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The passages below are followed by questions based on their content; questions following a pair of related passages may also be based on the relationship between the paired passages. Answer the questions on the basis of what is stated or implied in the passages and in any introductory material that may be provided. Questions 9-12 are based on the following passages. Passage 1 is by Dorothy Sayers; Passage 2 is adapted from a work by Raymond Chandler. Passage 1

The detective story does not and cannot attain the loftiest level of literary achievement. Though it deals with the most desperate effects of rage, jealousy, and Linerevenge, it rarely touches the heights and depths of 5 human passion. It presents us with an accomplished fact, and looks upon death with a dispassionate eye. It does not show us the inner workings of the murderer’s mind—it must not, for the identity of the criminal is hidden until the end of the book. The most successful 10 writers are those who contrive to keep the story running

from beginning to end upon the same emotional level, and it is better to err in the direction of too little feeling than too much.

Passage 2

I think what was really gnawing at Dorothy Sayers in 15 her critique of the detective story was the realization that

her kind of detective story was an arid formula unable to satisfy its own implications. If the story started to be about real people, they soon had to do unreal things to conform to the artificial pattern required by the plot. When they did 20 unreal things, they ceased to be real themselves. Sayers’

own stories show that she was annoyed by this triteness. Yet she would not give her characters their heads and let them make their own mystery.

9. Which best describes the relationship between

the two passages?

(A) Passage 1 explains the evolution of a genre,

while Passage 2 challenges the notion of a distinct genre.

(B) Passage 1 discusses the constraints of a genre,

while Passage 2 contends that many of these constraints are self-imposed.

points out its deficiencies.

(D) Passage 1 explains the popularity of a genre,

while Passage 2 questions its commercial success.

(E) Passage 1 compares a genre unfavorably

to other types of writing, while Passage 2 argues that the genre has unique features.

10. The author of Passage 2 would most likely respond

to the statement in lines 4-5, Passage 1 (“it rarely . . . passion”), by

(A) arguing that this approach limits the characters’

development

(B) denying that most writers of detective stories

rely on formulas

in detective stories

(D) conceding that great literature is seldom

commercially successful (E) concurring that readers are primarily interested

in plot

11. Which of the following characteristics of detective

stories presented in Passage 1 would be LEAST likely to be attributed to the “pattern” mentioned in line 19, Passage 2 ?

(A) “cannot attain the loftiest level of literary

achievement” (lines 1-2)

(B) “deals with the most desperate effects of

rage, jealousy, and revenge” (lines 2-4) (C) “presents us with an accomplished fact”

(lines 5-6)

(D) “looks upon death with a dispassionate eye”

(line 6)

(E) “does not show us the inner workings of the

murderer’s mind” (lines 7-8)

12. Passage 1 suggests that Sayers would most likely

respond to lines 17-20, Passage 2 (“If the story started . . . themselves”), by pointing out that

(A) great writers seldom explore the range of human

emotions

(B) detective stories do not address the consequences

of people’s emotions

the characters

(D) readers of detective stories prefer unrealistic

situations

(E) real people often act in ways that are unexpected

Questions 13-24 are based on the following passage. This passage is adapted from a series in which a college professor dramatizes the lectures of famous scientists from the past. Here he speaks as Louis Pasteur (1822-1895). In this part of the lecture, Pasteur has just described his discovery of the effect of heating certain microbes that infect bottled beverages (the process later named pasteurization).

But these undesirable microbes! Where and how did they arise? By spontaneous generation,* as some believe? When I began to ask these questions of myself and of my Linestudents and colleagues, my close friends said: “Oh, no, 5

do not waste your time on such worthless philosophical problems. Many a scientist has floundered and perished in the quagmire of spontaneous generation.” I replied: “But the origin of life is a profound problem.” With few excep-tions, past discourses on spontaneous generation have been 10

metaphysical exercises conducted with great passion, but without adding to our scientific knowledge.

I could not set aside my burning desire to bring a little stone, God willing, to the frail edifice of our knowledge of the deep mysteries of life and death, where all our intellects 15

have so lamentably failed. In defense of nonapplied science I have repeatedly told my students that without theory, practice is but routine. Only theory is able to cause the spirit of invention to arise and develop. It is important that students should not share the opinion of those who disdain 20

everything in science that has no immediate application. In science, chance favors only the mind that is prepared. I repeat: in science, chance favors only the mind that is prepared.

