Vocabulary used in speech or writing organizes itself in seven parts of speech (eight, if you count interjections such as Oh! and Gosh! and Fuhgeddaboudit!). Communication composed of these parts of speech must be organized by rules of grammar upon which we agree. When these rules break down, confusion and misunderstanding result. Bad grammar produces bad sentences. My favorite example from Strunk and White is this one: “As a mother of five, with another one on the way, my ironing board is always up.”
Nouns and verbs are the two indispensable parts of writing. Without one of each, no group of words can be a sentence, since a sentence is, by definition, a group of words containing a subject (noun) and a predicate (verb); these strings of words begin with a capital letter, end with a period, and combine to make a complete thought which starts in the writer’s head and then leaps to the reader’s.
Must you write complete sentences each time, every time? Perish the thought. If your work consists only of fragments and floating clauses, the Grammar Police aren’t going to come and take you away. Even William Strunk, that Mussolini of rhetoric, recognized the delicious pliability of language. “It is an old observation,” he writes, “that the best writers sometimes disregard the rules of rhetoric.” Yet he goes on to add this thought, which I urge you to consider: “Unless he is certain of doing well, [the writer] will probably do best to follow the rules.”
The telling clause here is Unless he is certain of doing well. If you don’t have a rudimentary grasp of how the parts of speech translate into coherent sentences, how can you be certain that you are doing well? How will you know if you’re doing ill, for that matter? The answer, of course, is that you can’t, you won’t. One who does grasp the rudiments of grammar finds a comforting simplicity at its heart, where there need be only nouns, the words that name, and verbs, the words that act.
Take any noun, put it with any verb, and you have a sentence. It never fails. Rocks explode. Jane transmits. Mountains float. These are all perfect sentences. Many such thoughts make little rational sense, but even the stranger ones (Plums deify!) have a kind of poetic weight that’s nice. The simplicity of noun-verb construction is useful—at the very least it can provide a safety net for your writing. Strunk and White caution against too many simple sentences in a row, but simple sentences provide a path you can follow when you fear getting lost in the tangles of rhetoric—all those restrictive and nonrestrictive clauses, those modifying phrases, those appositives and compound-complex sentences. If you start to freak out at the sight of such unmapped territory (unmapped by you, at least), just remind yourself that rocks explode, Jane transmits, mountains float, and plums deify. Grammar is . . . the pole you grab to get your thoughts up on their feet and walking.
Inferring from the passage, the author could be most supportive of which one of the following practices?
- The critique of standardised rules of punctuation and capitalisation.
- A campaign demanding that a writer’s creative license should allow the breaking of grammatical rules.
- A Creative Writing course that focuses on how to avoid the use of rhetoric.
- The availability of language software that will standardise the rules of grammar as an aid to writers
The Correct Option is D
Solution and Explanation
We need to identify the statement that coincides with the aspects discussed by the author. By adopting the author's perspective, we understand that grammar, along with the need for its proper learning, stands as the central idea to convey. The author contends that writers with a solid grasp of basic grammar rules can appreciate its "comforting simplicity at its heart." Therefore, the author is likely to endorse any stance in line with this notion.
Option A: The focus is broader, encompassing grammar rather than solely concentrating on punctuation and capitalization.
Option B: The author wouldn't likely advocate for such extreme measures, as it contrasts with the tone. While the author acknowledges the flexibility of grammatical rules, it's emphasized for those proficient in it. Therefore, this option can be discarded.
Option C: The author doesn't advocate for abandoning rhetoric, which diverges from the passage's discussion. Thus, this choice can be eliminated as the correct one.
Option D: This assertion would undoubtedly complement the author's claim, facilitating writers with a necessary understanding of the governing rules—an aspect underscored by the author. Thus, it's probable that the author would support such a proposition. Clearly, Option D emerges as the most sensible statement that the author would support here.
So, the correct option is (D): The availability of language software that will standardise the rules of grammar as an aid to writers.
“Take any noun, put it with any verb, and you have a sentence. It never fails. Rocks explode. Jane transmits. Mountains float.” None of the following statements can be seen as similar EXCEPT:
- Take an apple tree, plant it in a field, and you have an orchard.
- A group of nouns arranged in a row becomes a sentence.
- A collection of people with the same sports equipment is a sports team.
- Take any vegetable, put some spices in it, and you have a dish.
The Correct Option is D
Solution and Explanation
The author aims to emphasize that the fundamental pairing of a noun and a verb represents the most elementary form of expression. This combination, comprising two fundamental yet highly consequential entities, symbolizes a larger and potentially intricate group of entities—a sentence.
