GED Language Arts (RLA) : Language Usage and Grammar
Study concepts, example questions & explanations for GED Language Arts (RLA)
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Example Questions
Example Question #21 : Punctuation
Passage adapted from The Picture of Dorian Gray by Oscar Wilde (1890)
In England, there was scarcely an amount of order and protection to justify much national boasting. Daring burglaries by armed men, and highway robberies, took place in the capital itself every night; families were publicly cautioned not to go out of town without removing their furniture to upholsterers' warehouses for security; the highwayman in the dark was a City tradesman in the light, and, being recognised and challenged by his fellow-tradesman whom he stopped in his character of "the Captain," gallantly shot him through the head and rode away; the mail was waylaid by seven robbers, and the guard shot three dead, and then got shot dead himself by the other four, "in consequence of the failure of his ammunition:" after which the mail was robbed in peace; that magnificent potentate, the Lord Mayor of London, was made to stand and deliver on Turnham Green, by one highwayman, who despoiled the illustrious creature in sight of all his retinue; prisoners in London gaols fought battles with their turnkeys, and the majesty of the law fired blunderbusses in among them, loaded with rounds of shot and ball; thieves snipped off diamond crosses from the necks of noble lords at Court drawing-rooms; musketeers went into St. Giles's, to search for contraband goods, and the mob fired on the musketeers, and the musketeers fired on the mob, and nobody thought any of these occurrences much out of the common way. In the midst of them, the hangman, ever busy and ever worse than useless, was in constant requisition; now, stringing up long rows of miscellaneous criminals; now, hanging a housebreaker on Saturday who had been taken on Tuesday; now, burning people in the hand at Newgate by the dozen, and now burning pamphlets at the door of Westminster Hall; to-day, taking the life of an atrocious murderer, and to-morrow of a wretched pilferer who had robbed a farmer's boy of sixpence.
Correct the bolded and underlined section of the text.
every night; and families were publicly
every night, families were publicly
every night families were publicly
every night; families were publicly
every night but families were publicly
every night; families were publicly
When a sentence contains two independent clauses it requires either a conjunction with a comma or a semicolon and no conjunction. An independent clause is a clause in a sentence that can stand alone as a sentence. The above options do not contain a conjunction and a comma so a semicolon without a conjunction is the only correct answer.
Example Question #1 : Semi Colons
Passage adapted from The Picture of Dorian Gray by Oscar Wilde (1890)
The passenger booked by this history, was on the coach-step, getting in; the two other passengers were close behind him, and about to follow. He remained on the step, half in the coach and half out of; they remained in the road below him. They all looked from the coachman to the guard, and from the guard to the coachman, and listened. The coachman looked back and the guard looked back, and even the emphatic leader pricked up his ears and looked back, without contradicting.
The stillness consequent on the cessation of the rumbling and labouring of the coach, added to the stillness of the night, made it very quiet indeed. The panting of the horses communicated a tremulous motion to the coach; as if it were in a state of agitation. The hearts of the passengers beat loud enough perhaps to be heard; but at any rate, the quiet pause was audibly expressive of people out of breath, and holding the breath, and having the pulses quickened by expectation.
The sound of a horse at a gallop came fast and furiously up the hill.
"So-ho!" the guard sang out, as loud as he could roar. "Yo there! Stand! I shall fire!"
The pace was suddenly checked, and, with much splashing and floundering, a man's voice called from the mist, "Is that the Dover mail?"
"Never you mind what it is!" the guard retorted. "What are you?"
"Is that the Dover mail?"
"Why do you want to know?"
"I want a passenger, if it is."
"What passenger?"
"Mr. Jarvis Lorry."
Our booked passenger showed in a moment that it was his name. The guard, the coachman, and the two other passengers eyed him distrustfully.
"Keep where you are," the guard called to the voice in the mist, "because, if I should make a mistake, it could never be set right in your lifetime. Gentleman of the name of Lorry answer straight."
