In Hardy‘s novels, various impulses were sacrificed to
each other inevitably and often. Inevitably, because Hardy
did not care in the way that novelists such as
Line Flaubert or James cared, and therefore took paths of least
5 resistance. Thus, one impulse often surrendered to a
fresher one and, unfortunately, instead of exacting a
compromise, simply disappeared. A desire to throw over
reality a light that never was might give way abruptly to
the desire on the part of what we might consider a
10 novelist-scientist to record exactly and concretely the
structure and texture of a flower. In this instance, the new
impulse was at least an energetic one, and thus its
indulgence did not result in a relaxed style. But on other
occasions Hardy abandoned a perilous, risky, and highly
15 energizing impulse in favor of what was for him the
fatally relaxing impulse to classify and schematize
abstractly. When a relaxing impulse was indulged, the
style—that sure index of an author‘s literary worth—was
certain to become verbose. (167 words)
5. Which of the following statements best describes
the organization of the passage (―Thus…abstractly‖)?
(A) The author makes a disapproving
observation and then presents two cases,
one of which leads to a qualification of
his disapproval and the other of which
does not.
(B) The author draws a conclusion from a
previous statement, explains his
conclusion in detail, and then gives a
series of examples that have the effect of
resolving an inconsistency.
(C) The author concedes a point and then
makes a counterargument, using an
extended comparison and contrast that
qualifies his original concession.
(D) The author makes a judgment, points out
an exception to his judgment, and then
contradicts his original assertion.
(E) The author summarizes and explains an
argument and then advances a brief
history of opposing arguments.