Option D closely mirrors this relationship: vegetables and spices, two elements merged to signify a broader concept - 'dishes'. Conversely, the other options diverge from the central message being communicated.
The correct option is (D):Take any vegetable, put some spices in it, and you have a dish.
All of the following statements can be inferred from the passage EXCEPT that:
- the primary purpose of grammar is to ensure that sentences remain simple.
- the subject–predicate relation is the same as the noun–verb relation.
- “Grammar Police” is a metaphor for critics who focus on linguistic rules.
- sentences do not always have to be complete.
The Correct Option is A
Solution and Explanation
Option A: The author does not assert such a claim. Grammar functions as a tool to structure communication and prevent confusion. However, ensuring sentences remain "simple" is not the "primary purpose" of grammar. Since this statement cannot be inferred from the passage, it is the correct answer.
Option B: Drawing from the limited information provided in the passage, we can infer this from "...no group of words can be a sentence, since a sentence is, by definition, a group of words containing a subject (noun) and a predicate (verb)..."
Option C: Although not explicitly stated, we can grasp the implication behind the term "Grammar Police". The author utilizes this metaphor to represent staunch adherents of grammatical rules, who may swiftly judge and criticize.
Option D: This deduction can be drawn from the passage's excerpt: "... Must you write complete sentences each time, every time? Perish the thought. If your work consists only of fragments and floating clauses, the Grammar Police aren't going to come and take you away..." Here, the author employs an example to demonstrate how a simple combination of a noun and a verb constructs a comprehensive expression.
Therefore, we can deduce all statements except for the one presented in Option A.
So, the correct option is (A): the primary purpose of grammar is to ensure that sentences remain simple.
Which one of the following quotes best captures the main concern of the passage?
- “Bad grammar produces bad sentences.”
- “The telling clause here is Unless he is certain of doing well.”
- “Nouns and verbs are the two indispensable parts of writing. Without one of each, no group of words can be a sentence . . .”
- “Strunk and White caution against too many simple sentences in a row, but simple sentences provide a path you can follow when you fear getting lost in the tangles of rhetoric . . .”
The Correct Option is A
Solution and Explanation
The author initiates by underscoring the essential need for a system of regulations, facilitated by grammar, to structure communication and prevent misunderstandings. Subsequently, the author introduces additional arguments supporting this notion, involving elements related to rhetoric and its practitioners, while emphasizing that even deliberate simplification can only be achieved with a solid understanding of grammatical basics. Thus, it becomes apparent that grammar holds central importance here, and the correct selection should undoubtedly align with this emphasis.
Option A effectively encapsulates the primary concern addressed in the passage.
Options B and D neglect to incorporate the central theme of grammar and instead concentrate on supplementary aspects.
Option C comes close; however, the reference to nouns and verbs is intended to complement the idea highlighted in Option A. They simply serve as illustrations to underscore the importance of grammar.
Therefore, between the two options A and C, Option A emerges as the appropriate choice.
So, the correct option is (A): “Bad grammar produces bad sentences.”
Which one of the following statements, if false, could be seen as supporting the arguments in the passage?
- An understanding of grammar helps a writer decide if she/he is writing well or not.
- Perish the thought that complete sentences necessarily need nouns and verbs!
- Regarding grammar, women writers tend to be more attentive to method and accuracy.
- It has been observed that writers sometimes disregard the rules of rhetoric.
The Correct Option is B
Solution and Explanation
We need to identify a statement that, if false, corresponds with the discussion or acts as a supporting argument. Let's assess the options individually:
Option A: Currently, this statement aligns with the author's assertion. However, if it were false, it would contradict the claim made in the passage. Thus, we can dismiss this option.
Option B: This statement suggests that complete sentences don't require nouns and verbs. However, the passage contradicts this notion; therefore, if this statement were false, it would align perfectly with the argument presented in the passage.
Consequently, if Option B were false, it could serve as a supplementary argument.
Options C and D: Whether these statements are true or false, they contribute minimally to advancing the idea presented in the passage.
The correct option is (B): Perish the thought that complete sentences necessarily need nouns and verbs!
