The Autobiography of Benvenuto Cellini

Among the vast number of men who have thought fit to write down the history of their own lives, three or four have achieved masterpieces which stand out pre-eminently: Saint Augustine in his Confessions, Samuel Pepys in his Diary, Rousseau in his Confessions. It is among these extraordinary documents, and unsurpassed by any of them, that the autobiography of Benvenuto Cellini takes its place.

The life of himself which Cellini wrote was due to other motives than those which produced its chief competitors for first place in its class. St. Augustine aim was religious and didactic, Pepys noted down in his diary the daily events of his life for his sole satisfaction and with no intention that any one should read the cipher in which they were recorded. But Cellini wrote that the world might know, after he was dead, what a fellow he had been; what great things he had attempted, and against what odds he had carried them through. All men, he held, whatever be their condition, who have done anything of merit, or which verily has a semblance of merit, if so, be they are men of truth and good repute, should write the tale of their life with their own hand. That he had done many things of merit, he had no manner of doubt. His repute was great in his day, and perhaps good in the sense in which he meant goodness; as to whether he was a man of truth, there is still dispute among scholars.

Of some misrepresentations, some suppressions of damaging facts, there seems to be evidence only too good-a man with Cellini's passion for proving himself in the right could hardly have avoided being guilty of such; but of the general trustworthiness of his record, of the kind of man he was and the kind of life he led, there is no reasonable doubt.

The period covered by the autobiography is from Cellini's birth in 1500 to 1562; the scene is mainly in Italy and France. Of the great events of the time, the time of the Reformation and the Counter-Reformation, of the strife of Pope and Emperor and King, we get only glimpses. The leaders in these events appear in the foreground of the picture only when they come into personal relations with the hero; and then not mainly as statesmen or warriors, but as connoisseurs and patrons of art. Such an event as the Sack of Rome is described because Benvenuto himself fought in it.

Much more complete is the view he gives of the artistic life of the time. It was the age of Michelangelo, and in the throng of great artists which then filled the Italian cities, Cellini was no inconsiderable figure. Michelangelo himself he knew and adored. Nowhere can we gain a better idea than in this book of the passionate enthusiasm for the creation of beauty which has bestowed upon the Italy of the Renaissance its greatest glory.

Very vivid, too, is the impression we receive of the social life of the sixteenth century; of its violence and licentiousness, of its zeal for fine craftsmanship, of its abounding vitality, its versatility and its idealism. For Cellini himself is an epitome of that century. This man who tells here the story of his life was a murderer and a braggart, insolent, sensual, inordinately proud and passionate; but he was also a worker in gold and silver, rejoicing in delicate chasing and subtle modelling of precious surfaces; a sculptor and a musician; and, as all who read his book must testify, a great master of narrative. Keen as was Benvenuto interest in himself, and much as he loved to dwell on the splendour of his exploits and achievements, he had little idea that centuries after his death he would live again, less by his statue of Perseus and his goldsmiths work than by the book which he dictated casually to a lad of fourteen, while he went about his work.

The autobiography was composed between 1558 and 1566, but it brings the record down only to 1562. The reminder of  Cellini’s life seems to have been somewhat more peaceful. He dead at Florence, May 13, 1571, and was buried in The Church of the Annunziata in that city.

What can be inferred from this passage?

The Autobiography of Benvenuto Cellini

Among the vast number of men who have thought fit to write down the history of their own lives, three or four have achieved masterpieces which stand out pre-eminently: Saint Augustine in his Confessions, Samuel Pepys in his Diary, Rousseau in his Confessions. It is among these extraordinary documents, and unsurpassed by any of them, that the autobiography of Benvenuto Cellini takes its place.

The life of himself which Cellini wrote was due to other motives than those which produced its chief competitors for first place in its class. St. Augustine aim was religious and didactic, Pepys noted down in his diary the daily events of his life for his sole satisfaction and with no intention that any one should read the cipher in which they were recorded. But Cellini wrote that the world might know, after he was dead, what a fellow he had been; what great things he had attempted, and against what odds he had carried them through. All men, he held, whatever be their condition, who have done anything of merit, or which verily has a semblance of merit, if so, be they are men of truth and good repute, should write the tale of their life with their own hand. That he had done many things of merit, he had no manner of doubt. His repute was great in his day, and perhaps good in the sense in which he meant goodness; as to whether he was a man of truth, there is still dispute among scholars.

