Passage adapted from "The Modern Martyr" by G.K. Chesterton (1908)

The incident of the Suffragettes who chained themselves with iron chains to the railings of Downing Street is a good ironical allegory of most modern martyrdom. It generally consists of a man chaining himself up and then complaining that he is not free. Some say that such larks retard the cause of female suffrage, others say that such larks alone can advance it; as a matter of fact, I do not believe that they have the smallest effect one way or the other.

The modern notion of impressing the public by a mere demonstration of unpopularity, by being thrown out of meetings or thrown into jail is largely a mistake. It rests on a fallacy touching the true popular value of martyrdom. People look at human history and see that it has often happened that persecutions have not only advertised but even advanced a persecuted creed, and given to its validity the public and dreadful witness of dying men. The paradox was pictorially expressed in Christian art, in which saints were shown brandishing as weapons the very tools that had slain them. And because his martyrdom is thus a power to the martyr, modern people think that any one who makes himself slightly uncomfortable in public will immediately be uproariously popular. This element of inadequate martyrdom is not true only of the Suffragettes; it is true of many movements I respect and some that I agree with. It was true, for instance, of the Passive Resisters, who had pieces of their furniture sold up. The assumption is that if you show your ordinary sincerity (or even your political ambition) by being a nuisance to yourself as well as to other people, you will have the strength of the great saints who passed through the fire. Anyone who can be hustled in a hall for five minutes, or put in a cell for five days, has achieved what was meant by martyrdom, and has a halo in the Christian art of the future. Miss Pankhurst will be represented holding a policeman in each hand--the instruments of her martyrdom. The Passive Resister will be shown symbolically carrying the teapot that was torn from him by tyrannical auctioneers.

But there is a fallacy in this analogy of martyrdom. The truth is that the special impressiveness which does come from being persecuted only happens in the case of extreme persecution. For the fact that the modern enthusiast will undergo some inconvenience for the creed he holds only proves that he does hold it, which no one ever doubted. No one doubts that the Nonconformist minister cares more for Nonconformity than he does for his teapot. No one doubts that Miss Pankhurst wants a vote more than she wants a quiet afternoon and an armchair. Pagans were not impressed by the torture of Christians merely because it showed that they honestly held their opinion; they knew that millions of people honestly held all sorts of opinions. The point of such extreme martyrdom is much more subtle. It is that it gives an appearance of a man having something quite specially strong to back him up, of his drawing upon some power. And this can only be proved when all his physical contentment is destroyed; when all the current of his bodily being is reversed and turned to pain. If a man is seen to be roaring with laughter all the time that he is skinned alive, it would not be unreasonable to deduce that somewhere in the recesses of his mind he had thought of a rather good joke. Similarly, if men smiled and sang (as they did) while they were being boiled or torn in pieces, the spectators felt the presence of something more than mere mental honesty: they felt the presence of some new and unintelligible kind of pleasure, which, presumably, came from somewhere. It might be a strength of madness, or a lying spirit from Hell; but it was something quite positive and extraordinary; as positive as brandy and as extraordinary as conjuring. The Pagan said to himself: "If Christianity makes a man happy while his legs are being eaten by a lion, might it not make me happy while my legs are still attached to me and walking down the street?"

If newly discovered evidence strongly supported the claim that public demonstrations of the Suffragettes were extremely effective in persuading English lawmakers to give women the right to vote, how would that impact the author’s argument?

Passage adapted from "A Piece of Chalk," by G. K. Chesterton (1905)

I crossed one swell of living turf after another, looking for a place to sit down and draw. Do not, for heaven’s sake, imagine I was going to sketch from Nature. I was going to draw devils and seraphim, and blind old gods that men worshipped before the dawn of right, and saints in robes of angry crimson, and seas of strange green, and all the sacred or monstrous symbols that look so well in bright colours on brown paper. They are much better worth drawing than Nature; also they are much easier to draw. When a cow came slouching by in the field next to me, a mere artist might have drawn it; but I always get wrong in the hind legs of quadrupeds. So I drew the soul of a cow; which I saw there plainly walking before me in the sunlight; and the soul was all purple and silver, and had seven horns and the mystery that belongs to all beasts. But though I could not with a crayon get the best out of the landscape, it does not follow that the landscape was not getting the best out of me. And this, I think, is the mistake that people make about the old poets who lived before Wordsworth, and were supposed not to care very much about Nature because they did not describe it much.

