Adapted from The War of the Worlds by H. G. Wells (1898)

No one would have believed in the last years of the nineteenth century that this world was being watched keenly and closely by intelligences greater than man's and yet as mortal as his own; that as men busied themselves about their various concerns they were scrutinized and studied, perhaps almost as narrowly as a man with a microscope might scrutinize the transient creatures that swarm and multiply in a drop of water. With infinite complacency men went to and fro over this globe about their little affairs, serene in their assurance of their empire over matter. It is possible that the infusoria under the microscope do the same. No one gave a thought to the older worlds of space as sources of human danger, or thought of them only to dismiss the idea of life upon them as impossible or improbable. It is curious to recall some of the mental habits of those departed days. At most terrestrial men fancied there might be other men upon Mars, perhaps inferior to themselves and ready to welcome a missionary enterprise. Yet across the gulf of space, minds that are to our minds as ours are to those of the beasts that perish, intellects vast and cool and unsympathetic regarded this earth with envious eyes, and slowly and surely drew their plans against us. And early in the twentieth century came the great disillusionment.

The planet Mars revolves about the sun at a mean distance of 140,000,000 miles, and the light and heat it receives from the sun is barely half of that received by this world. It must be, if the nebular hypothesis has any truth, older than our world; and long before this earth ceased to be molten, life upon its surface must have begun its course. The fact that it is scarcely one seventh of the volume of the earth must have accelerated its cooling to the temperature at which life could begin. It has air and water and all that is necessary for the support of animated existence. 

Since Mars is older than our earth, it necessarily follows that it is not only more distant from time's beginning but nearer its end. The cooling that must someday overtake our planet has already gone far indeed with our neighbor. In its equatorial region, the midday temperature barely approaches that of our coldest winter. Its air is much more attenuated than ours; its oceans have shrunk until they cover but a third of its surface. That last stage of exhaustion, which to us is still incredibly remote, has become a present-day problem for the inhabitants of Mars. The immediate pressure of necessity has brightened their intellects, enlarged their powers, and hardened their hearts. And looking across space with instruments, and intelligences such as we have scarcely dreamed of, they see, at its nearest distance only 35,000,000 of miles sunward of them, a morning star of hope, our own warmer planet, green with vegetation and grey with water, with a cloudy atmosphere eloquent of fertility, with glimpses through its drifting cloud wisps of broad stretches of populous country and narrow, navy-crowded seas.

And we men, the creatures who inhabit this earth, must be to them at least as alien and lowly as are the monkeys and lemurs to us. The intellectual side of man already admits that life is an incessant struggle for existence, and it would seem that this too is the belief of the minds upon Mars. Their world is far gone in its cooling and this world is still crowded with life, but crowded only with what they regard as inferior animals. To carry warfare sunward is, indeed, their only escape from the destruction that, generation after generation, creeps upon them.

And before we judge of them too harshly we must remember what ruthless and utter destruction our own species has wrought, not only upon animals, such as the vanished bison and the dodo, but upon itself. The Tasmanians were entirely swept out of existence in a war of extermination waged by European immigrants in the space of fifty years. Are we such apostles of mercy as to complain if the Martians warred in the same spirit?

The final line of the passage suggests that if humanity did complain about being attacked by the Martians, it would seem somewhat __________.

Adapted from The Harvard Classics Shelf of Fiction, Volume 16: Anna Karenina (1877; 1917 ed., trans. Garnett)

Happy families are all alike; every unhappy family is unhappy in its own way.

Everything was in confusion in the Oblonskys’ house. The wife had discovered that the husband was carrying on an intrigue with a French girl, who had been a governess in their family, and she had announced to her husband that she could not go on living in the same house with him.

This position of affairs had now lasted three days, and not only the husband and wife themselves, but all the members of their family and household were painfully conscious of it. The wife did not leave her own room, the husband had not been at home for three days. The children ran wild all over the house; the English governess quarreled with the housekeeper, and wrote to a friend asking her to look out for a new situation for her; the man-cook had walked off the day before just at dinner-time; the kitchen maid and the coachman had given warning.