Of some misrepresentations, some suppressions of damaging facts, there seems to be evidence only too good-a man with Cellini's passion for proving himself in the right could hardly have avoided being guilty of such; but of the general trustworthiness of his record, of the kind of man he was and the kind of life he led, there is no reasonable doubt.

The period covered by the autobiography is from Cellini's birth in 1500 to 1562; the scene is mainly in Italy and France. Of the great events of the time, the time of the Reformation and the Counter-Reformation, of the strife of Pope and Emperor and King, we get only glimpses. The leaders in these events appear in the foreground of the picture only when they come into personal relations with the hero; and then not mainly as statesmen or warriors, but as connoisseurs and patrons of art. Such an event as the Sack of Rome is described because Benvenuto himself fought in it.

Much more complete is the view he gives of the artistic life of the time. It was the age of Michelangelo, and in the throng of great artists which then filled the Italian cities, Cellini was no inconsiderable figure. Michelangelo himself he knew and adored. Nowhere can we gain a better idea than in this book of the passionate enthusiasm for the creation of beauty which has bestowed upon the Italy of the Renaissance its greatest glory.

Very vivid, too, is the impression we receive of the social life of the sixteenth century; of its violence and licentiousness, of its zeal for fine craftsmanship, of its abounding vitality, its versatility and its idealism. For Cellini himself is an epitome of that century. This man who tells here the story of his life was a murderer and a braggart, insolent, sensual, inordinately proud and passionate; but he was also a worker in gold and silver, rejoicing in delicate chasing and subtle modelling of precious surfaces; a sculptor and a musician; and, as all who read his book must testify, a great master of narrative. Keen as was Benvenuto interest in himself, and much as he loved to dwell on the splendour of his exploits and achievements, he had little idea that centuries after his death he would live again, less by his statue of Perseus and his goldsmiths work than by the book which he dictated casually to a lad of fourteen, while he went about his work.

The autobiography was composed between 1558 and 1566, but it brings the record down only to 1562. The reminder of  Cellini’s life seems to have been somewhat more peaceful. He dead at Florence, May 13, 1571, and was buried in The Church of the Annunziata in that city.

What CANNOT be inferred from this passage?

The Autobiography of Benvenuto Cellini

Among the vast number of men who have thought fit to write down the history of their own lives, three or four have achieved masterpieces which stand out pre-eminently: Saint Augustine in his Confessions, Samuel Pepys in his Diary, Rousseau in his Confessions. It is among these extraordinary documents, and unsurpassed by any of them, that the autobiography of Benvenuto Cellini takes its place.

The life of himself which Cellini wrote was due to other motives than those which produced its chief competitors for first place in its class. St. Augustine aim was religious and didactic, Pepys noted down in his diary the daily events of his life for his sole satisfaction and with no intention that any one should read the cipher in which they were recorded. But Cellini wrote that the world might know, after he was dead, what a fellow he had been; what great things he had attempted, and against what odds he had carried them through. All men, he held, whatever be their condition, who have done anything of merit, or which verily has a semblance of merit, if so, be they are men of truth and good repute, should write the tale of their life with their own hand. That he had done many things of merit, he had no manner of doubt. His repute was great in his day, and perhaps good in the sense in which he meant goodness; as to whether he was a man of truth, there is still dispute among scholars.

Of some misrepresentations, some suppressions of damaging facts, there seems to be evidence only too good-a man with Cellini's passion for proving himself in the right could hardly have avoided being guilty of such; but of the general trustworthiness of his record, of the kind of man he was and the kind of life he led, there is no reasonable doubt.

The period covered by the autobiography is from Cellini's birth in 1500 to 1562; the scene is mainly in Italy and France. Of the great events of the time, the time of the Reformation and the Counter-Reformation, of the strife of Pope and Emperor and King, we get only glimpses. The leaders in these events appear in the foreground of the picture only when they come into personal relations with the hero; and then not mainly as statesmen or warriors, but as connoisseurs and patrons of art. Such an event as the Sack of Rome is described because Benvenuto himself fought in it.

Much more complete is the view he gives of the artistic life of the time. It was the age of Michelangelo, and in the throng of great artists which then filled the Italian cities, Cellini was no inconsiderable figure. Michelangelo himself he knew and adored. Nowhere can we gain a better idea than in this book of the passionate enthusiasm for the creation of beauty which has bestowed upon the Italy of the Renaissance its greatest glory.