"What is the matter?" asked the passenger, then, with mildly quavering speech. "Who wants me? Is it Jerry?"
("I don't like Jerry's voice, if it is Jerry," growled the guard to himself. "He's hoarser than suits me, is Jerry.")
"Yes, Mr. Lorry."
"What is the matter?
Correct the bolded and underlined sentence.
The panting of the horses communicated a tremulous motion to the coach as if it were in a state of agitation.
The panting of the horses communicated a tremulous motion to the coach; as if it were in a state of agitation.
The panting of the horses communicated a tremulous motion to the coach, and as if it were in a state of agitation.
The panting of the horses communicated a tremulous motion to the coach, as if it were in a state of agitation.
The panting of the horses communicated; a tremulous motion to the coach, as if it were in a state of agitation.
The panting of the horses communicated a tremulous motion to the coach, as if it were in a state of agitation.
There needs to be a comma after "coach" because "as if it were in a state of agitation" is not an independent clause. A semicolon cannot be used because there are not two independent clauses. For the same reason a comma and an "and" cannot be used together in this situation.
Example Question #71 : Language Usage And Grammar
In this popular car ad a pony stands against a rural prairie backdrop. He is flashing a set of gold teeth. Dark, clouds overhead indicate the arrival of a rainstorm. In the top right hand corner of the ad, the tagline reads: “Now in the Prairies. The urban-inspired, 2009 Forota Hattrick.” Created for the Canadian Prairie Forota Dealers organization by an advertising firm; this ad is one in a series of three, each of which feature farm animals sporting so-called “urban-inspired” accessories: a pony with a grill, a sheep with an afro pick, and a cow with a Band-Aid under his left eye (reminiscent of the one once regularly worn by rapper Nelly).
The urban pony ad has a dark color scheme that is more muted then saturated. The dark background emphasizes the sparkle bouncing off the pony’s grill. There’s also a strong contrast between the images’ foreground and background. While the environment is hazy and its details soft, the pony is seen up close, a bright light source illuminating texture in the individual strands of its hair and the indentations in its gold teeth. Overall, the image of the pony is highly stylized—particularly in contrast—with its visually subdued surroundings. The pony’s aestheticized or artificial qualities being at odds with its rural environment.
On the other hand, there are also visual cues indicating affinity between the animal and its surroundings. For example, the shape of its teeth are echoed in a faint yellow rectangular shape floating in the sky. The pattern of shadow and light mottling the pony’s cheek bones also mimics the pattern of dark and light in the gathering storm clouds. This might suggest that the animal is being allies with its natural, prairie setting. The storm, however, contains its own ambiguity: though it is a part of nature, it can also be read as foreboding symbol signally the arrival of the urban-inspired car. These visual details serve to simultaneously place the pony within and alienate it from its surroundings.
Select the answer that best corrects the underlined portion of the sentence.
The sentence contains no error
Created for the Canadian Prairie Forota Dealers organization by an advertising firm, this ad is one in a series of three
Created for the Canadian, Prairie Forota Dealers organization by an advertising firm; this ad is one in a series of three
Created for the Canadian Prairie Forota Dealers organization, by an advertising firm, this ad is one in a series of three
Created for the Canadian Prairie Forota Dealers organization by an advertising firm this ad is one in a series of three;
Created for the Canadian Prairie Forota Dealers organization by an advertising firm, this ad is one in a series of three
"Created for the Canadian Prairie Forota Dealers organization by an advertising firm" is a participle phrase modifying "this ad." Because it appears before the noun it modifies, it needs to be offset by a comma. A semicolon doesn't work here because the it is a phrase, not an independent clause. With only one exception (when separating items in a list that contain internal punctuation), semicolons are always used to separate two clauses that could stand on their own as complete sentences.
Example Question #71 : Language Usage And Grammar
In this popular car ad a pony stands against a rural prairie backdrop. He is flashing a set of gold teeth. Dark, clouds overhead indicate the arrival of a rainstorm. In the top right hand corner of the ad, the tagline reads: “Now in the Prairies. The urban-inspired, 2009 Forota Hattrick.” Created for the Canadian Prairie Forota Dealers organization by an advertising firm; this ad is one in a series of three, each of which feature farm animals sporting so-called “urban-inspired” accessories: a pony with a grill, a sheep with an afro pick, and a cow with a Band-Aid under his left eye (reminiscent of the one once regularly worn by rapper Nelly).
The urban pony ad has a dark color scheme that is more muted then saturated. The dark background emphasizes the sparkle bouncing off the pony’s grill. There’s also a strong contrast between the images’ foreground and background. While the environment is hazy and its details soft, the pony is seen up close, a bright light source illuminating texture in the individual strands of its hair and the indentations in its gold teeth. Overall, the image of the pony is highly stylized—particularly in contrast—with its visually subdued surroundings. The pony’s aestheticized or artificial qualities being at odds with its rural environment.
On the other hand, there are also visual cues indicating affinity between the animal and its surroundings. For example, the shape of its teeth are echoed in a faint yellow rectangular shape floating in the sky. The pattern of shadow and light mottling the pony’s cheek bones also mimics the pattern of dark and light in the gathering storm clouds. This might suggest that the animal is being allies with its natural, prairie setting. The storm, however, contains its own ambiguity: though it is a part of nature, it can also be read as foreboding symbol signally the arrival of the urban-inspired car. These visual details serve to simultaneously place the pony within and alienate it from its surroundings.
Select the answer that best corrects the underlined sentence.
The sentence contains no error.
The storm, however, contains its own ambiguity: though it is a part, of nature, it can also be read as foreboding symbol signally the arrival of the urban-inspired car.
The storm, however, contains its own ambiguity: though it is a part of nature it can also be read as foreboding symbol signally the arrival of the urban inspired car.
The storm, however, contains its own ambiguity: though it is a part of nature, it can also be read as foreboding symbol signally the arrival of the urban, inspired car.
The storm, however, contains its own ambiguity: though it is a part of nature, it can also be read, as foreboding symbol signally the arrival of the urban-inspired car.
The sentence contains no error.
All of the answers in which the punctuation is changed adds an error to the sentence that was not previously there. Students might be tempted to select the option that separates "urban" and "inspired" with commas. However, urban-inspired is hyphenated because it functions as a single modifier for "car." The car is not separately urban and inspired.
Example Question #1 : Parallelism
From Julius Caesar by William Shakespeare, III.ii.13-33 (1599)
[This is a speech by Brutus to a crowd at Caesar’s funeral.]
Romans, countrymen, and lovers! Hear me for my
cause, and be silent, that you may hear. Believe me
for mine honor, and have respect to mine honor, that
you may believe. Censure me in your wisdom, and
awake your senses, that you may the better judge.
If there be any in this assembly, any dear friend of
Caesar's, to him I say that Brutus' love to Caesar
was no less than his. If then that friend demand
why Brutus rose against Caesar, this is my answer:
Not that I loved Caesar less, but that I loved
Rome more. Had you rather Caesar were living and
die all slaves, than that Caesar were dead to live
all free men? As Caesar loved me, I weep for him;
as he was fortunate, I rejoice at it; as he was
valiant, I honor him; but as he was ambitious, I
slew him. There is tears for his love, joy for his
fortune, honor for his valor, and death for his
ambition. Who is here so base that would be a
bondman? If any, speak, for him have I offended.
Who is here so rude that would not be a Roman? If
any, speak, for him have I offended. Who is here so
vile that will not love his country? If any, speak,
for him have I offended. I pause for a reply.
By what grammatical device does Brutus construct the parallelism found in the underlined sentences?
By addressing the crowd in a frank, honest manner
By only speaking with forceful language
By using the imperative mood, following each order with an explanation
By using short, punctuated sentences
By increasingly appealing to emotions through rhetorical devices
By using the imperative mood, following each order with an explanation
The key to this question is to notice the parallel use of verbs and the subordinate clauses that begin with "that." See the emphasized selection below, which uses boldface and underlining to show you these portions clearly:
"Hear me for my cause, and be silent, that you may hear. Believe me for mine honor, and have respect to mine honor, that you may believe. Censure me in your wisdom, and awake your senses, that you may the better judge."
In each of these sentences, Brutus uses two verbs in the imperative mood followed by an explanation of why they are to listen to the commands made by the verbs. This establishes the "rhythm" of the parallelism and makes these three sentences clearly related in structure.
Example Question #1 : Parallelism
How should the underlined section be changed to correct the faulty parallelism?
I envision a world in which men and women are treated equally, in which privilege is extended to people regardless of their race, and religion is no longer a divisive issue.
in which religion would no longer be a divisive issue.
(no change)
religion could no longer be a divisive issue.
religion no longer being a divisive issue.
in which religion is no longer a divisive issue.
in which religion is no longer a divisive issue.
Since the first two items in this sentence’s list begin with “in which,” the third must do the same. The verb should remain in the present tense, as the first two items do. (An alternate fix would be to eliminate “in which” from the second item in the list. This would make the first “in which” apply to all three parts of the list equally.)
Example Question #1 : Syntax
How should the underlined section be changed to correct the faulty parallelism?
The candidate is not so much opposed to marriage equality as challenging his rigid, traditionalist beliefs.
he is opposed to his rigid, traditionalist beliefs.
he is opposed to any challenge to his rigid, traditionalist beliefs.
(no change)
None of these
any challenge to his rigid, traditionalist beliefs.
he is opposed to any challenge to his rigid, traditionalist beliefs.
While this sentence may appear correct at first glance, but consider the two things that are being compared: being opposed to marriage equality (a stance) and “any challenge to his rigid, traditionalist beliefs” (an opinion). To change this faulty parallelism, we simply need to add the correct subject and verb to the latter part of the sentence.
Example Question #2 : Syntax
How should the underlined section be changed to correct the faulty parallelism?
In spring, summer, or in autumn, cicadas can be seen in various life stages along Kayleigh’s favorite river.
In spring, summer, or in autumn:
In spring, in summer, or in autumn,
(no change)
In spring, summer; or in autumn,
In spring, in summer, or autumn,
In spring, in summer, or in autumn,
Here, the simplest solution is the best. Adding an “in” to “summer” makes each item in the list parallel (a noun preceded by a preposition). No change to the punctuation needs to be made in this case.
Example Question #3 : Syntax
How should the underlined section be changed to correct the faulty parallelism?
My love of Seth’s waterfront cottage is nothing compared to our dogs.
(no change)
is nothing compared to that of our dogs’.
is nothing compared to our dogs’.
was nothing, being compared to our dogs.
was nothing (compared to our dogs).
is nothing compared to our dogs’.
While this sentence sounds correct spoken aloud, it is missing an apostrophe. We don’t mean to compare the speaker’s love of the cottage with dogs; we mean to compare the speaker’s love with the dogs’ love. Thus, adding an apostrophe to “dogs” solves the faulty parallelism. (The choice “that of our dogs’” goes too far in making the dogs doubly possessive and is also clunky.)
Example Question #241 : Ged Language Arts (Rla)
What transition word or phrase best fits the blank below?
______________ some pundits believe global warming is a hoax, nearly all scientific experts agree that climate change is a very real and exigent threat.
Seeing that
Although
Because
Not to mention
Meanwhile
Although
The correct relationship between the two parts of these sentences is one of contrast. “Because” and “Seeing that” imply causation (i.e. pundits’ disbelief leads to experts’ agreement), which is not logical. “Not to mention” implies agreement or similarity.” “Meanwhile” correctly implies a sort of contrast, but it does not fit the grammatical construction of the sentence.
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