The document discusses why hair turns gray. It states that as humans age, the cells that produce hair pigment lose the ability to make new pigment, causing hair to become gray or white. Some people lose this ability at a younger age than others. The condition is often hereditary. Stress, shock, or fear can also cause hair to turn gray more quickly in some cases. Scientists have studied the process but still do not fully understand what causes cells to stop producing hair color. A lack of certain vitamins may also contribute to gray hair.

1. WHY DOES I-LUR GROW GRAY?
Some of the cells of the 1 contain a pigment (coloring matter).
As 2 bodies grow old, most of them 3 the power to make new pip
ment, 4 that the hairs are colorless, or 5 . Some people lose the
power to 6 the pigment when they are still 7. young; others do not
grow gray 8 they have reached a very advanced 9.
General health and good care of 10 hair may aid in keeping
the 11. However, loss of hair pigment runs l2 families, and many
physicians believe that 13 is a hereditary trait. The condition 14
the nervous system has an effect 15 the hair. Persons under a serious
16 strain have been known to grow 17 quickly. We hear stories of
people 18 turned white in a single night, 19 of shock, or fright or
fear. 20 these stories are exaggerations; yet it 21 true that men and
women under 22 have become white-haired in a few 23.
Scientists have studied for years, trying 24 find out what happens
in the 25 that stops production of the color 26. In some ~8x4
the mysterious little 27 play a part. If the body 28 certain vitamins
of the B family. 29 hair may grow gray. When these 30 are supplied.
the hair has heen 31 to regain its color.
Many animals 32 grow gray with the years. You 33 noticed
this, of course, among cats 34 dogs. It is true of mice 35 rats and
they are often chosen 36 scientists for experimental sp&mena

2. 1. cells
A prisons
C small room
.*..*
6
2. advanced age
A old age
C new era
l
****
B microscopic unita of living
matter
D store room
BIlswcT . . . . . . . . . . . . . . . . . . . . .
B advanced idea
D new generation
answer . . . . . . . . . . . . . . . . . . . . .
A
3. hereditary
A inherit
C passed on from parents to
child
. . . . .
C
4. trait
A characteristic
C exchange of goods
**a**
A
5. strain
A drain
C difficulty
l
..*.
B taking possession
D biological
answer
.....................
BareS
D description
mwcr . . . . . . . . . . . . . . . . . . . . .
B tendency
D tension
answer . . . . . . . . . . . . . . . . . . . . .
D
6. shock
A grains
C fright
l
..*
B
B a sudden and severe agitation of
emotioxts
D fear
answer . . . . . . . . . . . . . . . . . . . . .

3. 7. exaggcmtions
A owempbasa
c o-ntd
l
***.
B telling lia
D false stories
answer . . . ..*...*...........
C
8. atrma
A emotional strain
c loudncas
l
***.
A
9. find out
A discover
C seek
l
***.
B pitch
D circumstaoce
answer . . . . . . . . . . . . . . . . . . . . .
B look for
D decide
answer . . . . . . . . . . . . . . . . . . . . .
A
10. mysterious
A8CXXCt
c wonderful
l
.***
B puzzling
D special
answer . . . . . . . . . . . . . . . .
B
11. rqain
A gain money
C be rich
.*...
D
B win
D get back to
answer . . . . . . . . . . . . . . . .
12. mice
A large rodents
c 8llincapig
..**.
D
B rats
D small rodents
answer . . . . . . . . . . . . . . . . . . . . .
13. expaimcutal
A experienced
CSCttkd
l
..*.
B
B used in experlmelli
D nonprovisional
answer .*............*......