Very vivid, too, is the impression we receive of the social life of the sixteenth century; of its violence and licentiousness, of its zeal for fine craftsmanship, of its abounding vitality, its versatility and its idealism. For Cellini himself is an epitome of that century. This man who tells here the story of his life was a murderer and a braggart, insolent, sensual, inordinately proud and passionate; but he was also a worker in gold and silver, rejoicing in delicate chasing and subtle modelling of precious surfaces; a sculptor and a musician; and, as all who read his book must testify, a great master of narrative. Keen as was Benvenuto interest in himself, and much as he loved to dwell on the splendour of his exploits and achievements, he had little idea that centuries after his death he would live again, less by his statue of Perseus and his goldsmiths work than by the book which he dictated casually to a lad of fourteen, while he went about his work.

The autobiography was composed between 1558 and 1566, but it brings the record down only to 1562. The reminder of  Cellini’s life seems to have been somewhat more peaceful. He dead at Florence, May 13, 1571, and was buried in The Church of the Annunziata in that city.

Why does the author mention St. Augustine and Pepys?

The Autobiography of Benvenuto Cellini

Among the vast number of men who have thought fit to write down the history of their own lives, three or four have achieved masterpieces which stand out pre-eminently: Saint Augustine in his Confessions, Samuel Pepys in his Diary, Rousseau in his Confessions. It is among these extraordinary documents, and unsurpassed by any of them, that the autobiography of Benvenuto Cellini takes its place.

The life of himself which Cellini wrote was due to other motives than those which produced its chief competitors for first place in its class. St. Augustine aim was religious and didactic, Pepys noted down in his diary the daily events of his life for his sole satisfaction and with no intention that any one should read the cipher in which they were recorded. But Cellini wrote that the world might know, after he was dead, what a fellow he had been; what great things he had attempted, and against what odds he had carried them through. All men, he held, whatever be their condition, who have done anything of merit, or which verily has a semblance of merit, if so, be they are men of truth and good repute, should write the tale of their life with their own hand. That he had done many things of merit, he had no manner of doubt. His repute was great in his day, and perhaps good in the sense in which he meant goodness; as to whether he was a man of truth, there is still dispute among scholars.

Of some misrepresentations, some suppressions of damaging facts, there seems to be evidence only too good-a man with Cellini's passion for proving himself in the right could hardly have avoided being guilty of such; but of the general trustworthiness of his record, of the kind of man he was and the kind of life he led, there is no reasonable doubt.

The period covered by the autobiography is from Cellini's birth in 1500 to 1562; the scene is mainly in Italy and France. Of the great events of the time, the time of the Reformation and the Counter-Reformation, of the strife of Pope and Emperor and King, we get only glimpses. The leaders in these events appear in the foreground of the picture only when they come into personal relations with the hero; and then not mainly as statesmen or warriors, but as connoisseurs and patrons of art. Such an event as the Sack of Rome is described because Benvenuto himself fought in it.

Much more complete is the view he gives of the artistic life of the time. It was the age of Michelangelo, and in the throng of great artists which then filled the Italian cities, Cellini was no inconsiderable figure. Michelangelo himself he knew and adored. Nowhere can we gain a better idea than in this book of the passionate enthusiasm for the creation of beauty which has bestowed upon the Italy of the Renaissance its greatest glory.

Very vivid, too, is the impression we receive of the social life of the sixteenth century; of its violence and licentiousness, of its zeal for fine craftsmanship, of its abounding vitality, its versatility and its idealism. For Cellini himself is an epitome of that century. This man who tells here the story of his life was a murderer and a braggart, insolent, sensual, inordinately proud and passionate; but he was also a worker in gold and silver, rejoicing in delicate chasing and subtle modelling of precious surfaces; a sculptor and a musician; and, as all who read his book must testify, a great master of narrative. Keen as was Benvenuto interest in himself, and much as he loved to dwell on the splendour of his exploits and achievements, he had little idea that centuries after his death he would live again, less by his statue of Perseus and his goldsmiths work than by the book which he dictated casually to a lad of fourteen, while he went about his work.

The autobiography was composed between 1558 and 1566, but it brings the record down only to 1562. The reminder of  Cellini’s life seems to have been somewhat more peaceful. He dead at Florence, May 13, 1571, and was buried in The Church of the Annunziata in that city.

What was Cellini's motive in writing his autobiography?

Social Bees

Most bees lead solitary lives. After mating, females dig or find suitable nests in soil or wood. They begin visiting flowers, making dozens of trips for pollen and nectar (Think of solitary bees as single moms with families back home to feed). Sugar from nectar provides flight fuel for their trips to and from the nest. The proteins and amino acids in pollen are vital nutrients needed for the bees young (larvae).

