Passage Meaning and Construction - AP English Language and Composition
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This is an excerpt from Bartleby, the Scrivener: A Story of Wall-Street by Herman Melville (1853)
I am a rather elderly man. The nature of my avocations for the last thirty years has brought me into more than ordinary contact with what would seem an interesting and somewhat singular set of men, of whom as yet nothing that I know of has ever been written—I mean the law-copyists or scriveners. I have known very many of them, professionally and privately, and if I pleased, could relate divers histories, at which good-natured gentlemen might smile, and sentimental souls might weep. But I waive the biographies of all other scriveners for a few passages in the life of Bartleby, who was a scrivener of the strangest I ever saw or heard of. While of other law-copyists I might write the complete life, of Bartleby nothing of that sort can be done. I believe that no materials exist for a full and satisfactory biography of this man. It is an irreparable loss to literature. Bartleby was one of those beings of whom nothing is ascertainable, except from the original sources, and in his case those are very small. What my own astonished eyes saw of Bartleby, that is all I know of him, except, indeed, one vague report which will appear in the sequel.
Ere introducing the scrivener, as he first appeared to me, it is fit I make some mention of myself, my employees, my business, my chambers, and general surroundings; because some such description is indispensable to an adequate understanding of the chief character about to be presented.
Imprimis: I am a man who, from his youth upwards, has been filled with a profound conviction that the easiest way of life is the best. Hence, though I belong to a profession proverbially energetic and nervous, even to turbulence, at times, yet nothing of that sort have I ever suffered to invade my peace. I am one of those unambitious lawyers who never addresses a jury, or in any way draws down public applause; but in the cool tranquility of a snug retreat, do a snug business among rich men's bonds and mortgages and title-deeds. All who know me, consider me an eminently safe man. The late John Jacob Astor, a personage little given to poetic enthusiasm, had no hesitation in pronouncing my first grand point to be prudence; my next, method. I do not speak it in vanity, but simply record the fact, that I was not unemployed in my profession by the late John Jacob Astor; a name which, I admit, I love to repeat, for it hath a rounded and orbicular sound to it, and rings like unto bullion. I will freely add, that I was not insensible to the late John Jacob Astor's good opinion.
The story is told in which narrative style?
This is an excerpt from Bartleby, the Scrivener: A Story of Wall-Street by Herman Melville (1853)
I am a rather elderly man. The nature of my avocations for the last thirty years has brought me into more than ordinary contact with what would seem an interesting and somewhat singular set of men, of whom as yet nothing that I know of has ever been written—I mean the law-copyists or scriveners. I have known very many of them, professionally and privately, and if I pleased, could relate divers histories, at which good-natured gentlemen might smile, and sentimental souls might weep. But I waive the biographies of all other scriveners for a few passages in the life of Bartleby, who was a scrivener of the strangest I ever saw or heard of. While of other law-copyists I might write the complete life, of Bartleby nothing of that sort can be done. I believe that no materials exist for a full and satisfactory biography of this man. It is an irreparable loss to literature. Bartleby was one of those beings of whom nothing is ascertainable, except from the original sources, and in his case those are very small. What my own astonished eyes saw of Bartleby, that is all I know of him, except, indeed, one vague report which will appear in the sequel.
Ere introducing the scrivener, as he first appeared to me, it is fit I make some mention of myself, my employees, my business, my chambers, and general surroundings; because some such description is indispensable to an adequate understanding of the chief character about to be presented.
Imprimis: I am a man who, from his youth upwards, has been filled with a profound conviction that the easiest way of life is the best. Hence, though I belong to a profession proverbially energetic and nervous, even to turbulence, at times, yet nothing of that sort have I ever suffered to invade my peace. I am one of those unambitious lawyers who never addresses a jury, or in any way draws down public applause; but in the cool tranquility of a snug retreat, do a snug business among rich men's bonds and mortgages and title-deeds. All who know me, consider me an eminently safe man. The late John Jacob Astor, a personage little given to poetic enthusiasm, had no hesitation in pronouncing my first grand point to be prudence; my next, method. I do not speak it in vanity, but simply record the fact, that I was not unemployed in my profession by the late John Jacob Astor; a name which, I admit, I love to repeat, for it hath a rounded and orbicular sound to it, and rings like unto bullion. I will freely add, that I was not insensible to the late John Jacob Astor's good opinion.
The story is told in which narrative style?
Although the narrator implies that he knows many things about Bartleby, he is not “omniscient.” From the passage, we know only that he is aware of his professional and personal experiences. He narrates from a first-person (“I”) position.
Although the narrator implies that he knows many things about Bartleby, he is not “omniscient.” From the passage, we know only that he is aware of his professional and personal experiences. He narrates from a first-person (“I”) position.
Compare your answer with the correct one above
Adapted from Confessions by Jean-Jacques Rousseau (trans. 1903)
I have entered upon a performance which is without example, whose accomplishment will have no imitator. I mean to present my fellow-mortals with a man in all the integrity of nature; and this man shall be myself.
I know my heart, and have studied mankind; I am not made like any one I have been acquainted with, perhaps like no one in existence; if not better, I at least claim originality, and whether Nature did wisely in breaking the mould with which she formed me, can only be determined after having read this work.
Whenever the last trumpet shall sound, I will present myself before the sovereign judge with this book in my hand, and loudly proclaim, thus have I acted; these were my thoughts; such was I. With equal freedom and veracity have I related what was laudable or wicked, I have concealed no crimes, added no virtues; and if I have sometimes introduced superfluous ornament, it was merely to occupy a void occasioned by defect of memory: I may have supposed that certain, which I only knew to be probable, but have never asserted as truth, a conscious falsehood. Such as I was, I have declared myself; sometimes vile and despicable, at others, virtuous, generous and sublime; even as thou hast read my inmost soul: Power eternal! assemble round thy throne an innumerable throng of my fellow-mortals, let them listen to my confessions, let them blush at my depravity, let them tremble at my sufferings; let each in his turn expose with equal sincerity the failings, the wanderings of his heart, and, if he dare, aver, I was better than that man.
I was born at Geneva, in 1712, son of Isaac Rousseau and Susannah Bernard, citizens. My father's share of a moderate competency, which was divided among fifteen children, being very trivial, his business of a watchmaker (in which he had the reputation of great ingenuity) was his only dependence. My mother's circumstances were more affluent; she was daughter of a Mons. Bernard, minister, and possessed a considerable share of modesty and beauty; indeed, my father found some difficulty in obtaining her hand.
Which narrative point of view is employed in this passage?
