet, they (Line 5) are not all-powerful. Even supermassive black holes are minuscule by cosmic standards. They typically account for less than one percent of their galaxy's mass. Accordingly, astronomers long assumed that supermassive holes, let alone their smaller cousins, would have little effect beyond (Line 10) their immediate neighborhoods. So it has come as a surprise over the past decade that black hole activity is closely intertwined with star formation occurring farther out in the galaxy. Which of the following most resembles the relationship between "black hole activity" and "star formation" (lines 11-12) as described in the passage?

Explanation

The relationship between "black hole activity" and "star formation" described in the passage is similar to the relationship between a volcanic eruption on one continent and higher rainfall totals on another continent. Just as the volcanic eruption has an impact on rainfall in a different location, black hole activity has an effect on star formation occurring farther out in the galaxy. Both relationships involve a cause and effect relationship between events happening in different locations.

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16. The following passage is an excerpt from a 1909 novel. Georgia, the main character, is a reporter in an otherwise all-male newsroom.   Georgia was to be married. It was the week before Christmas, and on the last day of the year she would become Mrs. Joseph Tank. She had told Joe that if they were to be married at all they might as well get it (Line 5) over with this year, and still there was no need of being married any earlier in the year than was necessary. She assured him that she married him simply because she was tired of having paper bags waved before her eyes everywhere she went and she thought if she were once officially (Line 10) associated with him people would not flaunt his idiosyncrasies at her that way. And then Ernestine, her best friend, approved of getting married, and Ernestine's ideas were usually good. To all of which Joe responded that she certainly had a splendid head to figure it out that way. (Line 15) Joe said that to his mind reasons for doing things weren't very important anyhow; it was doing them that counted. Yesterday had been her last day on the paper. She had felt queer about that thing of taking her last assignment, though it was hard to reach just the proper state, for the (Line 20) last story related to pork-packers, and pork-packing is not a setting favorable to sentimental regrets. It was just like the newspaper business not even to allow one a little sentimental harrowing over one's exodus from it. But the time for gentle melancholy came later on when she was (Line 25) sorting her things at her desk just before leaving, and was wondering what girl would have that old desk—if they cared to risk another girl, and whether the other poor girl would slave through the years she should have been frivolous, only to have some man step in at the end and (Line 30) induce her to surrender the things she had gained through sacrifice and toil. As she wrote a final letter on her typewriter—she did hate letting the old machine go—Georgia did considerable philosophizing about the irony of working for things only (Line 35) to the end of giving them up. She had waded through snowdrifts and been drenched in pouring rains, she had been frozen with the cold and prostrated with the heat, she had been blown about by Chicago wind until it was strange there was any of her left in one piece, she had had front (Line 40) doors—yes, and back doors too—slammed in her face, she had been the butt of the alleged wit of menials and hirelings, she had been patronized by vapid women as the poor girl who must make her living some way, she had been roasted by—but never mind—she had had (Line 45) a beat* or two! And now she was to wind it all up by marrying Joseph Tank, who had made a great deal of money out of the manufacture of paper bags. This from her—who had always believed she would end her days in New York, or perhaps write a realistic novel exposing 50 some mighty evil! * the area regularly covered by a reporter The description in lines 35-45 ("She . . . two!") primarily serves to

Explanation

The passage in lines 35-45 describes the various hardships and challenges that Georgia has faced as a reporter. It mentions her experiences of wading through snowdrifts, being drenched in pouring rains, freezing with the cold, and being blown about by Chicago wind. It also mentions how she has had doors slammed in her face, been patronized by vapid women, and roasted by others. This description emphasizes the adversities that Georgia has had to overcome in her career as a reporter, highlighting the difficulties she has faced in her job.

