Fomento Metropolitano de Monterrey (FOMERREY)

Th e artist is the creator of beautiful things. To reveal art and conceal the artist is art’s aim. Th e critic is he who can translate into another manner or a new material his impression of beautiful things.

Th e highest as the lowest form of criticism is a mode of autobiography. Th ose who fi nd ugly meanings in beautiful things are corrupt without being charming. Th is is a fault.

Th ose who fi nd beautiful meanings in beautiful things are the cultivated. For these there is hope. Th ey are the elect to whom beautiful things mean only beauty. Th ere is no such thing as a moral or an immoral book. Books are well written, or badly written. Th at is all.

Th e nineteenth century dislike of realism is the rage of Caliban3 _{seeing his own}

face in a glass.

Th e nineteenth century dislike of romanticism is the rage of Caliban not seeing his own face in a glass. Th e moral life of man forms part of the subject-matter of the artist, but the morality of art consists in the perfect use of an imperfect medium. No artist desires to prove anything. Even things that are true can be proved. No artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style. No artist is ever morbid. Th e artist can express everything. Th ought and language are to the artist instruments of an art. Vice and virtue are to the artist materials for an art. From the point of view of form, the type of all the arts is the art of the musician. From the point of view of feeling, the actor’s craft is the type. All art is at once surface and symbol. Th ose who go beneath the surface do so at their peril. Th ose who read the symbol do so at their peril. It is the spectator, and not life, that art really mirrors. Diversity of opinion about a work of art shows that the work is new, complex, and vital. When critics disagree, the artist is in accord with himself. We can forgive a man for making a useful thing as long as he does not admire it. Th e only excuse for making a useless thing is that one admires it intensely.

All art is quite useless.

481. Th e ideas expressed in the passage most closely resemble the ideas of (A) realism

(B) naturalism (C) existentialism (D) aestheticism (E) romanticism

482. In lines 1–2, “To reveal art and conceal the artist is art’s aim” means that (A) artists should hide from public view

(B) art is about morality, not fame

(C) artists who seek to advance their reputation are not true artists (D) the artist’s purpose is irrelevant when we view art

(E) the artist is a part of the art he creates

483. Th e “fault” the writer is referring to in line 6 is (A) artists refl ecting their own lives in their art (B) people not appreciating the social value art has (C) people denigrating art altogether

(D) people reading base meaning into art (E) people lacking charm

484. According to the passage, the diff erence between the corrupt and the cultivated is

(A) optimism in the latter (B) cynicism in the latter (C) skepticism in the latter (D) sympathy in the former (E) banality in the former

485. Th e passage is developed through (A) epigrams and parallel structure (B) criticisms and blandishments (C) allegories and metaphors (D) questions and pontifi cation (E) expostulations and hypotheses

486. Th e allusion to Caliban in lines 11–14 serves primarily to (A) describe nineteenth-century British citizens as slaves

(B) explain that people of the nineteenth century have paradoxical expectations of art

(C) express the author’s distaste for romanticism (D) assert the moral rectitude of all art

5 487. “Th e symbol” in line 23 refers to

I. the didactic message underlying the art II. the morality imposed on the art by the artist III. the most important part of the art

(A) I only (B) III only (C) II and III only (D) I, II, and III (E) I and II only

488. Th e tone of the passage is (A) vindictive

(B) maudlin (C) sarcastic (D) vituperative (E) serious

489. According to the passage, art is none of the following except

(A) theoretical (B) didactic (C) purposeful (D) ethical (E) refl ective

490. Th e fi nal sentence of the passage does which of the following? (A) employs varied syntax

(B) states the passage’s central theme

(C) belies points made in previous paragraphs (D) indicates the author’s frustration

(E) off ers a sarcastic conclusion

Passage 6. Zhuangzi

His cook was cutting up an ox for the ruler Wen Hui. Whenever he applied his hand, leaned forward with his shoulder, planted his foot, and employed the pres- sure of his knee, in the audible ripping off of the skin, and slicing operation of the knife, the sounds were all in regular cadence. Movements and sounds proceeded as in the dance of “the Mulberry Forest” and the blended notes of “the King Shou.”

Th e ruler said, “Ah! Admirable! Th at your art should have become so perfect!” (Having fi nished his operation), the cook laid down his knife, and replied to the remark, “What your servant loves is the method of the Dao, something in advance of any art. When I fi rst began to cut up an ox, I saw nothing but the

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(entire) carcass. After three years I ceased to see it as a whole. Now I deal with it in a spirit-like manner, and do not look at it with my eyes. Th e use of my senses is discarded, and my spirit acts as it wills. Observing the natural lines, (my knife) slips through the great crevices and slides through the great cavities, taking advan- tage of the facilities thus presented. My art avoids the ligaments and tendons, and much more the great bones. A good cook changes his knife every year; (it may have been injured) in cutting—an ordinary cook changes his every month—(it may have been) broken. Now my knife has been in use for nineteen years; it has cut up several thousand oxen, and yet its edge is as sharp as if it had newly come from the whetstone. Th ere are the interstices of the joints, and the edge of the knife has no (appreciable) thickness; when that which is so thin enters where the interstice is, how easily it moves along! Th e blade has more than room enough. Nevertheless, whenever I come to a complicated joint, and see that there will be some diffi culty, I proceed attentively and with caution, not allowing my eyes to wander from the place, and moving my hand slowly. Th en by a very slight movement of the knife, the part is quickly separated, and drops like (a clod of) earth to the ground. Th en standing up with the knife in my hand, I look all round, and in a leisurely manner, with an air of satisfaction, wipe it clean, and put it in its sheath.”

Th e ruler Wen Hui said, “Excellent! I have heard the words of my cook, and learned from them the nourishment of (our) life.”

491. Th e second sentence in the fi rst paragraph of this passage is I. compound

II. periodic III. complex (A) II only (B) I and III only (C) II and III only (D) III only (E) I, II, and III

492. Th e writer’s attitude toward butchering meat is best described as one of (A) caution

(B) indiff erence (C) pragmatism (D) avidity (E) aversion

493. According to the cook, the “method of the Dao” is “in advance of any art” (8–9) because

(A) it is entirely mechanistic (B) it transcends conscious eff ort (C) it is in harmony with the ruler (D) it requires only simple technology (E) it makes work easier

494. Th e tone of the passage is (A) insincere

(B) congenial (C) ironic (D) punctilious (E) ecstatic

495. In line 17, the cook claims that he has had no need to replace his knife for nineteen years because

(A) the knife has magical properties (B) he sharpens the knife regularly (C) he leaves the carcasses intact (D) his method prevents blunting (E) he always proceeds slowly

496. Based on the ruler Wen Hui’s responses to the cook (6), we can infer that Wen Hui is (A) intrusive (B) tolerant (C) enlightened (D) sarcastic (E) permissive

497. According to the passage, the cook’s method is none of the following except

(A) ambidextrous (B) overwrought (C) maladroit (D) fractious (E) meticulous

498. Th e cook’s attitude toward the ox is best described as (A) irreverent (B) venerating (C) religious (D) animistic (E) courteous

499. When the cook says that he deals with the ox carcass “in a spirit-like manner” (11), the reader can infer that

(A) he goes into a hypnotic trance (B) his mastery is unconscious

(C) he is in a state of heightened sensitivity (D) he defers to the ruler’s wishes

(E) he relies entirely on instinct

500. Th e passage makes use of all of the following except

(A) allegory (B) simile (C) chiasmus (D) hyperbole (E) exclamation

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