Adapted from Confessions by Jean-Jacques Rousseau (trans. 1903)
I have entered upon a performance which is without example, whose accomplishment will have no imitator. I mean to present my fellow-mortals with a man in all the integrity of nature; and this man shall be myself.
I know my heart, and have studied mankind; I am not made like any one I have been acquainted with, perhaps like no one in existence; if not better, I at least claim originality, and whether Nature did wisely in breaking the mould with which she formed me, can only be determined after having read this work.
Whenever the last trumpet shall sound, I will present myself before the sovereign judge with this book in my hand, and loudly proclaim, thus have I acted; these were my thoughts; such was I. With equal freedom and veracity have I related what was laudable or wicked, I have concealed no crimes, added no virtues; and if I have sometimes introduced superfluous ornament, it was merely to occupy a void occasioned by defect of memory: I may have supposed that certain, which I only knew to be probable, but have never asserted as truth, a conscious falsehood. Such as I was, I have declared myself; sometimes vile and despicable, at others, virtuous, generous and sublime; even as thou hast read my inmost soul: Power eternal! assemble round thy throne an innumerable throng of my fellow-mortals, let them listen to my confessions, let them blush at my depravity, let them tremble at my sufferings; let each in his turn expose with equal sincerity the failings, the wanderings of his heart, and, if he dare, aver, I was better than that man.
I was born at Geneva, in 1712, son of Isaac Rousseau and Susannah Bernard, citizens. My father's share of a moderate competency, which was divided among fifteen children, being very trivial, his business of a watchmaker (in which he had the reputation of great ingenuity) was his only dependence. My mother's circumstances were more affluent; she was daughter of a Mons. Bernard, minister, and possessed a considerable share of modesty and beauty; indeed, my father found some difficulty in obtaining her hand.
Which narrative point of view is employed in this passage?
The use of the word "I" throughout the passage tells us that it is written in first person.
The use of the word "I" throughout the passage tells us that it is written in first person.
Compare your answer with the correct one above
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.
The point of view from which the passage is told can best be described as that .
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.
The point of view from which the passage is told can best be described as that .
While the text is largely concerned with psychological functions, there is not enough scientific insight to make it a text about psychology. The author generalizes and does not discuss specific cases. The text is instead largely philosophical, as it is attempting to deal with problems of reality, existence, and knowledge.
While the text is largely concerned with psychological functions, there is not enough scientific insight to make it a text about psychology. The author generalizes and does not discuss specific cases. The text is instead largely philosophical, as it is attempting to deal with problems of reality, existence, and knowledge.
Compare your answer with the correct one above
Passage adapted from “Camping Out” by Ernest Hemingway (1920)
Thousands of people will go into the bush this summer to cut the high cost of living. A man who gets his two weeks’ salary while he is on vacation should be able to put those two weeks in fishing and camping and be able to save one week’s salary clear. He ought to be able to sleep comfortably every night, to eat well every day and to return to the city rested and in good condition.
But if he goes into the woods with a frying pan, an ignorance of black flies and mosquitoes, and a great and abiding lack of knowledge about cookery, the chances are that his return will be very different. He will come back with enough mosquito bites to make the back of his neck look like a relief map of the Caucasus. His digestion will be wrecked after a valiant battle to assimilate half-cooked or charred grub.
And he won’t have had a decent night’s sleep while he has been gone.
He will solemnly raise his right hand and inform you that he has joined the grand army of never-agains. The call of the wild may be all right, but it’s a dog’s life. He’s heard the call of the tame with both ears. Waiter, bring him an order of milk toast.
In the first place he overlooked the insects. Black flies, no-see-ums, deer flies, gnats and mosquitoes were instituted by the devil to force people to live in cities where he could get at them better. If it weren’t for them everybody would live in the bush and he would be out of work. It was a rather successful invention.
But there are lots of dopes that will counteract the pests. The simplest perhaps is oil of citronella. Two bits’ worth of this purchased at any pharmacist’s will be enough to last for two weeks in the worst fly and mosquito-ridden country.
Rub a little on the back of your neck, your forehead and your wrists before you start fishing, and the blacks and skeeters will shun you. The odor of citronella is not offensive to people. It smells like gun oil. But the bugs do hate it.
Oil of pennyroyal and eucalyptol are also much hated by mosquitoes, and with citronella they form the basis for many proprietary preparations. But it is cheaper and better to buy the straight citronella. Put a little on the mosquito netting that covers the front of your pup tent or canoe tent at night, and you won’t be bothered.
To be really rested and get any benefit out of a vacation a man must get a good night’s sleep every night. The first requisite for this is to have plenty of cover. It is twice as cold as you expect it will be in the bush four nights out of five, and a good plan is to take just double the bedding that you think you will need. An old quilt that you can wrap up in is as warm as two blankets.
Nearly all outdoor writers rhapsodize over the browse bed. It is all right for the man who knows how to make one and has plenty of time. But in a succession of one-night camps on a canoe trip all you need is level ground for your tent floor and you will sleep all right if you have plenty of covers under you. Take twice as much cover as you think that you will need, and then put two-thirds of it under you. You will sleep warm and get your rest.
When it is clear weather you don’t need to pitch your tent if you are only stopping for the night. Drive four stakes at the head of your made-up bed and drape your mosquito bar over that, then you can sleep like a log and laugh at the mosquitoes.
Which of the following sentences is the best example of the author's attempt to connect with the reader?
Passage adapted from “Camping Out” by Ernest Hemingway (1920)
Thousands of people will go into the bush this summer to cut the high cost of living. A man who gets his two weeks’ salary while he is on vacation should be able to put those two weeks in fishing and camping and be able to save one week’s salary clear. He ought to be able to sleep comfortably every night, to eat well every day and to return to the city rested and in good condition.
But if he goes into the woods with a frying pan, an ignorance of black flies and mosquitoes, and a great and abiding lack of knowledge about cookery, the chances are that his return will be very different. He will come back with enough mosquito bites to make the back of his neck look like a relief map of the Caucasus. His digestion will be wrecked after a valiant battle to assimilate half-cooked or charred grub.
And he won’t have had a decent night’s sleep while he has been gone.
He will solemnly raise his right hand and inform you that he has joined the grand army of never-agains. The call of the wild may be all right, but it’s a dog’s life. He’s heard the call of the tame with both ears. Waiter, bring him an order of milk toast.
In the first place he overlooked the insects. Black flies, no-see-ums, deer flies, gnats and mosquitoes were instituted by the devil to force people to live in cities where he could get at them better. If it weren’t for them everybody would live in the bush and he would be out of work. It was a rather successful invention.
