While such a view is not entirely without merit-Mozart ultimately aimed to impart some lesson for his incorrigible Lothario-it still leaves the question unanswered as to why two endings and what exactly did Mozart aim to communicate that could not be housed in a traditional ending. This alternate ending-Don Giovanni is suddenly cast down to Hell, and instead of being redeemed, the hero emerges from the underworld chastened, and the curtain falls-was interpreted by the critics of the day as heavy-handed didacticism. Fine, but then what of the tragic ending? Libard-trading the sensible for the pat-offers little more than that such an ending reflects the political climate of the day. The audience is left having a light dose of entertainment, which, after all, was the aim of many of the operas of Mozart’s time. The hero, Don Giovanni, is chided for his libertine ways and then the cast appears in tutti, bellowing a merry chorus as the curtain falls. Such a reply ignores an important consideration: Why did Mozart decide to provide these specific endings? Libard provides a reasonable answer: The traditional ending-in the sense that it is the one that was popular during the composer’s day and continues to be so today-is clearly more palatable for audiences. Another question, and one not so obvious, is: Why was Mozart himself uncertain as to which of the two endings to choose, as is evidenced in his correspondence with Lorenzo Da Ponte, the opera’s librettist?Ī common answer is to treat both these questions as one: Mozart was uncertain as to which ending to provide, so he wrote both endings. In Don Giovanni, what is perhaps Mozart’s best-known opera, there exist two distinct endings, a phenomenon not entirely unknown during the composer’s time, but one that invites the obvious question: Why did Mozart decide to include alternate endings for Don Giovanni when he did not do the same with his other famous operas, Die Zauberflöte and Le Nozze di Figaro. Long GRE Reading Comprehension Sample Passage Below, we’ll look at two Reading Comprehension passages and question sets followed by four Paragraph Argument questions. These question types are described in Chris’s blog post “ Types of Paragraph Argument Questions on the Revised GRE.”Īlright, let’s get started. PAs always put forth an argument and are followed by a single logic-oriented question. The PA question format is all about logic. The paragraphs themselves are relatively short, usually 1/3 to 1/2 the length of one the single regular RC paragraphs mentioned above. PA passages are always one paragraph long. The other format is the Paragraph Argument. The questions in these format focus on a wide variety of passage content: author attitudes, implied ideas, stated ideas, the meaning or purpose of a given word, phrase, or sentence, and so on. Reading Comprehension passages are 1-4 paragraphs long and are followed by 2-4 questions. Within the GRE RC question format, there are two very different question formats: regular Reading Comprehension and Paragraph Arguments. I’m going to let you in on a secret about GRE Reading Comprehension. There is also a live cohorted class with an instructor or you can also access to the self-study option by itself.) About GRE Reading Comprehension These questions include links to their Magoosh GRE question/answer pages, which include video and text explanations. However, please note that there’s no option to submit them! Also, some of these questions are taken directly from Magoosh GRE, offered here in this post for free. This way, you can keep track of your answers and check your work. (NOTE: We’ve provided interactive buttons for you to select your answer as you go through these questions. Magoosh has you covered! Below is a range of GRE verbal practice questions with answers and explanations, covering not just SC, SE, and RC, but also different question types and difficulty levels within those categories. There are three types of questions in the GRE verbal reasoning section: Reading Comprehension (RC), Sentence Completion (SC), and Sentence Equivalence (SE).
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