PrepTest 107, Section 3, Question 18
To classify a work of art as truly(17 more words not shown)
The principle above, if valid,(9 more words not shown)
- ABy breaking down(20 more words not shown)
- BSome of the(29 more words not shown)
- CCertain examples of(45 more words not shown)
- DThe piece of(20 more words not shown)
- ESince Bach's music(22 more words not shown)
Reading the argument
A work needs both originality and far-reaching influence before it can count as truly great. Having just one won't do.
But even having both doesn't guarantee greatness. The principle tells us what greatness requires, not everything that would make a work great. There could be other requirements we haven't been told about. So we can confidently rule out a work that lacks either stated quality, but we can't award greatness simply because a work has them both.
What we’re looking for
The question asks which argument the principle supports. I'd first look for an argument rejecting greatness because a required quality is missing. What we cannot do is add new requirements or treat the listed requirements as a complete guarantee.
Working the answers
- A
Picasso's originality satisfies one requirement. It does not by itself warrant the classification “truly great.” We haven't established the required far-reaching influence, and even establishing that would not turn the two requirements into a guarantee. A uses the rule to award a status it only gives requirements for.
- BCorrect
These works are original, but they have only minor influence. That means they lack the far-reaching influence required for classification as truly great. Meeting the originality requirement cannot make up for failing the influence requirement.
The argument does exactly what the principle permits: it rules out greatness when one required quality is absent. It need not deny the works' originality or their value in some other respect.
- C
This gives us both qualities: tremendous originality and a profound impact on musicians everywhere. That makes it more tempting than A. But notice the conclusion: those qualities are “enough” for greatness.
The principle never says they are enough. It says they are necessary. A work could satisfy both and still fall short for another reason. C turns a list of requirements into a complete test for success, and that is the step we cannot support.
- D
A work can fail to be great while still being original. Perhaps the lobby artwork has little influence. Perhaps it meets both stated requirements but fails another requirement. Knowing that it isn't classified as great does not identify originality as the missing quality.
- E
Starting with Bach's music being great is not itself a problem. If that is given, the principle does support the claims about originality and influence. The problem arrives at “broad popular appeal.” Nothing in the rule makes popularity a requirement for greatness. E adds a third quality that we cannot derive.
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