4. mbo
14. rpabcaa
Areprwentatived
C scientific sampies
. . . . .
C
1. . . . . . . . . . . . . . . . . . .
.*...
hair
4. . . . . . , . . . . . . . . . . . .
l ****
espeh
Drpcaacla
anmter . . . . . . . . . . . . . . . . . . . . .
2. . . . . . . . . . . . . . . . . . .
. . . . .
huam
5. . . . . . . . . . . . . . . # . . .
.*a**
White
so
1.
. . . . . , . . . . . . . . . . . .
.*.**
suit@
10. . . . . . . . . . . . . . . . . . .
..***
the
13. . . . . . . . . . . . ., . . . . .
l ****
it
16. . . . . . . . . . . . . . . I...
l
8. . . . . . . . . . . . . . . . . . .
.***t
until
11. . . . . . . . . . . . . . . . . . .
.**..
color
14. . . . . . . . . . . . . . . . . . .
*a***
of
17. a.................
.***
l
nervow
19. . . . . . *. . . . . . . . . . . .
l
PY
20.
**.*
ProbaMy
. . . . . . . . . . . . . . . . . . 23.
l
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MY
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Btrws
25.
. . . . . . . . . . . . .
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22.
*..*
26.
. . . . . . . . . . . . .
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3 . . . . . . . . . . . . . ..*...
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9. . . . . . . . . . . . . . . . . . .
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12. . . . . . . . . . . . . . . . . . .
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in
15. . . . . . . . . . . . . . . . . . .
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ppon
18. . . . . . . . . . . . . . . . . . .
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.
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is
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.
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to
.2l. . . . .. . . . . . . I). . . * . . . . .
.
e....
vituniw

5. 28. . . . . . * . . . . . . . . . . .
l
*.**
lacb
31. . . . . . ..I..........
l
.***
kllOWn
34. .. . . . . . . . . . . . . . . . .
. ..*.
and
29. . . . . . . . . . . . . . . . . . .
30. . . . . . . . . . . . . . . . . . .
l
l ****
32. . . . . . . . . . . . . . . . . . .
..*.*
33. . . . . . . . . . . . . . . . . . .
l . . . .
dS0
3s. . . . . . . . . . . . . . . . . . .
L....
and
..r.
vitamins
tile
have
36.
. . . . . . . . . . . . . . . . . .
. . . . .
by

6. Clarity. “Put yourself in the other 1 place” is a common
bit of 2 advice too seldom followed. It is 3 helpful in letter writing.
If you 4 this advice, you will make yourself 5 clear; you will say
all that G mean to say, and, just as 7 you will not say what you
8 not mean to say. You will 9 leave your reader to guess your 10,
or to try to “read between 11 lines.” Moreover, you will express
yourself 12 an interesting manner; you will not 13 yourself-a very
boring habit with 14 many writers, as well as speakers. I5 will avoid
hackneyed expressions, worn 16 from excessive use, such as, “It’s 17
small world, after all, ” “Two heads 18 better than one,” “I
don’t know 19 about art, but I know what 20 like,” “He’s a chip
off the 21 block,” “Once bitten, twice shy.“, Such 22 are godsends
for people who do 23 want to make the mental effort 24 to express
an idea with some 25 of originality.
If you put yourself 26 the other person’s place, you will 27
make your letter “mechanically” and visually 28: if handwritten-clearly
!egible, not crowded, 29 of blots and of words substituted 30 words
crossed out; if typewritten (sometimes 31 social notes may be typewritten)-neat 32 appearance, with a ribbon that makes 33 writing
clearly visible, with no jumped 34 above the lines, and with no 35
from jumped spaces between the letters 36 a word of between words.
Whether 37 or typewritten, only the most informal 38 may have
insertions above the lines-39 or phrases you originally omitted.

7. 1. clarity
A transparent
d clearness
***.*
c
B cleanlinsas
D perspicuous
an6ww . . . . . . . . . . . . . . . . . . . . .
2. 6eldom
A m-t&
c intamlittcnly
l .**.
B abundantly
Do&n
-war . . . . . . . . . . . . . . . . . . . . .
A
3. heed
Acanfnl
C hotness
*se**
B
4. boring
A having
C dull
.****
c
5. hackneyed
AMITiage
C hack
..***
D
6 . Wdbare
A without substance
c Ym
,**.*
A
7. exces6ive
A utaptional
C moderate
l
**.*
B
B pay attention to
D temerity
answer . . . . . . . . . . . . . . . . . . . . .
BdfiUiflg
D hole
atom . . . . . . . . . . . . . . . . . . . . .
B saw
D too common
. . . . . . . ..*..*........
B rug
D threadlw
.....................
B too much
D@=ty
atlswcr......................