Females lay eggs on masses of pollen mixed with nectar within unshaped earthen nest cells. The eggs hatch and the grub-like larvae devour the food placed for them. Over a period of weeks they eat pollen, defecate, and pupate, often spinning a silk cocoon. The new adult generation may emerge then or during the spring or summer of the coming year.

Solitary bees use diverse building materials for their nests: leaves, mud, sand, stones, plant resins, downy plant fibers, even abandoned snail shells. Because of the materials they collect, solitary bees are often called carpenter bees, mason bees, leafcutter bees, carder, or plasterer bees.

About 20% of the world's more than 20,000 species of bees are social. They live communally in colonies of hundreds to tens of thousands of individuals. Each colony has one queen who is the mother of sterile daughters (the worker bees) and a few males called drones.

The best-known social bee around the world is the honey bee (Apis mellifera). Originally native to Europe, honey bees travelled with their human caretakers and now are found worldwide. Another well-known group is the fuzzy and charismatic black-and-yellow bumblebee (Bombus spp.). The sacred stingless bees (Melipona and Trigona) kept by both the ancient and modern Maya also live as highly social colonies, producing a surplus of honey.

Social bees don't specialize in a particular floral colour or shape their forte is finding and exploiting rich sources of nectar and pollen. In fact, their efficiency and numbers can cause problems for the solitary bees that land on flowers that honey bees have depleted. Honey bees communicate through a waggle dance in which scout bees return to the nest and inform other bees about the distance and direction to a newly discovered flower patch.

What can be inferred from the passage?

Social Bees

Most bees lead solitary lives. After mating, females dig or find suitable nests in soil or wood. They begin visiting flowers, making dozens of trips for pollen and nectar (Think of solitary bees as single moms with families back home to feed). Sugar from nectar provides flight fuel for their trips to and from the nest. The proteins and amino acids in pollen are vital nutrients needed for the bees young (larvae).

Females lay eggs on masses of pollen mixed with nectar within unshaped earthen nest cells. The eggs hatch and the grub-like larvae devour the food placed for them. Over a period of weeks they eat pollen, defecate, and pupate, often spinning a silk cocoon. The new adult generation may emerge then or during the spring or summer of the coming year.

Solitary bees use diverse building materials for their nests: leaves, mud, sand, stones, plant resins, downy plant fibers, even abandoned snail shells. Because of the materials they collect, solitary bees are often called carpenter bees, mason bees, leafcutter bees, carder, or plasterer bees.

About 20% of the world's more than 20,000 species of bees are social. They live communally in colonies of hundreds to tens of thousands of individuals. Each colony has one queen who is the mother of sterile daughters (the worker bees) and a few males called drones.

The best-known social bee around the world is the honey bee (Apis mellifera). Originally native to Europe, honey bees travelled with their human caretakers and now are found worldwide. Another well-known group is the fuzzy and charismatic black-and-yellow bumblebee (Bombus spp.). The sacred stingless bees (Melipona and Trigona) kept by both the ancient and modern Maya also live as highly social colonies, producing a surplus of honey.

Social bees don't specialize in a particular floral colour or shape their forte is finding and exploiting rich sources of nectar and pollen. In fact, their efficiency and numbers can cause problems for the solitary bees that land on flowers that honey bees have depleted. Honey bees communicate through a waggle dance in which scout bees return to the nest and inform other bees about the distance and direction to a newly discovered flower patch.

What can be inferred about social bees?

Social Bees

Most bees lead solitary lives. After mating, females dig or find suitable nests in soil or wood. They begin visiting flowers, making dozens of trips for pollen and nectar (Think of solitary bees as single moms with families back home to feed). Sugar from nectar provides flight fuel for their trips to and from the nest. The proteins and amino acids in pollen are vital nutrients needed for the bees young (larvae).

Females lay eggs on masses of pollen mixed with nectar within unshaped earthen nest cells. The eggs hatch and the grub-like larvae devour the food placed for them. Over a period of weeks they eat pollen, defecate, and pupate, often spinning a silk cocoon. The new adult generation may emerge then or during the spring or summer of the coming year.

Solitary bees use diverse building materials for their nests: leaves, mud, sand, stones, plant resins, downy plant fibers, even abandoned snail shells. Because of the materials they collect, solitary bees are often called carpenter bees, mason bees, leafcutter bees, carder, or plasterer bees.