I first confirmed the experiments of the Italian abbé, 25

Lazzaro Spallanzani, known also for his studies in gastric digestion. I made a nutritious broth, put it in a flask such as this [Pasteur holds up a large flask containing a brown solution], heated it to violent boiling, and then sealed the neck of the flask in a flame. My results agreed with those 30

of Spallanzani: the broth remained pure. But if the neck be broken to admit air, the broth soon became putrid. My critics said that the heating made the air in the flask unfit for spontaneous generation. Only when fresh air is admitted can life begin anew. I argued in vain—even before our 35

Academy of Sciences—that the putrefaction was caused by admission of bacteria. More convincing experiments were needed.

I opened flasks of sterilized broth in the cellar of the Paris observatory, where the air was still. Only one flask 40

out of ten became putrid, whereas eleven flasks out of eleven opened in the courtyard quickly acquired a rich growth of bacteria. I journeyed to Mt. Montanvert in the Alps, where I opened twenty flasks of sterilized broth. Only one became putrid. I concluded that the air in the cellar and 45

the air above the glacier were freer of bacteria than the air

in the city streets. But my adversaries performed similar experiments with different results. Perhaps they were not careful to follow my procedures. The neck of the flask must be heated first to kill the bacteria on the glass; then a heated 50

instrument must be used to break the tip of the flask as it is held high above the head. Immediately thereafter the flask must be sealed again in a flame [Pasteur demonstrates the procedure]. In these difficult researches, while I sternly object to frivolous contradictions, I feel nothing but grat-55

itude toward those who warn me if I should be in error. I then devised a conclusive experiment. I boiled a nutri-tious infusion in a flask with a long curved neck like this one. The tip of the neck was not sealed but left open to the outside air. Thus, there was no hindrance to the entrance of 60

fresh air with its “vital force” as claimed by the advocates of spontaneous generation. But bacteria in the entering air would be trapped by the walls of the long glass tube. The fluid remained sterile so long as the flask was maintained in the vertical position. If, however, I contaminated the 65

broth by allowing some of it to flow into the neck and then back into the flask, putrefaction promptly followed. So we see that life does not arise spontaneously. Life comes only from life.

*The supposed origination of living matter directly from lifeless matter

13. The focus of the lecture is on how Pasteur

(A) disproved an erroneous theory

(B) documented and published his experiments (C) developed a process for killing microbes

(D)

applied his findings on spontaneous generation to new problems

(E) contributed to the improvement of laboratory

research standards

14. In the lecture, Pasteur concludes that the answer to the

question “Where and how did they arise?” (lines 1-2) is

(A) spontaneously

(B) from airborne bacteria

15. In the first two paragraphs (lines 1-23), Pasteur is

primarily concerned with

(A) summarizing the results of his experiments about

spontaneous generation

(B) criticizing those who have taken the passion out

of science

of microbes

(D) attacking critics of his experiments

(E) correcting the impression that he is concerned

only with experiments that have immediate application

16. The word “quagmire” (line 7) is used primarily to

emphasize the

(A) state of scientific ignorance in the 1800’s (B) futility of a particular line of research

failure of some to distinguish between pure and applied science

(E) tendency of unsuccessful scientists to look for

simple solutions

17. Pasteur characterizes “past discourses on spontaneous

generation” (line 9) as having

(A) demonstrated the futility of practical scientific

studies

(B) failed because of incomplete knowledge about

sterilization of apparatus

early experiments

(D) failed to increase scientific knowledge

(E) resolved much of the controversy surrounding the

issue

18. The “little stone” (lines 12-13) refers to the

(A) slight addition that Pasteur hoped to make to

the existing body of facts

(B) small effect that Pasteur wanted to have on

one person’s learning

rebuffed by his colleagues

(D) narrow-mindedness of those who cling to

scientific fallacies

(E) imperceptible progress that Pasteur had made

in understanding spontaneous generation

19. Pasteur’s pronouncement about preparation and chance

in lines 20-23 implies that

(A) only projects that have an immediate application

are important

(B) practice improves a scientist’s chances of making

a significant discovery

theories

(D) work on projects that have no immediate appli-cation prepares scientists to exploit chance discoveries