They preferred writing about great men to writing about great hills; but they sat on the great hills to write it. They gave out much less about Nature, but they drank in, perhaps, much more. They painted the white robes of their holy virgins with the blinding snow, at which they had stared all day… The greenness of a thousand green leaves clustered into the live green figure of Robin Hood. The blueness of a score of forgotten skies became the blue robes of the Virgin. The inspiration went in like sunbeams and came out like Apollo.

But as I sat scrawling these silly figures on the brown paper, it began to dawn on me, to my great disgust, that I had left one chalk, and that a most exquisite and essential chalk, behind. I searched all my pockets, but I could not find any white chalk. Now, those who are acquainted with all the philosophy (nay, religion) which is typified in the art of drawing on brown paper, know that white is positive and essential. I cannot avoid remarking here upon a moral significance. One of the wise and awful truths which this brown-paper art reveals, is this, that white is a colour. It is not a mere absence of colour; it is a shining and affirmative thing, as fierce as red, as definite as black. When, so to speak, your pencil grows red-hot, it draws roses; when it grows white-hot, it draws stars. And one of the two or three defiant verities of the best religious morality, of real Christianity, for example, is exactly this same thing; the chief assertion of religious morality is that white is a colour. Virtue is not the absence of vices or the avoidance of moral dangers; virtue is a vivid and separate thing, like pain or a particular smell. Mercy does not mean not being cruel, or sparing people revenge or punishment; it means a plain and positive thing like the sun, which one has either seen or not seen.

Chastity does not mean abstention from sexual wrong; it means something flaming, like Joan of Arc. In a word, God paints in many colours; but he never paints so gorgeously, I had almost said so gaudily, as when He paints in white. In a sense our age has realised this fact, and expressed it in our sullen costume. For if it were really true that white was a blank and colourless thing, negative and non-committal, then white would be used instead of black and grey for the funereal dress of this pessimistic period. Which is not the case.

If experts concluded that the majority of great English poets had a deep love for landscapes and architecture, how would that impact the author’s argument?

Passage adapted from “The Error of Impartiality” by G. K. Chesterton (1900)

The refusal of the jurors in the Thaw trial to come to an agreement is certainly a somewhat amusing sequel to the frenzied and even fantastic caution with which they were selected. Jurymen were set aside for reasons which seem to have only the very wildest relation to the case--reasons which we cannot conceive as giving any human being a real bias. It may be questioned whether the exaggerated theory of impartiality in an arbiter or juryman may not be carried so far as to be more unjust than partiality itself. What people call impartiality may simply mean indifference, and what people call partiality may simply mean mental activity…Surely this is unsound. If his bias is one of interest, of class, or creed, or notorious propaganda, then that fact certainly proves that he is not an impartial arbiter. But the mere fact that he did form some temporary impression from the first facts as far as he knew them—this does not prove that he is not an impartial arbiter—it only proves that he is not a cold-blooded fool.

If we walk down the street, taking all the jurymen who have not formed opinions and leaving all the jurymen who have formed opinions, it seems highly probable that we shall only succeed in taking all the stupid jurymen and leaving all the thoughtful ones. Provided that the opinion formed is really of this airy and abstract kind, provided that it has no suggestion of settled motive or prejudice, we might well regard it not merely as a promise of capacity, but literally as a promise of justice. The man who took the trouble to deduce from the police reports would probably be the man who would take the trouble to deduce further and different things from the evidence. The man who had the sense to form an opinion would be the man who would have the sense to alter it.

It is worth while to dwell for a moment on this minor aspect of the matter because the error about impartiality and justice is by no means confined to a criminal question. In much more serious matters it is assumed that the agnostic is impartial; whereas the agnostic is merely ignorant. The logical outcome of the fastidiousness about the Thaw jurors would be that the case ought to be tried by Esquimaux, or Hottentots, or savages from the Cannibal Islands--by some class of people who could have no conceivable interest in the parties, and moreover, no conceivable interest in the case. The pure and starry perfection of impartiality would be reached by people who not only had no opinion before they had heard the case, but who also had no opinion after they had heard it. In the same way, there is in modern discussions of religion and philosophy an absurd assumption that a man is in some way just and well-poised because he has come to no conclusion; and that a man is in some way knocked off the list of fair judges because he has come to a conclusion. It is assumed that the sceptic has no bias; whereas he has a very obvious bias in favour of scepticism.

