Those examples of poetic justice that occur in medieval and Elizabethan literature, and that seem so
satisfying, have encouraged a whole school of twentieth-century scholars to "find" further examples. In
fact, these scholars have merely forced victimized character into a moral framework by which the
injustices inflicted on them are, somehow or other, justified. Such scholars deny that the sufferers in a
tragedy are innocent; they blame the victims themselves for their tragic fates. Any misdoing is enough to
subject a character to critical whips. Thus, there are long essays about the misdemeanors of Webster's
Duchess of Malfi, who defined her brothers, and he behavior of Shakespeare's Desdemona, who
disobeyed her father.
Yet it should be remembered that the Renaissance writer Matteo Bandello strongly protests the injustice
of the severe penalties issued to women for acts of disobedience that men could, and did, commit with
virtual impunity. And Shakespeare, Chaucer, and Webster often enlist their readers on the side of their
tragic heroines by describing injustices so cruel that readers cannot but join in protest. By portraying
Griselda, in the Clerk's Tale, as a meek, gentle victim who does not criticize, much less rebel against the
prosecutor, her husband Waltter, Chaucer incites readers to espouse Griselda's cause against Walter's
oppression. Thus, efforts to supply historical and theological rationalization for Walter's persecutions tend
to turn Chaucer's fable upside down, to deny its most obvious effect on reader's sympathies. Similarly, to
assert that Webster's Duchess deserved torture and death because she chose to marry the man she
loved and to bear their children is, in effect to join forces with her tyrannical brothers, and so to confound
the operation of poetic justice, of which readers should approve, with precisely those examples of social
injustice that Webster does everything in his power to make readers condemn. Indeed. Webster has his
heroin so heroically lead the resistance to tyranny that she may well in spire members of the audience to
imaginatively joins forces with her against the cruelty and hypocritical morality of her brothers.
Thus Chaucer and Webster, in their different ways, attack injustice, argue on behalf of the victims, and
prosecute the persecutors. Their readers serve them as a court of appeal that remains free to rule, as the
evidence requires, and as common humanity requires, in favor of the innocent and injured parties. For, to
paraphrase the noted eighteenth-century scholar, Samuel Johnson, despite all the refinements of subtlety
and the dogmatism of learning, it is by the common sense and compassion of readers who are
uncorrupted by the characters and situations in mereval and Dlizabetahn literature, as in any other
literature, can best be judged.
According to the passge, "Old World" values were based on

• A. property
• B. family connections
• C. ability
• D. guild hierarchies
• E. Education

Those examples of poetic justice that occur in medieval and Elizabethan literature, and that seem so
satisfying, have encouraged a whole school of twentieth-century scholars to "find" further examples. In
fact, these scholars have merely forced victimized character into a moral framework by which the
injustices inflicted on them are, somehow or other, justified. Such scholars deny that the sufferers in a
tragedy are innocent; they blame the victims themselves for their tragic fates. Any misdoing is enough to
subject a character to critical whips. Thus, there are long essays about the misdemeanors of Webster's
Duchess of Malfi, who defined her brothers, and he behavior of Shakespeare's Desdemona, who
disobeyed her father.
Yet it should be remembered that the Renaissance writer Matteo Bandello strongly protests the injustice
of the severe penalties issued to women for acts of disobedience that men could, and did, commit with
virtual impunity. And Shakespeare, Chaucer, and Webster often enlist their readers on the side of their
tragic heroines by describing injustices so cruel that readers cannot but join in protest. By portraying
Griselda, in the Clerk's Tale, as a meek, gentle victim who does not criticize, much less rebel against the
prosecutor, her husband Waltter, Chaucer incites readers to espouse Griselda's cause against Walter's
oppression. Thus, efforts to supply historical and theological rationalization for Walter's persecutions tend
to turn Chaucer's fable upside down, to deny its most obvious effect on reader's sympathies. Similarly, to
assert that Webster's Duchess deserved torture and death because she chose to marry the man she
loved and to bear their children is, in effect to join forces with her tyrannical brothers, and so to confound
the operation of poetic justice, of which readers should approve, with precisely those examples of social
injustice that Webster does everything in his power to make readers condemn. Indeed. Webster has his
heroin so heroically lead the resistance to tyranny that she may well in spire members of the audience to
imaginatively joins forces with her against the cruelty and hypocritical morality of her brothers.
Thus Chaucer and Webster, in their different ways, attack injustice, argue on behalf of the victims, and
prosecute the persecutors. Their readers serve them as a court of appeal that remains free to rule, as the
evidence requires, and as common humanity requires, in favor of the innocent and injured parties. For, to
paraphrase the noted eighteenth-century scholar, Samuel Johnson, despite all the refinements of subtlety
and the dogmatism of learning, it is by the common sense and compassion of readers who are
uncorrupted by the characters and situations in mereval and Dlizabetahn literature, as in any other
literature, can best be judged.
The author's lone in her discussion of the conclusions reached by the "school of twentieth-century
scholars" (line 4) is best described as

