GRE Verbal Reasoning - GRE Verbal

He had a reputation of being                                as a young man, but he became a serene presence in his twilight years.

The general only adopted unusual methods when it became clear                            strategies would not work.

Campfire cooking provided a                              experience none of the hikers would soon forget.

Choose the word or word set which best completes the following sentence.

Members of the guild were required to use their                     ; doing otherwise was considered                   .

Thanks to his                                spending habits, he had saved quite a bit of money over the years.

More than anything else, the ability to make more money through bonuses as a salesman was                                    in his decision to decline a promotion.

The legend states he was so                              he once got stuck in a bathtub.

A Short History of the Electric Guitar, by Will Floyd

Any modern musical performance is almost impossible to countenance without the presence of an electric guitar. Most of the time it is a solid-body electric guitar, and while they seem ubiquitous and obvious now, that was not always the case. First invented in the early 1930s, the first electric guitar simply amplified existing guitars. No one thought of it as a new instrument, but merely a way to put a microphone inside of the guitar. Through the use of electronic pickups that went straight to an amplifier, the sound of the guitar could be broadcast over loud jazz bands with drums and horns. At the time, most everyone believed an electric guitar still had to look like an acoustic guitar, and all models featured a hollow body acoustic shape that would resonate with the sound of the guitar strings. In all actuality, the only necessity for an electric guitar is an electric pickup to capture their small vibrations. An electric guitar does not, and never did, need a space to resonate the sound of the strings. Instead, it could be a simple block, with the fret-board, strings, and a pick up attached to a piece of lumber. This method is exactly what the famous guitar player and maker Les Paul did with his “Log,” but Les Paul's “Log” revealed some of the biases against a solid-body guitar. While the guitar was just one solid piece of wood, Paul would attach two wings to it that made the guitar look like a hollow body.

Despite Les Paul’s innovations, few manufacturers made a marketable solid-body guitar. Rickenbacker and Bigsby were both companies that made limited productions of solid-body electric guitars. Leo Fender was the first luthier to make a popular, mass-market electric solid-body guitar. Leo Fender started his career by working on radios and other small electronic devices, but developed an interest in building guitars. Immediately after World War II, big bands were considered antiquated, and small honky-tonk and boogie-woogie combos wanted cheaper, sturdier, and better intonated guitars, that they could play faster and louder. Leo Fender obliged with his Esquire guitar. Looking completely unlike any guitar made before, and being extremely thin, with no resonating panels, Fender’s guitar was revolutionary. While Fender continued to tweak it through the years, one thing remains the same: the general shape of the guitar. Renamed first the Broadcaster, then the more famous Telecaster, the silhouette of Fender’s Esquire is still a popular choice among musicians today.

The main idea of the passage is that                     .

The motivational speech was an underwhelming recitation of                                  cliches and lame jokes.

A Short History of the Electric Guitar, by Will Floyd

Any modern musical performance is almost impossible to countenance without the presence of an electric guitar. Most of the time it is a solid-body electric guitar, and while they seem ubiquitous and obvious now, that was not always the case. First invented in the early 1930s, the first electric guitar simply amplified existing guitars. No one thought of it as a new instrument, but merely a way to put a microphone inside of the guitar. Through the use of electronic pickups that went straight to an amplifier, the sound of the guitar could be broadcast over loud jazz bands with drums and horns. At the time, most everyone believed an electric guitar still had to look like an acoustic guitar, and all models featured a hollow body acoustic shape that would resonate with the sound of the guitar strings. In all actuality, the only necessity for an electric guitar is an electric pickup to capture their small vibrations. An electric guitar does not, and never did, need a space to resonate the sound of the strings. Instead, it could be a simple block, with the fret-board, strings, and a pick up attached to a piece of lumber. This method is exactly what the famous guitar player and maker Les Paul did with his “Log,” but Les Paul's “Log” revealed some of the biases against a solid-body guitar. While the guitar was just one solid piece of wood, Paul would attach two wings to it that made the guitar look like a hollow body.

