Adapted from Eminent Victorians by Lytton Strachey (1918)

He belonged to that class of eminent ecclesiastics—and it is by no means a small class—who have been distinguished less for saintliness and learning than for practical ability. Had he lived in the Middle Ages he would certainly have been neither a Francis nor an Aquinas, but he might have been an Innocent. As it was, born in the England of the nineteenth century, growing up in the very seed-time of modern progress, coming to maturity with the first onrush of Liberalism, and living long enough to witness the victories of Science and Democracy, he yet, by a strange concatenation of circumstances, seemed almost to revive in his own person that long line of diplomatic and administrative clerics which, one would have thought, had come to an end for ever with Cardinal Wolsey.

In Manning, so it appeared, the Middle Ages lived again. The tall gaunt figure, with the face of smiling asceticism, the robes, and the biretta, as it passed in triumph from High Mass at the Oratory to philanthropic gatherings at Exeter Hall, from Strike Committees at the Docks to Mayfair drawing-rooms where fashionable ladies knelt to the Prince of the Church, certainly bore witness to a singular condition of affairs. What had happened? Had a dominating character imposed itself upon a hostile environment? Or was the nineteenth century, after all, not so hostile? Was there something in it, scientific and progressive as it was, that went out to welcome the representative of ancient tradition and uncompromising faith? Had it, perhaps, a place in its heart for such as Manning—a soft place, one might almost say? Or, on the other hand, was it he who had been supple and yielding? He who had won by art what he would never have won by force, and who had managed, so to speak, to be one of the leaders of the procession less through merit than through a superior faculty for gliding adroitly to the front rank? And, in any case, by what odd chances, what shifts and struggles, what combinations of circumstance and character, had this old man come to be where he was?

What function do Cardinal Wolsey and Innocent serve in the passage?

Adapted from An Enquiry Concerning Human Understanding by David Hume (1748)

Everyone will readily allow that there is a considerable difference between the perceptions of the mind, when a man feels the pain of excessive heat, or the pleasure of moderate warmth, and when he afterwards recalls to his memory this sensation, or anticipates it by his imagination. These faculties may mimic or copy the perceptions of the senses, but they never can entirely reach the force and vivacity of the original sentiment. The utmost we say of them, even when they operate with greatest vigor, is, that they represent their object in so lively a manner that we could almost say we feel or see it. But, except the mind be disordered by disease or madness, they never can arrive at such a pitch of vivacity as to render these perceptions altogether undistinguishable. All the colors of poetry, however splendid, can never paint natural objects in such a manner as to make the description be taken for a real landscape. The most lively thought is still inferior to the dullest sensation.

We may observe a like distinction to run through all the other perceptions of the mind. A man in a fit of anger is actuated in a very different manner from one who only thinks of that emotion. If you tell me that any person is in love I easily understand your meaning, and form a just conception of his situation, but never can mistake that conception for the real disorders and agitations of the passion. When we reflect on our past sentiments and affections, our thought is a faithful mirror and copies its objects truly, but the colors which it employs are faint and dull in comparison of those in which our original perceptions were clothed. It requires no nice discernment or metaphysical head to mark the distinction between them.

Here, therefore, we may divide all the perceptions of the mind into two classes or species, which are distinguished by their different degrees of force and vivacity. The less forcible and lively are commonly denominated "thoughts" or "ideas." The other species want a name in our language, and in most others; I suppose because it was not requisite for any but philosophical purposes to rank them under a general term or appellation. Let us, therefore, use a little freedom, and call them "impressions," employing that word in a sense somewhat different from the usual. By the term "impression," then, I mean all our more lively perceptions, when we hear, or see, or feel, or love, or hate, or desire, or will. And impressions are distinguished from ideas, which are the less lively perceptions, of which we are conscious when we reflect on any of those sensations or movements above mentioned.

In the first paragraph, the information about poems serves to __________.

Passage adapted from “Psychology and the Teaching Art” (1899) by William James

I say moreover that you make a great, a very great mistake, if you think that psychology, being the science of the mind's laws, is something from which you can deduce definite programmes and schemes and methods of instruction for immediate schoolroom use. Psychology is a science, and teaching is an art; and sciences never generate arts directly out of themselves. An intermediary inventive mind must make the application, by using its originality.

The science of logic never made a man reason rightly, and the science of ethics (if there be such a thing) never made a man behave rightly. The most such sciences can do is to help us to catch ourselves up and check ourselves, if we start to reason or to behave wrongly; and to criticise ourselves more articulately after we have made mistakes. A science only lays down lines within which the rules of the art must fall, laws which the follower of the art must not transgress; but what particular thing he shall positively do within those lines is left exclusively to his own genius. One genius will do his work well and succeed in one way, while another succeeds as well quite differently; yet neither will transgress the lines.

The art of teaching grew up in the schoolroom, out of inventiveness and sympathetic concrete observation. Even where (as in the case of Herbart) the advancer of the art was also a psychologist, the pedagogics and the psychology ran side by side, and the former was not derived in any sense from the latter. The two were congruent, but neither was subordinate. And so everywhere the teaching must agree with the psychology, but need not necessarily be the only kind of teaching that would so agree; for many diverse methods of teaching may equally well agree with psychological laws.