(E) most scientific discoveries that have no immediate

application are the result of good luck and timing

20. In context, the reference to the Academy of Sciences

(line 35) serves to suggest why

(A) Pasteur was so determined to make a significant

contribution to scientific knowledge

(B) Pasteur felt compelled to replicate Spallanzani’s

experiments

be discredited when Pasteur began his experimentation

(D) Pasteur believed he needed to design experiments

that were more persuasive

(E) spontaneous generation was viewed by Pasteur’s

colleagues as a topic that was unfit for scientific study

21. In line 41, “rich” most nearly means

(A) precious (B) vital (C) abundant (D) meaningful (E) productive

22. The “conclusive experiment” (line 56) performed by

Pasteur was designed to answer critics who argued that

(A) the apparatus used in Pasteur’s earlier experi-ments had not been adequately sterilized (B) Pasteur’s experiments related to spontaneous

generation had no immediate application (C) the results of Pasteur’s experiments in the Alps

and in the cellar could not be replicated

(D) the broth in the flasks of Pasteur’s earlier experi-ments was not nutritious enough

(E) heating made the air in the flasks of the earlier

experiments unfit for spontaneous generation

23. In the context of the passage as a whole, the

“vital force” (line 60) is best described as

(A) (B) (C) (D) (E)

what Pasteur called the basic unit of life a term that was outdated in Pasteur’s time nutrients necessary for sustaining life that which has the power to destroy life what opponents of Pasteur believed to be a source of life

24. In his conclusive experiment, Pasteur kept the flasks

vertical (line 64) in order to

(A) (B) (C) (D) (E)

prevent fresh air from entering them retain the boiling liquid inside the flasks

prevent the fluid from touching trapped bacteria avoid disturbing the solution inside

replicate his previous experiments exactly

STOP

If you finish before time is called, you may check your work on this section only.

Do not turn to any other section in the test.

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. Questions 6-7 are based on the following passage. On the morning of June 13, 1998, a 4.6-billion-year-old extraterrestrial object streaked into Earth’s atmosphere and blew to pieces in the sky somewhere in the neighborhood Lineof Nelda Wallace’s backyard. A dark basketball-size object 5 dropped with a loud ssshhht into Wallace’s garden, and fragments pelted other properties—only the first of many strange things soon to occur in town. For meteorites are more than just stars of science-fiction movies. Scientists covet them, private dealers scoop them up for resale at 10 spiraling prices, and professional searchers travel the

world to hunt them down. Nelda Wallace’s town was about to be invaded by meteorite dealers, meteorite fans, meteorite poachers, and other alien life-forms.

6. The sentence in lines 1-4 (“On the morning . . .

backyard”) is best characterized as

(A) ironic (B) dramatic (C) comical (D) nostalgic (E) celebratory

7. The reference to the “alien life-forms” (line 13)

primarily serves to

(A) hint at the dangers posed by some

unexpected visitors

(B) mock the public’s fascination with

extraterrestrial beings

about a subject

(D) acknowledge a lack of familiarity with

a scientific phenomenon

(E) provide a humorous label for a certain

kind of zealotry

Questions 8-9 are based on the following passage. Apes raised by humans seem to pretend more frequently than do apes in the wild. Animal handlers see behaviors they interpret as pretending practically every day. But Anne LineRusson, a psychologist, says she has found only about 20 5 recorded cases of possible pretending in free-ranging

orangutans, culled from thousands of hours of observation. One possible reason, she noted in an e-mail interview from her field station in Borneo, is that researchers have not been looking for such behavior. But many researchers believe 10 that interaction with humans—and the encouragement to

pretend that comes with it—may play a major role in why domesticated apes playact more.

8. Russon’s hypothesis would be most fully tested by

which possible research project?

(A) Examining data from observations of pretending

behavior in apes other than orangutans

(B) Expanding ongoing observations of orangutans

to include pretending behavior

orangutans raised by humans

(D) Comparing specific pretending behaviors in

free-ranging and domesticated orangutans (E) Reviewing existing data on free-ranging

orangutans to determine the earliest record of pretending behavior

9. Which theoretical statement about pretending behavior

in apes would be supported most fully by the “many researchers” mentioned in line 9 ?

(A) Having the ability to pretend has enabled

apes, such as chimpanzees, to be trained as performers.

(B) All types of apes, both wild and domesticated,

can pretend with human companions. (C) Pretending behavior for wild apes may vary

considerably by region and population.