But there are lots of dopes that will counteract the pests. The simplest perhaps is oil of citronella. Two bits’ worth of this purchased at any pharmacist’s will be enough to last for two weeks in the worst fly and mosquito-ridden country.
Rub a little on the back of your neck, your forehead and your wrists before you start fishing, and the blacks and skeeters will shun you. The odor of citronella is not offensive to people. It smells like gun oil. But the bugs do hate it.
Oil of pennyroyal and eucalyptol are also much hated by mosquitoes, and with citronella they form the basis for many proprietary preparations. But it is cheaper and better to buy the straight citronella. Put a little on the mosquito netting that covers the front of your pup tent or canoe tent at night, and you won’t be bothered.
To be really rested and get any benefit out of a vacation a man must get a good night’s sleep every night. The first requisite for this is to have plenty of cover. It is twice as cold as you expect it will be in the bush four nights out of five, and a good plan is to take just double the bedding that you think you will need. An old quilt that you can wrap up in is as warm as two blankets.
Nearly all outdoor writers rhapsodize over the browse bed. It is all right for the man who knows how to make one and has plenty of time. But in a succession of one-night camps on a canoe trip all you need is level ground for your tent floor and you will sleep all right if you have plenty of covers under you. Take twice as much cover as you think that you will need, and then put two-thirds of it under you. You will sleep warm and get your rest.
When it is clear weather you don’t need to pitch your tent if you are only stopping for the night. Drive four stakes at the head of your made-up bed and drape your mosquito bar over that, then you can sleep like a log and laugh at the mosquitoes.
Which of the following sentences is the best example of the author's attempt to connect with the reader?
The following sentence is the best example of Hemingway's attempt to create a connection with the reader: "Drive four stakes at the head of your made-up bed and drape your mosquito bar over that, then you can sleep like a log and laugh at the mosquitoes." This sentence is imperative, giving a command to the reader. Furthermore, Hemingway uses the second person in that sentence, in addition to humor, in order to draw the reader in.
The following sentence is the best example of Hemingway's attempt to create a connection with the reader: "Drive four stakes at the head of your made-up bed and drape your mosquito bar over that, then you can sleep like a log and laugh at the mosquitoes." This sentence is imperative, giving a command to the reader. Furthermore, Hemingway uses the second person in that sentence, in addition to humor, in order to draw the reader in.
Compare your answer with the correct one above
Passage adapted from The Passing of the Armies: The Last Campaign of the Armies by Joshua Lawrence Chamberlain (1915)
The momentous meaning of this occasion impressed me deeply. I resolved to mark it by some token of recognition, which could be no other than a salute of arms. Well aware of the responsibility assumed, and of the criticisms that would follow, as the sequel proved, nothing of that kind could move me in the least. The act could be defended, if needful, by the suggestion that such a salute was not to the cause for which the flag of the Confederacy stood, but to its going down before the flag of the Union. My main reason, however, was one for which I sought no authority nor asked forgiveness. Before us in proud humiliation stood the embodiment of manhood: men whom neither toils and sufferings, nor the fact of death, nor disaster, nor hopelessness could bend from their resolve; standing before us now, thin, worn, and famished, but erect, and with eyes looking level into ours, waking memories that bound us together as no other bond;—was not such manhood to be welcomed back into a Union so tested and assured?
Instructions had been given; and when the head of each division column comes opposite our group, our bugle sounds the signal and instantly our whole line from right to left, regiment by regiment in succession, gives the soldier's salutation, from the "order arms" to the old "carry"—the marching salute. Gordon at the head of the column, riding with heavy spirit and downcast face, catches the sound of shifting arms, looks up, and, taking the meaning, wheels superbly, making with himself and his horse one uplifted figure, with profound salutation as he drops the point of his sword to the boot toe; then facing to his own command, gives word for his successive brigades to pass us with the same position of the manual,—honor answering honor. On our part not a sound of trumpet more, nor roll of drum; not a cheer, nor word nor whisper of vain-glorying, nor motion of man standing again at the order, but an awed stillness rather, and breath-holding, as if it were the passing of the dead!
This passage provides .
Passage adapted from The Passing of the Armies: The Last Campaign of the Armies by Joshua Lawrence Chamberlain (1915)
The momentous meaning of this occasion impressed me deeply. I resolved to mark it by some token of recognition, which could be no other than a salute of arms. Well aware of the responsibility assumed, and of the criticisms that would follow, as the sequel proved, nothing of that kind could move me in the least. The act could be defended, if needful, by the suggestion that such a salute was not to the cause for which the flag of the Confederacy stood, but to its going down before the flag of the Union. My main reason, however, was one for which I sought no authority nor asked forgiveness. Before us in proud humiliation stood the embodiment of manhood: men whom neither toils and sufferings, nor the fact of death, nor disaster, nor hopelessness could bend from their resolve; standing before us now, thin, worn, and famished, but erect, and with eyes looking level into ours, waking memories that bound us together as no other bond;—was not such manhood to be welcomed back into a Union so tested and assured?
Instructions had been given; and when the head of each division column comes opposite our group, our bugle sounds the signal and instantly our whole line from right to left, regiment by regiment in succession, gives the soldier's salutation, from the "order arms" to the old "carry"—the marching salute. Gordon at the head of the column, riding with heavy spirit and downcast face, catches the sound of shifting arms, looks up, and, taking the meaning, wheels superbly, making with himself and his horse one uplifted figure, with profound salutation as he drops the point of his sword to the boot toe; then facing to his own command, gives word for his successive brigades to pass us with the same position of the manual,—honor answering honor. On our part not a sound of trumpet more, nor roll of drum; not a cheer, nor word nor whisper of vain-glorying, nor motion of man standing again at the order, but an awed stillness rather, and breath-holding, as if it were the passing of the dead!
This passage provides .
This question asks you to interpret the point of view used in a passage. The use of the first person "I" implies that the author personally witnessed these events. Nothing in the passage suggests that these events could not or did not happen, or that they happened without the author being present.
This question asks you to interpret the point of view used in a passage. The use of the first person "I" implies that the author personally witnessed these events. Nothing in the passage suggests that these events could not or did not happen, or that they happened without the author being present.