About 20% of the world's more than 20,000 species of bees are social. They live communally in colonies of hundreds to tens of thousands of individuals. Each colony has one queen who is the mother of sterile daughters (the worker bees) and a few males called drones.

The best-known social bee around the world is the honey bee (Apis mellifera). Originally native to Europe, honey bees travelled with their human caretakers and now are found worldwide. Another well-known group is the fuzzy and charismatic black-and-yellow bumblebee (Bombus spp.). The sacred stingless bees (Melipona and Trigona) kept by both the ancient and modern Maya also live as highly social colonies, producing a surplus of honey.

Social bees don't specialize in a particular floral colour or shape their forte is finding and exploiting rich sources of nectar and pollen. In fact, their efficiency and numbers can cause problems for the solitary bees that land on flowers that honey bees have depleted. Honey bees communicate through a waggle dance in which scout bees return to the nest and inform other bees about the distance and direction to a newly discovered flower patch.

What does the passage NOT imply?

The organization that today is known as the Bank of America did start out in America, but under quite a different name. Italian America A. P Giannini established this bank on October 17, 1904, in a renovated saloon in San Francisco's Italian community of North Beach under the name Bank of Italy, with imigrants and first-time bank customers comprising the majority of his first customers. During its development, Giannini's bank survived major crises in the form of natural disaster and a major economic upheaval that not all other banks were able to overcome.

One major test for Giannini's bank occurred on April 18, 1906, when a massive earthquake struck Sun Francisco, followed by a raging fire that destroyed by much of the city. Giannini obtained two wagons and teams of horses, filled the wagons with the bank's reserves, mostly in the form of gold, covered the reserves with crates of oranges, and escaped from the chaos of the city with his clients' funds protected. In the aftermath of the disaster, Giannini's bank was the first to resume operations. Unable to install the bank in a proper office setting, Giannini opened up shop on the Washington Street Wharf on a makeshift desk created from boards and barrels.

In the period following the 1906 fire, the Bank of Italy continued to prosper and expand. By 1918 there were twenty-four branches of the Bank of Italy, and by 1928 Giannini had acquired numerous other banks, including a Bank of America located in New York City. In 1930 he consolidated all the branches of the bank of Italy the Bank of America in New York City, and another Bank of America that he had formed in California into the Bank of America National Trust and Savings Association.

A second major crisis for the bank occurred during the Great Depression of the 1930s. Although Giannini had already retired prior to the darkest days of the Depression, he become incensed when his successor began selling off banks during the bad economic times. Giannini resumed leadership of the bank at the age of sixty-two. Under Giannini's leadership, the bank weathered the storm of the Depression and subsequently moved into a phrase of overseas development.

With what topic is this passage primarily concerned?

The organization that today is known as the Bank of America did start out in America, but under quite a different name. Italian America A. P Giannini established this bank on October 17, 1904, in a renovated saloon in San Francisco's Italian community of North Beach under the name Bank of Italy, with imigrants and first-time bank customers comprising the majority of his first customers. During its development, Giannini's bank survived major crises in the form of natural disaster and a major economic upheaval that not all other banks were able to overcome.

One major test for Giannini's bank occurred on April 18, 1906, when a massive earthquake struck Sun Francisco, followed by a raging fire that destroyed by much of the city. Giannini obtained two wagons and teams of horses, filled the wagons with the bank's reserves, mostly in the form of gold, covered the reserves with crates of oranges, and escaped from the chaos of the city with his clients' funds protected. In the aftermath of the disaster, Giannini's bank was the first to resume operations. Unable to install the bank in a proper office setting, Giannini opened up shop on the Washington Street Wharf on a makeshift desk created from boards and barrels.

In the period following the 1906 fire, the Bank of Italy continued to prosper and expand. By 1918 there were twenty-four branches of the Bank of Italy, and by 1928 Giannini had acquired numerous other banks, including a Bank of America located in New York City. In 1930 he consolidated all the branches of the bank of Italy the Bank of America in New York City, and another Bank of America that he had formed in California into the Bank of America National Trust and Savings Association.

A second major crisis for the bank occurred during the Great Depression of the 1930s. Although Giannini had already retired prior to the darkest days of the Depression, he become incensed when his successor began selling off banks during the bad economic times. Giannini resumed leadership of the bank at the age of sixty-two. Under Giannini's leadership, the bank weathered the storm of the Depression and subsequently moved into a phrase of overseas development.

What is the motive of the author?