To know psychology, therefore, is absolutely no guarantee that we shall be good teachers. To advance to that result, we must have an additional endowment altogether, a happy tact and ingenuity to tell us what definite things to say and do when the pupil is before us. That ingenuity in meeting and pursuing the pupil, that tact for the concrete situation, though they are the alpha and omega of the teacher's art, are things to which psychology cannot help us in the least.

Why does James discuss logic and ethics in the second paragraph?

Passage adapted from “An Essay on Friendship” (1841) by Ralph Waldo Emerson

I do not wish to treat friendships daintily, but with roughest courage. When they are real, they are not glass threads or frost-work, but the solidest thing we know. For now, after so many ages of experience, what do we know of nature, or of ourselves? Not one step has man taken toward the solution of the problem of his destiny. In one condemnation of folly stand the whole universe of men. But the sweet sincerity of joy and peace, which I draw from this alliance with my brother's soul, is the nut itself whereof all nature and all thought is but the husk and shell.

Happy is the house that shelters a friend! It might well be built, like a festal bower or arch, to entertain him a single day. Happier, if he know the solemnity of that relation, and honor its law! He who offers himself a candidate for that covenant comes up, like an Olympian, to the great games, where the first-born of the world are the competitors. He proposes himself for contest where Time, Want, Danger are in the lists, and he alone is victor who has truth enough in his constitution to preserve the delicacy of his beauty from the wear and tear of all these. The gifts of fortune may be present or absent, but all the hap in that contest depends on intrinsic nobleness, and the contempt of trifles. There are two elements that go to the composition of friendship, each so sovereign, that I can detect no superiority in either, no reason why either should be first named. One is Truth.

A friend is a person with whom I may be sincere. Before him, I may think aloud.  I am arrived at last in the presence of a man so real and equal that I may drop even those undermost garments of dissimulation, courtesy, and second thought, which men never put off, and may deal with him with the simplicity and wholeness, with which one chemical atom meets another. . . .

Every man alone is sincere. At the entrance of a second person, hypocrisy begins. We parry and fend the approach of our fellow-man by compliments, by gossip, by amusements, by affairs. We cover up our thought from him under a hundred folds. I knew a man who, under a certain religious frenzy, cast off this drapery, and omitting all compliments and commonplace, spoke to the conscience of every person he encountered, and that with great insight and beauty. At first he was resisted, and all men agreed he was mad. But persisting, as indeed he could not help doing, for some time in this course, he attained to the advantage of bringing every man of his acquaintance into true relations with him.

What is the contrast expressed by the example given in the final paragraph?

Passage adapted from The Idea of a University (1852) by John Henry Newman

It has often been observed that, when the eyes of the infant first open upon the world, the reflected rays of light which strike them from the myriad of surrounding objects present to him no image, but a medley of colours and shadows. They do not form into a whole; they do not rise into foregrounds and melt into distances; they do not divide into groups; they do not coalesce into unities; they do not combine into persons; but each particular hue and tint stands by itself, wedged in amid a thousand others upon the vast and flat mosaic, having no intelligence, and conveying no story, any more than the wrong side of some rich tapestry. The little babe stretches out his arms and fingers, as if to grasp or to fathom the many-coloured vision; and thus he gradually learns the connexion of part with part, separates what moves from what is stationary, watches the coming and going of figures, masters the idea of shape and of perspective, calls in the information conveyed through the other senses to assist him in his mental process, and thus gradually converts a calidoscope into a picture.

The first view was the more splendid, the second the more real; the former more poetical, the latter more philosophical. Alas! what are we doing all through life, both as a necessity and as a duty, but unlearning the world’s poetry, and attaining to its prose! This is our education, as boys and as men, in the action of life, and in the closet or library; in our affections, in our aims, in our hopes, and in our memories. And in like manner it is the education of our intellect; I say, that one main portion of intellectual education, of the labours of both school and university, is to remove the original dimness of the mind’s eye; to strengthen and perfect its vision; to enable it to look out into the world right forward, steadily and truly; to give the mind clearness, accuracy, precision; to enable it to use words aright, to understand what it says, to conceive justly what it thinks about, to abstract, compare, analyze, divide, define, and reason, correctly.

There is a particular science which takes these matters in hand, and it is called logic; but it is not by logic, certainly not by logic alone, that the faculty I speak of is acquired. The infant does not learn to spell and read the hues upon his retina by any scientific rule; nor does the student learn accuracy of thought by any manual or treatise. The instruction given him, of whatever kind, if it be really instruction, is mainly, or at least preeminently, this,—a discipline in accuracy of mind.

What is the purpose of the set of parallel examples in the underlined section?

Passage adapted from “The Essence of Humanism” (1905) by William James

Humanism is a ferment that has 'come to stay.' It is not a single hypothesis or theorem, and it dwells on no new facts. It is rather a slow shifting in the philosophic perspective, making things appear as from a new centre of interest or point of sight. Some writers are strongly conscious of the shifting, others half unconscious, even though their own vision may have undergone much change. The result is no small confusion in debate, the half-conscious humanists often taking part against the radical ones, as if they wished to count upon the other side.