8. 8. catp
A aQmllpiaebrokaloff
cpo. ..**
A
*
9. l%romkb
A something tiresome
ChfOlU&
..***
A
10. gjxbelm
t?s
c thoughI
..***
D
11. mental
Amenial
Cd
l ****
D
12. origitlality
A inventhnesa
CdependQIce
..***
A
13. mechanically
AVit&
C like a machine
l
.*..
B a nhip’rcarpenter
DW
- . . . . . . . ..*...........
B furnine liquid elunoat
D containingbromine
.....................
B rain
D something received
B psychologv
D intebctual
..*..................
B commencement
D derivation
. . . . . . . . . . . . ...*.....
B essentially
D physicalty
.....................
C
14. lcgihle
A kgitimt
CR&i&k
..t**
C
unexptctcdly
B lawful
D
knient
anawcr . . . . . . . . . . . . . . . . . . . . .

9. mbb
15. crowded
A eonmet
C filled to excess
l
...*
B untight
D tiara
answer . . . . . . . . . . . . . . . . . . . . .
C
16. blota
Arpob
Cdy
. . ..C
A
17. appearance
A outward look
c vanishing
..***
B blob
D plots
answer . . . . . . . . . . . . . . . . . . . . .
B beauty
D look
MMVOr . . . . . . . . . . . . . . . . . . . . .
A
18. spaces
A areas
csparse
l
**.*
B atmosphere
D park
answer ,....................
A
19. insertions
A deletions
C abstractions
B interpolations
D extraction
l
an*wer
.***
B
u). omitted
A overlook
C lefts out
..***
C
I. . . . . . . . . . . . . . . . ,
l
.***
7’s
. . . . . . .
B inserted
D forget
answer . . . . . . . . . ,
2. . , . . . .
*.t.*
excellent
3. . . . . . .
*****
pXtiCUhUlY

10. 4. . . . . . . . . . . . . . . . . . .
l
,.**
heed
7.
. . *, . . . . . . . . . . . . . .
.**..
important
10. . . . . . . . . . . . . . . *...
5. . . . . . . . . . . . . . . . . . .
.**.*
entirely
8. . . . . . . . . - . . . . . . . . .
**a**
did
11. . . . . . . . . . . . . . . . . . .
l l l l
l . . . .
13. ..I...... * . . ...*..
l
.*.*
16. . . . . . . . . . . . . . . . . . .
l
..**
l
14. . . . . . . . . . . . . . . . . . .
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too
17. . . . . . . . . . . . . . . . . . .
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YOU
9. . . . . . . . . . . . . . . . . . .
****,
not
12. . . . . . . ..,. . . . . . . . .
i
the
meaning
6. . . . . e . . . . . . . . . . . . .
l
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in
15. . . . . . . . . . . . . . . . . . .
l
****
18. .,................
.a**.
thlcadb
19. . . . . . . . . . . . . . . . . . .
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much
22. . . . . . . . . . . . . . . . . . .
l
20. . . . . . . . . . . . . ...*.
..***
I
23. . . . . . . . . . . . . . . . . . .
l
****
bromided
25.
. . . . . . . . . . . . . . . . . ,
21. . . . . .:. . . . . . . . .
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old
24. . . . . . . . . . . . . . . , . . .
.*..
l
not
26.
*,I**
. . . . . . . *. . . . .. . . .
l
rsquind
27. . . . . . . . . . . . . . . . . . .
****
l
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l
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mat
31. . . . . . . . . . . . . . . . . . .
l
34.
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.....
.““..
.***
also
degrqa
28.
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....
**m*.
29.
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l
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free
32. . . . . . . . . . . . . . . . . . .
l
.***
35. . . ...” . . . . . . . . . .
***,*
capitat
37. . . . . . . . . . . . . * . . . . .
..***
hnndwritten
38. . . . . .B”p”. . . . . . .
l
**,*
30.
. . . . . . . . . . . . . . . . . .
l
*..*
for
33. . . . . . . . . . . . . . . . . . .
l
****
36. . . . . . . . . . . . . . . . . . .
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of
39. . . . . . . . . . . . . . . . . . .
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**.*