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17. The following passage is adapted from a book about television and popular culture.   Ridiculing television, and warning about its inherent evils, is nothing new. It has been that way since the medium was invented, and television hasn't exactly been lavished with respect as the decades have passed. (Line 5) I suspect, though, that a lot of the fear and loathing directed at television comes out of a time-honored, reflexive overreaction to the dominant medium of the moment. For the past several decades, television has been blamed for corrupting our youth and exciting (Line 10) our adults, distorting reality, and basically being a big, perhaps dangerous, waste of time. Before TV, radio and film were accused of the same things. And long before that—in fact, some 2,500 years earlier— philosophers were arguing that poetry and drama (Line 15) should be excluded from any ideal city on much the same grounds. In Book 10 of the Republic, Plato (428-348 B.C.) attacks epic poet Homer (c. 850 B.C.) and the tragedians on several grounds, all of which have a familiar (Line 20) ring. "Their productions are appearances and not realities," he gripes. "Drawing, and in fact all imitation . . . [is] quite removed from the truth." The audience, as well as the art form, troubled Plato, whose remarks are colored by an implied disdain for the popularity of public performances. (Line 25) The "common people," as Plato so charitably calls them, are drawn to "peevish and diverse" characters—such as Odysseus and other heroes in the Iliad and the Odyssey— who (to Plato, anyway) engage in such questionable displays of emotion as "spinning out a long melancholy (Line 30) lamentation" or "disfiguring themselves in grief." To Plato, baring such intimate sorrows is not to be condoned. (Clearly, he would have given thumbs down to the central characters of Shakespeare's Hamlet and Macbeth.) "If you receive the pleasure-seasoned Muse1 of song and epic," (Line 35) Plato warns, "pleasure and pain will be kings in your city, instead of law." Finally, Plato sums up his anti-arts argument with the cold, sweeping pronouncement that "poetry is not to be taken seriously." One academic who has studied and written extensively (Line 40) about both Plato and television suggests that Plato, rather than being anti-arts, was merely an elitist. Plato wanted to ban poetry readings and live theater, the argument goes, because, being free and accessible and raucous and extremely popular, they were the mass entertainment (Line 45) of that era. "If, instead of 'tragedy' and 'poetry,' and 'Homer' and 'Aeschylus,'2 you read 'mass entertainment' or 'popular media,' you'll recognize Plato's arguments as the ancestor of all the reasons we have today for being suspicious of television." (Line 50) To wit: poetry, by which Plato means drama, confuses us between appearance and reality. The action it presents is too extreme and violent. Most important, it's a corrupting influence, perverting its audience by bombarding it with inferior characters and vulgar subjects—and  (Line 55) constituting, in Plato's own words, "a harm to the mind of its audience." If Plato's Republic had become reality, it would have been a republic with a lot of empty libraries, theaters, and museums—if, indeed, those repositories of the arts would (Line 60) have survived at all. Plato's personal utopia never came to pass—but throughout the centuries, wherever and whenever a new medium of artistic expression attracted a lot of people, someone has been ready, waiting, and eager to attack its content and fear its impact. 1 The Muses inspired poetry and song in Greek mythology. 2 Aeschylus (525-456 B.C.) was a Greek tragic dramatist.   The author of the passage would probably agree with which of the following statements about the "utopia" referred to in line 60 ?

Explanation

The passage discusses Plato's disdain for the arts, including poetry and drama, and his desire to ban them from his ideal city. The author mentions that Plato's utopia never came to pass, implying that the rejection of the arts would have stifled human creativity. Therefore, the author would likely agree with the statement that the utopia referred to in line 60 would have stifled human creativity.

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18. The following passage is an excerpt from a 1909 novel. Georgia, the main character, is a reporter in an otherwise all-male newsroom.   Georgia was to be married. It was the week before Christmas, and on the last day of the year she would become Mrs. Joseph Tank. She had told Joe that if they were to be married at all they might as well get it (Line 5) over with this year, and still there was no need of being married any earlier in the year than was necessary. She assured him that she married him simply because she was tired of having paper bags waved before her eyes everywhere she went and she thought if she were once officially (Line 10) associated with him people would not flaunt his idiosyncrasies at her that way. And then Ernestine, her best friend, approved of getting married, and Ernestine's ideas were usually good. To all of which Joe responded that she certainly had a splendid head to figure it out that way. (Line 15) Joe said that to his mind reasons for doing things weren't very important anyhow; it was doing them that counted. Yesterday had been her last day on the paper. She had felt queer about that thing of taking her last assignment, though it was hard to reach just the proper state, for the (Line 20) last story related to pork-packers, and pork-packing is not a setting favorable to sentimental regrets. It was just like the newspaper business not even to allow one a little sentimental harrowing over one's exodus from it. But the time for gentle melancholy came later on when she was (Line 25) sorting her things at her desk just before leaving, and was wondering what girl would have that old desk—if they cared to risk another girl, and whether the other poor girl would slave through the years she should have been frivolous, only to have some man step in at the end and (Line 30) induce her to surrender the things she had gained through sacrifice and toil. As she wrote a final letter on her typewriter—she did hate letting the old machine go—Georgia did considerable philosophizing about the irony of working for things only (Line 35) to the end of giving them up. She had waded through snowdrifts and been drenched in pouring rains, she had been frozen with the cold and prostrated with the heat, she had been blown about by Chicago wind until it was strange there was any of her left in one piece, she had had front (Line 40) doors—yes, and back doors too—slammed in her face, she had been the butt of the alleged wit of menials and hirelings, she had been patronized by vapid women as the poor girl who must make her living some way, she had been roasted by—but never mind—she had had (Line 45) a beat* or two! And now she was to wind it all up by marrying Joseph Tank, who had made a great deal of money out of the manufacture of paper bags. This from her—who had always believed she would end her days in New York, or perhaps write a realistic novel exposing 50 some mighty evil! * the area regularly covered by a reporter The second paragraph suggests that Georgia believes the "proper state" (line 19) would be one of

