The passage below was written early in the 20th century.
|God and defying the universe. He was Defiance Incarnate: he could not even meet|
5a Grand Duke and his court in the street without jamming his hat tight down on his
head and striding through the very middle of them. He had the manners of a disobliging
steamroller (most steamrollers are abjectly obliging and conciliatory); and
he was rather less particular about his dress than a scarecrow: in fact he was once
arrested as a tramp because the police refused to believe that such a tatterdemalion
10could be a famous composer, much less a temple of the most turbulent spirit that
ever found expression in pure sound. It was indeed a mighty spirit; but if I had written
the mightiest, which would mean mightier than the spirit of Handel, Beethoven
himself would have rebuked me; and what mortal man could pretend to a spirit
mightier than Bach's? But that Beethoven's spirit was the most turbulent is beyond
15all question. The impetuous fury of his strength, which he could quite easily contain
and control, but often would not, and the unroariousness of his fun, go beyond anything
of the kind to be found in the works of other composers. Greenhorns write of
syncopation now as if it were a new way of giving the utmost impetus to a musical
measure; but the rowdiest jazz sounds like The Maiden's Prayer after Beethoven's
20third Leonora overture; and certainly no jazz ensemble that I ever heard could
propel even the most eager dancer into action as the last movement of the Seventh
Symphony. And no other composer has ever melted his hearers into complete sentimentality
by the tender beauty of his music, and then suddenly turned on them
and mocked them with derisive trumpet blasts for being such fools. Nobody but
25Beethoven could govern Beethoven; and when, as happened when the fit was on
him, he deliberately refused to govern himself, he was ungovernable.
It was this turbulence, this deliberate disorder, this mockery, this reckless and
triumphant disregard of conventional manners, that set Beethoven apart from
the musical geniuses of the ceremonious seventeenth and eighteenth centuries.
30He was a giant wave in that storm of the human spirit which produced the French
Revolution. He called no man master. Mozart, his greatest predecessor in his own
department, had from his childhood been washed, combed, splendidly dressed,
and beautifully behaved in the presence of royal personages and peers. His childish
outburst at the Pompadour, "Who is this woman who does not kiss me? The Queen
35kisses me," would be incredible of Beethoven, who was still an unlicked cub even
when he had grown into a very grizzly bear.
1. Which of the following best describes the rhetorical function of the second sentence of the passage (lines 4–6)?
2. The author uses all of the following phrases to illustrate his subject's rebellious spirit EXCEPT
3. In describing Beethoven's social behavior and appearance (lines 6–11), the author makes use of which rhetorical devices?
4. Which of the following words is parallel in function and theme to "fury" (line 15)?
5. In describing Beethoven's works (lines 15–24), the principal contrast employed by the author is between
6. The author mentions the Leonora overture and the Seventh Symphony (lines 20–22) as examples of which of the following?
7. In context, the expression "the fit was on him" (lines 25–26) is best interpreted to have which of the following meanings?
8. The tone conveyed by the author's description of Mozart (lines 31–33) can best be described as
9. The final sentence of the passage (lines 34–36) contains which of the following rhetorical devices?
10. Which of the following best states the subject of the passage?