I wish to speak a word for Nature, for absolute freedom and wildness, as contrasted with a freedom and culture merely civil,—to regard man as an inhabitant, or a part and parcel of Nature, rather than a member of society. I wish to make an extreme statement, if so I may make an emphatic one, for there are enough champions of civilization: the minister and the school-committee, and every one of you will take care of that.

I have met with but one or two persons in the course of my life who understood the art of Walking, that is, of taking walks,—who had a genius, so to speak, for sauntering: which word is beautifully derived from "idle people who roved about the country, in the Middle Ages, and asked charity, under pretense of going à la Sainte Terre," to the Holy Land, till the children exclaimed, "There goes a Sainte-Terrer," a Saunterer,—a Holy-Lander. They who never go to the Holy Land in their walks, as they pretend, are indeed mere idlers and vagabonds; but they who do go there are saunterers in the good sense, such as I mean. Some, however, would derive the word from sans terre, without land or a home, which, therefore, in the good sense, will mean, having no particular home, but equally at home everywhere. For this is the secret of successful sauntering. He who sits still in a house all the time may be the greatest vagrant of all; but the saunterer, in the good sense, is no more vagrant than the meandering river, which is all the while sedulously seeking the shortest course to the sea. But I prefer the first, which, indeed, is the most probable derivation. For every walk is a sort of crusade, preached by some Peter the Hermit in us, to go forth and reconquer this Holy Land from the hands of the Infidels.

It is true, we are but faint-hearted crusaders, even the walkers, nowadays, who undertake no persevering, never-ending enterprises. Our expeditions are but tours, and come round again at evening to the old hearth-side from which we set out. Half the walk is but retracing our steps. We should go forth on the shortest walk, perchance, in the spirit of undying adventure, never to return,—prepared to send back our embalmed hearts only as relics to our desolate kingdoms. If you are ready to leave father and mother, and brother and sister, and wife and child and friends, and never see them again,—if you have paid your debts, and made your will, and settled all your affairs, and are a free man, then you are ready for a walk.

To come down to my own experience, my companion and I, for I sometimes have a companion, take pleasure in fancying ourselves knights of a new, or rather an old, order,—not Equestrians or Chevaliers, not Ritters or riders, but Walkers, a still more ancient and honorable class, I trust. The chivalric and heroic spirit which once belonged to the Rider seems now to reside in, or perchance to have subsided into, the Walker,—not the Knight, but Walker Errant. He is a sort of fourth estate, outside of Church and State and People.

We have felt that we almost alone hereabouts practiced this noble art; though, to tell the truth, at least, if their own assertions are to be received, most of my townsmen would fain walk sometimes, as I do, but they cannot. No wealth can buy the requisite leisure, freedom, and independence, which are the capital in this profession. It comes only by the grace of God. It requires a direct dispensation from Heaven to become a walker. You must be born into the family of the Walkers. Ambulator nascitur, non fit. Some of my townsmen, it is true, can remember and have described to me some walks which they took ten years ago, in which they were so blessed as to lose themselves for half an hour in the woods; but I know very well that they have confined themselves to the highway ever since, whatever pretensions they may make to belong to this select class. No doubt they were elevated for a moment as by the reminiscence of a previous state of existence, when even they were foresters and outlaws.

In the context of the passage, what does the underlined word "sedulously" mean? 

“Consider the subtleness of the sea; how its most dreaded creatures glide under water, unapparent for the most part, and treacherously hidden beneath the loveliest tints of azure. Consider also the devilish brilliance and beauty of many of its most remorseless tribes, as the dainty embellished shape of many species of sharks. Consider, once more, the universal cannibalism of the sea; all whose creatures prey upon each other, carrying on eternal war since the world began.

Consider all this; and then turn to the green, gentle, and most docile earth; consider them both, the sea and the land; and do you not find a strange analogy to something in yourself? For as this appalling ocean surrounds the verdant land, so in the soul of man there lies one insular Tahiti, full of peace and joy, but encompassed by all the horrors of the half-known life. God keep thee! Push not off from that isle, thou canst never return!”

Passage adapted from Moby Dick, Herman Melville (1851)

What are the horrors of a “half-known” life?

Adapted from Jude the Obscure by Thomas Hardy (1895)

He sounded the clacker till his arm ached, and at length his heart grew sympathetic with the birds' thwarted desires. They seemed, like himself, to be living in a world which did not want them. Why should he frighten them away? They took upon more and more the aspect of gentle friends and pensioners—the only friends he could claim as being in the least degree interested in him, for his aunt had often told him that she was not. He ceased his rattling, and they alighted anew.

"Poor little dears!" said Jude, aloud. "You shall have some dinner—you shall. There is enough for us all. Farmer Troutham can afford to let you have some. Eat, then my dear little birdies, and make a good meal!"

They stayed and ate, inky spots on the nut-brown soil, and Jude enjoyed their appetite. A magic thread of fellow-feeling united his own life with theirs. Puny and sorry as those lives were, they much resembled his own.