11. WHAT DOES THE PATIZRN IN A BRICK WALL MEAN ?
The bricks that are commonly built 1 to make a wall are 8
2 long, 4 inches wide, and about 2f 3 thick. The bricklayer binds
them with 4, which is made by mixing together 5 water either lime
and sand, or 6 and sand. Mortar, however, is not 7 strength to the
brickwork, but a 8, and because the mortar joint is 9 weak point
the brick1ayer.avoid.s arranging 10 bricks so that one joint comes 11
over another.
If a wall were 12 with the mortar joints directly over I3
other, and a heavy weight, such 14 an iron column, were placed on
15 part of the wall, all the 16 joints would give way under the 17,
and the column would sink and 18 the bricks down or out. Brickwork
19 built in a regular pattern to
20 weak joints, and this pattern is
21 a bond.
Some forms of bond 22 American, English and Flemish. In
English 23 the brick wall is built of 24, or “courses,” of bricks laid
alternately, 25 row all lengthwise and the next 26 all endwise. A
brick put lengthwise 27 called a stretcher; a brick laid 28 is called a header.
We can 29 see how stretchers and headers in 30 layers prevent the
weak mortar joints 31 coming over each other. In order 32 start
the rows of headers right, 33 small piece of brick has to 34 built in
next to the first 35 of the row; and this piece 36 called a closer. The
pattern of 37 bond is different, and some people 38 it looks better;
each row is 39 of alternate headers and stretchers. In 40 bond five

12. or six rows of 41 arc so laid that the joints 42 not come together.
Thenarow Uhcadcrsislaid.
A .-j,~Bnu~~~nwUHU,U(RJ~nYU~,n4~,HU~I;;
1. bricklayer
B one who makes bricks
A one who lies with bricks
D one who sells bricks
’ C one who builds with bricks
l *.**
answer . . . . . . . . . . . . . . . . . . . . .
C
2. binds
A fastemwithaband
c bonds
l
****
B tics
D makes fast
.....................
D
3. mortar
A weapon
B bowl-ahaped vtsscl
C building material that binds D subject to death
bricks 0
answer . . . . . . . . . . . . . . . . . . . . .
l
****
4. %mm
Apilk
Crupport
*.***
A
5. bond
APW=
c-t
l
..*.
B a section of printed matter
D feature article
answer . . . . . . . . . . . . . . . . . . . . .
B
baud
-.
D the connection formal by OVCF
lappingbrick
BlMwrr
.....................
D
6. Flhsh
apcrtah@toFlandcn
cthchnguageoftha
Fhsning,
. . . . .
A
B@Y
DStAill
m . . . ..*...............

13. 7. laid
A pest tense of UC
c placed
*****
C
8. alternately
A choicely
C in next order
l
****
B depocited eggs
D made a bet
answer . . . . . . . . . . . . . . . . . . . . .
B either
D byturm
answer . . . . . . . . . . . . . . . , . . . . .
D
9.
lengthwise
A tlat
C latitudinally
l
***.
B
I
10. stretcher
A one who stretch
C aticbeam
,****
B
11. header
A aharvestingmachine
C a brick laid sideways
. . ..C
C
12. cloler
AlKSrW
c shut
..*.*
D
13. oomposedof
AdOCIM&
we***
D
B 1ongitudinaUy
D v&y long
answer . . . . . . . . . . . . . . . . . . . . .
B a brick lying lengthwise
D a frame for carrying the sick
answer . . . . . . . . . . . . . . . . . . . . .
B a pipe from which tributary
Pipes run
D a brick put longitiiy
.....................
B tighta
D a d piux of brickbuilt ia
nexttothcfirstheaderoftherow
. . . . . . . . . . . ..*.......
B88t
D made up of
Msmr . . . . . . . . . . . . . . . . . . . . .