(D) Handlers of domesticated apes do not always

have the rigorous observational training of scientists.

(E) Wild apes living apart from humans pretend

only rarely.

Questions 10-18 are based on the following passage. This excerpt is from a short story by a Japanese American writer. The narrator reflects on her family’s past as she helps her mother prepare to move from her home. There’s a photograph of my mother standing on the pier in Honolulu in 1932, the year she left Hawaii to attend the University of California. She’s loaded to the ears with leis. LineShe’s wearing a fedora1 pulled smartly to the side. She is 5

not smiling. Of my mother’s two years at the university, my grandmother recalled that she received good grades and never wore a kimono again. My second cousin, with whom my mother stayed when she first arrived, said she was surprisingly sophisticated—she liked hats. My mother 10

said that she was homesick. Her favorite class was biology and she entertained thoughts of becoming a scientist. Her father, however, wanted her to become a teacher, and his wishes prevailed, even though he would not have forced them upon her. She was a dutiful daughter.

During her second year, she lived near campus with a mathematics professor and his wife. In exchange for room and board she cleaned house, ironed, and helped prepare meals. One of the things that survives from this period is a black composition book entitled Recipes of California. As 20

a child, I read it like a book of mysteries for clues to a life both alien and familiar. Some entries she had copied by hand; others she cut out of magazines and pasted on the page, sometimes with a picture or drawing. The margins contained her cryptic comments: “Saturday bridge club,” 25

“From Mary G. Do not give away.”

That book holds part of the answer to why our family rituals didn’t fit the norm either of our relatives or of the larger community in which we grew up. At home, we ate in fear of the glass of spilled milk, the stray elbow on the 30

table, the boarding house reach. At my grandparents’, we slurped our chasuke2. We wore tailored dresses and black shoes with white socks; however, what we longed for were the lacy colorful dresses that other girls wore to church on Sunday. For six years, I marched to Japanese language 35

school after my regular classes; however, we only spoke English at home. We talked too loudly and all at once,

which mortified my mother, but she was always complaining about Japanese indirectness. I know that she smarted under a system in which the older son is the center of the familial 40

universe, but at thirteen I had a fit of jealous rage over her fawning attention to our only male cousin.

My sister has found a photograph of our mother, a round-faced and serious twelve or thirteen, dressed in a kimono and seated, on her knees, on the tatami mat. She is 45

playing the koto, a difficult stringed instrument thought to teach girls discipline. Of course, everything Japanese was a lesson in discipline—flower arranging, embroidery,

everything. One summer my sister and I had to take

ikebana, the art of flower arrangement, at our grandfather’s 50 school. The course was taught by Mrs. Oshima, a soft-spoken, terrifying woman, and my supplies were provided by my grandmother, whose tastes ran to the oversized. I remember little of that class and its principles. What I remember most clearly is having to walk home carrying 55 one of our creations, which, more often than not, towered

above our heads.

How do we choose among what we experience, what we are taught, what we run into by chance, or what is forced upon us? What is the principle of selection? My 60 sisters and I are not bound by any of our mother’s obli-gations, nor do we follow the rituals that seemed so

important. My sister once asked, do you realize that when she’s gone that’s it ? She was talking about how to make sushi3, but it was a more profound question nonetheless.

1 A fedora is a soft felt hat popular in the United States in the 1930’s. 2 Chasuke is a rice and tea mixture.

3 Sushi is cold rice shaped into small cakes and sometimes topped or wrapped with garnishes.

10. The thematic focus of the passage is on the

(A) conflicts between the narrator’s mother and

grandmother

(B) challenge of balancing conflicting values and

practices

culture of the United States

(D) desirability of maintaining traditions

(E) irrelevance of traditional customs to modern

society

11. The grandmother’s comments in lines 5-7 imply that

her daughter’s experiences at the university were characterized by

(A) success and camaraderie

(B) accomplishment and assimilation (C) enlightenment and introspection (D) diligence and homesickness (E) scholarship and competition