Explanation

In the second paragraph, Georgia reflects on her last day at the newspaper and expresses a sense of melancholy and sentimental regret. She mentions feeling queer about taking her last assignment and wonders who will have her old desk after she leaves. She contemplates the sacrifices and challenges she has faced in her career and how it is ironic to work for things only to give them up. This suggests that Georgia is feeling wistful, nostalgic, and perhaps a bit sad about leaving her job and the life she has built as a reporter.

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19. The following passage is adapted from a book about television and popular culture.   Ridiculing television, and warning about its inherent evils, is nothing new. It has been that way since the medium was invented, and television hasn't exactly been lavished with respect as the decades have passed. (Line 5) I suspect, though, that a lot of the fear and loathing directed at television comes out of a time-honored, reflexive overreaction to the dominant medium of the moment. For the past several decades, television has been blamed for corrupting our youth and exciting (Line 10) our adults, distorting reality, and basically being a big, perhaps dangerous, waste of time. Before TV, radio and film were accused of the same things. And long before that—in fact, some 2,500 years earlier— philosophers were arguing that poetry and drama (Line 15) should be excluded from any ideal city on much the same grounds. In Book 10 of the Republic, Plato (428-348 B.C.) attacks epic poet Homer (c. 850 B.C.) and the tragedians on several grounds, all of which have a familiar (Line 20) ring. "Their productions are appearances and not realities," he gripes. "Drawing, and in fact all imitation . . . [is] quite removed from the truth." The audience, as well as the art form, troubled Plato, whose remarks are colored by an implied disdain for the popularity of public performances. (Line 25) The "common people," as Plato so charitably calls them, are drawn to "peevish and diverse" characters—such as Odysseus and other heroes in the Iliad and the Odyssey— who (to Plato, anyway) engage in such questionable displays of emotion as "spinning out a long melancholy (Line 30) lamentation" or "disfiguring themselves in grief." To Plato, baring such intimate sorrows is not to be condoned. (Clearly, he would have given thumbs down to the central characters of Shakespeare's Hamlet and Macbeth.) "If you receive the pleasure-seasoned Muse1 of song and epic," (Line 35) Plato warns, "pleasure and pain will be kings in your city, instead of law." Finally, Plato sums up his anti-arts argument with the cold, sweeping pronouncement that "poetry is not to be taken seriously." One academic who has studied and written extensively (Line 40) about both Plato and television suggests that Plato, rather than being anti-arts, was merely an elitist. Plato wanted to ban poetry readings and live theater, the argument goes, because, being free and accessible and raucous and extremely popular, they were the mass entertainment (Line 45) of that era. "If, instead of 'tragedy' and 'poetry,' and 'Homer' and 'Aeschylus,'2 you read 'mass entertainment' or 'popular media,' you'll recognize Plato's arguments as the ancestor of all the reasons we have today for being suspicious of television." (Line 50) To wit: poetry, by which Plato means drama, confuses us between appearance and reality. The action it presents is too extreme and violent. Most important, it's a corrupting influence, perverting its audience by bombarding it with inferior characters and vulgar subjects—and  (Line 55) constituting, in Plato's own words, "a harm to the mind of its audience." If Plato's Republic had become reality, it would have been a republic with a lot of empty libraries, theaters, and museums—if, indeed, those repositories of the arts would (Line 60) have survived at all. Plato's personal utopia never came to pass—but throughout the centuries, wherever and whenever a new medium of artistic expression attracted a lot of people, someone has been ready, waiting, and eager to attack its content and fear its impact. 1 The Muses inspired poetry and song in Greek mythology. 2 Aeschylus (525-456 B.C.) was a Greek tragic dramatist.   The comment about "a new medium of artistic expression" (line 62) primarily suggests that

