Daily Reading Comprehensions For CAT 07 August 2026

Edith Piaf sings ‘Non, je ne regrette rien,’ while Frank Sinatra does admit to a few regrets ‘but then again, too few to mention.’ Perhaps Piaf has a bad memory, and perhaps Sinatra would rather not remind us of his many regrets, but they both express a common view: regret is a waste of time. As Lady Macbeth, who ought to know about regret, insists: ‘Things without all remedy / Should be without regard. What’s done is done.’ You messed up? Get over it and move on.

This advice is not just unrealistic. It’s wrong. Approached honestly, regret is one of our clearest tools for seeing who we take ourselves to be.

Here’s an example from my own life. Music has always been one of my great pleasures and I have some musical talent. Not extraordinary talent, but some. While I don’t regret failing to become a professional pianist (that path far exceeded my capacities), I do regret the more modest failure of not having persisted long enough to master a Chopin nocturne. That regret stings precisely because it was a possibility commensurate with my abilities. Recognising my regrettable lack of discipline, I doubt I’ll pursue it even now.

There is, of course, the familiar concession: regret is acceptable if we learn from our mistakes. But this already sells regret short. It treats regret as a tool for course correction rather than as a source of self-knowledge. Presumably, once we’ve learned our lesson, regret is supposed to disappear. When it doesn’t (as is usually the case), we assume something has gone wrong. But these regrets persist not because we are neurotic, but because they serve a function we rarely recognise.

Regret, like other emotions, is both a feeling and a judgment. Unlike bodily states such as hunger or fatigue, emotions are directed at something. Fear is fear of a threat; anger is anger at someone. Regret, similarly, is directed toward a particular choice – an action taken or not taken – for which we see ourselves as responsible.

This element of responsibility matters. We often say ‘I’m sorry’ for events we didn’t cause – a natural disaster or a friend’s illness. But these aren’t regrets in the sense that concerns us here. Regret traces to human decisions. You cannot regret saying something cruel unless you believe you said it, just as you cannot be angry at someone for an insult you don’t believe they uttered.

The word regret covers a wide range of cases, from moral wrongdoing to everyday second-guessing. Philosophers sometimes specify a certain form of regret as ‘agent-regret’ – regret over outcomes we brought about, even when we are not morally at fault. Bernard Williams illustrated this with the example of a truck driver who, through no fault of his own, kills a child who runs into the street. The driver is not blameworthy, yet his regret is entirely intelligible. We expect apologies even for accidental harms.

Q1. Which of the following best describes the primary purpose and overall structural progression of the passage? Correct Option 2 … Explanation: The passage opens by challenging the popular consensus that "regret is a waste of time." The author then introduces a personal anecdote to show how regret reveals self-knowledge, criticizes the narrow "course correction" view of regret, and systematically defines regret's cognitive properties — directedness, human responsibility, and agent-regret. Option 1 misinterprets a personal anecdote about a Chopin nocturne as a global claim about music versus literature. Option 3 overstates a passing Shakespeare quote into an essay on legal punishment. Option 4 flatly contradicts the passage, which explicitly contrasts emotions with bodily states like hunger or fatigue. Option 5 distorts the opening reference to Piaf and Sinatra into a critique of celebrity culture. Hence, option 2.Q2. The author's attitude toward the conventional advice that one should "get over it and move on" when faced with past mistakes can best be described as: Correct Option 2 … Explanation: The author explicitly addresses the advice to "get over it and move on," writing: "This advice is not just unrealistic. It's wrong. Approached honestly, regret is one of our clearest tools for seeing who we take ourselves to be." The tone is direct, grounded, and critical of the popular narrative while offering a constructive alternative. Option 1 is the exact opposite of the author's stance. Option 3 ignores the author's active engagement with pop-culture references. Options 4 and 5 assign extreme emotional states that do not match the author's measured philosophical tone. Hence, option 2.Q3. The author's assertion that regret is directed toward a choice for which "we see ourselves as responsible" relies on which of the following foundational premises? Correct Option 2 … Explanation: The author explains that emotions are directed at specific targets and require cognitive judgments — "You cannot regret saying something cruel unless you believe you said it." For regret to function as an emotion tied to responsibility, the author relies on the premise that an individual must hold an internal belief that they caused the action in question. Without that attribution of agency, the feeling is merely external sorrow, not true regret. Option 1 is contradicted by the passage, which notes we often express sorrow for events we didn't cause. Option 3 introduces an irrelevant statistical comparison. Options 4 and 5 introduce absurd claims unsupported by the text. Hence, option 2.Q4. Which of the following psychological findings, if true, would MOST WEAKEN the author's primary claim that persistent regret serves as an effective diagnostic source of self-knowledge? Correct Option 2 … Explanation: The author's central thesis is that persistent regret is a clear, accurate source of self-knowledge — "regret is one of our clearest tools for seeing who we take ourselves to be." If option 2 is true — proving that lingering regret actually distorts memory, promotes self-deception, and clouds understanding of one's abilities — then regret fails as a reliable source of self-knowledge, directly undermining the author's core thesis. Option 1 is an irrelevant detail about music psychology. Option 3 describes legal behavior unrelated to the psychological validity of regret. Option 4 is a trivial biographical fact. Option 5 confirms a behavior mentioned in the text without challenging the author's claim. Hence, option 2.