The organization that today is known as the Bank of America did start out in America, but under quite a different name. Italian America A. P Giannini established this bank on October 17, 1904, in a renovated saloon in San Francisco's Italian community of North Beach under the name Bank of Italy, with imigrants and first-time bank customers comprising the majority of his first customers. During its development, Giannini's bank survived major crises in the form of natural disaster and a major economic upheaval that not all other banks were able to overcome.

One major test for Giannini's bank occurred on April 18, 1906, when a massive earthquake struck Sun Francisco, followed by a raging fire that destroyed by much of the city. Giannini obtained two wagons and teams of horses, filled the wagons with the bank's reserves, mostly in the form of gold, covered the reserves with crates of oranges, and escaped from the chaos of the city with his clients' funds protected. In the aftermath of the disaster, Giannini's bank was the first to resume operations. Unable to install the bank in a proper office setting, Giannini opened up shop on the Washington Street Wharf on a makeshift desk created from boards and barrels.

In the period following the 1906 fire, the Bank of Italy continued to prosper and expand. By 1918 there were twenty-four branches of the Bank of Italy, and by 1928 Giannini had acquired numerous other banks, including a Bank of America located in New York City. In 1930 he consolidated all the branches of the bank of Italy the Bank of America in New York City, and another Bank of America that he had formed in California into the Bank of America National Trust and Savings Association.

A second major crisis for the bank occurred during the Great Depression of the 1930s. Although Giannini had already retired prior to the darkest days of the Depression, he become incensed when his successor began selling off banks during the bad economic times. Giannini resumed leadership of the bank at the age of sixty-two. Under Giannini's leadership, the bank weathered the storm of the Depression and subsequently moved into a phrase of overseas development.

It is implied in the passage that … .

Eugene O'Neill

Universally acclaimed as America's greatest playwright, Eugene O'Neill was born in 1888 in the heart of the theater district in New York City. As the son of an actor he had early exposure to the world Line of the theater. He attended Princeton University briefly in 1906, but returned to New York to work in a variety of jobs before joining the crew of a freighter as a seaman. Upon returning from voyages to South Africa and South America, he was hospitalized for six months to recuperate from tuberculosis. While he was recovering, he determined to write a play about his adventures on the sea.

He went to Harvard, where he wrote the one-act Bound East for Cardiff. It was produced in 1916 on Cape Cod by the Provincetown Players, an experimental theatre group that was later to settle in the famous Greenwich Village theatre district in New York city. The Players produced several more of this one-acts in the years between 1916 – 1920. With the full-length play beyond the Horizon, produced on Broadway in 1920, O’Neill’s success was assured. The play won the Pulitzer Prize for he best play of the year. O’Neill was to be awarded the prize again in 1922, 1928, and 1957 for Anna Christie, Strange Interlude, and Long Day’s Journey Into Night. Although he did not receive the Pulitzer Prize for it, Mourning Becomes Electra, produced in 1031, is arguably his most lasting contribution to the American theatre. In 1936, he was awarded the Nobel Prize for Literature.

O'Neill's plays, forty-five in all, cover a wide range of dramatic subjects, but several themes emerge, including the ambivalence of family relationship, the struggle between the sexes, the conflict between spiritual and material desires, and the vision of modern man as a victim of uncontrollable circumstances. Most of O'Neill's characters are seeking meaning in their lives. According to his biographers, most of the characters were portraits of himself and his family. In a sense, his work chronicled his life.

The topic of this passage is … .

Eugene O'Neill

Universally acclaimed as America's greatest playwright, Eugene O'Neill was born in 1888 in the heart of the theater district in New York City. As the son of an actor he had early exposure to the world Line of the theater. He attended Princeton University briefly in 1906, but returned to New York to work in a variety of jobs before joining the crew of a freighter as a seaman. Upon returning from voyages to South Africa and South America, he was hospitalized for six months to recuperate from tuberculosis. While he was recovering, he determined to write a play about his adventures on the sea.

He went to Harvard, where he wrote the one-act Bound East for Cardiff. It was produced in 1916 on Cape Cod by the Provincetown Players, an experimental theatre group that was later to settle in the famous Greenwich Village theatre district in New York city. The Players produced several more of this one-acts in the years between 1916 – 1920. With the full-length play beyond the Horizon, produced on Broadway in 1920, O’Neill’s success was assured. The play won the Pulitzer Prize for he best play of the year. O’Neill was to be awarded the prize again in 1922, 1928, and 1957 for Anna Christie, Strange Interlude, and Long Day’s Journey Into Night. Although he did not receive the Pulitzer Prize for it, Mourning Becomes Electra, produced in 1031, is arguably his most lasting contribution to the American theatre. In 1936, he was awarded the Nobel Prize for Literature.