Explanation

The passage suggests that whenever a new medium of artistic expression becomes popular, there will always be someone ready to attack its content and fear its impact. This implies that a popular new art form will always receive some form of negative response. The author's comment about "a new medium of artistic expression" in line 62 supports this idea.

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20. The following passage is adapted from a book about television and popular culture.   Ridiculing television, and warning about its inherent evils, is nothing new. It has been that way since the medium was invented, and television hasn't exactly been lavished with respect as the decades have passed. (Line 5) I suspect, though, that a lot of the fear and loathing directed at television comes out of a time-honored, reflexive overreaction to the dominant medium of the moment. For the past several decades, television has been blamed for corrupting our youth and exciting (Line 10) our adults, distorting reality, and basically being a big, perhaps dangerous, waste of time. Before TV, radio and film were accused of the same things. And long before that—in fact, some 2,500 years earlier— philosophers were arguing that poetry and drama (Line 15) should be excluded from any ideal city on much the same grounds. In Book 10 of the Republic, Plato (428-348 B.C.) attacks epic poet Homer (c. 850 B.C.) and the tragedians on several grounds, all of which have a familiar (Line 20) ring. "Their productions are appearances and not realities," he gripes. "Drawing, and in fact all imitation . . . [is] quite removed from the truth." The audience, as well as the art form, troubled Plato, whose remarks are colored by an implied disdain for the popularity of public performances. (Line 25) The "common people," as Plato so charitably calls them, are drawn to "peevish and diverse" characters—such as Odysseus and other heroes in the Iliad and the Odyssey— who (to Plato, anyway) engage in such questionable displays of emotion as "spinning out a long melancholy (Line 30) lamentation" or "disfiguring themselves in grief." To Plato, baring such intimate sorrows is not to be condoned. (Clearly, he would have given thumbs down to the central characters of Shakespeare's Hamlet and Macbeth.) "If you receive the pleasure-seasoned Muse1 of song and epic," (Line 35) Plato warns, "pleasure and pain will be kings in your city, instead of law." Finally, Plato sums up his anti-arts argument with the cold, sweeping pronouncement that "poetry is not to be taken seriously." One academic who has studied and written extensively (Line 40) about both Plato and television suggests that Plato, rather than being anti-arts, was merely an elitist. Plato wanted to ban poetry readings and live theater, the argument goes, because, being free and accessible and raucous and extremely popular, they were the mass entertainment (Line 45) of that era. "If, instead of 'tragedy' and 'poetry,' and 'Homer' and 'Aeschylus,'2 you read 'mass entertainment' or 'popular media,' you'll recognize Plato's arguments as the ancestor of all the reasons we have today for being suspicious of television." (Line 50) To wit: poetry, by which Plato means drama, confuses us between appearance and reality. The action it presents is too extreme and violent. Most important, it's a corrupting influence, perverting its audience by bombarding it with inferior characters and vulgar subjects—and  (Line 55) constituting, in Plato's own words, "a harm to the mind of its audience." If Plato's Republic had become reality, it would have been a republic with a lot of empty libraries, theaters, and museums—if, indeed, those repositories of the arts would (Line 60) have survived at all. Plato's personal utopia never came to pass—but throughout the centuries, wherever and whenever a new medium of artistic expression attracted a lot of people, someone has been ready, waiting, and eager to attack its content and fear its impact. 1 The Muses inspired poetry and song in Greek mythology. 2 Aeschylus (525-456 B.C.) was a Greek tragic dramatist. The primary purpose of the statements in lines 39-45 ("One . . . that era") is to

Explanation

The statements in lines 39-45 provide an interpretation of a viewpoint described in the previous paragraph. They suggest that Plato's criticism of poetry and live theater was not necessarily due to his opposition to the arts, but rather because they were popular forms of mass entertainment in his time. The statements argue that if we replace the terms "tragedy" and "poetry" with "mass entertainment" or "popular media," we can see that Plato's arguments are similar to the reasons people today are suspicious of television. This interpretation helps to explain why Plato wanted to ban these forms of entertainment.