Compare your answer with the correct one above
Adapted from “Civil Disobedience" by Henry David Thoreau (1848)
I heartily accept the motto,—“That government is best which governs least”; and I should like to see it acted up to more rapidly and systematically. Carried out, it finally amounts to this, which also I believe,—“That government is best which governs not at all”; and when men are prepared for it, that will be the kind of government which they will have. Government is at best but an expedient; but most governments are usually, and all governments are sometimes, inexpedient. The objections which have been brought against a standing army, and they are many and weighty, and deserve to prevail, may also at last be brought against a standing government. The standing army is only an arm of the standing government. The government itself, which is only the mode which the people have chosen to execute their will, is equally liable to be abused and perverted before the people can act through it. Witness the present Mexican war, the work of comparatively a few individuals using the standing government as their tool; for, in the outset, the people would not have consented to this measure. This American government—what is it but a tradition, though a recent one, endeavoring to transmit itself unimpaired to posterity, but each instant losing some of its integrity? It has not the vitality and force of a single living man; for a single man can bend it to his will. It is a sort of wooden gun to the people themselves. But it is not the less necessary for this; for the people must have some complicated machinery or other, and hear its din, to satisfy that idea of government which they have. Governments show thus how successfully men can be imposed on, even impose on themselves, for their own advantage. It is excellent, we must all allow. Yet this government never of itself furthered any enterprise, but by the alacrity with which it got out of its way. It does not keep the country free. It does not settle the West. It does not educate. The character inherent in the American people has done all that has been accomplished; and it would have done somewhat more, if the government had not sometimes got in its way. For government is an expedient by which men would fain succeed in letting one another alone; and, as has been said, when it is most expedient, the governed are most let alone by it. Trade and commerce, if they were not made of India rubber, would never manage to bounce over the obstacles which legislators are continually putting in their way; and, if one were to judge these men wholly by the effects of their actions, and not partly by their intentions, they would deserve to be classed and punished with those mischievous persons who put obstructions on the railroads.
But, to speak practically and as a citizen, unlike those who call themselves no-government men, I ask for, not at once no government, but at once a better government. Let every man make known what kind of government would command his respect, and that will be one step toward obtaining it.
What idea does Thoreau convey through the image of the "wooden gun"?
Adapted from “Civil Disobedience" by Henry David Thoreau (1848)
I heartily accept the motto,—“That government is best which governs least”; and I should like to see it acted up to more rapidly and systematically. Carried out, it finally amounts to this, which also I believe,—“That government is best which governs not at all”; and when men are prepared for it, that will be the kind of government which they will have. Government is at best but an expedient; but most governments are usually, and all governments are sometimes, inexpedient. The objections which have been brought against a standing army, and they are many and weighty, and deserve to prevail, may also at last be brought against a standing government. The standing army is only an arm of the standing government. The government itself, which is only the mode which the people have chosen to execute their will, is equally liable to be abused and perverted before the people can act through it. Witness the present Mexican war, the work of comparatively a few individuals using the standing government as their tool; for, in the outset, the people would not have consented to this measure. This American government—what is it but a tradition, though a recent one, endeavoring to transmit itself unimpaired to posterity, but each instant losing some of its integrity? It has not the vitality and force of a single living man; for a single man can bend it to his will. It is a sort of wooden gun to the people themselves. But it is not the less necessary for this; for the people must have some complicated machinery or other, and hear its din, to satisfy that idea of government which they have. Governments show thus how successfully men can be imposed on, even impose on themselves, for their own advantage. It is excellent, we must all allow. Yet this government never of itself furthered any enterprise, but by the alacrity with which it got out of its way. It does not keep the country free. It does not settle the West. It does not educate. The character inherent in the American people has done all that has been accomplished; and it would have done somewhat more, if the government had not sometimes got in its way. For government is an expedient by which men would fain succeed in letting one another alone; and, as has been said, when it is most expedient, the governed are most let alone by it. Trade and commerce, if they were not made of India rubber, would never manage to bounce over the obstacles which legislators are continually putting in their way; and, if one were to judge these men wholly by the effects of their actions, and not partly by their intentions, they would deserve to be classed and punished with those mischievous persons who put obstructions on the railroads.
But, to speak practically and as a citizen, unlike those who call themselves no-government men, I ask for, not at once no government, but at once a better government. Let every man make known what kind of government would command his respect, and that will be one step toward obtaining it.
What idea does Thoreau convey through the image of the "wooden gun"?
Review the context of the phrase "wooden gun." What has the author been discussing previously? He has not been discussing war or weaponry. He is discussing the government. In thinking about his point regarding the government, it should become clear that for him, the government has no real power, particularly when compared to an individual person. Unlike a real gun, a wooden gun has none of the qualities of a real gun: it is ineffectual.
Review the context of the phrase "wooden gun." What has the author been discussing previously? He has not been discussing war or weaponry. He is discussing the government. In thinking about his point regarding the government, it should become clear that for him, the government has no real power, particularly when compared to an individual person. Unlike a real gun, a wooden gun has none of the qualities of a real gun: it is ineffectual.
Compare your answer with the correct one above
Adapted from Walden by Henry Thoreau (1854)
Still we live meanly, like ants; it is error upon error, and clout upon clout, and our best virtue has for its occasion a superfluous and evitable wretchedness. Our life is frittered away by detail. An honest man has hardly need to count more than his ten fingers, or in extreme cases he may add his ten toes, and lump the rest. Simplicity, simplicity, simplicity! I say, let your affairs be as two or three, and not a hundred or a thousand; instead of a million count half a dozen, and keep your accounts on your thumbnail. In the midst of this chopping sea of civilized life, such are the clouds and storms and quicksands and thousand-and-one items to be allowed for, that a man has to live, if he would not founder and go to the bottom and not make his port at all, by dead reckoning, and he must be a great calculator indeed who succeeds. Simplify, simplify. Instead of three meals a day, if it be necessary eat but one; instead of a hundred dishes, five; and reduce other things in proportion.
Our life is like a German Confederacy, made up of petty states, with its boundary forever fluctuating, so that even a German cannot tell you how it is bounded at any moment. The nation itself, with all its so-called internal improvements, which, by the way are all external and superficial, is just such an unwieldy and overgrown establishment, cluttered with furniture and tripped up by its own traps, ruined by luxury and heedless expense, by want of calculation and a worthy aim, as the million households in the land; and the only cure for it, as for them, is in a rigid economy, a stern and more than Spartan simplicity of life and elevation of purpose. It lives too fast. Men think that it is essential that the Nation have commerce, and export ice, and talk through a telegraph, and ride thirty miles an hour, without a doubt, whether they do or not, but whether we should live like baboons or like men is a little uncertain. If we do not get out sleepers, and forge rails, and devote days and nights to the work, but go to tinkering upon our lives to improve them, who will build railroads? And if railroads are not built, how shall we get to heaven in season? But if we stay at home and mind our business, who will want railroads? We do not ride on the railroad; it rides upon us. Did you ever think what those sleepers are that underlie the railroad? Each one is a man, an Irishman, or a Yankee man. The rails are laid on them, and they are covered with sand, and the cars run smoothly over them. They are sound sleepers, I assure you.