14. 14. lime
Akmon
C a white, earthy subetance
. ...*
C
1. . . . . . . . . . . . . . . . . . .
.,..*
UP
4. .............,...
2. ..................
l
l . . . .
a
10. . . . . . . . . . . . . . . . .
. . . . *
his
13. . . . . . . . . . . . . . . . . . .
. . . . .
each
16. . . . . . . . . . . . . . . . . . .
.*...
mortar
19. . . . . . . . . . . . . . . . . . .
. . . . .
is
22. . . . . . . . . . . . . . . . . . .
..*.*
ate
25. . . . . . . . . . . . . . . . . . .
l
.*.*
one
****
3. ..................
l
5. ..................
l
.*.*
with
8.
. . . . . . . . . . . . .
l ****
Wcalmess
11. . . . . . . . . . . . . . . . . . .
. . . . .
diractty
14. . . . . . . . . . . . . . . . . . .
..**.
as
17. . . . . . . . . . . . . . . . . . .
.*..*
strain
20. . . . . . . . . . . . . . . . . . .
***.
incba
inches
l ****
mortar
7. ..................
Blilhfl
Dth8IKM
answer . . . . . . . . . . . . . . . . . . . . .
6. ..................
.*..*
cement
. 9 .. . . . . . . . . . . . . . . . . . . .
.
.,*..
a
12 . . . . . . . . . . . . . . . . . .
.**..
built
15. .*................
l
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a
18. . . . . . . . . . . . . . . . . . .
..*.*
*.*.
21. . . . . . . . . . . . . . . . . . .
. ..**
avoid
23. . . . . . . . . . . . . . . . . . .
.****
u. . . . . . . . . . . . . . . . . . .
.****
l
bond
26. . . . * . . * . , . . . . . . . . .
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row
w-
n. . . . . . . . . . . . . . . . . . .
l
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ir

15. 28.
..................
l
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29. . . * * . . . . . . . * . . . . . .
l
siacwiss
31. . . . . . . . . . . . . . . . . . .
. . . . .
from
34. . . . . . . . . . . . . . . . . . .
l
**.*
l
.***
32. . . . . . . . . . . . . . . . . . .
l
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Amcxiaul
43. . . ..I.............
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of
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35. . . . . . . . . . . . . . . . . . .
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header
38. . . . . . . . . . . . . . . . . . .
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..................
.C..,
altematc
33. . . . . . . . . . . . . . . . . .
.*..*
a
36. . . . . . . . . . . . . . . , . . .
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is
39. . . . . . , . . . . . . . . . . . .
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16. WHAT IS PHILOSOPHY?
It is very difficult to give 1 satisfactory formal definition of
philosophy. For 2 is like those other great human 3 of ideal societyart, science, and
4 : every definition turns out to be 5 expression
of an individual and limited 6 reflecting the practice of that enterprise
7 the definer’s own culture, and shutting 8 as much as it includes.
And 9 definition conveys much illumination apart from 10 knowledge
of the concrete philosophies men 11 formulated, the philosophical
problems out of 12 those formulations have grown, and the 13 which
philosophical thinking has played in 14 own lives aud in that of 15
culture. Philosophy, in other words, 16 a human and cultural enterprb to 17 inquired into, rather than a mere 18 to be defined. Any
definition must 19 from a careful analysis of what 20 have been
doing when they philosophized. 21 how that is to be distinguished
22 what they do when they engage. 23 their other cultural enterprises.
The boundaries 24 these diEerent pursuits am notoriously vague; 25
different definitions regect a more or 26 arbibrary drawing of the lines.
Philaeuphy 27 Reifgbn, Sdeuca and Art.Philosophid 28 i&ad,
has veryclose rckltions witn 29, with science, and with art. It 30normauycuhninated in the attempt to 3lintellcctdY
what~.don
has ahays done 32 and emotionally : to establish human life 33 some
safisfyiugatldmea&&lr&tiont0
34mliveme in which man fbishimself,
36toaffordsomawisdomintbe
36ofhumanatBim.

17. 1. mtirthctoiy
Ainadoquats
CdilplWWCd
.*a**
D
2enm
Al&ic cnthuaiaam
l
.*..
B@llm
D fulfilling requirement
.....................
B undertaking
D mestiw
mnwer . . . . . . . . . . . . . . . . . . . . .
B
3. oonception
AM
C idea
l
**..
BCOIICULI
D concentration
anawar . . . . . . . . . . . . . . . . . ..-.
C
4. ill~on
A iotellectual light
Cfleme
. . . . .
A
5. v
ACllb
. . . . .
C
6. PEnoir
A=V
Crprsrry,
*a**.
D
7. llotaiaprb
AnotaritbrCredisl
C infamously
. . . . .
C
Blh
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18. 8. adkct
AUlW88
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answer . . . . . . . . . . . . . . . . . . . . .
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B stopped
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answer . . . . . . . . . . . . . . . . . . . . .
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answer . . . . . . . . . . . . . . . . . .
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19. 15. alhira
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answer . . . . . . . . . . . . . . . . . . . . .
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19. more or less
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