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21. Each passage below is followed by questions based on its content. Answer the questions on the basis of what is stated or implied in each passage and in any introductory material that may be provided. "Mechanical pencils rule," my fifteen-year-old grandniece, Genevieve, declared when I invited her to be her generation's voice on school supplies. "Nobody sharpens anymore." Then, continuing with a fashion (Line 5) maven's hyperbole and arbitrary imperatives, she gave a passionate disquisition on types of clickers, new grips, smaller lead sizes, and other niceties of pencil selection. As she consigned the yellow-painted wooden pencil to the wastebasket of history, I felt a rush of nostalgia for (Line 10) the perfumed sharpener shavings of my youth. In lines 4-5, the author refers to a "fashion maven's" tone primarily in order to

Explanation

The author refers to a "fashion maven's" tone primarily to indicate that Genevieve expresses her opinions with authority and flair. This suggests that Genevieve is confident and knowledgeable about her preferences for mechanical pencils, and she expresses her opinions in a stylish and assertive manner. The use of the term "fashion maven" implies that Genevieve's passion for mechanical pencils is similar to someone who is an expert or enthusiast in the field of fashion.

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22. The following passage is adapted from a book about television and popular culture.   Ridiculing television, and warning about its inherent evils, is nothing new. It has been that way since the medium was invented, and television hasn't exactly been lavished with respect as the decades have passed. (Line 5) I suspect, though, that a lot of the fear and loathing directed at television comes out of a time-honored, reflexive overreaction to the dominant medium of the moment. For the past several decades, television has been blamed for corrupting our youth and exciting (Line 10) our adults, distorting reality, and basically being a big, perhaps dangerous, waste of time. Before TV, radio and film were accused of the same things. And long before that—in fact, some 2,500 years earlier— philosophers were arguing that poetry and drama (Line 15) should be excluded from any ideal city on much the same grounds. In Book 10 of the Republic, Plato (428-348 B.C.) attacks epic poet Homer (c. 850 B.C.) and the tragedians on several grounds, all of which have a familiar (Line 20) ring. "Their productions are appearances and not realities," he gripes. "Drawing, and in fact all imitation . . . [is] quite removed from the truth." The audience, as well as the art form, troubled Plato, whose remarks are colored by an implied disdain for the popularity of public performances. (Line 25) The "common people," as Plato so charitably calls them, are drawn to "peevish and diverse" characters—such as Odysseus and other heroes in the Iliad and the Odyssey— who (to Plato, anyway) engage in such questionable displays of emotion as "spinning out a long melancholy (Line 30) lamentation" or "disfiguring themselves in grief." To Plato, baring such intimate sorrows is not to be condoned. (Clearly, he would have given thumbs down to the central characters of Shakespeare's Hamlet and Macbeth.) "If you receive the pleasure-seasoned Muse1 of song and epic," (Line 35) Plato warns, "pleasure and pain will be kings in your city, instead of law." Finally, Plato sums up his anti-arts argument with the cold, sweeping pronouncement that "poetry is not to be taken seriously." One academic who has studied and written extensively (Line 40) about both Plato and television suggests that Plato, rather than being anti-arts, was merely an elitist. Plato wanted to ban poetry readings and live theater, the argument goes, because, being free and accessible and raucous and extremely popular, they were the mass entertainment (Line 45) of that era. "If, instead of 'tragedy' and 'poetry,' and 'Homer' and 'Aeschylus,'2 you read 'mass entertainment' or 'popular media,' you'll recognize Plato's arguments as the ancestor of all the reasons we have today for being suspicious of television." (Line 50) To wit: poetry, by which Plato means drama, confuses us between appearance and reality. The action it presents is too extreme and violent. Most important, it's a corrupting influence, perverting its audience by bombarding it with inferior characters and vulgar subjects—and  (Line 55) constituting, in Plato's own words, "a harm to the mind of its audience." If Plato's Republic had become reality, it would have been a republic with a lot of empty libraries, theaters, and museums—if, indeed, those repositories of the arts would (Line 60) have survived at all. Plato's personal utopia never came to pass—but throughout the centuries, wherever and whenever a new medium of artistic expression attracted a lot of people, someone has been ready, waiting, and eager to attack its content and fear its impact. 1 The Muses inspired poetry and song in Greek mythology. 2 Aeschylus (525-456 B.C.) was a Greek tragic dramatist. Which of the following best characterizes Plato's view of the heroes mentioned in line 27 ?