The author repeats the words “simplicity” and “simplify” in the first paragraph in order to .
Adapted from Walden by Henry Thoreau (1854)
Still we live meanly, like ants; it is error upon error, and clout upon clout, and our best virtue has for its occasion a superfluous and evitable wretchedness. Our life is frittered away by detail. An honest man has hardly need to count more than his ten fingers, or in extreme cases he may add his ten toes, and lump the rest. Simplicity, simplicity, simplicity! I say, let your affairs be as two or three, and not a hundred or a thousand; instead of a million count half a dozen, and keep your accounts on your thumbnail. In the midst of this chopping sea of civilized life, such are the clouds and storms and quicksands and thousand-and-one items to be allowed for, that a man has to live, if he would not founder and go to the bottom and not make his port at all, by dead reckoning, and he must be a great calculator indeed who succeeds. Simplify, simplify. Instead of three meals a day, if it be necessary eat but one; instead of a hundred dishes, five; and reduce other things in proportion.
Our life is like a German Confederacy, made up of petty states, with its boundary forever fluctuating, so that even a German cannot tell you how it is bounded at any moment. The nation itself, with all its so-called internal improvements, which, by the way are all external and superficial, is just such an unwieldy and overgrown establishment, cluttered with furniture and tripped up by its own traps, ruined by luxury and heedless expense, by want of calculation and a worthy aim, as the million households in the land; and the only cure for it, as for them, is in a rigid economy, a stern and more than Spartan simplicity of life and elevation of purpose. It lives too fast. Men think that it is essential that the Nation have commerce, and export ice, and talk through a telegraph, and ride thirty miles an hour, without a doubt, whether they do or not, but whether we should live like baboons or like men is a little uncertain. If we do not get out sleepers, and forge rails, and devote days and nights to the work, but go to tinkering upon our lives to improve them, who will build railroads? And if railroads are not built, how shall we get to heaven in season? But if we stay at home and mind our business, who will want railroads? We do not ride on the railroad; it rides upon us. Did you ever think what those sleepers are that underlie the railroad? Each one is a man, an Irishman, or a Yankee man. The rails are laid on them, and they are covered with sand, and the cars run smoothly over them. They are sound sleepers, I assure you.
The author repeats the words “simplicity” and “simplify” in the first paragraph in order to .
The author’s repetition of “Simplicity, simplicity, simplicity!” and “Simplify, simplify” in the first paragraph add emphasis exhorting the audience to make their lives simpler, a change Thoreau sees as the solution to many of the excesses of modern life and the problems they cause. There is no mention of any critics in the passage, and his repetition does not suggest simplicity is an ineffective solution. He certainly does not imply that there is too much simplicity in modern society—one might read this into the line out of context, but throughout the passage, once can tell that the author is writing in favor of simplifying. Finally, while repetition can often make something seem as if it is difficult or takes time (e.g. “Digging, digging, digging—all that digging and they were only a few feet closer to the center of the earth.”), that is not what is going on here.
The author’s repetition of “Simplicity, simplicity, simplicity!” and “Simplify, simplify” in the first paragraph add emphasis exhorting the audience to make their lives simpler, a change Thoreau sees as the solution to many of the excesses of modern life and the problems they cause. There is no mention of any critics in the passage, and his repetition does not suggest simplicity is an ineffective solution. He certainly does not imply that there is too much simplicity in modern society—one might read this into the line out of context, but throughout the passage, once can tell that the author is writing in favor of simplifying. Finally, while repetition can often make something seem as if it is difficult or takes time (e.g. “Digging, digging, digging—all that digging and they were only a few feet closer to the center of the earth.”), that is not what is going on here.
Compare your answer with the correct one above
Adapted from “Gin-Shops” by Charles Darwin (1836)
We will endeavor to sketch the bar of a large gin-shop, and its ordinary customers, for the edification of such of our readers as may not have had opportunities of observing such scenes; and on the chance of finding one well suited to our purpose, we will make for Drury Lane. The filthy and miserable appearance of this part of London can hardly be imagined by those have not witnessed it. Wretched houses with broken windows patched with rags and paper: every room let out to a different family, and in many instances to two or even three; fruit manufacturers in the cellars, barbers and red-herring vendors in the front parlors, cobblers in the back; a bird-fancier in the first floor, three families on the second, starvation in the attics, Irishmen in the passage, a "musician" in the front kitchen, and a charwoman and five hungry children in the back one; filth everywhere, a gutter before the houses and a drain behind, clothes drying and slops emptying, from the windows; girls of fourteen or fifteen, with matted hair, walking about barefoot, and with only white coats to cover them; boys of all ages, in coats of all sizes and no coats at all; men and women, in every variety of scanty and dirty apparel, lounging, scolding, drinking, smoking, squabbling, fighting, and swearing.
You turn the corner. What a change! All is light and brilliancy. The hum of many voices issues from that splendid gin-shop which forms the commencement of the two streets opposite; and the gay building with the fantastically ornamented parapet, the illuminated clock, the plate-glass windows surrounded by stucco rosettes, and its profusion of gas-lights in richly-gilt burners, is perfectly dazzling when contrasted with the darkness and dirt we have just left. Yet, the gin shop is dazzling in appearances only. Soon it grows late and the throng of men, women, and children, who have been constantly going in and out, dwindles down to two or three occasional stragglers--cold, wretched-looking creatures, in the last stage of emaciation and disease. The knot of Irish laborers at the lower end of the place, who have been alternately shaking hands with, and threatening the life of each other, for the last hour, become furious in their disputes, and finding it impossible to silence one man, who is particularly anxious to adjust the difference, they resort to the expedient of knocking him down and jumping on him afterwards. The man in the fur cap, and the potboy rush out; a scene of riot and confusion ensues; half the Irishmen get shut out, and the other half get shut in; the potboy is knocked among the tubs in no time; the landlord hits everybody, and everybody hits the landlord; the barmaids scream; the police come in; the rest is a confused mixture of arms, legs, staves, torn coats, shouting, and struggling. Some of the party are borne off to the station-house, and the remainder slink home to beat their wives for complaining, and kick the children for daring to be hungry.
Gin-drinking is a great vice in England, but wretchedness and dirt are a greater; and until you improve the homes of the poor, or persuade a half-famished wretch not to seek relief in the temporary oblivion of his own misery gin-shops will increase in number and splendor. If Temperance Societies would suggest an antidote against hunger and filth gin-palaces would vanish. In the meantime, they shall only grow in prominence.