If humanism really be the name for such a shifting of perspective, it is obvious that the whole scene of the philosophic stage will change in some degree if humanism prevails. The emphasis of things, their foreground and background distribution, their sizes and values, will not keep just the same. If such pervasive consequences be involved in humanism, it is clear that no pains which philosophers may take, first in defining it, and then in furthering, checking, or steering its progress, will be thrown away.

It suffers badly at present from incomplete definition. Its most systematic advocates, Schiller and Dewey, have published fragmentary programs only; and its bearing on many vital philosophic problems has not been traced except by adversaries who, scenting heresies in advance, have showered blows on doctrines—subjectivism and scepticism, for example—that no good humanist finds it necessary to entertain. By their still greater reticences, the anti-humanists have, in turn, perplexed the humanists. Much of the controversy has involved the word 'truth.' It is always good in debate to know your adversary's point of view authentically. But the critics of humanism never define exactly what the word 'truth' signifies when they use it themselves. The humanists have to guess at their view; and the result has doubtless been much beating of the air. Add to all this, great individual differences in both camps, and it becomes clear that nothing is so urgently needed, at the stage which things have reached at present, as a sharper definition by each side of its central point of view.

Whoever will contribute any touch of sharpness will help us to make sure of what's what and who is who. Anyone can contribute such a definition, and, without it, no one knows exactly where he stands. If I offer my own provisional definition of humanism now and here, others may improve it, some adversary may be led to define his own creed more sharply by the contrast, and a certain quickening of the crystallization of general opinion may result.

Based on the passage, what is a weakness of those who oppose humanism?

Passage adapted from A Vindication of the Rights of Woman (1792) by Mary Wollstonecraft

It is of great importance to observe, that the character of every man is, in some degree, formed by his profession. A man of sense may only have a cast of countenance that wears off as you trace his individuality, whilst the weak, common man, has scarcely ever any character, but what belongs to the body; at least, all his opinions have been so steeped in the vat consecrated by authority, that the faint spirit which the grape of his own vine yields cannot be distinguished.

Society, therefore, as it becomes more enlightened, should be very careful not to establish bodies of men who must necessarily be made foolish or vicious by the very constitution of their profession.

In the infancy of society, when men were just emerging out of barbarism, chiefs and priests, touching the most powerful springs of savage conduct—hope and fear—must have had unbounded sway. An aristocracy, of course, is naturally the first form of government. But clashing interests soon losing their equipoise, a monarchy and hierarchy break out of the confusion of ambitious struggles, and the foundation of both is secured by feudal tenures. This appears to be the origin of monarchial and priestly power, and the dawn of civilization. But such combustible materials cannot long be pent up; and getting vent in foreign wars and intestine insurrections, the people acquire some power in the tumult, which obliges their rulers to gloss over their oppression with a show of right. Thus, as wars, agriculture, commerce, and literature expand the mind, despots are compelled to make covert corruption hold fast the power which was formerly snatched by open force. And this baneful lurking gangrene is most quickly spread by luxury and superstition, the sure dregs of ambition. The indolent puppet of a court first becomes a luxurious monster, or fastidious sensualist, and then makes the contagion which his unnatural state spreads, the instrument of tyranny.

Which would be an example that Wollstonecraft might use to exemplify the underlined point?

Passage adapted from A Vindication of the Rights of Woman (1792) by Mary Wollstonecraft

It is of great importance to observe, that the character of every man is, in some degree, formed by his profession. A man of sense may only have a cast of countenance that wears off as you trace his individuality, whilst the weak, common man, has scarcely ever any character, but what belongs to the body; at least, all his opinions have been so steeped in the vat consecrated by authority, that the faint spirit which the grape of his own vine yields cannot be distinguished.

Society, therefore, as it becomes more enlightened, should be very careful not to establish bodies of men who must necessarily be made foolish or vicious by the very constitution of their profession.

In the infancy of society, when men were just emerging out of barbarism, chiefs and priests, touching the most powerful springs of savage conduct—hope and fear—must have had unbounded sway. An aristocracy, of course, is naturally the first form of government. But clashing interests soon losing their equipoise, a monarchy and hierarchy break out of the confusion of ambitious struggles, and the foundation of both is secured by feudal tenures. This appears to be the origin of monarchial and priestly power, and the dawn of civilization. But such combustible materials cannot long be pent up; and getting vent in foreign wars and intestine insurrections, the people acquire some power in the tumult, which obliges their rulers to gloss over their oppression with a show of right. Thus, as wars, agriculture, commerce, and literature expand the mind, despots are compelled to make covert corruption hold fast the power which was formerly snatched by open force. And this baneful lurking gangrene is most quickly spread by luxury and superstition, the sure dregs of ambition. The indolent puppet of a court first becomes a luxurious monster, or fastidious sensualist, and then makes the contagion which his unnatural state spreads, the instrument of tyranny.

Which of the following would be an example of the phenomenon discussed in the underlined selection?