Explanation

Plato's view of the heroes mentioned in line 27 can be characterized as contempt. Plato criticizes the heroes in the Iliad and the Odyssey, such as Odysseus, for engaging in what he considers questionable displays of emotion, such as "spinning out a long melancholy lamentation" and "disfiguring themselves in grief." He disapproves of their intimate sorrows and believes that baring such emotions should not be condoned. This contemptuous view is evident in Plato's disdain for the popularity of public performances and his overall argument against the arts.

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23. The following passage is adapted from a book about television and popular culture.   Ridiculing television, and warning about its inherent evils, is nothing new. It has been that way since the medium was invented, and television hasn't exactly been lavished with respect as the decades have passed. (Line 5) I suspect, though, that a lot of the fear and loathing directed at television comes out of a time-honored, reflexive overreaction to the dominant medium of the moment. For the past several decades, television has been blamed for corrupting our youth and exciting (Line 10) our adults, distorting reality, and basically being a big, perhaps dangerous, waste of time. Before TV, radio and film were accused of the same things. And long before that—in fact, some 2,500 years earlier— philosophers were arguing that poetry and drama (Line 15) should be excluded from any ideal city on much the same grounds. In Book 10 of the Republic, Plato (428-348 B.C.) attacks epic poet Homer (c. 850 B.C.) and the tragedians on several grounds, all of which have a familiar (Line 20) ring. "Their productions are appearances and not realities," he gripes. "Drawing, and in fact all imitation . . . [is] quite removed from the truth." The audience, as well as the art form, troubled Plato, whose remarks are colored by an implied disdain for the popularity of public performances. (Line 25) The "common people," as Plato so charitably calls them, are drawn to "peevish and diverse" characters—such as Odysseus and other heroes in the Iliad and the Odyssey— who (to Plato, anyway) engage in such questionable displays of emotion as "spinning out a long melancholy (Line 30) lamentation" or "disfiguring themselves in grief." To Plato, baring such intimate sorrows is not to be condoned. (Clearly, he would have given thumbs down to the central characters of Shakespeare's Hamlet and Macbeth.) "If you receive the pleasure-seasoned Muse1 of song and epic," (Line 35) Plato warns, "pleasure and pain will be kings in your city, instead of law." Finally, Plato sums up his anti-arts argument with the cold, sweeping pronouncement that "poetry is not to be taken seriously." One academic who has studied and written extensively (Line 40) about both Plato and television suggests that Plato, rather than being anti-arts, was merely an elitist. Plato wanted to ban poetry readings and live theater, the argument goes, because, being free and accessible and raucous and extremely popular, they were the mass entertainment (Line 45) of that era. "If, instead of 'tragedy' and 'poetry,' and 'Homer' and 'Aeschylus,'2 you read 'mass entertainment' or 'popular media,' you'll recognize Plato's arguments as the ancestor of all the reasons we have today for being suspicious of television." (Line 50) To wit: poetry, by which Plato means drama, confuses us between appearance and reality. The action it presents is too extreme and violent. Most important, it's a corrupting influence, perverting its audience by bombarding it with inferior characters and vulgar subjects—and  (Line 55) constituting, in Plato's own words, "a harm to the mind of its audience." If Plato's Republic had become reality, it would have been a republic with a lot of empty libraries, theaters, and museums—if, indeed, those repositories of the arts would (Line 60) have survived at all. Plato's personal utopia never came to pass—but throughout the centuries, wherever and whenever a new medium of artistic expression attracted a lot of people, someone has been ready, waiting, and eager to attack its content and fear its impact. 1 The Muses inspired poetry and song in Greek mythology. 2 Aeschylus (525-456 B.C.) was a Greek tragic dramatist. The "academic" (line 39) indicates that Plato was primarily characterized by his

Explanation

The passage suggests that Plato's opposition to poetry and live theater was driven by his elitist views. The academic who has studied Plato and television argues that Plato wanted to ban these forms of entertainment because they were popular and accessible to the masses. This suggests that Plato looked down upon the common people and their enjoyment of mass entertainment, indicating a snobbish attitude. Therefore, the correct answer is "snobbishness."