We call a man a bigot or a slave of dogma because he is a thinker who has thought thoroughly and to a definite end. We say that the juryman is not a juryman because he has brought in a verdict. We say that the judge is not a judge because he gives judgment. We say that the sincere believer has no right to vote, simply because he has voted.

Suppose that a study on juries concluded that people with experience in a field relevant to the crime were much better jurors than those with no experience. How would this affect the author’s argument?

Passage adapted from “On The Cryptic And The Elliptic,” G.K. Chesterton (1915)

Surely the art of reporting speeches is in a strange state of degeneration. We should not object, perhaps, to the reporter's making the speeches much shorter than they are; but we do object to his making all the speeches much worse than they are. And the method which he employs is one which is dangerously unjust. When a statesman or philosopher makes an important speech, there are several courses which the reporter might take without being unreasonable. Perhaps the most reasonable course of all would be not to report the speech at all. Let the world live and love, marry and give in marriage, without that particular speech, as they did (in some desperate way) in the days when there were no newspapers. A second course would be to report a small part of it; but to get that right. A third course, far better if you can do it, is to understand the main purpose and argument of the speech, and report that in clear and logical language of your own. In short, the three possible methods are, first, to leave the man's speech alone; second, to report what he says or some complete part of what he says; and third, to report what he means. But the present way of reporting speeches (mainly created, I think, by the scrappy methods of the Daily Mail) is something utterly different from both these ways, and quite senseless and misleading.

The present method is this: the reporter sits listening to a tide of words which he does not try to understand, and does not, generally speaking, even try to take down; he waits until something occurs in the speech which for some reason sounds funny, or memorable, or very exaggerated, or, perhaps, merely concrete; then he writes it down and waits for the next one. If the orator says that the Premier is like a porpoise in the sea under some special circumstances, the reporter gets in the porpoise even if he leaves out the Premier. If the orator begins by saying that Mr. Chamberlain is rather like a violoncello, the reporter does not even wait to hear why he is like a violoncello. He has got hold of something material, and so he is quite happy. The strong words all are put in; the chain of thought is left out. If the orator uses the word "donkey," down goes the word "donkey.” They follow each other so abruptly in the report that it is often hard to discover the fascinating fact as to…who was being compared with a donkey. And the whole line of argument in which these things occurred is entirely lost. I have before me a newspaper report of a speech by Mr. Bernard Shaw, of which one complete and separate paragraph runs like this--

"Capital meant spare money over and above one's needs. Their country was not really their country at all except in patriotic songs."

I am well enough acquainted with the whole map of Mr. Bernard Shaw's philosophy to know that those two statements might have been related to each other in a hundred ways. But I think that if they were read by an ordinary intelligent man, who happened not to know Mr. Shaw's views, he would form no impression at all except that Mr. Shaw was a lunatic of more than usually abrupt conversation and disconnected mind. The other two methods would certainly have done Mr. Shaw more justice: the reporter should either have taken down verbatim what the speaker really said about Capital, or have given an outline of the way in which this idea was connected with the idea about patriotic songs…

Suppose that a recent publication esteemed the quoted speech by Mr. Bernard Shaw as one of the most influential speeches in the history of British politics. What impact would this finding have on the message of the essay?

Passage adapted from “On The Cryptic And The Elliptic,” G.K. Chesterton (1915)

Surely the art of reporting speeches is in a strange state of degeneration. We should not object, perhaps, to the reporter's making the speeches much shorter than they are; but we do object to his making all the speeches much worse than they are. And the method which he employs is one which is dangerously unjust. When a statesman or philosopher makes an important speech, there are several courses which the reporter might take without being unreasonable. Perhaps the most reasonable course of all would be not to report the speech at all. Let the world live and love, marry and give in marriage, without that particular speech, as they did (in some desperate way) in the days when there were no newspapers. A second course would be to report a small part of it; but to get that right. A third course, far better if you can do it, is to understand the main purpose and argument of the speech, and report that in clear and logical language of your own. In short, the three possible methods are, first, to leave the man's speech alone; second, to report what he says or some complete part of what he says; and third, to report what he means. But the present way of reporting speeches (mainly created, I think, by the scrappy methods of the Daily Mail) is something utterly different from both these ways, and quite senseless and misleading.