His clacker he had by this time thrown away from him, as being a mean and sordid instrument, offensive both to the birds and to himself as their friend. All at once he became conscious of a smart blow upon his buttocks, followed by a loud clack, which announced to his surprised senses that the clacker had been the instrument of offense used. The birds and Jude started up simultaneously, and the dazed eyes of the latter beheld the farmer in person, the great Troutham himself, his red face glaring down upon Jude's cowering frame, the clacker swinging in his hand.

"So it's 'Eat my dear birdies,' is it, young man? 'Eat, dear birdies,' indeed! I'll tickle your breeches, and see if you say, 'Eat, dear birdies' again in a hurry! And you've been idling at the schoolmaster's too, instead of coming here, ha'n't ye, hey? That's how you earn your sixpence a day for keeping the rooks off my corn!"

In the context of the passage, what is the meaning of the underlined word “alighted”?

Adapted from Jude The Obscure by Thomas Hardy (1895)

He sounded the clacker till his arm ached, and at length his heart grew sympathetic with the birds' thwarted desires. They seemed, like himself, to be living in a world which did not want them. Why should he frighten them away? They took upon more and more the aspect of gentle friends and pensioners—the only friends he could claim as being in the least degree interested in him, for his aunt had often told him that she was not. He ceased his rattling, and they alighted anew.

"Poor little dears!" said Jude, aloud. "You shall have some dinner—you shall. There is enough for us all. Farmer Troutham can afford to let you have some. Eat, then my dear little birdies, and make a good meal!"

They stayed and ate, inky spots on the nut-brown soil, and Jude enjoyed their appetite. A magic thread of fellow-feeling united his own life with theirs. Puny and sorry as those lives were, they much resembled his own.

His clacker he had by this time thrown away from him, as being a mean and sordid instrument, offensive both to the birds and to himself as their friend. All at once he became conscious of a smart blow upon his buttocks, followed by a loud clack, which announced to his surprised senses that the clacker had been the instrument of offense used. The birds and Jude started up simultaneously, and the dazed eyes of the latter beheld the farmer in person, the great Troutham himself, his red face glaring down upon Jude's cowering frame, the clacker swinging in his hand.

"So it's 'Eat my dear birdies,' is it, young man? 'Eat, dear birdies,' indeed! I'll tickle your breeches, and see if you say, 'Eat, dear birdies,' again in a hurry! And you've been idling at the schoolmaster's too, instead of coming here, ha'n't ye, hey? That's how you earn your sixpence a day for keeping the rooks off my corn!"

Select the most direct antonym for the underlined word "conscious."

Adapted from Jude the Obscure by Thomas Hardy (1895)

He sounded the clacker till his arm ached, and at length his heart grew sympathetic with the birds' thwarted desires. They seemed, like himself, to be living in a world which did not want them. Why should he frighten them away? They took upon more and more the aspect of gentle friends and pensioners—the only friends he could claim as being in the least degree interested in him, for his aunt had often told him that she was not. He ceased his rattling, and they alighted anew.

"Poor little dears!" said Jude, aloud. "You shall have some dinner—you shall. There is enough for us all. Farmer Troutham can afford to let you have some. Eat, then my dear little birdies, and make a good meal!"

They stayed and ate, inky spots on the nut-brown soil, and Jude enjoyed their appetite. A magic thread of fellow-feeling united his own life with theirs. Puny and sorry as those lives were, they much resembled his own.

His clacker he had by this time thrown away from him, as being a mean and sordid instrument, offensive both to the birds and to himself as their friend. All at once he became conscious of a smart blow upon his buttocks, followed by a loud clack, which announced to his surprised senses that the clacker had been the instrument of offense used. The birds and Jude started up simultaneously, and the dazed eyes of the latter beheld the farmer in person, the great Troutham himself, his red face glaring down upon Jude's cowering frame, the clacker swinging in his hand.

"So it's 'Eat my dear birdies,' is it, young man? 'Eat, dear birdies,' indeed! I'll tickle your breeches, and see if you say, 'Eat, dear birdies' again in a hurry! And you've been idling at the schoolmaster's too, instead of coming here, ha'n't ye, hey? That's how you earn your sixpence a day for keeping the rooks off my corn!"

As it is used in the passage, what does the underlined word "thwarted" mean?

What is the meaning of the word "interposed"?

Adapted from Jude the Obscure by Thomas Hardy (1895)

He sounded the clacker till his arm ached, and at length his heart grew sympathetic with the birds' thwarted desires. They seemed, like himself, to be living in a world which did not want them. Why should he frighten them away? They took upon more and more the aspect of gentle friends and pensioners—the only friends he could claim as being in the least degree interested in him, for his aunt had often told him that she was not. He ceased his rattling, and they alighted anew.

"Poor little dears!" said Jude, aloud. "You shall have some dinner—you shall. There is enough for us all. Farmer Troutham can afford to let you have some. Eat, then my dear little birdies, and make a good meal!"

They stayed and ate, inky spots on the nut-brown soil, and Jude enjoyed their appetite. A magic thread of fellow-feeling united his own life with theirs. Puny and sorry as those lives were, they much resembled his own.