What is the description of Drury Lane intended to highlight?
Adapted from “Gin-Shops” by Charles Darwin (1836)
We will endeavor to sketch the bar of a large gin-shop, and its ordinary customers, for the edification of such of our readers as may not have had opportunities of observing such scenes; and on the chance of finding one well suited to our purpose, we will make for Drury Lane. The filthy and miserable appearance of this part of London can hardly be imagined by those have not witnessed it. Wretched houses with broken windows patched with rags and paper: every room let out to a different family, and in many instances to two or even three; fruit manufacturers in the cellars, barbers and red-herring vendors in the front parlors, cobblers in the back; a bird-fancier in the first floor, three families on the second, starvation in the attics, Irishmen in the passage, a "musician" in the front kitchen, and a charwoman and five hungry children in the back one; filth everywhere, a gutter before the houses and a drain behind, clothes drying and slops emptying, from the windows; girls of fourteen or fifteen, with matted hair, walking about barefoot, and with only white coats to cover them; boys of all ages, in coats of all sizes and no coats at all; men and women, in every variety of scanty and dirty apparel, lounging, scolding, drinking, smoking, squabbling, fighting, and swearing.
You turn the corner. What a change! All is light and brilliancy. The hum of many voices issues from that splendid gin-shop which forms the commencement of the two streets opposite; and the gay building with the fantastically ornamented parapet, the illuminated clock, the plate-glass windows surrounded by stucco rosettes, and its profusion of gas-lights in richly-gilt burners, is perfectly dazzling when contrasted with the darkness and dirt we have just left. Yet, the gin shop is dazzling in appearances only. Soon it grows late and the throng of men, women, and children, who have been constantly going in and out, dwindles down to two or three occasional stragglers--cold, wretched-looking creatures, in the last stage of emaciation and disease. The knot of Irish laborers at the lower end of the place, who have been alternately shaking hands with, and threatening the life of each other, for the last hour, become furious in their disputes, and finding it impossible to silence one man, who is particularly anxious to adjust the difference, they resort to the expedient of knocking him down and jumping on him afterwards. The man in the fur cap, and the potboy rush out; a scene of riot and confusion ensues; half the Irishmen get shut out, and the other half get shut in; the potboy is knocked among the tubs in no time; the landlord hits everybody, and everybody hits the landlord; the barmaids scream; the police come in; the rest is a confused mixture of arms, legs, staves, torn coats, shouting, and struggling. Some of the party are borne off to the station-house, and the remainder slink home to beat their wives for complaining, and kick the children for daring to be hungry.
Gin-drinking is a great vice in England, but wretchedness and dirt are a greater; and until you improve the homes of the poor, or persuade a half-famished wretch not to seek relief in the temporary oblivion of his own misery gin-shops will increase in number and splendor. If Temperance Societies would suggest an antidote against hunger and filth gin-palaces would vanish. In the meantime, they shall only grow in prominence.
What is the description of Drury Lane intended to highlight?
The description of life in Drury Lane is meant to convey a sense of desperate and widespread urban poverty to the author’s audience. From the whole of the passage you can infer that the author believes the rise of alcohol abuse in London is directly related to the deplorable living conditions of the poor. The author employs numerous evocative words such as “filthy” and “wretched” to make sure that his description affects the audience.
The description of life in Drury Lane is meant to convey a sense of desperate and widespread urban poverty to the author’s audience. From the whole of the passage you can infer that the author believes the rise of alcohol abuse in London is directly related to the deplorable living conditions of the poor. The author employs numerous evocative words such as “filthy” and “wretched” to make sure that his description affects the audience.
Compare your answer with the correct one above
Adapted from “Gin-Shops” by Charles Darwin (1836)
We will endeavor to sketch the bar of a large gin-shop, and its ordinary customers, for the edification of such of our readers as may not have had opportunities of observing such scenes; and on the chance of finding one well suited to our purpose, we will make for Drury Lane. The filthy and miserable appearance of this part of London can hardly be imagined by those have not witnessed it. Wretched houses with broken windows patched with rags and paper: every room let out to a different family, and in many instances to two or even three; fruit manufacturers in the cellars, barbers and red-herring vendors in the front parlors, cobblers in the back; a bird-fancier in the first floor, three families on the second, starvation in the attics, Irishmen in the passage, a "musician" in the front kitchen, and a charwoman and five hungry children in the back one; filth everywhere, a gutter before the houses and a drain behind, clothes drying and slops emptying, from the windows; girls of fourteen or fifteen, with matted hair, walking about barefoot, and with only white coats to cover them; boys of all ages, in coats of all sizes and no coats at all; men and women, in every variety of scanty and dirty apparel, lounging, scolding, drinking, smoking, squabbling, fighting, and swearing.
You turn the corner. What a change! All is light and brilliancy. The hum of many voices issues from that splendid gin-shop which forms the commencement of the two streets opposite; and the gay building with the fantastically ornamented parapet, the illuminated clock, the plate-glass windows surrounded by stucco rosettes, and its profusion of gas-lights in richly-gilt burners, is perfectly dazzling when contrasted with the darkness and dirt we have just left. Yet, the gin shop is dazzling in appearances only. Soon it grows late and the throng of men, women, and children, who have been constantly going in and out, dwindles down to two or three occasional stragglers--cold, wretched-looking creatures, in the last stage of emaciation and disease. The knot of Irish laborers at the lower end of the place, who have been alternately shaking hands with, and threatening the life of each other, for the last hour, become furious in their disputes, and finding it impossible to silence one man, who is particularly anxious to adjust the difference, they resort to the expedient of knocking him down and jumping on him afterwards. The man in the fur cap, and the potboy rush out; a scene of riot and confusion ensues; half the Irishmen get shut out, and the other half get shut in; the potboy is knocked among the tubs in no time; the landlord hits everybody, and everybody hits the landlord; the barmaids scream; the police come in; the rest is a confused mixture of arms, legs, staves, torn coats, shouting, and struggling. Some of the party are borne off to the station-house, and the remainder slink home to beat their wives for complaining, and kick the children for daring to be hungry.
Gin-drinking is a great vice in England, but wretchedness and dirt are a greater; and until you improve the homes of the poor, or persuade a half-famished wretch not to seek relief in the temporary oblivion of his own misery gin-shops will increase in number and splendor. If Temperance Societies would suggest an antidote against hunger and filth gin-palaces would vanish. In the meantime, they shall only grow in prominence.
What purpose does the description of the appearance of the gin-shop primarily serve?
