ECAT Pre General Science MCQ Test With Answer for English Chapter 8 (Comprehension)

But I do recommend some game as a part of recreation. As long as I could see to play and sufficient tennis, I enjoyed immensely the game of real or court skill, a very ancient game, requiring activates as well as some pride, because for the first time, at any rate in the recent history of the game, an amateur is champion of the sometimes criticized for paying too much attention to games. Football is a national game of America as well as in England but I do not suppose that either you or we think that our soldiers fought any worse in the war of having been fond of football. I put games definitely as a desirable part of recreation, and I would say: have one or more games of which you are fond, but let them have any rate in youth be activity of the whole body, as well as skill,

Sport shall be mentioned next. I have had a liking for more than one form of sport, but an actual passion for salmon and trout fishing. Salmon fishing, as I have enjoyed it, fishing not from a boat but from one’s feet, either on the bank or wading deep in the stream, is a glorious and sustained exercise for the whole body, as well as being an exciting-sport; but many of my friends do not care for it. To them, I say, as one who was fond of George Meredith’s Novels once said to be man who complained that he should not read them, ‘why should you?’ if you do not care for fishing, do not fish. Why should you? But if we are to be one equal term and you are be one the same happy level as I hav3e been, then find something for yourself which you like as much as I like fishing.

Court tennis requires:

First introduced in 1927, The Hardy Boys Mystery Stories are a series of books about the adventures of brothers Frank and Joe Hardy, teenaged detectives who solve one baffling mystery after another. The Hardy Boys were so popular among young boys that in 1930 a similar series was created for girls featuring a sixteen-year-old detective named Nancy Drew. The cover of each volume of The Hardy Boys states that he author of the series is Franklin W. Dixon; the Nancy Drew Mystery Stories are supposedly written by Carolyn Keene. Over the years, though, many fans of both series have been surprised to find out that Franklin W. Dixon and Carolyn Keene are not real people. If Franklin W. Dixon and Carolyn Keene never existed, then who wrote The Hardy Boys and Nancy Drew mysteries?

The Hardy Boys and the Nancy Drew books were written through a process called ghostwriting. A ghostwriter writes a book according to a specific formula. While ghostwriters are paid for writing the books, their authorship is not acknowledged, and their names do not appear on the published books. Ghostwriters can write books for children or adults, the content of which is unspecific. Sometimes they work on book series with a lot of individual titles, such as The Hardy Boys and the Nancy Drew series.

The initial idea for both The Hardy Boys and the Nancy Drew series was developed by a man named Edward Stratemeyer, who owned a publishing company that specialized in children’s book.

Stratemeyer noticed the increasing popularity of mysteries among adult, and surmised that children would enjoy reading mysteries about younger detectives with whom they could identify. Stratemeyer first developed each book with an outline describing the plot and setting. Once he completed the outline, Stratemeyer then hired a ghostwriter to convert it into a book of slightly over 200 pages. After the ghostwriter had written a draft of a book, he or she would send it back to Stratemeyer, who would make a list of corrections and mail it back to the ghostwriter. The ghostwriter would revise the book according to Stratemeyer’s instructions and then return it to him. Once Stratemeyer approved the book, it was ready for publication.

Because each series ran for so many years, Nancy Drew and The Hardy Boys both had a number of different ghostwriters producing books; however, the first ghostwrites for each series proved to be the most influential. The initial ghostwriter for The Hardy Boys was a Canadian journalist named Leslie McFarlane. A few years later, Mildred A. Wirt, a young writer from lowa, began writing the Nancy Drew books. Although they were using prepared outlines as guides, both McFarlane and Wirt developed the characters themselves. The personalities of Frank and Joe Hardy and Nancy arose directly from McFarlane’s and wirt’s imaginations. For example, Mildred Wirt had been a star college athelete and gave Nancy similar athletic abilities. The ghostwriters were also responsible for numerous plot and setting details. Leslie McFarlane used elements of his small C fictional hometown.