Three days after the quarrel, Prince Stepan Arkadyevitch Oblonsky—Stiva, as he was called in the fashionable world—woke up at his usual hour, that is, at eight o clock in the morning, not in his wife's bedroom, but on the leather-covered sofa in his study. He turned over his stout, well-cared-for person on the springy sofa, as though he would sink into a long sleep again; he vigorously embraced the pillow on the other side and buried his face in it; but all at once he jumped up, sat up on the sofa, and opened his eyes.

“Yes, yes, how was it now?” he thought, going over his dream. “Alabin was giving a dinner at Darmstadt; no, not Darmstadt, but something American. Yes, but then, Darmstadt was in America. Yes, Alabin was giving a dinner on glass tables, and the tables sang, II mio tesoro—not II mio tesoro, though, but something better, and there were some sort of little decanters on the table, and they were women too,” he remembered. 

Noticing a gleam of light peeping in beside one of the serge curtains, he cheerfully dropped his feet over the edge of the sofa, and felt about with them for his slippers, a present on his last birthday, worked for him by his wife on gold-colored morocco. And, as he had done every day for the last nine years, he stretched out his hand, without getting up, towards the place where his dressing-gown always hung in his bedroom. And thereupon he suddenly remembered that he was not sleeping in his wife’s room, but in his study, and why: the smile vanished from his face, he knitted his brows. 

Most unpleasant of all was the first minute when, on coming, happy and good-humored, from the theatre, with a huge pear in his hand for his wife, he had not found his wife in the drawing-room, to his surprise had not found her in the study either, and saw her at last in her bedroom with the unlucky letter that revealed everything in her hand. She, his Dolly, forever fussing and worrying over household details, and limited in her ideas, as he considered, was sitting perfectly still with the letter in her hand, looking at him with an expression of horror, despair, and indignation.

“What’s this? This?” she asked, pointing to the letter.

And at this recollection, Stepan Arkadyevitch, as is so often the case, was not so much annoyed at the fact itself as at the way in which he had met his wife’s words.

There happened to him at that instant what does happen to people when they are unexpectedly caught in something very disgraceful. He did not succeed in adapting his face to the position in which he was placed towards his wife by the discovery of his fault. Instead of being hurt, denying, defending himself, begging forgiveness, instead of remaining indifferent even—anything would have been better than what he did do—his face utterly involuntarily (reflex spinal action, reflected Stepan Arkadyevitch, who was fond of physiology)—utterly involuntarily assumed its habitual, good-humored, and therefore idiotic smile.

This idiotic smile he could not forgive himself. Catching sight of that smile, Dolly shuddered as though at physical pain, broke out with her characteristic heat into a flood of cruel words, and rushed out of the room. Since then she had refused to see her husband.

“It’s that idiotic simile that’s to blame for it all,” thought Stepan Arkadyevitch.

“Il mio tesoro” is __________.

Adapted From "Tony Kytes, The Arch-Deceiver" in Life's Little Ironies: A Set of Tales, with some colloquial sketches, entitled, A Few Crusted Characters by Thomas Hardy (1905 ed.)

I shall never forget Tony’s face. It was a little, round, firm, tight face, with a seam here and there left by the small-pox, but not enough to hurt his looks in a woman's eye, though he'd had it baddish when he was a boy. So very serious looking and unsmiling 'a was, that young man, that it really seemed as if he couldn't laugh at all without great pain to his conscience. He looked very hard at a small speck in your eye when talking to 'ee. And there was no more sign of a whisker or beard on Tony Kytes's face than on the palm of my hand. He used to sing "The Tailor's Breeches," with all its scandelous lyrics, in a religious manner, as if it were a hymn. He was quite the women's favorite.

But in course of time Tony got fixed down to one in particular, Milly Richards – a nice, light, small, tender little thing; and it was soon said that they were engaged to be married. One Saturday he had been to market to do business for his father, and was driving home the wagon in the afternoon. When he reached the foot of the hill, who should he see waiting for him at the top but Unity Sallet, a handsome girl, one of the young women he'd been very tender towards before he'd got engaged to Milly.