Despite Les Paul’s innovations, few manufacturers made a marketable solid-body guitar. Rickenbacker and Bigsby were both companies that made limited productions of solid-body electric guitars. Leo Fender was the first luthier to make a popular, mass-market electric solid-body guitar. Leo Fender started his career by working on radios and other small electronic devices, but developed an interest in building guitars. Immediately after World War II, big bands were considered antiquated, and small honky-tonk and boogie-woogie combos wanted cheaper, sturdier, and better intonated guitars, that they could play faster and louder. Leo Fender obliged with his Esquire guitar. Looking completely unlike any guitar made before, and being extremely thin, with no resonating panels, Fender’s guitar was revolutionary. While Fender continued to tweak it through the years, one thing remains the same: the general shape of the guitar. Renamed first the Broadcaster, then the more famous Telecaster, the silhouette of Fender’s Esquire is still a popular choice among musicians today.

The author's argument is best summarized as                     .

Her                                manner was surprising, as her parents hardly ever spoke.

His                              approach to the sport soon was copied by competitors and quickly became the standard method.

The investor remained                          throughout the meeting, revealing none of his thinking.

Both sides agreed the controversy needed a(n)                                    party to help resolve the conflict.

She was                                  enough to claim that she was not at a party, but she was caught on a surveillance camera.

The film's                                        humor was looked down on by intellectual critics.

The                                    city councilman was an easy target for underworld bribery.

The book was highly derivative, with a                                        plotline.

Standing in the presence of his idol, he quickly became                            and unable to speak.

Passage adapted from "The Mission of Humour" (1912) by Agnes Repplier

American humour is the pride of American hearts. It is held to be our splendid national characteristic, which we flaunt in the faces of other nations, conceiving them to have been less favoured by Providence. Just as the most effective way to disparage an author or an acquaintance—and we have often occasion to disparage both—is to say that he lacks a sense of humour, so the most effective criticism we can pass upon a nation is to deny it this valuable quality. American critics have written the most charming things about the keenness of American speech, the breadth and insight of American drollery, the electric current in American veins; and we, reading these pleasant felicitations, are wont to thank God with greater fervour than the occasion demands that we are more merry and wise than our neighbours. Mr. Brander Matthews, for example, has told us that there are newspaper writers in New York who have cultivated a wit, "not unlike Voltaire's." He mistrusts this wit because he finds it "corroding and disintegrating"; but he makes the comparison with that casual assurance which is a feature of American criticism.

Indeed, our delight in our own humour has tempted us to overrate both its literary value and its corrective qualities. We are never so apt to lose our sense of proportion as when we consider those beloved writers whom we hold to be humourists because they have made us laugh. It may be conceded that, as a people, we have an abiding and somewhat disquieting sense of fun. We are nimble of speech, we are more prone to levity than to seriousness, we are able to recognize a vital truth when it is presented to us under the familiar aspect of a jest, and we habitually allow ourselves certain forms of exaggeration, accepting, perhaps unconsciously, Hazlitt's verdict: "Lying is a species of wit, and shows spirit and invention." It is true also that no adequate provision is made in this country for the defective but valuable class without humour, which in England is exceedingly well cared for. American letters, American journalism, and American speech are so coloured by pleasantries, so accentuated by ridicule, that the silent and stodgy men, who are apt to represent a nation's real strength, hardly know where to turn for a little saving dulness. A deep vein of irony runs through every grade of society, making it possible for us to laugh at our own bitter discomfiture, and to scoff with startling distinctness at the evils which we passively permit. Just as the French monarchy under Louis the Fourteenth was wittily defined as despotism tempered by epigram, so the United States have been described as a free republic fettered by jokes, and the taunt conveys a half-truth which it is worth our while to consider.

Now there are many who affirm that the humourist's point of view is, on the whole, the fairest from which the world can be judged. It is equally remote from the misleading side-lights of the pessimist and from the wilful blindness of the optimist. It sees things with uncompromising clearness, but it judges of them with tolerance and good temper. Moreover, a sense of the ridiculous is a sound preservative of social virtues. It places a proper emphasis on the judgments of our associates, it saves us from pitfalls of vanity and self-assurance, it lays the basis of that propriety and decorum of conduct upon which is founded the charm of intercourse among equals. And what it does for us individually, it does for us collectively. Our national apprehension of a jest fosters whatever grace of modesty we have to show. We dare not inflate ourselves as superbly as we should like to do, because our genial countrymen stand ever ready to prick us into sudden collapse. "It is the laugh we enjoy at our own expense which betrays us to the rest of the world."

Given the passage, what is the closest meaning of the word "felicitation" that may inferred?