Although The Hardy Boys and Nancy Drew books were very popular with children, not everyone approved of them. Critics thought their plots were unrealistic and even far-fetched, since most teenagers did not experience the adventures Frank and Joe Hardy or Nancy Drew did. The way the books were written also attracted criticism. Many teachers and librarians objected to the ghostwriting process, claiming it was designed to produce books quickly rather than create quality literature. Some libraries – including the New York Public Library – even refused to include the books in their children’s collections. Ironically, this decision actually helped sales of his books, because children simply purchased them when they were unavailable in local libraries.

Regardless of the debates about their literary merit, each series of books has exerted an undeniable influence on American and even global culture. Most Americans have never heard of Edward Stratemeyer, Leslie McFarlane, or Mildred wirt, but people throughout the world are familiar with Nancy Drew and Frank and Joe Hardy.

According to the passage, some teachers and librarians objected to ghostwritten books such as They Hardy Boys and Nancy Drew Mystery Stories because they

When her grandmother’s health began to deteriorate in the fall of 1994, Mary would make the drive from Washington, DC to Winchester every few days.

She hated highway driving, finding it ugly and monotonous. She preferred to take meandering back roads to her grandmother’s hospital. When she drove through the rocky town of Harpers Ferry, the beauty of the rough waters churning at the intersection of the Shenandoah and Potomac rivers always captivated her.

Toward the end of her journey, Mary had to get on highway 81. It was here that she discovered a surprising bit of beauty during one of her trips. Along the median of the highway, there was a long stretch of wildflowers. They were thin and delicate and purple, and swayed in the wind as if whispering poems to each other.

The first time she saw the flowers, Mary was seized by an uncontrollable urge to pull over on the highway and yank a bunch from the soil. She carried them into her grandmother’s room when she arrived at the hospital and placed them in a water pitcher by her bed. For a moment her grandmother seemed more lucid than usual. She thanked Mary for the flowers, commented on their beauty and asked where she had gotten them. Mary was overjoyed by the ability of the flowers to wake something up inside her ailing grandmother.

Afterwards, Mary began carrying scissors in the car during her trips to visit her grandmother. She would quickly glide onto the shoulder, jump out of the car, and clip a bunch of flowers. Each time Mary placed the flowers in the pitcher, her grandmother’s eyes would light up and they would have a splendid conversation.

One morning in late October, Mary got a call that her grandmother had taken a turn for the worse. Mary was in such a hurry to get to her grandmother that she sped past her flower spot. She decided to turn around head several miles back, and cut a bunch. Mary arrived at the hospital to find her grandmother very weak and unresponsive. She placed flowers in the pitcher and sat down. She felt a squeeze on her fingers. It was the last conversation they had.

As used in the beginning of the story, which is the best definition for ‘captivated’?

This is the age of machine. Machines are everywhere, in the fields, in the factory, in the home, In the street, in the city, in the country, everywhere. To fly, it is not necessary to have wings; there are machines. To swim under the sea, it is not necessary to have gills; there are machines. To kill our fellowmen in over-whelming numbers, there are machines. Petrol machines alone provide ten times more power than all human beings in the world. In the busiest countries, each individual has six hundred human slaves in his machines.

What are the consequences of this abnormal power? Before the war, it looked as though it might be possible, for the first time in history to provide food and clothing and shelter for the teaming population of the world-every man, woman and child. This would have been the greatest triumphs of science. And yet, if you remember, we saw the world crammed, full of food and people hungry. Today, the leaders are bare and millions, starving. That’s more begin to hum, are we going to see again more and more food, and people still hungry? For the goods, it makes the goods, but avoids the consequences.

What would be one of the greatest triumphs of science?

Fleas are perfectly designed by nature to feast on anything containing blood. Like a shark in the water or a wolf in the woods, fleas are ideally equipped to do what they do, making them very difficult to defeat. The bodies of these tiny parasites are extremely hardy and well-suited for their job.