As soon as Tony came up to her she said, "My dear Tony, will you give me a lift home?"

"That I will, darling," said Tony. "You don't suppose I could refuse 'ee?"

She smiled a smile, and up she hopped, and on drove Tony.

"Tony," she says, in a sort of tender chide, "Why did ye desert me for that other one? In what is she better than I? I should have made 'ee a finer wife, and a more loving one, too. 'Tisn't girls that are so easily won at first that are the best. Think how long we've known each other—ever since we were children almost—now haven't we, Tony?"

"Yes, that we have," says Tony, struck with the truth o't.

"And you've never seen anything in me to complain of, have ye, Tony? Now tell the truth to me."

"I never have, upon my life," says Tony.

"And—can you say I'm not pretty, Tony? Now look at me.

He let his eyes light upon her for a long while. "I really can't," says he. "In fact, I never knowed you was so pretty before!"

The underlined phrase “He let his eyes light upon her” most nearly means __________.

Adapted from Northanger Abbey by Jane Austen (1817)

The progress of the friendship between Catherine and Isabella was quick as its beginning had been warm, and they passed so rapidly through every gradation of increasing tenderness that there was shortly no fresh proof of it to be given to their friends or themselves. They called each other by their Christian name, were always arm in arm when they walked, pinned up each other’s train for the dance, and were not to be divided in the set; and if a rainy morning deprived them of other enjoyments, they were still resolute in meeting in defiance of wet and dirt, and shut themselves up, to read novels together. 

Yes, novels; for I will not adopt that ungenerous and impolitic custom so common with novel–writers, of degrading by their contemptuous censure the very performances, to the number of which they are themselves adding—joining with their greatest enemies in bestowing the harshest epithets on such works, and scarcely ever permitting them to be read by their own heroine, who, if she accidentally take up a novel, is sure to turn over its insipid pages with disgust. Alas! If the heroine of one novel be not patronized by the heroine of another, from whom can she expect protection and regard? I cannot approve of it. Let us leave it to the reviewers to abuse such effusions of fancy at their leisure, and over every new novel to talk in threadbare strains of the trash with which the press now groans. Let us not desert one another; we are an injured body. 

Although our productions have afforded more extensive and unaffected pleasure than those of any other literary corporation in the world, no species of composition has been so much decried. From pride, ignorance, or fashion, our foes are almost as many as our readers. And while the abilities of the nine-hundredth abridger of the History of England, or of the man who collects and publishes in a volume some dozen lines of Milton, Pope, and Prior, with a paper from the Spectator, and a chapter from Sterne, are eulogized by a thousand pens—there seems almost a general wish of decrying the capacity and undervaluing the labour of the novelist, and of slighting the performances which have only genius, wit, and taste to recommend them. “I am no novel-reader—I seldom look into novels—Do not imagine that I often read novels—It is really very well for a novel.” Such is the common cant. “And what are you reading, Miss—?” “Oh! It is only a novel!” replies the young lady, while she lays down her book with affected indifference, or momentary shame. “It is only Cecilia, or Camilla, or Belinda”; or, in short, only some work in which the greatest powers of the mind are displayed, in which the most thorough knowledge of human nature, the happiest delineation of its varieties, the liveliest effusions of wit and humor, are conveyed to the world in the best-chosen language. 

Now, had the same young lady been engaged with a volume of the Spectator, instead of such a work, how proudly would she have produced the book, and told its name; though the chances must be against her being occupied by any part of that voluminous publication, of which either the matter or manner would not disgust a young person of taste: the substance of its papers so often consisting in the statement of improbable circumstances, unnatural characters, and topics of conversation which no longer concern anyone living; and their language, too, frequently so coarse as to give no very favorable idea of the age that could endure it.

By “literary corporation,” underlined in the third paragraph, the narrator means __________.