Top Questions on Reading Comprehension
Passage: Toru Dutt is considered the earliest Indian female writer in English. She travelled extensively in Europe from a young age with her family. She and her sister Aru became fascinated with Paris and French literature. In London, they came in contact with such august personages such as Sir Bartle Frere, the Gover- nor of Bombay from 1862 to 1867, and Sir Edward Ryan, the Chief Justice of the Supreme Court, Calcutta, from 1837 to 1843. Toru Dutt was greatly influenced in her writings by French Romantic poets like Victor Hugo and English writers like Elizabeth Browning, John Keats, Charlotte Bronte and Jane Austen. She was also intrigued by the legends and myths of India, and even learned Sanskrit. Her writings were marked by romantic melancholia and an obsession and preoccupation with death. This was partly due to her suffering and pain following the early tragic deaths of her siblings, especially her older sister Aru, with whom she was quite close. Her chosen subjects often portrayed separation, loneliness, captivity, dejec- tion, declining seasons and untimely death. She led an ”Ivory Tower existence” and her own death came quite early, at the age of 21, in the full bloom of her talent and on the eve of the awakening of her genius. Toru Dutt’s most famous work is A Sheaf Gleaned in French Fields, an anthology of poems translated from French to English. It also contained a few original poems that showcase her vast insight into French literature. She used to publish poems in the Bengal Magazine, under the pseudonym ”TD”. But most of her powerful work was published posthumously, in- cluding the French novel Le Journal de Mademoiselle D’Arvers and the unfinished English novel Bianca, or, the Young Spanish Maiden. Her work Ancient Ballads and Legends of Hindustan depicts a shrewd knowledge of Hindu mythology and an instinctive empathy with the conditions of life they represent. An assimilation of the Occident and the Orient nourished Toru’s poetic skills; in her, we find a tripartite influence of a French education, lectures at Cambridge and the study of Sanskrit literature.
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“Why do they pull down and do away with crooked streets, I wonder, which are my delight, and hurt no man living? Every day the wealthier nations are pulling down one or another in their capitals and their great towns: they do not know why they do it; neither do I. It ought to be enough, surely, to drive the great broad ways which commerce needs and which are the life-channels of a modern city, without destroying all history and all the humanity in between: the islands of the past.”
(From Hilaire Belloc’s “The Crooked Streets”)
Based only on the information provided in the above passage, which one of the following statements is true?- GATE PH - 2025
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“Why do they pull down and do away with crooked streets, I wonder, which are my delight, and hurt no man living? Every day the wealthier nations are pulling down one or another in their capitals and their great towns: they do not know why they do it; neither do I. It ought to be enough, surely, to drive the great broad ways which commerce needs and which are the life-channels of a modern city, without destroying all history and all the humanity in between: the islands of the past.” (From Hilaire Belloc’s “The Crooked Streets”)
Based only on the information provided in the above passage, which one of the following statements is true?
- GATE CE - 2025
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- “His life was divided between the books, his friends, and long walks. A solitary man, he worked at all hours without much method, and probably courted his fatal illness in this way. To his own name there is not much to show; but such was his liberality that he was continually helping others, and fruits of his erudition are widely scattered, and have gone to increase many a comparative stranger’s reputation.”
(From E.V. Lucas’s “A Funeral”)
Based only on the information provided in the above passage, which one of the following statements is true?- GATE CE - 2025
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- Read the excerpt from a Handicrafts Manual: ‘Advanced Knitting Techniques’ and answer the following questions by choosing the most appropriate answer.
THE FAIR ISLE METHOD: Fair Isle knitting is a traditional technique that involves using two or more colours of yarn in a single row to create intricate patterns and designs. This method requires careful tension management to ensure even stitches and prevent puckering. To begin, select your colours and cast on the desired number of stitches. As you knit, alternate between colours every few stitches, carrying the unused yarn along the back of the work. Mastering the Fair Isle technique allows you to create stunning visual effects in garments, accessories, and home textiles.
THE CONTINENTAL STYLE: The Continental knitting style, often referred to as “picking,” involves holding the yarn in the left hand while the right hand manipulates the needles. This method allows for greater speed and efficiency, particularly when working with complex patterns or multiple colours. To practice this style, start by casting on your stitches and using your left hand to tension the yarn. With each stitch, simply “pick” the yarn with your right needle, forming a quick and fluid motion. As you become comfortable with this technique, you may find that your overall knitting speed and comfort improve significantly.
THE SHORT-ROW TECHNIQUE: Short-row knitting is an advanced technique that allows for the creation of shaped garments, such as sleeves and shoulders, without the need for complex shaping. To make a sleeve using this technique, begin by casting on the required number of stitches. Work a portion of the row, then turn your work and return without completing the full row to create the “short rows” that shape the curves of the sleeve. To prevent holes at the turn, wrap the stitch before you turn your work. Repeat this process as needed to achieve the desired shaping and dimension of the sleeve. Once you have shaped the sleeve, you can then sew the side seams to connect the pieces of your garment and finally, complete the edges to ensure a clean finish. This method not only helps shape curves but also adds dimension to your piece, allowing you to enhance fit and style.- AILET BALLB (Hons.) - 2025
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