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18 Oct 2021, 06:30
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D
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
25%
(medium)
Question Stats:
77% (02:09) correct
23%
(02:23)
wrong
based on 231
sessions
History
Date
Time
Result
Not Attempted Yet
Critic: The idealized world portrayed in romance literature is diametrically opposed to the debased world portrayed in satirical literature. Nevertheless, the major characters in both types of works have moral qualities that reflect the worlds in which they are presented. Comedy and tragedy, meanwhile, require that the moral qualities of major characters change during the course of the action. Therefore, neither tragedy nor comedy can be classified as satirical literature or romance literature.
The critic’s conclusion follows logically if which one of the following is assumed?
(A) Some characters in comedies and tragedies are neither debased nor idealized.
(B) The visions of the world portrayed in works of tragedy and works of comedy change during the course of the action.
(C) If a character in a tragedy is idealized at the beginning of the action depicted in the tragedy, he or she must be debased at the end.
(D) In romance literature and satirical literature, characters’ moral qualities do not change during the course of the action.
(E) Both comedy and tragedy require that the moral qualities of minor characters change during the course of the action.
The critic’s conclusion follows logically if which one of the following is assumed?
(A) Some characters in comedies and tragedies are neither debased nor idealized.
(B) The visions of the world portrayed in works of tragedy and works of comedy change during the course of the action.
(C) If a character in a tragedy is idealized at the beginning of the action depicted in the tragedy, he or she must be debased at the end.
(D) In romance literature and satirical literature, characters’ moral qualities do not change during the course of the action.
(E) Both comedy and tragedy require that the moral qualities of minor characters change during the course of the action.
23 Oct 2021, 05:00
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Bunuel
EXPLANATION FROM Fox LSAT
This is a super-annoying argument because it makes no sense. The conclusion is the last line: “Neither tragedy nor comedy can be classified as satirical literature or romance literature.” Oh yeah, why would you say that? Well, the worlds portrayed in romance and satirical literature are diametrically opposed, and the characters reflect the worlds in which they are presented, and comedy and tragedy each require that the qualities of the characters change during the action.
This makes zero sense. There is a giant hole in the logic here. What does “changing” have to do with anything? The argument did not present any evidence, whatsoever, that characters in satire or romance don’t change. Nor did the argument present any evidence that characters that reflect the world in which they are presented don’t change. This whole concept of not changing is just dangling there, naked in the breeze.
We’re asked to make the “conclusion follow logically.” In other words, we are asked to prove the argument’s conclusion. To do so, we have to put some pants on the “unchanging” concept. This concept is mentioned in the conclusion, and nowhere else, so in order for the conclusion to be proven, we will have to connect the “unchanging” concept to the other premises.
I have two predictions that would tie the evidence to the desired conclusion. First, “Characters that reflect their worlds never change,” would do it. Second, just as good, “Characters in satire and romance never change,” would also do it. If either of these facts is true, then it would be proven that comedy and tragedy, which do have changing characters, can’t be classified as satire or romance. One of those is almost certain to be our answer.
A) No. The word “some” is way too weak if we are trying to prove an argument. Furthermore this answer doesn’t connect to the “unchanging” concept.
B) This one feels like a trap, since it contains the “changing” concept but it is about tragedy and comedy when it should be about satire and romance. We already know that the characters in tragedies and comedies change, regardless of whether their “worlds” change. What we need to know, in order to prove the argument, is that the characters in satire and romance do not change. This answer choice is superficially close, but actually worthless.
C) Nah, not what we’re looking for. Where is the “changing” concept?
D) Did we, or did we not, exactly predict that this would be the answer? I believe we did. Sufficient Assumption questions are goddamned easy once you get the hang of them. They’re a bit like math, or maybe engineering. All we have to do is connect the conclusion to the evidence. There are only a couple ways this can be done, and we should be able to predict them in advance more often than not.
E) This answer is wrong for two reasons: First, “minor” characters are irrelevant, the argument was about “major” characters. And second, we needed to connect the characters of satire and romance to the “unchanging” concept, not the characters of comedy and tragedy.
Our answer can only be D, because it’s the only one that bridges the gap.
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