His clacker he had by this time thrown away from him, as being a mean and sordid instrument, offensive both to the birds and to himself as their friend. All at once he became conscious of a smart blow upon his buttocks, followed by a loud clack, which announced to his surprised senses that the clacker had been the instrument of offense used. The birds and Jude started up simultaneously, and the dazed eyes of the latter beheld the farmer in person, the great Troutham himself, his red face glaring down upon Jude's cowering frame, the clacker swinging in his hand.

"So it's 'Eat my dear birdies,' is it, young man? 'Eat, dear birdies,' indeed! I'll tickle your breeches, and see if you say, 'Eat, dear birdies' again in a hurry! And you've been idling at the schoolmaster's too, instead of coming here, ha'n't ye, hey? That's how you earn your sixpence a day for keeping the rooks off my corn!"

In the context of the phrase “tickle your breeches” could most likely refers to _______________.

Adapted from Jude the Obscure by Thomas Hardy (1895)

He sounded the clacker till his arm ached, and at length his heart grew sympathetic with the birds' thwarted desires. They seemed, like himself, to be living in a world which did not want them. Why should he frighten them away? They took upon more and more the aspect of gentle friends and pensioners—the only friends he could claim as being in the least degree interested in him, for his aunt had often told him that she was not. He ceased his rattling, and they alighted anew.

"Poor little dears!" said Jude, aloud. "You shall have some dinner—you shall. There is enough for us all. Farmer Troutham can afford to let you have some. Eat, then my dear little birdies, and make a good meal!"

They stayed and ate, inky spots on the nut-brown soil, and Jude enjoyed their appetite. A magic thread of fellow-feeling united his own life with theirs. Puny and sorry as those lives were, they much resembled his own.

His clacker he had by this time thrown away from him, as being a mean and sordid instrument, offensive both to the birds and to himself as their friend. All at once he became conscious of a smart blow upon his buttocks, followed by a loud clack, which announced to his surprised senses that the clacker had been the instrument of offense used. The birds and Jude started up simultaneously, and the dazed eyes of the latter beheld the farmer in person, the great Troutham himself, his red face glaring down upon Jude's cowering frame, the clacker swinging in his hand.

"So it's 'Eat my dear birdies,' is it, young man? 'Eat, dear birdies,' indeed! I'll tickle your breeches, and see if you say, 'Eat, dear birdies' again in a hurry! And you've been idling at the schoolmaster's too, instead of coming here, ha'n't ye, hey? That's how you earn your sixpence a day for keeping the rooks off my corn!"

Select the statement that best summarizes the third paragraph.

Passage adapted from Thomas Bulfinch’s “Prometheus and Pandora” (1860)

 The creation of the world is a problem naturally fitted to excite the liveliest interest of man, its inhabitant. The ancient pagans, not having the information on the subject which we derive from the pages of Scripture, had their own way of telling the story, which is as follows: Before earth and sea and heaven were created, all things wore one aspect, to which we give the name of Chaos—a confused and shapeless mass, nothing but dead weight, in which, however, slumbered the seeds of things. Earth, sea, and air were all mixed up together; so the earth was not solid, the sea was not fluid, and the air was not transparent. God and Nature at last interposed, and put an end to this discord, separating earth from sea, and heaven from both. The fiery part, being the lightest, sprang up, and formed the skies; the air was next in weight and place. The earth, being heavier, sank below; and the water took the lowest place, and buoyed up the earth.

Here some god—it is not known which—gave his good offices in arranging and disposing the earth. He appointed rivers and bays their places, raised mountains, scooped out valleys, distributed woods, fountains, fertile fields, and stony plains. The air being cleared, the stars began to appear, fishes took possession of the sea, birds of the air, and four-footed beasts of the land.

What does the author state about ancient pagans?

Passage adapted from Thomas Bulfinch’s “Prometheus and Pandora” (1860)

 The creation of the world is a problem naturally fitted to excite the liveliest interest of man, its inhabitant. The ancient pagans, not having the information on the subject which we derive from the pages of Scripture, had their own way of telling the story, which is as follows: Before earth and sea and heaven were created, all things wore one aspect, to which we give the name of Chaos—a confused and shapeless mass, nothing but dead weight, in which, however, slumbered the seeds of things. Earth, sea, and air were all mixed up together; so the earth was not solid, the sea was not fluid, and the air was not transparent. God and Nature at last interposed, and put an end to this discord, separating earth from sea, and heaven from both. The fiery part, being the lightest, sprang up, and formed the skies; the air was next in weight and place. The earth, being heavier, sank below; and the water took the lowest place, and buoyed up the earth.

Here some god—it is not known which—gave his good offices in arranging and disposing the earth. He appointed rivers and bays their places, raised mountains, scooped out valleys, distributed woods, fountains, fertile fields, and stony plains. The air being cleared, the stars began to appear, fishes took possession of the sea, birds of the air, and four-footed beasts of the land.

The passage states that inside Chaos "slumbered the seeds of things." What does this mean?