Directions: In the following passage, some words have been deleted. Each question will present three words (I, II, and III) that can fill the blanks. Choose the option containing the word(s) that correctly fills the blanks to complete the passage.

Listening is the dark matter of conversation, a mysterious activity that shapes the cosmos of any society or relationship. A friend who is a good listener can turn an ordinary conversation into a life-changing one, though we’re more likely to recall what they said (the evidence of their listening) than the _____ (A) itself. We shout, we sing, we whisper, we rhyme, but describing our listening is difficult, and its lexicon less obvious. What if we thought of ourselves as ‘listening’ animals, equipped and adapted to receive language, rather than as animals that talk? Would we talk about listening more precisely? Would we want to? The philosopher Ludwig Wittgenstein argued that the limits of our language are the limits of our _____ (B). Perhaps our listening cosmos has indeed been limited by the lack of a common vocabulary. If that is true, it is not through lack of ‘listening words’, but they often emerge from specialist disciplines, and that is usually where they tend to stay. There is pleasure to be had, for example, from terms such as those compiled in 2005 by Jean-François Augoyard and Henry Torgue to ‘rehabilitate general acoustic awareness’ – a list that includes ‘remanence’ (‘a continuation of a sound that is no longer heard’) and ‘phonotonie’ (‘the feeling of euphoria provoked by a sound perception’). The American composer and musician Pauline Oliveros came up with the ‘deep’ aspect of her concept of ‘Deep Listening’ after performing in a _____ (C) 14 feet underground (Oliveros seems to have loved puns), and suggested that it could encompass ‘the whole of the space/time continuum of perceptible sound’. Acoustic ecologists have been keen to invent terms that might help us to protect the _____ (D). The Canadian composer R Murray Schafer, for example, proposed the term ‘soundmark’ for a sound of special significance to a particular community. There is one writer, however, who has had an extraordinary influence on what it might mean to conceive of oneself as a listener and who found a new way to describe his experience. The Bohemian poet Rainer Maria Rilke published highly original works in his _____ (E), including the New Poems (1907-08), but it’s the poem cycles he wrote and completed towards the end of his life as a self-conscious listener, more precisely what he called a 'receiver', that ultimately made his reputation. Rilke’s listening cosmos, the words that helped him understand it, and the listening relationships he came to depend on: all of these informed his greatest poems.