12. In line 11, the word “entertained” most nearly means

(A) regaled (B) hosted (C) flaunted (D) harbored (E) welcomed

13. The narrator’s statement in line 14 (“She . . .

daughter”) serves to

(A) defend her mother’s interest in science (B) justify her mother’s decision to leave home (C) explain why her mother became a teacher (D) question the relevance of established customs (E)

rationalize her grandfather’s actions

14. The narrator suggests that as a child she read her

mother’s book of recipes in order to

(A) seek proof of her mother’s devotion to the family (B) understand more fully the contradictions in her

mother’s behavior

mother

(D) search for clues to her mother’s reluctance to

discuss her past

(E) discover the cause of her mother’s unhappiness

15. The description of the reaction of the mother to her

children’s manner of speaking (lines 36-38) highlights how she

(A) feared that her children’s naïveté would invite

trouble

(B) shared her children’s distaste for Japanese

language lessons

influence in her home

(E) wanted her children to be fluent in the Japanese

language

16. The narrator repeats the word “everything” in

lines 46-48 to

(A) explain the intensity of her competition with her

sister

(B) characterize the diverse achievements of Japanese

Americans

perfection

(D) emphasize the extent to which discipline governed

Japanese life

(E) highlight the extraordinary skill required to master

the koto

17. In lines 53-56, the narrator’s description of childhood

walks home from ikebana class conveys a sense of

(A) adventure (B) relief

18. To the narrator, her sister’s question (lines 62-63)

implies that the

(A) mother represented the last true vestige of the

sisters’ Japanese heritage

(B) mother should have made more of an effort to

educate her daughters about their background (C) mother’s education in California extended beyond

the confines of the university

(D) sisters were saddened by their mother’s decision

to move

(E) sisters would not regret the absence of traditional

family rituals

Questions 19-24 are based on the following passage. The following passage is excerpted from a historian’s examination of European attitudes toward childhood. Medieval European art until about the twelfth century did not know childhood or did not attempt to portray it. It is hard to believe that this neglect was due to incompe-Linetence or incapacity; it seems more probable that there was 5

no place for childhood in the medieval world. A miniature painted during the twelfth century provides us with a

striking example of the deformity that an artist at that time would inflict on the representation of children’s bodies. The subject is a Biblical scene in which Jesus is surrounded 10

by little children. Yet the miniaturist has grouped around Jesus what are obviously eight men, without any charac-teristics of childhood; they have simply been depicted on a smaller scale. In a French miniature of the late eleventh century, three children brought to life by a saint are also 15

reduced to a smaller scale than the adults, without any other difference in expression or features. A painter would not hesitate to give the body of a child the musculature of an adult.

In the world of pictorial formulas inherited from

ancient Rome, right up to the end of the thirteenth century, there are no children characterized by a special expression, but only adults on a reduced scale. This refusal to accept child morphology* in art is to be found too in most of the ancient civilizations. A fine Sardinian bronze of the ninth 25

century B.C. shows a mother holding in her arms the bulky body of her son. The museum catalog tells us: “the little masculine figure could also be a child which, in accor-dance with the formula adopted in ancient times by other peoples, had been represented as an adult.” Everything in 30

fact would seem to suggest that the realistic representation of children or the idealization of childhood was confined to ancient Greek art. Representations of Eros, the Greek child god of love, proliferated in that Hellenistic period, but childhood disappeared from art together with the other 35

Hellenistic themes, and the subsequent Romanesque art returned to the rejection of the special features of childhood.

This is no mere coincidence. Our starting point in this study is a world of pictorial representation in which 40

childhood is unknown; literary historians such as Calvé have made the same observation about the medieval epic, in which child prodigies behave with the courage and physical strength of doughty warriors. This undoubtedly meant that the people of the tenth and eleventh centuries 45

did not dwell on the image of childhood and that the image had neither interest nor even reality for them. It suggests too that in the realm of real life, and not simply in that of aesthetic translation, childhood was a period of transition that passed quickly and that was just as quickly 50

forgotten.

* Structure and form

19. The first two paragraphs (lines 1-37) primarily serve to

(A) argue against the depiction of children in artwork (B) suggest that medieval Western art was particularly

conservative

medieval art

(D) trace the evolution of realistic representation in

Western art

(E) postulate a theory about the thematic focuses of

medieval Western art

20. The author’s argument about the depiction of children

in medieval art assumes that the depictions

(A) suggest the connection between medieval art and

religion

(B) prefigure the gradual shift to realism

(E) offer an indication of commonly held attitudes

21. The author’s argument is developed primarily by

(A) quotations from literary sources (B) descriptions of visual evidence

comparisons of modern and medieval images of the body

(E) reflections on the philosophical nature of

childhood

22. The last sentence of the passage (lines 46-50) primarily

serves to

(A) define an important term that is central to the

author’s argument

(B) dismiss objections to the author’s thesis (C) provide an explanation for the phenomenon

discussed in the previous paragraphs

(D) introduce examples from other time periods and

other forms of representational art

(E) summarize the views of other historians of

medieval art

23. In line 48, “translation” most nearly means

(A) substitution (B) explanation (C) representation (D) transportation (E) correction

24. The author offers which explanation for the way that

medieval painters depicted children?