O'Neill's plays, forty-five in all, cover a wide range of dramatic subjects, but several themes emerge, including the ambivalence of family relationship, the struggle between the sexes, the conflict between spiritual and material desires, and the vision of modern man as a victim of uncontrollable circumstances. Most of O'Neill's characters are seeking meaning in their lives. According to his biographers, most of the characters were portraits of himself and his family. In a sense, his work chronicled his life.

What is the motive of the author?

Eugene O'Neill

Universally acclaimed as America's greatest playwright, Eugene O'Neill was born in 1888 in the heart of the theater district in New York City. As the son of an actor he had early exposure to the world Line of the theater. He attended Princeton University briefly in 1906, but returned to New York to work in a variety of jobs before joining the crew of a freighter as a seaman. Upon returning from voyages to South Africa and South America, he was hospitalized for six months to recuperate from tuberculosis. While he was recovering, he determined to write a play about his adventures on the sea.

He went to Harvard, where he wrote the one-act Bound East for Cardiff. It was produced in 1916 on Cape Cod by the Provincetown Players, an experimental theatre group that was later to settle in the famous Greenwich Village theatre district in New York city. The Players produced several more of this one-acts in the years between 1916 – 1920. With the full-length play beyond the Horizon, produced on Broadway in 1920, O’Neill’s success was assured. The play won the Pulitzer Prize for he best play of the year. O’Neill was to be awarded the prize again in 1922, 1928, and 1957 for Anna Christie, Strange Interlude, and Long Day’s Journey Into Night. Although he did not receive the Pulitzer Prize for it, Mourning Becomes Electra, produced in 1031, is arguably his most lasting contribution to the American theatre. In 1936, he was awarded the Nobel Prize for Literature.

O'Neill's plays, forty-five in all, cover a wide range of dramatic subjects, but several themes emerge, including the ambivalence of family relationship, the struggle between the sexes, the conflict between spiritual and material desires, and the vision of modern man as a victim of uncontrollable circumstances. Most of O'Neill's characters are seeking meaning in their lives. According to his biographers, most of the characters were portraits of himself and his family. In a sense, his work chronicled his life.

It can be inferred from the passage that ... .

A new study, published Thursday in Science, makes a strong case that the second theory is the right one. A team of anthropologists from the Max Planck Institute for Evolutionary Anthropology in Leipzig, Germany, developed a battery of learning tests they call the Primate Cognition Test Battery, and gave it to 106 chimps, 105 children and 32 orang-utans, to compare the groups directly on physical and social learning. Says Esther Hermann, a co-author of the paper: "It's the first time anything like this has been done.

The three groups performed about equally well on physical learning-locating hidden objects, figuring out the source of a noise, understanding the concepts of more and less, using a stick to get something that's out of reach. And indeed, the kids were of an age 2 1/2 years old where it's widely known that they do perform about as well as chimps in such tests. So for example, the scientists would hide a treat of some kind a toy, or some food-behind a box, while the test subjects looked on, the kids, chimps and orang-utans would have to be sophisticated enough to know that the object disappearing from view didn't mean it stopped existing, and had to be able to figure out where it had gone. All three groups did equally well at this sort of thing.

With what is the author primarily concerned?

A new study, published Thursday in Science, makes a strong case that the second theory is the right one. A team of anthropologists from the Max Planck Institute for Evolutionary Anthropology in Leipzig, Germany, developed a battery of learning tests they call the Primate Cognition Test Battery, and gave it to 106 chimps, 105 children and 32 orang-utans, to compare the groups directly on physical and social learning. Says Esther Hermann, a co-author of the paper: "It's the first time anything like this has been done.

The three groups performed about equally well on physical learning-locating hidden objects, figuring out the source of a noise, understanding the concepts of more and less, using a stick to get something that's out of reach. And indeed, the kids were of an age 2 1/2 years old where it's widely known that they do perform about as well as chimps in such tests. So for example, the scientists would hide a treat of some kind a toy, or some food-behind a box, while the test subjects looked on, the kids, chimps and orang-utans would have to be sophisticated enough to know that the object disappearing from view didn't mean it stopped existing, and had to be able to figure out where it had gone. All three groups did equally well at this sort of thing.

What is the purpose of the text?

