1 There are simply no ---- for buying stock in certain industries since rapidly changing environmental restrictions will make a profitable return on any investment very unlikely.
A incentives B arrangements C explanations D conditions E procedures
2 He was widely regarded as a ---- man because he revealed daily his distrust of human nature and human motives.
A disrespectful B cynical C confused D misinformed E fanatical
3 Suspicious of too powerful a President, Americans nonetheless are ---- when a President does not act decisively.
A unified B indifferent C content D uneasy E adamant
4 For those Puritans who believed that ---- obligations were imposed by divine will, the correct course of action was not withdrawal from the world but conscientious ---- of the duties of business.
A practical.. mystification B inherent.. manipulation C secular.. discharge D earthly.. disavowal E trying.. moderation
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5 Many philosophers agree that the verbal aggression of profanity in certain radical newspapers is not ---- or childish, but an assault on ---- essential to the revolutionaries purpose.
A belligerent.. fallibility B serious.. propriety C insolent.. sociability D deliberate.. affectation E trivial.. decorum
6 Plants store a ---- of water in their leaves, stems, or understock to provide themselves with a form of ---- that will carry them through the inevitable drought they must suffer in the wild.
A supply.. tolerance B hoard.. insurance C reservoir.. accommodation D provision.. restoration E contribution.. support
7 Although ---- in her own responses to the plays she reviewed, the theatre critic was, paradoxically, ---- those who would deny that a reviewer must have a single method of interpretation.
A dogmatic.. impatient with B eclectic.. suspicious of C partisan.. hostile toward D capricious.. intrigued by E indulgent.. indebted by
8 ANESTHETIC: NUMBNESS::
A meditation: happiness B antibiotic: illness C food: hunger D fear: alertness E intoxicant: drunkenness
9 DRUMMER: MUSICIAN:
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A tragedian: actor B prop: stage C comedienne: audience D camera: movie E hero: drama
10 ARCHIVE: MANUSCRIPT::
A jail: custodian B school: principal C courtyard: fountain D arsenal: weapon E treasury: vault
11 RAMPART: INVASION::
A cellar: tornado B tinder: fire C plough: snowdrift D levee: flood E ration: drought
12 RETICENT: TALK:
A bland: savor B probable: guess C cranky: whine D contumacious: rebel E abstemious: gorge
13 MENTOR: GUIDANCE::
A oracle: prophecy B pundit: diplomacy C sage: criticism D prodigy: youth E scholar: wisdom
14 LIGNEOUS:WOOD::
A osseous: bone B igneous: rock C cellular: microbe D fossilized: plant
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E nautical: water
15 IRREVOCABLE: REPEAL::
A uncharted: survey B unwieldy: lift C inscrutable: mention D immutable: anchor E ineluctable: avoid
16 LITERATE: ERUDITE::
A garrulous: loquacious B abstruse: recondite C prosaic: subtle D sober: informed E agitated: frenetic
The making of classifications be literary historians can be a somewhat risky enterprise. When Black poets are discussed separately as a group, (5 for instance, the extent to which their work reflects the development of poetry in general should not be forgotten, or a distortion of literary history may result. This caution (10 is particularly relevant in an assessment of the differences between Black poets at the turn of the century (1900-1909 and those of the generation of the 1920's. These (15 differences include the bolder and more forthright speech of the later generation and its technical
inventiveness. It should be remembered, though, that comparable (20 differences also existed for similar
generations of White poets. When poets of the 1910's and 1920's are considered together, however, the distinctions that literary historians (25 might make between "conservative"
and "experimental' would be of little
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significance in a discussion of Black poets, although these remain helpful classifications for White poets of (30 these decades. Certainly differences can be noted between "conservative" Black poets such as Countee Cullen and Claude McKay and "experimental" one such as Jean loomer and Langston (35 Hughes. But Black poets were not battling over old or new styles; rather, one accomplished Black poet was ready to welcome another, whatever his her style, for what (40 mattered was racial pride.
However, in the 1920's Black poets did debate whether they should deal
with specifically racial subjects. They asked whether they should only (45 write about Black experience for a Black audience or whether such demands were restrictive. It may be said, though, that virtually all these poets wrote their best poems when they spoke (50 out of racial feeling, race being, as James Weldon Johnson rightly put in. "perforce the thing the Negro poet
knows best" At the turn of the century, by (55 contrast, most Black poets generally wrote in the conventional manner of the age and expressed noble, if vague, emotions in their poetry. These poets were not unusually (60 gifted, though Boscoe Jamison and G, M, McClellen may be mentioned as exceptions. They chose not to write in dialect, which, as Sterling Brown bas suggested, "meant a rejection of