(A) Children were discouraged from becoming artists’

models.

(B) Children were more difficult to paint than adults. (C) Children had never been a subject of art in

Western traditions.

(D) Childhood was not understood as a separate phase

of life.

(E) Childhood was not recognized in medieval

theology.

If you finish before time is called, you may check your work on this section only.

Do not turn to any other section in the test.

STOP

The two passages below are followed by questions based on their content and on the relationship between the two passages. Answer the questions on the basis of what is stated or implied in the passages and in any introductory material that may be provided.

Questions 7-19 are based on the following passages. The following passages are taken from testimony given before congressional committees about how government funding affects the arts. The author of the first passage is a writer and radio entertainer; the author of the second passage is a novelist and critic. Passage 1

All governments have honored artists when they are old and saintly and successful and almost dead, but twenty-five years ago Congress decided to boldly and blindly Linesupport the arts—support the act of creation itself—and 5

to encourage artists who are young and dangerous and unknown and very much alive. This courageous legislation has changed American life.

Forty years ago, if American men or women meant to have artistic careers, they got on the train to New York. 10

Today, you can be a violinist in North Carolina, a writer in Iowa, a painter in Utah. This is a small and lovely revolu-tion that the National Endowment for the Arts (NEA) has helped to bring about. The Endowment has fostered thou-sands of artistic works—many of which will outlive you 15

and me—but even more important, the Endowment has changed how we think about the arts. Today, no American family can be secure against the danger that one of its chil-dren may decide to become an artist.

I grew up in a family that never attended concerts or 20

museums, never bought books. I never imagined that a person could be a writer.

Twice in my life, at crucial times, grants from the Endowment made it possible for me to be a writer. The first, in 1969, arrived when I was young, broke, married 25

with a baby, living on very little cash and a big vegetable garden. I was writing for The New Yorker at the time, but they weren’t aware of it. I wrote every morning and every night. I often had fantasies of finding a patron—a beggar would appear at my door, I’d give him an egg salad sand-30

wich, and suddenly he’d turn into a man in a pinstripe suit, Prince Bob from a philanthropic foundation. But instead, I got a letter offering me a job for one month in the Writers in the Schools program in Minneapolis, funded by the NEA, which sent young writers into the schools to read 35

and teach.

In 1974 a grant from the NEA enabled me and my col-leagues at a public radio station to start a new radio series.

By the time the show became popular, the Endowment had vanished from the credits, its job done. 40 When you’re starting out, it seems like nobody wants

to give you a dime, and then, when you have big success and have everything you could ever want, people can’t do enough for you. The Endowment is there at the beginning, and that’s the beauty of it.

Passage 2

I love my country’s government for its attempt in a pre-carious world to sustain a peaceful order in which work can be done and happiness can be pursued, not for the good of the state, but in a state that exists for our good.

I love my government not least for the extent to which 50

it leaves me alone. My personal ambition has been simply to live by the work of my pen. This is not a very fastidious ambition. If I were aware of large amounts of federal money available to purveyors of the written word, I would attempt to gain access to it and hope to please the administrators of 55

this fund as I hope to please magazine editors and book buyers.

But I would rather have as my patron a host of anony-mous citizens digging into their own pockets for the price of a book or a magazine than a small body of enlightened 60

and responsible people administering public funds. I would rather chance my personal vision of the truth striking home here and there in the chaos of publication that exists than attempt to filter it through a few sets of official, honorable, and public-spirited scrutinizers.

The realms of scientific research are now inextricably involved with government funding. Can we fear that the humanities might become similarly dependent? If I try to think of who in the last century has most brilliantly illumi-nated our sense of humanity, which I take to be the end 70

purpose of the humanities, I think of Freud and Kafka, of Proust and Joyce, of Whitman, of Henry James. I wonder how many of these brave, strange, stubborn spirits would have wanted subsidies from their governments.