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24. The following passage is adapted from a book about television and popular culture.   Ridiculing television, and warning about its inherent evils, is nothing new. It has been that way since the medium was invented, and television hasn't exactly been lavished with respect as the decades have passed. (Line 5) I suspect, though, that a lot of the fear and loathing directed at television comes out of a time-honored, reflexive overreaction to the dominant medium of the moment. For the past several decades, television has been blamed for corrupting our youth and exciting (Line 10) our adults, distorting reality, and basically being a big, perhaps dangerous, waste of time. Before TV, radio and film were accused of the same things. And long before that—in fact, some 2,500 years earlier— philosophers were arguing that poetry and drama (Line 15) should be excluded from any ideal city on much the same grounds. In Book 10 of the Republic, Plato (428-348 B.C.) attacks epic poet Homer (c. 850 B.C.) and the tragedians on several grounds, all of which have a familiar (Line 20) ring. "Their productions are appearances and not realities," he gripes. "Drawing, and in fact all imitation . . . [is] quite removed from the truth." The audience, as well as the art form, troubled Plato, whose remarks are colored by an implied disdain for the popularity of public performances. (Line 25) The "common people," as Plato so charitably calls them, are drawn to "peevish and diverse" characters—such as Odysseus and other heroes in the Iliad and the Odyssey— who (to Plato, anyway) engage in such questionable displays of emotion as "spinning out a long melancholy (Line 30) lamentation" or "disfiguring themselves in grief." To Plato, baring such intimate sorrows is not to be condoned. (Clearly, he would have given thumbs down to the central characters of Shakespeare's Hamlet and Macbeth.) "If you receive the pleasure-seasoned Muse1 of song and epic," (Line 35) Plato warns, "pleasure and pain will be kings in your city, instead of law." Finally, Plato sums up his anti-arts argument with the cold, sweeping pronouncement that "poetry is not to be taken seriously." One academic who has studied and written extensively (Line 40) about both Plato and television suggests that Plato, rather than being anti-arts, was merely an elitist. Plato wanted to ban poetry readings and live theater, the argument goes, because, being free and accessible and raucous and extremely popular, they were the mass entertainment (Line 45) of that era. "If, instead of 'tragedy' and 'poetry,' and 'Homer' and 'Aeschylus,'2 you read 'mass entertainment' or 'popular media,' you'll recognize Plato's arguments as the ancestor of all the reasons we have today for being suspicious of television." (Line 50) To wit: poetry, by which Plato means drama, confuses us between appearance and reality. The action it presents is too extreme and violent. Most important, it's a corrupting influence, perverting its audience by bombarding it with inferior characters and vulgar subjects—and  (Line 55) constituting, in Plato's own words, "a harm to the mind of its audience." If Plato's Republic had become reality, it would have been a republic with a lot of empty libraries, theaters, and museums—if, indeed, those repositories of the arts would (Line 60) have survived at all. Plato's personal utopia never came to pass—but throughout the centuries, wherever and whenever a new medium of artistic expression attracted a lot of people, someone has been ready, waiting, and eager to attack its content and fear its impact. 1 The Muses inspired poetry and song in Greek mythology. 2 Aeschylus (525-456 B.C.) was a Greek tragic dramatist. The fourth paragraph (lines 50-56) indicates that Plato's principal objection to "poetry" (line 50) was its

Explanation

The fourth paragraph indicates that Plato's principal objection to "poetry" was its widespread popularity and its influence on people's morals. Plato believed that poetry, or drama, confused the audience between appearance and reality, presented extreme and violent actions, and corrupted the mind of its audience. He argued that it bombarded the audience with inferior characters and vulgar subjects, constituting a harm to the mind. Therefore, Plato's main concern was the popularity of poetry and its negative impact on the moral values of the audience.

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The child had a tendency toward aggressive behavior, a -------...
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The following passage is an excerpt from a 1909 novel....
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The following passage is an excerpt from a 1909 novel....
The following passage is adapted from a book about...
The following passage is an excerpt from a 1909 novel....
The following passage is adapted from a book about...
The following passage is adapted from a book about...
Each passage below is followed by questions based on its content....
The following passage is adapted from a book about...
The following passage is adapted from a book about...
The following passage is adapted from a book about...
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