Adapted from “Gin-Shops” by Charles Darwin (1836)
We will endeavor to sketch the bar of a large gin-shop, and its ordinary customers, for the edification of such of our readers as may not have had opportunities of observing such scenes; and on the chance of finding one well suited to our purpose, we will make for Drury Lane. The filthy and miserable appearance of this part of London can hardly be imagined by those have not witnessed it. Wretched houses with broken windows patched with rags and paper: every room let out to a different family, and in many instances to two or even three; fruit manufacturers in the cellars, barbers and red-herring vendors in the front parlors, cobblers in the back; a bird-fancier in the first floor, three families on the second, starvation in the attics, Irishmen in the passage, a "musician" in the front kitchen, and a charwoman and five hungry children in the back one; filth everywhere, a gutter before the houses and a drain behind, clothes drying and slops emptying, from the windows; girls of fourteen or fifteen, with matted hair, walking about barefoot, and with only white coats to cover them; boys of all ages, in coats of all sizes and no coats at all; men and women, in every variety of scanty and dirty apparel, lounging, scolding, drinking, smoking, squabbling, fighting, and swearing.
You turn the corner. What a change! All is light and brilliancy. The hum of many voices issues from that splendid gin-shop which forms the commencement of the two streets opposite; and the gay building with the fantastically ornamented parapet, the illuminated clock, the plate-glass windows surrounded by stucco rosettes, and its profusion of gas-lights in richly-gilt burners, is perfectly dazzling when contrasted with the darkness and dirt we have just left. Yet, the gin shop is dazzling in appearances only. Soon it grows late and the throng of men, women, and children, who have been constantly going in and out, dwindles down to two or three occasional stragglers--cold, wretched-looking creatures, in the last stage of emaciation and disease. The knot of Irish laborers at the lower end of the place, who have been alternately shaking hands with, and threatening the life of each other, for the last hour, become furious in their disputes, and finding it impossible to silence one man, who is particularly anxious to adjust the difference, they resort to the expedient of knocking him down and jumping on him afterwards. The man in the fur cap, and the potboy rush out; a scene of riot and confusion ensues; half the Irishmen get shut out, and the other half get shut in; the potboy is knocked among the tubs in no time; the landlord hits everybody, and everybody hits the landlord; the barmaids scream; the police come in; the rest is a confused mixture of arms, legs, staves, torn coats, shouting, and struggling. Some of the party are borne off to the station-house, and the remainder slink home to beat their wives for complaining, and kick the children for daring to be hungry.
Gin-drinking is a great vice in England, but wretchedness and dirt are a greater; and until you improve the homes of the poor, or persuade a half-famished wretch not to seek relief in the temporary oblivion of his own misery gin-shops will increase in number and splendor. If Temperance Societies would suggest an antidote against hunger and filth gin-palaces would vanish. In the meantime, they shall only grow in prominence.
What purpose does the description of the appearance of the gin-shop primarily serve?
The actual appearance of the gin-shop is described in majestic language. Firstly, the author introduces the gin-shop by saying: “All is light and brilliancy!” (Line 13) And words with positive connotations like “splendid,” “perfectly,” and “illuminated” are thrown around liberally to create an image in the mind of the reader. The purpose of this is to contrast the appearance with the atmosphere. The author moves from the description of the appearance to a description of the atmosphere when he says: “Yet, the gin shop is dazzling in appearances only.” (Line 17) And he goes on to highlight the negative and crushing atmosphere within the gin-shops. The reader is more heavily affected by the description of the negative atmosphere because he/she has just been reading a descriptive paragraph coaxed in positive language. The contrast strengthens the author’s message.
The actual appearance of the gin-shop is described in majestic language. Firstly, the author introduces the gin-shop by saying: “All is light and brilliancy!” (Line 13) And words with positive connotations like “splendid,” “perfectly,” and “illuminated” are thrown around liberally to create an image in the mind of the reader. The purpose of this is to contrast the appearance with the atmosphere. The author moves from the description of the appearance to a description of the atmosphere when he says: “Yet, the gin shop is dazzling in appearances only.” (Line 17) And he goes on to highlight the negative and crushing atmosphere within the gin-shops. The reader is more heavily affected by the description of the negative atmosphere because he/she has just been reading a descriptive paragraph coaxed in positive language. The contrast strengthens the author’s message.
Compare your answer with the correct one above
Adapted from “Introduced Species That Have Become Pests” in Our Vanishing Wild Life, Its Extermination and Protection by William Temple Hornaday (1913)
The man who successfully transplants or "introduces" into a new habitat any persistent species of living thing assumes a very grave responsibility. Every introduced species is doubtful gravel until panned out. The enormous losses that have been inflicted upon the world through the perpetuation of follies with wild vertebrates and insects would, if added together, be enough to purchase a principality. The most aggravating feature of these follies in transplantation is that never yet have they been made severely punishable. We are just as careless and easygoing on this point as we were about the government of the Yellowstone Park in the days when Howell and other poachers destroyed our first national bison herd, and when caught red-handed—as Howell was, skinning seven Park bison cows—could not be punished for it, because there was no penalty prescribed by any law. Today, there is a way in which any revengeful person could inflict enormous damage on the entire South, at no cost to himself, involve those states in enormous losses and the expenditure of vast sums of money, yet go absolutely unpunished!
The gypsy moth is a case in point. This winged calamity was imported at Maiden, Massachusetts, near Boston, by a French entomologist, Mr. Leopold Trouvelot, in 1868 or 69. History records the fact that the man of science did not purposely set free the pest. He was endeavoring with live specimens to find a moth that would produce a cocoon of commercial value to America, and a sudden gust of wind blew out of his study, through an open window, his living and breeding specimens of the gypsy moth. The moth itself is not bad to look at, but its larvae is a great, overgrown brute with an appetite like a hog. Immediately Mr. Trouvelot sought to recover his specimens, and when he failed to find them all, like a man of real honor, he notified the State authorities of the accident. Every effort was made to recover all the specimens, but enough escaped to produce progeny that soon became a scourge to the trees of Massachusetts. The method of the big, nasty-looking mottled-brown caterpillar was very simple. It devoured the entire foliage of every tree that grew in its sphere of influence.
The gypsy moth spread with alarming rapidity and persistence. In course of time, the state authorities of Massachusetts were forced to begin a relentless war upon it, by poisonous sprays and by fire. It was awful! Up to this date (1912) the New England states and the United States Government service have expended in fighting this pest about \$7,680,000!
The spread of this pest has been retarded, but the gypsy moth never will be wholly stamped out. Today it exists in Rhode Island, Connecticut, and New Hampshire, and it is due to reach New York at an early date. It is steadily spreading in three directions from Boston, its original point of departure, and when it strikes the State of New York, we, too, will begin to pay dearly for the Trouvelot experiment.
