<p>Passage 1
When I entered journalism school in the 1920s, I
found out that perennial and fundamental laws governing
the art of good writing had been discovered. Experts
had stubbornly and rigorously analyzed readers modest
capacity to dedicate th 5 eir attention to the printed page
and had established once and for all, apparently with the
mathematical precision of astronomers, the order of
readers natural preferences. They found that effective
prose was composed of a limited number of very simple
10 and common words grouped in short, crisp sentences.
When designed rigorously, such prose could penetrate the
opaque barrier of millions of readers indifference, apathy,
inattention, and obtuseness.</p>
<p>Passage 2
Beginning writers are often taught that effective prose
15 is crisp and concise and that most readers have no patience
with densely complex sentences and obscure vocabulary.
While clarity and succinctness are certainly worthy goals,
I sometimes worry that our assumption that the reading
public can comprehend only such writing might be selling
20 them short. Assuming that readers are merely able to digest
simple words, and that they have no interest in puzzling
through more challenging prose, turns that theory into a
self-fulfilling prophecy. Its our responsibility as writers
to offer the public something beyond workmanlike writing:
25 if we dont, readers will never appreciate writing as an art
rather than as a mechanical craft.</p>
<p>In comparison to Passage 2, the tone of Passage 1
is more
(A) earnest
(B) inspirational
(C) complacent
(D) defensive
(E) sarcastic</p>
<p>The answer is E. HOW? I put A :(</p>