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He gave ---- of us advice about our present goals.
  • a)
    every
  • b)
    each
  • c)
    the whole
  • d)
    much
  • e)
    no
Correct answer is option 'B'. Can you explain this answer?
Verified Answer
He gave ---- of us advice about our present goals.a)everyb)eachc)the w...
Explanation:

The correct answer is B:
each
.

Here's why:

  • When the sentence says "He gave", it implies that advice was given to multiple people.

  • The word "each" is used to refer to individual members of a group, so it is the most appropriate choice to indicate that advice was given to each person individually.

  • The other options are not suitable in this context:


    • A: "every" implies that advice was given to all people collectively, but it doesn't specify that each person received individual advice.

    • C: "the whole" refers to the entire group, but it doesn't indicate advice given to each person individually.

    • D: "much" is used to measure quantity, not applicable in this context.

    • E: "no" indicates that no advice was given, which contradicts the given information.



Therefore, the correct answer is B:
each
.
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Most Upvoted Answer
He gave ---- of us advice about our present goals.a)everyb)eachc)the w...
Explanation:

Each:
- The word "each" is used to refer to every individual or item in a group separately.
- In this sentence, the speaker is referring to the advice given to each individual separately, indicating that each person received advice about their present goals.

Other options:
- "Every" refers to all the members of a group as a whole, while "each" focuses on individual members.
- "The whole" implies advice given collectively to the entire group, not individually.
- "Much" is used with uncountable nouns and does not fit in the context of giving advice to individuals.
- "No" is a negative response and does not make sense in this sentence.
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Directions: Read the given passage carefully and answer the question as follow.I remember the astonishment I felt when I first read Shakespeare. I expected to receive a powerful aesthetic pleasure, but having read, one after the other, works regarded as his best: “King Lear,” “Romeo and Juliet,” “Hamlet” and “Macbeth,” not only did I feel no delight, but I also felt an irresistible repulsion and tedium, and doubted as to whether I was senseless in feeling works regarded as the summit of perfection by the whole of the civilized world to be trivial and positively bad, or whether the significance which this civilized world attributes to the works of Shakespeare was itself senseless. My consternation was increased by the fact that I always keenly felt the beauties of poetry in every form; then why should artistic works recognized by the whole world as those of a genius not just fail to please me, but in fact be disagreeable to me?For a long time I could not believe in myself, and during fifty years, in order to test myself, I several times recommenced reading Shakespeare in every possible form, in Russian, in English, in German and in Schlegel’s translation, as I was advised. Several times I read the dramas and the comedies and historical plays, and I invariably underwent the same feelings: repulsion, weariness, and bewilderment. At the present time, before writing this preface, being desirous once more to test myself, I have, as an old man of seventy-five, again read the whole of Shakespeare, including the historical plays, the “Henrys,” “Troilus and Cressida,” the “Tempest,” “Cymbeline,” and I have felt, with even greater force, the same feelings, this time, however, not of bewilderment, but of firm, indubitable conviction that the unquestionable glory of a great genius which Shakespeare enjoys, and which compels writers of our time to imitate him and readers and spectators to discover in him non-existent merits,—thereby distorting their aesthetic and ethical understanding,—is a great evil, as is every untruth.Although I know that the majority of people so firmly believe in the greatness of Shakespeare that in reading this judgment of mine they will not admit even to the possibility of its justice, and will not give it the slightest attention, nevertheless I will endeavour, as well as I can, to show why I believe that Shakespeare cannot be recognized either as a great genius, or even as an average author.Q.Each of the following can be inferred about Shakespeare from the passage EXCEPT

Directions: Read the given passage carefully and answer the question as follow.I remember the astonishment I felt when I first read Shakespeare. I expected to receive a powerful aesthetic pleasure, but having read, one after the other, works regarded as his best: “King Lear,” “Romeo and Juliet,” “Hamlet” and “Macbeth,” not only did I feel no delight, but I also felt an irresistible repulsion and tedium, and doubted as to whether I was senseless in feeling works regarded as the summit of perfection by the whole of the civilized world to be trivial and positively bad, or whether the significance which this civilized world attributes to the works of Shakespeare was itself senseless. My consternation was increased by the fact that I always keenly felt the beauties of poetry in every form; then why should artistic works recognized by the whole world as those of a genius not just fail to please me, but in fact be disagreeable to me?For a long time I could not believe in myself, and during fifty years, in order to test myself, I several times recommenced reading Shakespeare in every possible form, in Russian, in English, in German and in Schlegel’s translation, as I was advised. Several times I read the dramas and the comedies and historical plays, and I invariably underwent the same feelings: repulsion, weariness, and bewilderment. At the present time, before writing this preface, being desirous once more to test myself, I have, as an old man of seventy-five, again read the whole of Shakespeare, including the historical plays, the “Henrys,” “Troilus and Cressida,” the “Tempest,” “Cymbeline,” and I have felt, with even greater force, the same feelings, this time, however, not of bewilderment, but of firm, indubitable conviction that the unquestionable glory of a great genius which Shakespeare enjoys, and which compels writers of our time to imitate him and readers and spectators to discover in him non-existent merits,—thereby distorting their aesthetic and ethical understanding,—is a great evil, as is every untruth.Although I know that the majority of people so firmly believe in the greatness of Shakespeare that in reading this judgment of mine they will not admit even to the possibility of its justice, and will not give it the slightest attention, nevertheless I will endeavour, as well as I can, to show why I believe that Shakespeare cannot be recognized either as a great genius, or even as an average author.Q.From the information in the passage, which of the following can most reasonably be inferred about the author of the passage?