The present method is this: the reporter sits listening to a tide of words which he does not try to understand, and does not, generally speaking, even try to take down; he waits until something occurs in the speech which for some reason sounds funny, or memorable, or very exaggerated, or, perhaps, merely concrete; then he writes it down and waits for the next one. If the orator says that the Premier is like a porpoise in the sea under some special circumstances, the reporter gets in the porpoise even if he leaves out the Premier. If the orator begins by saying that Mr. Chamberlain is rather like a violoncello, the reporter does not even wait to hear why he is like a violoncello. He has got hold of something material, and so he is quite happy. The strong words all are put in; the chain of thought is left out. If the orator uses the word "donkey," down goes the word "donkey.” They follow each other so abruptly in the report that it is often hard to discover the fascinating fact as to…who was being compared with a donkey. And the whole line of argument in which these things occurred is entirely lost. I have before me a newspaper report of a speech by Mr. Bernard Shaw, of which one complete and separate paragraph runs like this--

"Capital meant spare money over and above one's needs. Their country was not really their country at all except in patriotic songs."

I am well enough acquainted with the whole map of Mr. Bernard Shaw's philosophy to know that those two statements might have been related to each other in a hundred ways. But I think that if they were read by an ordinary intelligent man, who happened not to know Mr. Shaw's views, he would form no impression at all except that Mr. Shaw was a lunatic of more than usually abrupt conversation and disconnected mind. The other two methods would certainly have done Mr. Shaw more justice: the reporter should either have taken down verbatim what the speaker really said about Capital, or have given an outline of the way in which this idea was connected with the idea about patriotic songs…

Later in the essay, the author concludes: “The modern who paints too cleverly produces a picture of a cow which might be the earthquake at San Francisco. And the journalist who reports a speech too cleverly makes it mean nothing at all.” What would likely be the author’s main complaint in the report that is “too clever?”

Passage adapted from Frankenstein by Mary Shelley (1818)

I am by birth a Genevese, and my family is one of the most distinguished of that republic. My ancestors had been for many years counsellors and syndics, and my father had filled several public situations with honour and reputation. He was respected by all who knew him for his integrity and indefatigable attention to public business. He passed his younger days perpetually occupied by the affairs of his country; a variety of circumstances had prevented his marrying early, nor was it until the decline of life that he became a husband and the father of a family.

As the circumstances of his marriage illustrate his character, I cannot refrain from relating them. One of his most intimate friends was a merchant who, from a flourishing state, fell, through numerous mischances, into poverty. This man, whose name was Beaufort, was of a proud and unbending disposition and could not bear to live in poverty and oblivion in the same country where he had formerly been distinguished for his rank and magnificence. Having paid his debts, therefore, in the most honourable manner, he retreated with his daughter to the town of Lucerne, where he lived unknown and in wretchedness. My father loved Beaufort with the truest friendship and was deeply grieved by his retreat in these unfortunate circumstances. He bitterly deplored the false pride which led his friend to a conduct so little worthy of the affection that united them. He lost no time in endeavouring to seek him out, with the hope of persuading him to begin the world again through his credit and assistance.

Beaufort had taken effectual measures to conceal himself, and it was ten months before my father discovered his abode. Overjoyed at this discovery, he hastened to the house, which was situated in a mean street near the Reuss. But when he entered, misery and despair alone welcomed him. Beaufort had saved but a very small sum of money from the wreck of his fortunes, but it was sufficient to provide him with sustenance for some months, and in the meantime he hoped to procure some respectable employment in a merchant's house. The interval was, consequently, spent in inaction; his grief only became more deep and rankling when he had leisure for reflection, and at length it took so fast hold of his mind that at the end of three months he lay on a bed of sickness, incapable of any exertion.

His daughter attended him with the greatest tenderness, but she saw with despair that their little fund was rapidly decreasing and that there was no other prospect of support. But Caroline Beaufort possessed a mind of an uncommon mould, and her courage rose to support her in her adversity. She procured plain work; she plaited straw and by various means contrived to earn a pittance scarcely sufficient to support life.

Several months passed in this manner. Her father grew worse; her time was more entirely occupied in attending him; her means of subsistence decreased; and in the tenth month her father died in her arms, leaving her an orphan and a beggar. This last blow overcame her, and she knelt by Beaufort's coffin weeping bitterly, when my father entered the chamber. He came like a protecting spirit to the poor girl, who committed herself to his care; and after the interment of his friend he conducted her to Geneva and placed her under the protection of a relation. Two years after this event Caroline became his wife.

Which of the following if true would most weaken the narrator's description of his father?