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Admission Test GRE-Verbal Exam Syllabus Topics:

Admission Test Section One : Verbal Sample Questions:

1. SOOT : GRIMY

A) frost:transparent
B) dust:radiant
C) rain:sodden
D) sunshine:fruitless
E) pall:gaudy

2. Late Victorian and modern ideas of culture are indebted to Matthew Arnold, who, largely through his
Culture and Anarchy (1869), placed the word at the center of debates about the goals of intellectual life
and humanistic society. Arnold defined culture as "the pursuit of perfection by getting to know the best
which has been thought and said." Through this knowledge, Arnold hoped, we can turn "a fresh and free
thought upon our stock notions and habits." Although Arnold helped to define the purposes of the liberal
arts curriculum in the century following the publication of Culture, three concrete forms of dissent from his
views have had considerable impact of their own. The first protests Arnold's fearful designation of
"anarchy" as culture's enemy, viewing this dichotomy simply as another version of the struggle between a
privileged power structure and radical challenges to its authority. But while Arnold certainly tried to define
the arch-the legitimizing order of value-against the anarch of existentialist democracy, he himself was
plagued in his soul by the blind arrogances of the reactionary powers in his world. The writer who
regarded the contemporary condition with such apprehension in Culture is the poet who wrote "Dover
Beach," not an ideologue rounding up all the usual modern suspects. Another form of opposition saw
Arnold's culture as a perverse perpetuation of classical and literary learning, outlook, and privileges in a
world where science had become the new arch and from which any substantively new order of thinking
must develop. At the center of the "two cultures" debate were the goals of the formal educational
curriculum, the principal vehicle through which Arnoldian culture operates. However, Arnold himself had
viewed culture as enacting its life in a much more broadly conceived set of institutions. A third form is
so-called "multiculturalism," a movement aimed largely at gaining recognition for voices and visions that
Arnoldian culture has implicitly suppressed. In educational practice, multiculturalists are interested in
deflating the imperious authority that "high culture" exercises over curriculum while bringing into play the
principle that we must learn what is representative, for we have overemphasized what is exceptional.
Though the multiculturalists' conflict with Arnoldian culture has clear affinities with the radical critique,
multiculturalism actually affirms Arnold by returning us more specifically to a tension inherent in the idea
of culture rather than to the cultureanarchy dichotomy. The social critics, defenders of science, and
multiculturalists insist that Arnold's culture is simply a device for ordering us about. Instead, however, it is
designed to register the gathering of ideological clouds on the horizon. There is no utopian motive in
Arnold's celebration of perfection. Perfection mattered to Arnold as the only background against which we
could form a just image of our actual circumstances, just as we can conceive finer sunsets and unheard
melodies.
Based on the information in the passage, Arnold would probably agree that the educational curriculum
should

A) be more rigorous than during the past
B) reflect the dominant culture of the day
C) focus on the sciences more than the humanities
D) strike a balance between practicality and theory
E) deemphasize what is representative

3. "Old woman," grumbled the burly white man who had just heard Sojourner Truth speak, "do you think your
talk about slavery does any good? I don't care any more for your talk than I do for the bite of a flea." The
tall, imposing black woman turned her piercing eyes on him. "Perhaps not," she answered, "but I'll keep
you scratching." The little incident of the 1840s sums up all that Sojourner Truth was: utterly dedicated to
spreading her message, afraid of no one, forceful and witty in speech. Yet forty years earlier, who could
have suspected that a spindly slave girl growing up in a damp cellar in upstate New York would become
one of the most remarkable women in American history? Her name then was Isabella (many slaves had
no last names), and by the time she was fourteen she had seen both parents die of cold and hunger. She
herself had been sold several times. By 1827, when New York freed its slaves, she had married and
borne five children. The first hint of Isabella's fighting spirit came soon afterwards, when her youngest son
was illegally seized and sold. She marched to the courthouse and badgered officials until her son was
returned to her. In 1843, inspired by religion, she changed her name to Sojourner (meaning "one who
stays briefly") Truth, and, with only pennies in her purse, set out to preach against slavery. From New
England to Minnesota she trekked, gaining a reputation for her plain but powerful and moving words.
Incredibly, despite being black and female (only white males were expected to be public speakers), she
drew thousands to town halls, tents, and churches to hear her powerful, deep-voiced pleas on equality for
blacks-and for women. Often she had to face threatening hoodlums. Once she stood before armed bullies
and sang a hymn to them. Awed by her courage and her commanding presence, they sheepishly
retreated. During the Civil War she cared for homeless ex-slaves in Washington. President Lincoln invited
her to the White House to bestow praise on her. Later, she petitioned Congress to help former slaves get
land in the West. Even in her old age, she forced the city of Washington to integrate its trolley cars so that
black and white could ride together. Shortly before her death at eighty-six, she was asked what kept her
going. "I think of the great things," replied Sojourner.
When New York freed its slaves, Isabella had-

A) three children
B) an education
C) no children
D) five children
E) problems

4. Mark Twain and Garrison Keillor were both born and bred in Midwestern America; yet the themes, writing
styles, and attitudes of these two humorists are _______.

A) essentially timeless
B) distinctly different
C) quite remarkable
D) nearly identical
E) widely admired

5. WATERMARK : PAPER ::

A) envelope : stamp
B) character : novel
C) landmark : monument
D) badge : employee
E) signature : author

Solutions: