Main idea - TOEFL

Adapted from "Taking a Second Look: An Analysis of Genetic Markers in Species Relatedness" by Joseph Ritchie (2014)

Phylogenetics is the study of genetic composition in various species and is used by evolutionary biologists to investigate similarities in the molecular sequences of proteins in varying organisms. The amino acid sequences that build proteins are used to construct mathematical matrices that aid in determining evolutionary ties through the investigation of percentage similarities. The study of these matrices helps to expose evolutionary relationships between species that may not have the same overt characteristics.

Species adapt and evolve based on the pressures that exist in their environment. Climate, food source, and habitat availability are only a few factors that act on species adaptation. These stressors can alter the physical characteristics of organisms. This divergence in evolution has made it difficult to determine the interrelatedness of organisms by analyzing their physical characteristics alone.

For instance, looking only at physical characteristics, the ghost bat resembles a pigeon more than a spider monkey; however, phylogenetics has found that the amino acid sequences that construct the beta hemoglobin molecules of bats are twenty percent more similar to those of mammalian primates than those of birds. This helps reject the assumption that common physical characteristics between species are all that is needed to determine relatedness.

The differences produced by divergent evolution observed in the forest-dwelling, arboreal spider monkey and the nocturnal, airborne ghost bat can be reconciled through homology. Homologous characteristics are anatomical traits that are similar in two or more different species. For instance, the bone structure of a spider monkey’s wrist and fingers greatly resembles that of a bat’s wing or even a whale’s fin. These similarities are reinforced by phylogenetic evidence that supports the idea that physically dissimilar species can be evolutionarily related through anatomical and genetic similarities.

The central idea of this passage is best described by which of the following statements?

The following is an excerpt from Pride and Prejudice by Jane Austen (1813):

Occupied in observing Mr. Bingley's attentions to her sister, Elizabeth was far from suspecting that she was herself becoming an object of some interest in the eyes of his friend. Mr. Darcy had at first scarcely allowed her to be pretty; he had looked at her without admiration at the ball; and when they next met, he looked at her only to criticize. But no sooner had he made it clear to himself and his friends that she had hardly a good feature in her face, than he began to find it was rendered uncommonly intelligent by the beautiful expression of her dark eyes. To this discovery succeeded some others equally mortifying. Though he had detected with a critical eye more than one failure of perfect symmetry in her form, he was forced to acknowledge her figure to be light and pleasing; and in spite of his asserting that her manners were not those of the fashionable world, he was caught by their easy playfulness. Of this she was perfectly unaware; to her he was only the man who made himself agreeable nowhere, and who had not thought her handsome enough to dance with.

He began to wish to know more of her, and as a step towards conversing with her himself, attended to her conversation with others. His doing so drew her notice.

What is the main idea of this passage?

The following is an excerpt from Pride and Prejudice by Jane Austen (1813):

“From the very beginning — from the first moment, I may almost say — of my acquaintance with you, your manners, impressing me with the fullest belief of your arrogance, your conceit, and your selfish disdain of the feelings of others, were such as to form the groundwork of disapprobation on which succeeding events have built so immovable a dislike; and I had not known you a month before I felt that you were the last man in the world whom I could ever be prevailed on to marry.”

The main idea of this passage is __________.

Adapted from “Trees Worth Knowing” by Julia Ellen Rogers (1922)

“The swift unfolding of the leaves in spring is always a miracle. One day the budded twigs are still wrapped in the deep sleep of winter. A trace of green appears about the edges of the bud scales—they loosen and fall, and the tender green shoot looks timidly out and begins to unfold its crumpled leaves. Soon the delicate blade broadens and takes on the texture and familiar appearance of the grown-up leaf. Behold! While we watched the single shoot the bare tree has clothed itself in the green canopy of summer.

How can this miracle take place? How does the tree come into full leaf, sometimes within a fraction of a week? It could never happen except for the store of concentrated food that the sap dissolves in spring and carries to the buds, and for the remarkable activity of the cambium cells within the buds.

What is a bud? It is a shoot in miniature—its leaves or flowers, or both, formed with wondrous completeness in the previous summer. About its base are crowded leaved so hardened and overlapped as to cover and protect the tender shoot. All the tree can ever express of beauty or of energy comes out of these precious little ‘growing points,’ wrapped up all winter, but impatient, as spring approaches, to accept the invitation of the south wind and sun.”

What is the main idea of the passage?

Adapted from “Another Hardy Garden Book” by Helena Rutherfurd Ely (1915)

“When fruit trees blossom in late April and early May, the whole country where we live becomes, from the many orchards on all sides, one great garden. The exquisite pink-tinged apple blossoms, the pale pink blooms of the peach, the masses of delicate color set in the tender green of budding leaves and fresh grass, all breathing the fragrance of the Spring, make the scene one of beauty indescribable. We can understand and sympathize with the Japanese in their love of the cherry, peach, and plum blossoms, and envy them the life that makes it possible to lay work aside for a time every day and flock to the gardens, where the cult of the fruit tree and the Wistaria, of Pæonies, Lilies, and Chrysanthemums have been brought to perfection, and where they may steep their senses in this beauty daily, from the time the early cherry blossoms come until the petals of the last Chrysanthemum have been borne away by the winds. But how few dwellers in our cities give thought to the wonderful beauty to be seen, just a little way out in the country, when the blossoms come in Spring! And even were time available, how few among the multitude would leave the asphalt for a day merely to gaze upon the fairy-like scene! To them, living is such a tread-mill of obligation and toil and work, that many go through life with unseeing eyes for the great beauties of Nature. From the days when the stern Pilgrims, hoe in hand and musket slung over the shoulder, wrested a scanty living from the wilderness, until to-day, when millionaires travel between their country places and Wall Street by automobile, swift yacht, or special train, reading the latest edition of the newspaper en route, we have been so occupied in the pursuit of the practical, that as a people we have neglected the cultivation of the sense of love and beauty.”

What is the main idea of the passage?

Adapted from The Voyage Out by Virginia Woolf (1915).

"\[... Rachel\] had been educated as the majority of well-to-do girls in the last part of the nineteenth century were educated. Kindly doctors and gentle old professors had taught her the rudiments of about ten different branches of knowledge, but they would as soon have forced her to go through one piece of drudgery thoroughly as they would have told her that her hands were dirty. The one hour or the two hours weekly passed very pleasantly, partly owing to the other pupils, partly to the fact that the window looked upon the back of a shop, where figures appeared against the red windows in winter, partly to the accidents that are bound to happen when more than two people are in the same room together. But there was no subject in the world which she knew accurately. Her mind was in the state of an intelligent man's in the beginning of the reign of Queen Elizabeth; she would believe practically anything she was told, invent reasons for anything she said. The shape of the earth, the history of the world, how trains worked, or money was invested, what laws were in force, which people wanted what, and why they wanted it, the most elementary idea of a system in modern life—none of this had been imparted to her by any of her professors or mistresses. But this system of education had one great advantage. It did not teach anything, but it put no obstacle in the way of any real talent that the pupil might chance to have. Rachel, being musical, was allowed to learn nothing but music; she became a fanatic about music. All the energies that might have gone into languages, science, or literature, that might have made her friends, or shown her the world, poured straight into music. Finding her teachers inadequate, she had practically taught herself. At the age of twenty-four she knew as much about music as most people do when they are thirty; and could play as well as nature allowed her to, which, as became daily more obvious, was a really generous allowance. If this one definite gift was surrounded by dreams and ideas of the most extravagant and foolish description, no one was any the wiser."

The main purpose of this passage is to ________________.

Adapted from The Voyage Out by Virginia Woolf (1915).

"\[... Rachel\] had been educated as the majority of well-to-do girls in the last part of the nineteenth century were educated. Kindly doctors and gentle old professors had taught her the rudiments of about ten different branches of knowledge, but they would as soon have forced her to go through one piece of drudgery thoroughly as they would have told her that her hands were dirty. The one hour or the two hours weekly passed very pleasantly, partly owing to the other pupils, partly to the fact that the window looked upon the back of a shop, where figures appeared against the red windows in winter, partly to the accidents that are bound to happen when more than two people are in the same room together. But there was no subject in the world which she knew accurately. Her mind was in the state of an intelligent man's in the beginning of the reign of Queen Elizabeth; she would believe practically anything she was told, invent reasons for anything she said. The shape of the earth, the history of the world, how trains worked, or money was invested, what laws were in force, which people wanted what, and why they wanted it, the most elementary idea of a system in modern life—none of this had been imparted to her by any of her professors or mistresses. But this system of education had one great advantage. It did not teach anything, but it put no obstacle in the way of any real talent that the pupil might chance to have. Rachel, being musical, was allowed to learn nothing but music; she became a fanatic about music. All the energies that might have gone into languages, science, or literature, that might have made her friends, or shown her the world, poured straight into music. Finding her teachers inadequate, she had practically taught herself. At the age of twenty-four she knew as much about music as most people do when they are thirty; and could play as well as nature allowed her to, which, as became daily more obvious, was a really generous allowance. If this one definite gift was surrounded by dreams and ideas of the most extravagant and foolish description, no one was any the wiser."