A new study, published Thursday in Science, makes a strong case that the second theory is the right one. A team of anthropologists from the Max Planck Institute for Evolutionary Anthropology in Leipzig, Germany, developed a battery of learning tests they call the Primate Cognition Test Battery, and gave it to 106 chimps, 105 children and 32 orang-utans, to compare the groups directly on physical and social learning. Says Esther Hermann, a co-author of the paper: "It's the first time anything like this has been done.

The three groups performed about equally well on physical learning-locating hidden objects, figuring out the source of a noise, understanding the concepts of more and less, using a stick to get something that's out of reach. And indeed, the kids were of an age 2 1/2 years old where it's widely known that they do perform about as well as chimps in such tests. So for example, the scientists would hide a treat of some kind a toy, or some food-behind a box, while the test subjects looked on, the kids, chimps and orang-utans would have to be sophisticated enough to know that the object disappearing from view didn't mean it stopped existing, and had to be able to figure out where it had gone. All three groups did equally well at this sort of thing.

It is implied in the passage that … .

Vitamin D deficiency is traditionally associated with bone and muscle weakness, but in recent years a number of studies have shown that low levels of the vitamin may predispose the body to high blood pressure, congestive heart failure, and chronic blood vessel inflammation (associated with hardening of the arteries). It also alters hormone levels to increase insulin resistance, which raises the risk of diabetes.

In a review article published in the Journal of the American College of Cardiology, researchers surveyed recent studies on the link between vitamin D deficiency and heart disease to come up with practical advice on screening and treatment. They concluded that vitamin D deficiency is much more common than previously thought, affecting up to half of adults and apparently healthy children in the U.S. Researchers say higher rates of vitamin D deficiency may be due in part to people spending more time indoors and efforts to minimize sun exposure through the use of sunscreens. Sunscreen with a sun protection factor (SPF) of 15 blocks approximately 99% of vitamin D synthesis by the skin.

"We are outside less than we used be, and older adults and people who are overweight or obese are less efficient at making vitamin D in response to sunlight," says O'Keefe. "A little bit of sunshine is a good thing, but the use of sunscreen to guard against skin cancer is important if you plan to be outside for more than 15 to 30 minutes of intense sunlight exposure."

What is the author's main point in the passage?

Vitamin D deficiency is traditionally associated with bone and muscle weakness, but in recent years a number of studies have shown that low levels of the vitamin may predispose the body to high blood pressure, congestive heart failure, and chronic blood vessel inflammation (associated with hardening of the arteries). It also alters hormone levels to increase insulin resistance, which raises the risk of diabetes.

In a review article published in the Journal of the American College of Cardiology, researchers surveyed recent studies on the link between vitamin D deficiency and heart disease to come up with practical advice on screening and treatment. They concluded that vitamin D deficiency is much more common than previously thought, affecting up to half of adults and apparently healthy children in the U.S. Researchers say higher rates of vitamin D deficiency may be due in part to people spending more time indoors and efforts to minimize sun exposure through the use of sunscreens. Sunscreen with a sun protection factor (SPF) of 15 blocks approximately 99% of vitamin D synthesis by the skin.

"We are outside less than we used be, and older adults and people who are overweight or obese are less efficient at making vitamin D in response to sunlight," says O'Keefe. "A little bit of sunshine is a good thing, but the use of sunscreen to guard against skin cancer is important if you plan to be outside for more than 15 to 30 minutes of intense sunlight exposure."

What is the motive of the author?

Vitamin D deficiency is traditionally associated with bone and muscle weakness, but in recent years a number of studies have shown that low levels of the vitamin may predispose the body to high blood pressure, congestive heart failure, and chronic blood vessel inflammation (associated with hardening of the arteries). It also alters hormone levels to increase insulin resistance, which raises the risk of diabetes.

In a review article published in the Journal of the American College of Cardiology, researchers surveyed recent studies on the link between vitamin D deficiency and heart disease to come up with practical advice on screening and treatment. They concluded that vitamin D deficiency is much more common than previously thought, affecting up to half of adults and apparently healthy children in the U.S. Researchers say higher rates of vitamin D deficiency may be due in part to people spending more time indoors and efforts to minimize sun exposure through the use of sunscreens. Sunscreen with a sun protection factor (SPF) of 15 blocks approximately 99% of vitamin D synthesis by the skin.

"We are outside less than we used be, and older adults and people who are overweight or obese are less efficient at making vitamin D in response to sunlight," says O'Keefe. "A little bit of sunshine is a good thing, but the use of sunscreen to guard against skin cancer is important if you plan to be outside for more than 15 to 30 minutes of intense sunlight exposure."

What is the purpose of the text?