Adapted from Northanger Abbey by Jane Austen (1817)

The progress of the friendship between Catherine and Isabella was quick as its beginning had been warm, and they passed so rapidly through every gradation of increasing tenderness that there was shortly no fresh proof of it to be given to their friends or themselves. They called each other by their Christian name, were always arm in arm when they walked, pinned up each other’s train for the dance, and were not to be divided in the set; and if a rainy morning deprived them of other enjoyments, they were still resolute in meeting in defiance of wet and dirt, and shut themselves up, to read novels together. 

Yes, novels; for I will not adopt that ungenerous and impolitic custom so common with novel–writers, of degrading by their contemptuous censure the very performances, to the number of which they are themselves adding—joining with their greatest enemies in bestowing the harshest epithets on such works, and scarcely ever permitting them to be read by their own heroine, who, if she accidentally take up a novel, is sure to turn over its insipid pages with disgust. Alas! If the heroine of one novel be not patronized by the heroine of another, from whom can she expect protection and regard? I cannot approve of it. Let us leave it to the reviewers to abuse such effusions of fancy at their leisure, and over every new novel to talk in threadbare strains of the trash with which the press now groans. Let us not desert one another; we are an injured body. 

Although our productions have afforded more extensive and unaffected pleasure than those of any other literary corporation in the world, no species of composition has been so much decried. From pride, ignorance, or fashion, our foes are almost as many as our readers. And while the abilities of the nine-hundredth abridger of the History of England, or of the man who collects and publishes in a volume some dozen lines of Milton, Pope, and Prior, with a paper from the Spectator, and a chapter from Sterne, are eulogized by a thousand pens—there seems almost a general wish of decrying the capacity and undervaluing the labour of the novelist, and of slighting the performances which have only genius, wit, and taste to recommend them. “I am no novel-reader—I seldom look into novels—Do not imagine that I often read novels—It is really very well for a novel.” Such is the common cant. “And what are you reading, Miss—?” “Oh! It is only a novel!” replies the young lady, while she lays down her book with affected indifference, or momentary shame. “It is only Cecilia, or Camilla, or Belinda”; or, in short, only some work in which the greatest powers of the mind are displayed, in which the most thorough knowledge of human nature, the happiest delineation of its varieties, the liveliest effusions of wit and humor, are conveyed to the world in the best-chosen language. 

Now, had the same young lady been engaged with a volume of the Spectator, instead of such a work, how proudly would she have produced the book, and told its name; though the chances must be against her being occupied by any part of that voluminous publication, of which either the matter or manner would not disgust a young person of taste: the substance of its papers so often consisting in the statement of improbable circumstances, unnatural characters, and topics of conversation which no longer concern anyone living; and their language, too, frequently so coarse as to give no very favorable idea of the age that could endure it.

By “the trash with which the press now groans,” underlined at the end of the second paragraph, the narrator is referring to __________.

Adapted from Middlemarch: A Study of Provincial Life by George Eliot (Mary Anne Evans) (1874)

And how should Dorothea not marry? A girl so handsome and with such prospects? Nothing could hinder it but her love of extremes, and her insistence on regulating life according to notions which might cause a wary man to hesitate before he made her an offer, or even might lead her at last to refuse all offers. A young lady of some birth and fortune, who knelt suddenly down on a brick floor by the side of a sick laborer and prayed fervidly as if she thought herself living in the time of the apostles, who had strange whims of fasting and of sitting up at night to read old theological books! Such a wife might awaken you some fine morning with a new scheme for the application of her income which would interfere with political economy and the keeping of saddle-horses; a man would naturally think twice before he risked himself in such fellowship. Women were expected to have weak opinions, but the great safeguard of society and of domestic life was that opinions were not acted on. Sane people did what their neighbors did, so that if any lunatics were at large, one might know and avoid them.

The rural opinion about the new young ladies, even among the cottagers, was generally in favor of Celia, as being so amiable and innocent-looking, while Miss Brooke's large eyes seemed, like her religion, too unusual and striking. Poor Dorothea! Compared with her, the innocent-looking Celia was knowing and worldly-wise; so much subtler is a human mind than the outside tissues which make a sort of blazonry or clock-face for it.