Directions: Read the given passage carefully and answer the question as follow.I remember the astonishment I felt when I first read Shakespeare. I expected to receive a powerful aesthetic pleasure, but having read, one after the other, works regarded as his best: “King Lear,” “Romeo and Juliet,” “Hamlet” and “Macbeth,” not only did I feel no delight, but I also felt an irresistible repulsion and tedium, and doubted as to whether I was senseless in feeling works regarded as the summit of perfection by the whole of the civilized world to be trivial and positively bad, or whether the significance which this civilized world attributes to the works of Shakespeare was itself senseless. My consternation was increased by the fact that I always keenly felt the beauties of poetry in every form; then why should artistic works recognized by the whole world as those of a genius not just fail to please me, but in fact be disagreeable to me?For a long time I could not believe in myself, and during fifty years, in order to test myself, I several times recommenced reading Shakespeare in every possible form, in Russian, in English, in German and in Schlegel’s translation, as I was advised. Several times I read the dramas and the comedies and historical plays, and I invariably underwent the same feelings: repulsion, weariness, and bewilderment. At the present time, before writing this preface, being desirous once more to test myself, I have, as an old man of seventy-five, again read the whole of Shakespeare, including the historical plays, the “Henrys,” “Troilus and Cressida,” the “Tempest,” “Cymbeline,” and I have felt, with even greater force, the same feelings, this time, however, not of bewilderment, but of firm, indubitable conviction that the unquestionable glory of a great genius which Shakespeare enjoys, and which compels writers of our time to imitate him and readers and spectators to discover in him non-existent merits,—thereby distorting their aesthetic and ethical understanding,—is a great evil, as is every untruth.Although I know that the majority of people so firmly believe in the greatness of Shakespeare that in reading this judgment of mine they will not admit even to the possibility of its justice, and will not give it the slightest attention, nevertheless I will endeavour, as well as I can, to show why I believe that Shakespeare cannot be recognized either as a great genius, or even as an average author.Q.In context of the passage, what does the line—‘artistic works recognized by the whole world as those of a genius’—refer to?

For once, the whys are turning out to be more important than the hows. A study shows that consumers who become fixated onhowto achieve a goal probably face more difficulty in achieving their aims than people who think abstractly aboutwhythey want to do something. The authors of the study conducted four experiments to examine consumer behavior when it came to the goal of saving money. In one such experiment, some people were asked to make a specific plan to save money, whereas others were not asked to plan. Then some people were asked to focus on why they wanted to save money. Later on all participants were given the opportunity to buy candy. Subjects who were thinking concretely and formed a specific plan were less able to avoid the candy purchase than those who had not formed a plan at all.To elucidate the results, the authors cite the instance of person who wants to save money and hence makes a plan for achieving this goal. This person plans to save money by purchasing fewer clothing items at the mall. On investigating how this plan influences the persons response to other money-saving opportunities, for example, would the person be more likely to order a cheaper meal at a restaurant, avoid making an impulse purchase, or combine errands to save money on gas etc., the authors found that when people focus on concrete aspects of how they want to achieve goals, they become more closed-minded and consequently less likely to take advantage of opportunities that fall outside their plans. In contrast, people who focus on the why aspect are more likely to consider out-of-plan opportunities to achieve their goals.Furthermore, in the same experiment, the group that performed the best was the one that was asked to focus on the why and had formed a plan implicitly. Accordingly the authors conclude that planning is more effective when people plan with the complete understanding of why. They suggest that this strategy is particularly effective when the original plan turns out to be unrealistic in terms of feasibility or when other goal-directed activities become available.Through the second paragraph, the author of the passage intends to

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He gave ---- of us advice about our present goals.a)everyb)eachc)the wholed)muche)noCorrect answer is option 'B'. Can you explain this answer?
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