A flea has a very hard exoskeleton, which means the body is covered by a tough, tile-like plate called a sclerite. Because of these plates, fleas are almost impossible to squish. The exoskeletons of fleas are also waterproof of fleas are also waterproof and shock resistant, and therefore fleas are highly resistant to the sprays and chemicals used to kill them.

Little spines are attached to his plate. The spine the flea scurries through an animal’s fur in – search of grooming pet tries to pull a flea off through the hair coat, these spines will extend and stick to the fur like Velcro.

Fleas are some of the best jumpers in the natural world. A flea can jump seven inches, or 150 times its own length, either vertically or horizontally. An equivalent jump for a person would be 555 feet, the height of the Washington Monument. Fleas can jump 30,000 times in a row without stopping, and they are able to accelerate through the air at an incredibly high rate – a rate which is over ten times what humans can withstand in an airplane.

Fleas have very long rear legs with huge thigh muscles and multiple joints. When they get ready to jump. They fold their long legs up and crouch like a runner on a staring block. Several of their joints contain a protein called resilin, which helps catapult fleas into the air as they jump, similar to the way a rubber band provides momentum to a slingshot. Outward facing claws on the bottom of their legs grip anything they touch when they land.

The adult female flea mates after her first blood meal and begins producing eggs in just 1 to 2 days. One flea can lay up to 50 eggs in one day and over 2,000 in her lifetime. Flea eggs can be seen with the naked eye, but they are about the size of a grain of salt. Shortly after being laid, the eggs begin to transform into cocoons. In the cocoon state, fleas are fully developed adults, and will hatch immediately if conditions are favorable. Fleas can detect warmth, movement, and carbon dioxide in exhaled breath, and these three factors stimulate them to emerge as new adults. If the flea does not detect appropriate conditions, it can remain dormant in the cocoon state for extended periods. Under ideal conditions, the entire life cycle may only take 3 weeks, so in no time at all, pets and homes can become infested.

Because of these characteristics, fleas are intimidating opponents. The best way to control fleas, therefore, is to take steps to prevent an infestation from ever occurring.

According to the passage, fleas are able to jump

I with a high rate of acceleration

II up and down and from side to side

III because the blood they eat contains resilin

Paul’s wife knows Paul loves to read cookbooks. She decides to get him one for his birthday. Paul tells her he will try to make a new recipe for three days in a row. On Monday, Paul makes blueberry pancakes for breakfast. He gets the blueberries from the farmers’ market. On Tuesday, Paul makes beef soup for dinner. He puts in cubes of beef, carrots, and onions. The recipe calls for cream, but Paul does not cream. He uses water instead. On Wednesday, Paul makes a tomato salad with cucumbers and onions. He picks the cucumbers and tomatoes from his garden. He likes this dish best. It was also the easiest for him to make.

What does Paul use instead of cream?

At the time Jane Austen’s novels were published – between 1811 and 1818 – English literature was not part of any academic curriculum. In addition, fiction was under strenuous attack. Certain religious and political groups felt novels had the power to make so-called immoral characters so interesting that young readers would identify with them; these groups also considered novels to be of little practical use. Even Coleridge, certainly no literary reactionary, spoke for many when the asserted that “novel-reading occasions the destruction of the mind’s powers.”

These attitudes towards novels help explain why Austen received little attention from early nineteenth-century literary cities. (In any case a novelist published anonymously, as Austen was, would not be likely to receive much critical attention.) The literary response that was accorded to her, however, was often as incisive as twentieth-century criticism. In his attack in 1816 on novelistic portrayals “outside of ordinary experience,” for example. Scott made an insightful remark about the merits of Austen’s fiction.