According to the passage, around the beginning of Queen Elizabeth's reign what would an intelligent man's mind have been like?

Passage adapted from Narrative of the Life of Frederick Douglass, an American Slave by Frederick Douglass (1845).

The slaves selected to go to the Great House Farm, for the monthly allowance for themselves and their fellow-slaves, were peculiarly enthusiastic. While on their way, they would make the dense old woods, for miles around, reverberate with their wild songs, revealing at once the highest joy and the deepest sadness. \[...\]

I did not, when a slave, understand the deep meaning of those rude and apparently incoherent songs. I was myself within the circle; so that I neither saw nor heard as those without might see and hear. They told a tale of woe which was then altogether beyond my feeble comprehension; they were tones loud, long, and deep; they breathed the prayer and complaint of souls boiling over with the bitterest anguish. Every tone was a testimony against slavery, and a prayer to God for deliverance from chains. The hearing of those wild notes always depressed my spirit, and filled me with ineffable sadness. I have frequently found myself in tears while hearing them. The mere recurrence to those songs, even now, afflicts me; and while I am writing these lines, an expression of feeling has already found its way down my cheek. To those songs I trace my first glimmering conception of the dehumanizing character of slavery. I can never get rid of that conception. Those songs still follow me, to deepen my hatred of slavery, and quicken my sympathies for my brethren in bonds. If any one wishes to be impressed with the soul-killing effects of slavery, let him go to Colonel Lloyd's plantation, and, on allowance-day, place himself in the deep pine woods, and there let him, in silence, analyze the sounds that shall pass through the chambers of his soul,--and if he is not thus impressed, it will only be because "there is no flesh in his obdurate heart."

I have often been utterly astonished, since I came to the north, to find persons who could speak of the singing, among slaves, as evidence of their contentment and happiness. It is impossible to conceive of a greater mistake. Slaves sing most when they are most unhappy. The songs of the slave represent the sorrows of his heart; and he is relieved by them, only as an aching heart is relieved by its tears. At least, such is my experience. I have often sung to drown my sorrow, but seldom to express my happiness. Crying for joy, and singing for joy, were alike uncommon to me while in the jaws of slavery. The singing of a man cast away upon a desolate island might be as appropriately considered as evidence of contentment and happiness, as the singing of a slave; the songs of the one and of the other are prompted by the same emotion.

The sentence in bold most nearly means __________________.

Passage adapted from Narrative of the Life of Frederick Douglass, an American Slave by Frederick Douglass (1845).

The slaves selected to go to the Great House Farm, for the monthly allowance for themselves and their fellow-slaves, were peculiarly enthusiastic. While on their way, they would make the dense old woods, for miles around, reverberate with their wild songs, revealing at once the highest joy and the deepest sadness. \[...\]

I did not, when a slave, understand the deep meaning of those rude and apparently incoherent songs. I was myself within the circle; so that I neither saw nor heard as those without might see and hear. They told a tale of woe which was then altogether beyond my feeble comprehension; they were tones loud, long, and deep; they breathed the prayer and complaint of souls boiling over with the bitterest anguish. Every tone was a testimony against slavery, and a prayer to God for deliverance from chains. The hearing of those wild notes always depressed my spirit, and filled me with ineffable sadness. I have frequently found myself in tears while hearing them. The mere recurrence to those songs, even now, afflicts me; and while I am writing these lines, an expression of feeling has already found its way down my cheek. To those songs I trace my first glimmering conception of the dehumanizing character of slavery. I can never get rid of that conception. Those songs still follow me, to deepen my hatred of slavery, and quicken my sympathies for my brethren in bonds. If any one wishes to be impressed with the soul-killing effects of slavery, let him go to Colonel Lloyd's plantation, and, on allowance-day, place himself in the deep pine woods, and there let him, in silence, analyze the sounds that shall pass through the chambers of his soul,--and if he is not thus impressed, it will only be because "there is no flesh in his obdurate heart."

I have often been utterly astonished, since I came to the north, to find persons who could speak of the singing, among slaves, as evidence of their contentment and happiness. It is impossible to conceive of a greater mistake. Slaves sing most when they are most unhappy. The songs of the slave represent the sorrows of his heart; and he is relieved by them, only as an aching heart is relieved by its tears. At least, such is my experience. I have often sung to drown my sorrow, but seldom to express my happiness. Crying for joy, and singing for joy, were alike uncommon to me while in the jaws of slavery. The singing of a man cast away upon a desolate island might be as appropriately considered as evidence of contentment and happiness, as the singing of a slave; the songs of the one and of the other are prompted by the same emotion.