Yet those who approached Dorothea, though prejudiced against her by this alarming hearsay, found that she had a charm unaccountably reconcilable with it. Most men thought her bewitching when she was on horseback. She loved the fresh air and the various aspects of the country, and when her eyes and cheeks glowed with mingled pleasure she looked very little like a devotee. Riding was an indulgence which she allowed herself in spite of conscientious qualms; she always looked forward to renouncing it.

She was open, ardent, and not in the least self-admiring; indeed, it was pretty to see how her imagination adorned her sister Celia with attractions altogether superior to her own, and if any gentleman appeared to come to the Grange from some other motive than that of seeing Mr. Brooke, she concluded that he must be in love with Celia. Sir James Chettam, for example, whom she constantly considered from Celia's point of view, inwardly debating whether it would be good for Celia to accept him. That he should be regarded as a suitor to herself would have seemed to her a ridiculous irrelevance. Dorothea, with all her eagerness to know the truths of life, retained very childlike ideas about marriage.

As it appears underlined in the last paragraph, “the Grange” is __________.

Adapted from “The McWilliamses and the Burglar Alarm” in The Mysterious Stranger and Other Stories by Mark Twain (1898; 1916)

The conversation drifted along from weather to crops, from crops to literature, from literature to scandal, from scandal to religion; then took a random jump, and landed on the subject of burglar alarms. And now for the first time Mr. McWilliams showed feeling. Whenever I perceive this sign on this man's dial, I comprehend it, and lapse into silence, and give him opportunity to unload his heart. Said he, with but ill-controlled emotion:

"I do not go one single cent on burglar alarms, Mr. Twain—not a single cent—and I will tell you why. When we were finishing our house, we found we had a little cash left over. I was for donating it to charity; but Mrs. McWilliams said no, let's have a burglar alarm. I agreed to this compromise. Whenever I want a thing, and Mrs. McWilliams wants another thing, and we decide upon the thing that Mrs. McWilliams wants—as we always do—she calls that a compromise. Very well: the man came up from New York and put in the alarm, and charged three hundred and twenty-five dollars for it, and said we could sleep without uneasiness now. So we did for awhile—say a month. Then one night we smelled smoke. I lit a candle, and started toward the stairs, and met a burglar coming out of a room with a basket of tinware, which he had mistaken for solid silver in the dark. He was smoking a pipe. I said, 'My friend, we do not allow smoking in this room.' He said he was a stranger, and could not be expected to know the rules of the house: said he had been in many houses just as good as this one, and it had never been objected to before.

"I said: 'Smoke along, then. But what business have you to be entering this house in this furtive and clandestine way, without ringing the burglar alarm?’

He looked confused and ashamed, and said, with embarrassment: 'I beg a thousand pardons. I did not know you had a burglar alarm, else I would have rung it. I beg you will not mention it where my parents may hear of it, for they are old and feeble, and such a seemingly wanton breach of the hallowed conventionalities of our civilization might all too rudely sunder the frail bridge which hangs darkling between the pale and evanescent present and the solemn great deeps of the eternities. May I trouble you for a match?’

"I said: 'Your sentiments do you honor, but metaphor is not your best hold. Spare your thigh; this kind light only on the box. But to return to business: how did you get in here?’”

What does the underlined sentence “Spare your thigh; this kind light only on the box” indicate is happening in the story when the narrator says this to the thief?

Adapted from “The McWilliamses and the Burglar Alarm” in The Mysterious Stranger and Other Stories by Mark Twain (1898; 1916)

The conversation drifted along from weather to crops, from crops to literature, from literature to scandal, from scandal to religion; then took a random jump, and landed on the subject of burglar alarms. And now for the first time Mr. McWilliams showed feeling. Whenever I perceive this sign on this man's dial, I comprehend it, and lapse into silence, and give him opportunity to unload his heart. Said he, with but ill-controlled emotion:

