The passage below is taken from a work written in the 20th century.
|of energy, time, and money demanded of them by the beauty cult? These are|
5questions which it is difficult to answer. For the facts seem to contradict themselves.
The campaign for more physical beauty seems to be both a tremendous success and
a lamentable failure. It depends how you look at the results.
It is a success insofar as more women retain their youthful appearance to a greater
age than in the past. "Old ladies" are already becoming rare. In a few years, we may
10well believe, they will be extinct. White hair and wrinkles, a bent back and hollow
cheeks will come to be regarded as medievally old-fashioned. The crone of the future
will be golden, curly, and cherry-lipped, neat-ankled and slender. The Portrait of the
Artist's Mother will come to be almost indistinguishable, at future picture shows,
from the Portrait of the Artist's Daughter. This desirable consummation will be due
15in part to skin foods and injections of paraffin wax, facial surgery, mud baths, and
paint, in part to improved health, due in its turn to a more rational mode of life.
Ugliness is one of the symptoms of disease; beauty, of health. Insofar as the campaign
for more beauty is also a campaign for more health, it is admirable and, up
to a point, genuinely successful. Beauty that is merely the artificial shadow of these
20symptoms of health is intrinsically of poorer quality than the genuine article. Still,
it is a sufficiently good imitation to be sometimes mistakable for the real thing. The
apparatus for mimicking the symptoms of health is now within the reach of every
moderately prosperous person; the knowledge of the way in which real health can
be achieved is growing, and will in time, no doubt, be universally acted upon. When
25that happy moment comes, will every woman be beautiful-as beautiful, at any rate,
as the natural shape of her features, with or without surgical and chemical aid, permits?
The answer is emphatically: No. For real beauty is as much an affair of the inner
as of the outer self. The beauty of a porcelain jar is a matter of shape, of color, of
surface texture. The jar may be empty or tenanted by spiders, full of honey or stinking
30slime-it makes no difference to its beauty or ugliness. But a woman is alive, and
her beauty is therefore not skin deep. The surface of the human vessel is affected
by the nature of its spiritual contents. I have seen women who, by the standards of
a connoisseur of porcelain, were ravishingly lovely. Their shape, their color, their
surface texture were perfect. And yet they were not beautiful. For the lovely vase was
35either empty or filled with some corruption. Spiritual emptiness or ugliness shows
through. And conversely, there is an interior light that can transfigure forms that the
pure aesthetician would regard as imperfect or downright ugly.
1. The word "cult" (line 1) as used in the passage means primarily
2. The first paragraph raises expectations that the remainder of the passage will be
3. Which of the following is most likely a deliberate exaggeration?
4. The primary rhetorical strategy used to develop the idea that old ladies are becoming rare is best described as
5. The author of the passage can be described in all of the following ways EXCEPT
6. Which of the following best characterizes the tone of the phrase "crone of the future" (line 11)?
7. In the development of the last paragraph (lines 28–38), the rhetorical device most in evidence is
8. "The surface of the human vessel is affected by the nature of its spiritual contents" (lines 32–33) is a statement best decribed as
9. The point at which the author turns to the principal theme of the passage is
10. The passage contains all of the following EXCEPT
11. Which of the following represents the author's main purpose?
12. The principal contrast employed by the author of the passage is between