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26 Dec 2025, 00:04
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Question 1
E
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
75%
(hard)
Question Stats:
31% (02:24) correct
69%
(02:55) wrong
based on 136
sessions
History
Date
Time
Result
Not Attempted Yet
Question 2
E
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
75%
(hard)
Question Stats:
34% (01:04) correct 66%
(01:16) wrong
based on 131
sessions
History
Date
Time
Result
Not Attempted Yet
In relation to the modern play or film, it is sheer nonsense to talk about the Aristotelian catharsis. A Greek tragedy was much more than a play; it was also a cathedral service, it was also one of the ceremonies of the national religion. The performance was an illustration of the scriptures, an exposition of theology. Modern dramas, even the best of them, are none of these things. They are, essentially, secular. People go to them, not in order to be reminded of their philosophy of life, not to establish some kind of communication with their gods, but merely to 'get a kick', merely to titillate their feelings. The habit of self-titillation grows with what it feeds upon. For the Greeks, dramatic festivals were 'solemn and rare'. For us they are an almost daily stimulant. Abused as we abuse it at present, dramatic art is in no sense cathartic; it is merely a form of emotional self satisfaction. All arts can be used as form of self abuse; but self satisfaction through drama is probably the worst form of artistic debauchery and for this reason, acting is one of the most dangerous of trades. It is the rarest thing to find a player who had not had his character affected for the worse by the practice of his profession. Nobody can make a habit of self- exhibition, nobody can exploit his personality for the sake of exercising a kind of hypnotic power over others, and remain untouched by the process. Acting inflames the ego in a way which few other professions do. For the sake of enjoying regular emotional self-abuse our societies condemn a considerable class of men and women to a perpetual inability to achieve non-attachment. It seems a high price to pay for our amusements.
1. The primary purpose of the passage is to
A. compare the virtues of Greek drama to the vices of modern drama
B. question the integrity of the audience for modern drama
C. discuss the detrimental effects that drama has on actors
D. reveal the extent to which modern drama has subverted the ideals of Greek tragedy
E. argue that modern drama has no edifying influence on the audience as compared to Greek drama.
A. compare the virtues of Greek drama to the vices of modern drama
B. question the integrity of the audience for modern drama
C. discuss the detrimental effects that drama has on actors
D. reveal the extent to which modern drama has subverted the ideals of Greek tragedy
E. argue that modern drama has no edifying influence on the audience as compared to Greek drama.
2. Which of the following cannot be inferred from the passage regarding present-day drama?
A. It may not have an epiphanic effect on the audience.
B. It avoids dealing with non-worldly issues.
C. Its sole objective is to provide entertainment.
D. It is non-cathartic in nature.
E. It is meant for ego boosting.
A. It may not have an epiphanic effect on the audience.
B. It avoids dealing with non-worldly issues.
C. Its sole objective is to provide entertainment.
D. It is non-cathartic in nature.
E. It is meant for ego boosting.
26 Dec 2025, 01:56
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This passage presents a scathing critique of modern drama by contrasting its secular, "stimulant" nature with the sacred, ritualistic function of ancient Greek tragedy. The author’s tone is one of moral concern, focusing on how the shift from religious ceremony to "emotional self-abuse" harms both the audience and the performers.
Here is an analysis of your questions:
[hr]
[/hr]
Question 1: The primary purpose of the passage is to...
Correct Answer: E) argue that modern drama has no edifying influence on the audience as compared to Greek drama.
Reasoning:
While options A, C, and D touch on specific points mentioned in the text, Option E captures the overarching thesis. The author begins by dismissing the idea of "Aristotelian catharsis" in modern plays, moves through the spiritual void of secular drama, and concludes that our amusements come at a "high price" (the corruption of the actor's character). The central argument is that modern drama has lost its power to improve or "edify" the soul, unlike the "cathedral service" of the Greeks.
Question 2: Which of the following cannot be inferred from the passage regarding present-day drama?
Correct Answer: E) It is meant for ego boosting.
Reasoning:
This is a subtle distinction. The passage states that acting "inflames the ego" of the performer and that the audience seeks "emotional self-satisfaction." However, the passage does not claim that the drama itself is "meant" for ego boosting as its primary objective. Its objective, according to the author, is to "titillate feelings" or provide a "kick."
[hr]
[/hr]
Summary of the Comparison
To better visualize the author's argument, we can look at how they categorize the two eras:
Here is an analysis of your questions:
[hr]
[/hr]
Question 1: The primary purpose of the passage is to...
Correct Answer: E) argue that modern drama has no edifying influence on the audience as compared to Greek drama.
Reasoning:
While options A, C, and D touch on specific points mentioned in the text, Option E captures the overarching thesis. The author begins by dismissing the idea of "Aristotelian catharsis" in modern plays, moves through the spiritual void of secular drama, and concludes that our amusements come at a "high price" (the corruption of the actor's character). The central argument is that modern drama has lost its power to improve or "edify" the soul, unlike the "cathedral service" of the Greeks.
- Why not A? "Virtues vs. Vices" is a bit too broad; the passage focuses specifically on the function and effect of the art.
- Why not C? The effect on actors is a significant point, but it is presented as a consequence of the broader failure of modern drama described in the first half of the text.
Question 2: Which of the following cannot be inferred from the passage regarding present-day drama?
Correct Answer: E) It is meant for ego boosting.
Reasoning:
This is a subtle distinction. The passage states that acting "inflames the ego" of the performer and that the audience seeks "emotional self-satisfaction." However, the passage does not claim that the drama itself is "meant" for ego boosting as its primary objective. Its objective, according to the author, is to "titillate feelings" or provide a "kick."
- A is inferable: The author says it is "sheer nonsense" to talk about catharsis (an epiphanic/cleansing effect).
- B is inferable: The author explicitly calls modern drama "essentially secular."
- C is inferable: The author mentions we go "merely to get a kick... merely to titillate."
- D is inferable: The author states point-blank that it is "in no sense cathartic."
[hr]
[/hr]
Summary of the Comparison
To better visualize the author's argument, we can look at how they categorize the two eras:
| Feature | Ancient Greek Tragedy | Modern Drama |
| Context | Religious Ceremony (Cathedral Service) | Secular Entertainment |
| Frequency | Solemn and Rare | Daily Stimulant |
| Purpose | Exposition of Theology / Philosophy | Titillation / "Getting a kick" |
| Effect | Catharsis (Purification) | Emotional Self-Satisfaction |
| Impact on Actors | N/A (Scripture illustration) | Inflamed Ego / Debauchery |
This passage presents a scathing critique of modern drama by contrasting its secular, "stimulant" nature with the sacred, ritualistic function of ancient Greek tragedy. The author’s tone is one of moral concern, focusing on how the shift from religious ceremony to "emotional self-abuse" harms both the audience and the performers.Here is an analysis of your questions:
14 Feb 2026, 22:48
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The passage talks about how greek tragedy was religious, spiritually purifying but modern drama is secular, meant for getting a kick and a form of self indulgance.
Q1. E: passage argues that modern drama lacks edifying influence compared to the greek drama.
Q2: E: Ego boosting is discussed as a consequence of modern drama and not as its purpose.
Q1. E: passage argues that modern drama lacks edifying influence compared to the greek drama.
Q2: E: Ego boosting is discussed as a consequence of modern drama and not as its purpose.