"I do not go one single cent on burglar alarms, Mr. Twain—not a single cent—and I will tell you why. When we were finishing our house, we found we had a little cash left over. I was for donating it to charity; but Mrs. McWilliams said no, let's have a burglar alarm. I agreed to this compromise. Whenever I want a thing, and Mrs. McWilliams wants another thing, and we decide upon the thing that Mrs. McWilliams wants—as we always do—she calls that a compromise. Very well: the man came up from New York and put in the alarm, and charged three hundred and twenty-five dollars for it, and said we could sleep without uneasiness now. So we did for awhile—say a month. Then one night we smelled smoke. I lit a candle, and started toward the stairs, and met a burglar coming out of a room with a basket of tinware, which he had mistaken for solid silver in the dark. He was smoking a pipe. I said, 'My friend, we do not allow smoking in this room.' He said he was a stranger, and could not be expected to know the rules of the house: said he had been in many houses just as good as this one, and it had never been objected to before.

"I said: 'Smoke along, then. But what business have you to be entering this house in this furtive and clandestine way, without ringing the burglar alarm?’

He looked confused and ashamed, and said, with embarrassment: 'I beg a thousand pardons. I did not know you had a burglar alarm, else I would have rung it. I beg you will not mention it where my parents may hear of it, for they are old and feeble, and such a seemingly wanton breach of the hallowed conventionalities of our civilization might all too rudely sunder the frail bridge which hangs darkling between the pale and evanescent present and the solemn great deeps of the eternities. May I trouble you for a match?’

"I said: 'Your sentiments do you honor, but metaphor is not your best hold. Spare your thigh; this kind light only on the box. But to return to business: how did you get in here?’”

Which of the following is the BEST paraphrase of the underlined excerpt?

The passage is adapted from the first chapter of Sir Arthur Conan Doyle's Rodney Stone (1896).

 On this, the first of January of the year 1851, the nineteenth century has reached its midway term, and many of us who shared its youth have already warnings which tell us that it has outworn us. We put our grizzled heads together, we older ones, and we talk of the great days that we have known; but we find that when it is with our children that we talk it is a hard matter to make them understand. We and our fathers before us lived much the same life, but they with their railway trains and their steamboats belong to a different age. It is true that we can put history-books into their hands, and they can read from them of our weary struggle of two and twenty years with that great and evil man. They can learn how Freedom fled from the whole broad continent, and how Nelson’s blood was shed, and Pitt’s noble heart was broken in striving that she should not pass us for ever to take refuge with our brothers across the Atlantic. All this they can read, with the date of this treaty or that battle, but I do not know where they are to read of ourselves, of the folk we were, and the lives we led, and how the world seemed to our eyes when they were young as theirs are now.

If I take up my pen to tell you about this, you must not look for any story at my hands, for I was only in my earliest manhood when these things befell; and although I saw something of the stories of other lives, I could scarce claim one of my own. It is the love of a woman that makes the story of a man, and many a year was to pass before I first looked into the eyes of the mother of my children. To us it seems but an affair of yesterday, and yet those children can now reach the plums in the garden whilst we are seeking for a ladder, and where we once walked with their little hands in ours, we are glad now to lean upon their arms. But I shall speak of a time when the love of a mother was the only love I knew, and if you seek for something more, then it is not for you that I write. But if you would come out with me into that forgotten world; if you would know Boy Jim and Champion Harrison; if you would meet my father, one of Nelson’s own men; if you would catch a glimpse of that great seaman himself, and of George, afterwards the unworthy King of England; if, above all, you would see my famous uncle, Sir Charles Tregellis, the King of the Bucks, and the great fighting men whose names are still household words amongst you, then give me your hand and let us start.