The passage in bold most nearly means ______________.

Passage adapted from Narrative of the Life of Frederick Douglass, an American Slave by Frederick Douglass (1845).

The slaves selected to go to the Great House Farm, for the monthly allowance for themselves and their fellow-slaves, were peculiarly enthusiastic. While on their way, they would make the dense old woods, for miles around, reverberate with their wild songs, revealing at once the highest joy and the deepest sadness. \[...\]

I did not, when a slave, understand the deep meaning of those rude and apparently incoherent songs. I was myself within the circle; so that I neither saw nor heard as those without might see and hear. They told a tale of woe which was then altogether beyond my feeble comprehension; they were tones loud, long, and deep; they breathed the prayer and complaint of souls boiling over with the bitterest anguish. Every tone was a testimony against slavery, and a prayer to God for deliverance from chains. The hearing of those wild notes always depressed my spirit, and filled me with ineffable sadness. I have frequently found myself in tears while hearing them. The mere recurrence to those songs, even now, afflicts me; and while I am writing these lines, an expression of feeling has already found its way down my cheek. To those songs I trace my first glimmering conception of the dehumanizing character of slavery. I can never get rid of that conception. Those songs still follow me, to deepen my hatred of slavery, and quicken my sympathies for my brethren in bonds. If any one wishes to be impressed with the soul-killing effects of slavery, let him go to Colonel Lloyd's plantation, and, on allowance-day, place himself in the deep pine woods, and there let him, in silence, analyze the sounds that shall pass through the chambers of his soul,--and if he is not thus impressed, it will only be because "there is no flesh in his obdurate heart."

I have often been utterly astonished, since I came to the north, to find persons who could speak of the singing, among slaves, as evidence of their contentment and happiness. It is impossible to conceive of a greater mistake. Slaves sing most when they are most unhappy. The songs of the slave represent the sorrows of his heart; and he is relieved by them, only as an aching heart is relieved by its tears. At least, such is my experience. I have often sung to drown my sorrow, but seldom to express my happiness. Crying for joy, and singing for joy, were alike uncommon to me while in the jaws of slavery. The singing of a man cast away upon a desolate island might be as appropriately considered as evidence of contentment and happiness, as the singing of a slave; the songs of the one and of the other are prompted by the same emotion.

The phrase in bold in the passage most nearly means ______________.

Passage adapted from Narrative of the Life of Frederick Douglass, an American Slave by Frederick Douglass (1845).

The slaves selected to go to the Great House Farm, for the monthly allowance for themselves and their fellow-slaves, were peculiarly enthusiastic. While on their way, they would make the dense old woods, for miles around, reverberate with their wild songs, revealing at once the highest joy and the deepest sadness. \[...\]

I did not, when a slave, understand the deep meaning of those rude and apparently incoherent songs. I was myself within the circle; so that I neither saw nor heard as those without might see and hear. They told a tale of woe which was then altogether beyond my feeble comprehension; they were tones loud, long, and deep; they breathed the prayer and complaint of souls boiling over with the bitterest anguish. Every tone was a testimony against slavery, and a prayer to God for deliverance from chains. The hearing of those wild notes always depressed my spirit, and filled me with ineffable sadness. I have frequently found myself in tears while hearing them. The mere recurrence to those songs, even now, afflicts me; and while I am writing these lines, an expression of feeling has already found its way down my cheek. To those songs I trace my first glimmering conception of the dehumanizing character of slavery. I can never get rid of that conception. Those songs still follow me, to deepen my hatred of slavery, and quicken my sympathies for my brethren in bonds. If any one wishes to be impressed with the soul-killing effects of slavery, let him go to Colonel Lloyd's plantation, and, on allowance-day, place himself in the deep pine woods, and there let him, in silence, analyze the sounds that shall pass through the chambers of his soul,--and if he is not thus impressed, it will only be because "there is no flesh in his obdurate heart."

I have often been utterly astonished, since I came to the north, to find persons who could speak of the singing, among slaves, as evidence of their contentment and happiness. It is impossible to conceive of a greater mistake. Slaves sing most when they are most unhappy. The songs of the slave represent the sorrows of his heart; and he is relieved by them, only as an aching heart is relieved by its tears. At least, such is my experience. I have often sung to drown my sorrow, but seldom to express my happiness. Crying for joy, and singing for joy, were alike uncommon to me while in the jaws of slavery. The singing of a man cast away upon a desolate island might be as appropriately considered as evidence of contentment and happiness, as the singing of a slave; the songs of the one and of the other are prompted by the same emotion.

The sentence in bold most nearly means _________________.