How can public-salaried officials not think in terms of 75

respectability, of social optimism, of broad and uncontro-versial appeal? How can legislators, asked to vote tax money away, not begin to think of guidelines that insidiously edge toward censorship?

If government money becomes an increasingly impor- 80

tant presence in the financing of the humanities, is there a danger, I respectfully ask, of humanists becoming politicians?

7. The argument in Passage 1 is supported primarily by

(A) a theory of how art is created (B) the author’s personal experiences (C) examples of renowned artists

(D) evidence of the harmful effects of arts funding (E) emotional appeals to uphold the rights of citizens

8. Which is a likely response by the author of Passage 2

to the description of artists as “dangerous” (line 5) in Passage 1 ?

(A) Practical concerns rarely prevent artists from

speaking out on controversial issues.

(B) Artists should not be permitted to undermine the

values of their society.

depend on government money.

(D) The future of the arts in the United States depends

on whether young artists can continue to shock the public.

(E) Experienced artists know better how to excite the

public than do young artists.

9. In lines 10-11, Passage 1, the author refers to North

Carolina, Iowa, and Utah to

(A) prove that certain environments support creativity

better than others

(B) support the argument by mentioning how few

exceptions there are to it

widely available

(D) suggest that legislators should listen to their

constituents

(E) offer a parallel between arts funding and democracy

10. The statement in lines 16-18, Passage 1 (“Today . . .

artist”) is best described as an example of

(A) an ironic comment (B) an emotional plea (C) a moral pronouncement (D) a definition of a key concept

(E) a generalization supported by research

11. The “man in a pinstripe suit” (line 30, Passage 1) is

(A) a fastidious bureaucrat (B) a character in a novel (C) a famous writer (D) an anonymous critic (E) an imagined benefactor

12. Lines 40-43 (“When . . . for you”) suggest that the

author of Passage 1 would agree with which of the following observations?

(A) Those who never succeed value success most. (B) The love of money is the root of all evil. (C) Nothing succeeds like success. (D) Make a virtue of necessity. (E)

Time is money.

13. The author of Passage 2 would most likely criticize the

author of Passage 1 on the grounds that

(A) humor detracts from the seriousness of the issue

being discussed

(B) public funding is often given to artists who do not

need it

teachers

(D) taxes will be too high if the government supports

the arts

(E) public funding is just as likely to inhibit artists as

it is to encourage them

14. In line 57, Passage 2, “host” most nearly means

(A) large number (B) sustaining organism (C) provider (D) proprietor (E) sponsor

15. The question in lines 66-67 suggests that the author

of Passage 2 believes that federal funding of scientific research

(A) encourages deceit (B) undermines autonomy

(C) encourages an unhealthy competitiveness (D) develops a superficial sense of loyalty (E) spends public money under false pretenses

16. The author of Passage 2 most likely thinks that the

individuals named in lines 70-71 would have

(A) supported the idea of providing artists with

government funding

(B) avoided writing about controversial topics if

doing so brought them more funding

government funding

(D) embraced the romantic image of the starving

artist

(E) refused to submit their creativity to outside

control

17. The final sentence of Passage 2 serves to

(A) emphasize the moral dilemmas that artists face

when selling their work

(B) indicate why artists are so often in need of finan-cial support

the art preferred by bureaucrats

(D) warn of the likelihood of artistic compromise (E) link arts funding in the United States with other

social programs

18. Which of the following is an assumption in Passage 2

that the author of Passage 1 would most likely question?

(A) Public funding of the arts increases the danger of

censorship.

(B) Artistic creation should not involve taking finan-cial risks.

earn it after suffering hardships.

(D) Administrators of arts funding have higher artistic

standards than the general public.

(E) Democracy is conducive to artistic self-expression.

19. Which of the following situations would support the

position taken in Passage 1 and provide examples contrary to the argument in Passage 2 ?

I. A federally sponsored photographer displayed an innovative collection of photographs that offended both the sponsor and a large segment of the public. II. The most original works of a certain brilliant composer were those commissioned by kings. III. A theatrical troupe from Harlem achieved promi-nence by drawing large audiences from its local community.

(A) I only (B) III only (C) I and II only (D) II and III only (E) I, II, and III

If you finish before time is called, you may check your work on this section only.

Do not turn to any other section in the test.

STOP

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