But I must warn you also that, if you think you will find much that is of interest in your guide, you are destined to disappointment. When I look over my bookshelves, I can see that it is only the wise and witty and valiant who have ventured to write down their experiences. For my own part, if I were only assured that I was as clever and brave as the average man about me, I should be well satisfied. Men of their hands have thought well of my brains, and men of brains of my hands, and that is the best that I can say of myself. Save in the one matter of having an inborn readiness for music, so that the mastery of any instrument comes very easily and naturally to me, I cannot recall any single advantage which I can boast over my fellows. In all things I have been a half-way man, for I am of middle height, my eyes are neither blue nor grey, and my hair, before Nature dusted it with her powder, was betwixt flaxen and brown. I may, perhaps, claim this: that through life I have never felt a touch of jealousy as I have admired a better man than myself, and that I have always seen all things as they are, myself included, which should count in my favour now that I sit down in my mature age to write my memories. With your permission, then, we will push my own personality as far as possible out of the picture. If you can conceive me as a thin and colourless cord upon which my would-be pearls are strung, you will be accepting me upon the terms which I should wish.

When the narrator states that "Men of their hands have thought well of my brains, and men of brains of my hands," he most nearly means that __________.

The passage is adapted from the first chapter of Sir Arthur Conan Doyle's Rodney Stone (1896).

 On this, the first of January of the year 1851, the nineteenth century has reached its midway term, and many of us who shared its youth have already warnings which tell us that it has outworn us. We put our grizzled heads together, we older ones, and we talk of the great days that we have known; but we find that when it is with our children that we talk it is a hard matter to make them understand. We and our fathers before us lived much the same life, but they with their railway trains and their steamboats belong to a different age. It is true that we can put history-books into their hands, and they can read from them of our weary struggle of two and twenty years with that great and evil man. They can learn how Freedom fled from the whole broad continent, and how Nelson’s blood was shed, and Pitt’s noble heart was broken in striving that she should not pass us for ever to take refuge with our brothers across the Atlantic. All this they can read, with the date of this treaty or that battle, but I do not know where they are to read of ourselves, of the folk we were, and the lives we led, and how the world seemed to our eyes when they were young as theirs are now.

If I take up my pen to tell you about this, you must not look for any story at my hands, for I was only in my earliest manhood when these things befell; and although I saw something of the stories of other lives, I could scarce claim one of my own. It is the love of a woman that makes the story of a man, and many a year was to pass before I first looked into the eyes of the mother of my children. To us it seems but an affair of yesterday, and yet those children can now reach the plums in the garden whilst we are seeking for a ladder, and where we once walked with their little hands in ours, we are glad now to lean upon their arms. But I shall speak of a time when the love of a mother was the only love I knew, and if you seek for something more, then it is not for you that I write. But if you would come out with me into that forgotten world; if you would know Boy Jim and Champion Harrison; if you would meet my father, one of Nelson’s own men; if you would catch a glimpse of that great seaman himself, and of George, afterwards the unworthy King of England; if, above all, you would see my famous uncle, Sir Charles Tregellis, the King of the Bucks, and the great fighting men whose names are still household words amongst you, then give me your hand and let us start.

But I must warn you also that, if you think you will find much that is of interest in your guide, you are destined to disappointment. When I look over my bookshelves, I can see that it is only the wise and witty and valiant who have ventured to write down their experiences. For my own part, if I were only assured that I was as clever and brave as the average man about me, I should be well satisfied. Men of their hands have thought well of my brains, and men of brains of my hands, and that is the best that I can say of myself. Save in the one matter of having an inborn readiness for music, so that the mastery of any instrument comes very easily and naturally to me, I cannot recall any single advantage which I can boast over my fellows. In all things I have been a half-way man, for I am of middle height, my eyes are neither blue nor grey, and my hair, before Nature dusted it with her powder, was betwixt flaxen and brown. I may, perhaps, claim this: that through life I have never felt a touch of jealousy as I have admired a better man than myself, and that I have always seen all things as they are, myself included, which should count in my favour now that I sit down in my mature age to write my memories. With your permission, then, we will push my own personality as far as possible out of the picture. If you can conceive me as a thin and colourless cord upon which my would-be pearls are strung, you will be accepting me upon the terms which I should wish.

When the narrator states that "to us it seems but an affair of yesterday, and yet those children can now reach the plums in the garden whilst we are seeking for a ladder, and where we once walked with their little hands in ours, we are glad now to lean upon their arms," he most nearly means that __________.