Her novels, wrote Scott, “present to the reader an accurate and exact picture of ordinary everyday people and places, reminiscent of seventeenth-century Flemish painting.” Scott did not use the word ‘realism’, but he undoubtedly used a standard of realistic probability in judging novels. The critic Whately did not use the word ‘realism’, either, but he expressed agreement with Scott’s evaluation, and went on to suggest the possibilities for moral instruction in what we have called Austen’s ‘realistic method’ her characters, wrote Whately, are persuasive agents for moral truth since they are ordinary persons “so clearly evoked that we feel an interest in their fate as if it were our own.” Moral instruction, explained Whately, is more likely to be effective when conveyed through recongnizably human and interesting characters than when imparted by a sermonizing narrator. Whitely especially praised Austen’s ability to create character who “mingle goodness and villainy, weakness and virtue, as in life they are always mingled. “Whitely concluded his remarks by comparing Austen’s art of characterization to Dickens’, starting his preference for Austen’s.

Yet, the response of nineteenth-century literary critics to Austen was not always so laudatory, and often anticipated the reservations of twentieth-century literary critics. An example of such a response was Lewes complaint in 1859 that Austen’s range of subject and characters was too narrow. Praising her verisimilitude, Lewes added that, nonetheless her focus was too often only upon the unlofty and the commonplace. (Twentieth-century Marxists, on the other hand, were to complain about what they saw as her exclusive emphasis on a lofty upper middle class.) In any case having being rescued by literary critics from neglect and indeed gradually lionized by them, Austen steadily reached, by the mid-nineteenth century, the enviable pinnacle of being considered controversial.

The passage suggest that twentieth-century Marxists would have admired Jane Austen’s novels more if the novels, as the Marxists understood them, had

What are good parts of our civilization? First and fore-most there are order and safety. If today I have a quarrel with another man, I do not get beaten merely because I am physically weaker and he can knock me down. I go to law and the law will decide as fairly as it can between the two of us. Thus in disputes between man and man. Right has taken the place might. More-over, the law protects me from robbery and violence. Nobody may came and break into my house, steal my books or run off with my children. Of course, there are burglars, but they are very rare and the law punishes them whenever it catches them.

It is difficult for us to realize how much this safety means. Without safety those higher activates of mankind which make up civilization could not go on. The inventor could not invent, the scientist find out or the artist make beautiful things. Hence, order and safety, although they are not themselves civilization, are things without which civilization could be impossible. They are as necessary to our civilization as the air we breathe is to us; and we have grown so used to them that we do not notice them any more than we notice the air.

According to the passage, the burglars are:

I am writing in response to response to the article “Protecting our public spaces” in issue 14, published this spring in it, the author claims that “all graffiti is public spaces.” I would like to point out that many people believe that graffiti is an art from that can benefit our public spaces just as much as sculpture, fountains, or other, more accepted art forms.

People who object to graffiti usually do so more because of where it is, not what it is. They argue, as your author does, that posting graffiti in public places constitutes an illegal act of property damage. But the location of such graffiti should not prevent the images themselves from being considered genuine art.

I would argue that graffiti is the ultimate public art form. Spray paint is a medium unlike any other. Though graffiti, the entire world has become a canvas. No one has to pay admission or travel to a museum to see this kind of art. The artists usually do not receive payment for their efforts. These works of art dotting the urban landscape are available, free of charge, to everyone who passes by.

To be clear, I do not consider random words or names sprayed on stop signs to be art. Plenty of graffiti is just vandalism, pure and simple. However, there is also graffiti that is breathtaking in its intricate detail, its realism, or its creativity. It takes great talent to create such involved designs with spray paint.

Are these creators not artists just because they use a can of spray paint instead of a paintbrush, or because they cover the side of a building rather than a canvas?

To declare that all graffiti is vandalism, and nothing more, is an overly simplistic statement that I find out of place in such a thoughtful publication as your magazine. Furthermore, graffiti is not going anywhere, so might as well find a way to live with it and enjoy its benefits. One option could be to make a percentage of public space, such as walls or benches in parks, open to graffiti artists. By doing this, the public might feel like part owners of these works of art, rather than just the victims of a crime.

Based on its use in paragraph 4, which of the following accurately describes something that is intricate?