• A. plaintive
• B. enthusiastic
• C. apologetic
• D. disparaging
• E. philosophical

The fossil remain of the first flying vertebrates, the pterosaurs, have intrigued paleontologists for more
than two centuries. How such large creatures, which weighed in some cases as much as a piloted
hangglider and had wingspans from 8 to 12 meters, solved the problems of powered flight, and exactly
what these creatures were-reptiles or birds-are among the questions scientist have puzzled over.
Perhaps the least controversial assertion about the pterosaurs is that they were reptiles. Their skulls,
pelvises, and hind feet are reptilian. The anatomy of their wings suggests that they did not evolve into the
class of birds. In pterosaurs a greatly elongated fourth finger of each forelimb supported a wing like
membrane. The other fingers were short and reptilian, with sharp claws, in birds the second finger is the
principle strut of the wing, which consists primarily of features. If the pterosaur walked or remained
stationary, the fourth finger, and with it the wing, could only turn upward in an extended inverted V-shape
along side of the animal's body.
The pterosaurs resembled both birds and bats in their overall structure and proportions. This is not
surprising because the design of any flying vertebrate is subject to aerodynamic constraints. Both the
pterosaurs and the birds have hollow bones, a feature that represents a saving in weight. In the birds,
however, these bones are reinforced more massively by internal struts.
Although scales typically cover reptiles, the pterosaurs probably had hairy coats. T.H. Huxley reasoned
that flying vertebrates must have been warm blooded because flying implies a high internal temperature.
Huxley speculated that a coat of hair would insulate against loss of body heat and might streamline the
body to reduce drag in flight. The recent discovery of a pterosaur specimen covered in long, dense, and
relatively thick hairlike fossil material was the first clear evidenced that his reasoning was correct.
Efforts to explain how the pterosaurs became air-borne have led to suggestions that they launched
themselves by jumping from cliffs, by dropping from trees, or even by rising into light winds from the crests
of waves. Each hypothesis has its difficulties. The first wrongly assumes that the pterosaur's hind feet
resembled a bat's and could served as hooks by which the animal could bang in preparation for flight. The
second hypothesis seems unlikely because large pterosaurs could not have landed in trees without
damaging their wings. The birds call for high waves to channels updrafts. The wind that made such waves
however, might have been too strong for the pterosaurs to control their flight once airborne.
The authors mentions that English literature "was" not part of any academic curriculum "in the early
nineteenth century in order to

• A. give support to those religious and political groups that had attacked fiction
• B. Suggest the superiority of an informal and unsystemaized approach to the study of literature
• C. give one reason why Jane Austen's novels received little critical attention in the early nineteenth
  century.
• D. emphasize the need for Jane Austen to increate ordinary, everyday character in her novels.
• E. contrast nineteenth-century attitudes towards English literature with those towards classical literature

Six people working in a company P, Q, R, S, T and U apply for getting posted out from their present
stations. The company cannot post out all six people immediately. The remaining employees go on a
waiting list and will be posted in the order in which they appear on that list.
Postings are subject to the following constraints:
No more than three employees can be posted immediately.
U can be posted neither before P is posted nor before Q is posted.
If S is assigned to the waiting list, T must also be assigned to the waiting list.
R must be on the waiting list.
Which of the following could be a complete and accurate list of the people who are not posted in the order
in which they initially appear on the waiting list?

• A. U,S,T
• B. P,T,U,R
• C. R,T
• D. U,R,P
• E. R,P,U,S

In a school 5 colours are allotted lo each house. If the flag of Tagore House has to be a sequence of three
blocks of different colours, then how many flags can they choose from?

• A. 9
• B. 15
• C. 27
• D. 60
• E. 20