Which of the following best paraphrases the underlined sentence, “Every introduced species is doubtful gravel until panned out”?
Adapted from “Introduced Species That Have Become Pests” in Our Vanishing Wild Life, Its Extermination and Protection by William Temple Hornaday (1913)
The man who successfully transplants or "introduces" into a new habitat any persistent species of living thing assumes a very grave responsibility. Every introduced species is doubtful gravel until panned out. The enormous losses that have been inflicted upon the world through the perpetuation of follies with wild vertebrates and insects would, if added together, be enough to purchase a principality. The most aggravating feature of these follies in transplantation is that never yet have they been made severely punishable. We are just as careless and easygoing on this point as we were about the government of the Yellowstone Park in the days when Howell and other poachers destroyed our first national bison herd, and when caught red-handed—as Howell was, skinning seven Park bison cows—could not be punished for it, because there was no penalty prescribed by any law. Today, there is a way in which any revengeful person could inflict enormous damage on the entire South, at no cost to himself, involve those states in enormous losses and the expenditure of vast sums of money, yet go absolutely unpunished!
The gypsy moth is a case in point. This winged calamity was imported at Maiden, Massachusetts, near Boston, by a French entomologist, Mr. Leopold Trouvelot, in 1868 or 69. History records the fact that the man of science did not purposely set free the pest. He was endeavoring with live specimens to find a moth that would produce a cocoon of commercial value to America, and a sudden gust of wind blew out of his study, through an open window, his living and breeding specimens of the gypsy moth. The moth itself is not bad to look at, but its larvae is a great, overgrown brute with an appetite like a hog. Immediately Mr. Trouvelot sought to recover his specimens, and when he failed to find them all, like a man of real honor, he notified the State authorities of the accident. Every effort was made to recover all the specimens, but enough escaped to produce progeny that soon became a scourge to the trees of Massachusetts. The method of the big, nasty-looking mottled-brown caterpillar was very simple. It devoured the entire foliage of every tree that grew in its sphere of influence.
The gypsy moth spread with alarming rapidity and persistence. In course of time, the state authorities of Massachusetts were forced to begin a relentless war upon it, by poisonous sprays and by fire. It was awful! Up to this date (1912) the New England states and the United States Government service have expended in fighting this pest about \$7,680,000!
The spread of this pest has been retarded, but the gypsy moth never will be wholly stamped out. Today it exists in Rhode Island, Connecticut, and New Hampshire, and it is due to reach New York at an early date. It is steadily spreading in three directions from Boston, its original point of departure, and when it strikes the State of New York, we, too, will begin to pay dearly for the Trouvelot experiment.
Which of the following best paraphrases the underlined sentence, “Every introduced species is doubtful gravel until panned out”?
Here, the author is using figurative language to describe introduced species. He metaphorically calls them “doubtful gravel until \[they are\] panned out.” Because he’s not speaking literally, this sentence has nothing to do with the ground or gravel itself, so we can eliminate the answer choices “Species that live underground should be carefully examined before being moved into new environments” and “Species that live in gravel are usually harmful when placed in new environments.”
What is the author getting at with his metaphor? Panning rocks and dirt allows miners to separate out valuable minerals from other matter. Think of miners “panning for gold”—it’s the same principle, except here, the author is speaking of it as applying to gravel. By calling the gravel “doubtful,” the author is expressing that you don’t know what you’re going to get with it before you “pan it out” and see if there is anything valuable in it. Applying this thinking to invasive species, the author is therefore saying that “one can’t tell whether an introduced species will be helpful or harmful until it is actually introduced.”
If you didn’t know what panning gravel was, you could still solve this question by narrowing down your answer choices. For instance, nowhere in the passage are the beneficial effects of introduced species discussed, though the author discusses this in a previous chapter of his book. Because they’re not mentioned in the passage, we can discard the answer choice “An invasive species can cause beneficial effects to its new environment as well as harmful ones.” This is definitely not what the indicated sentence is saying; if we replaced the sentence with this answer choice, the logic of the paragraph wouldn’t make any sense.
As for the remaining answer choice, “One should never move a species from its natural environment into a new environment for fear of the consequences,” it cannot be correct because in the sentence before the one on which this question focuses, the author writes, “The man who successfully transplants or ‘introduces' into a new habitat any persistent species of living thing assumes a very grave responsibility.” Note that he doesn’t say that this should never be done; he just implies that it could go very badly. It wouldn’t make much sense if in the next sentence, the author said this should never be done. It seems more logical that he would have led with that statement, it being the stronger of the two.
Here, the author is using figurative language to describe introduced species. He metaphorically calls them “doubtful gravel until \[they are\] panned out.” Because he’s not speaking literally, this sentence has nothing to do with the ground or gravel itself, so we can eliminate the answer choices “Species that live underground should be carefully examined before being moved into new environments” and “Species that live in gravel are usually harmful when placed in new environments.”
What is the author getting at with his metaphor? Panning rocks and dirt allows miners to separate out valuable minerals from other matter. Think of miners “panning for gold”—it’s the same principle, except here, the author is speaking of it as applying to gravel. By calling the gravel “doubtful,” the author is expressing that you don’t know what you’re going to get with it before you “pan it out” and see if there is anything valuable in it. Applying this thinking to invasive species, the author is therefore saying that “one can’t tell whether an introduced species will be helpful or harmful until it is actually introduced.”
If you didn’t know what panning gravel was, you could still solve this question by narrowing down your answer choices. For instance, nowhere in the passage are the beneficial effects of introduced species discussed, though the author discusses this in a previous chapter of his book. Because they’re not mentioned in the passage, we can discard the answer choice “An invasive species can cause beneficial effects to its new environment as well as harmful ones.” This is definitely not what the indicated sentence is saying; if we replaced the sentence with this answer choice, the logic of the paragraph wouldn’t make any sense.
As for the remaining answer choice, “One should never move a species from its natural environment into a new environment for fear of the consequences,” it cannot be correct because in the sentence before the one on which this question focuses, the author writes, “The man who successfully transplants or ‘introduces' into a new habitat any persistent species of living thing assumes a very grave responsibility.” Note that he doesn’t say that this should never be done; he just implies that it could go very badly. It wouldn’t make much sense if in the next sentence, the author said this should never be done. It seems more logical that he would have led with that statement, it being the stronger of the two.
Compare your answer with the correct one above
Adapted from "The Poet" in Essays: Second Series by Ralph Waldo Emerson (1844)
Those who are esteemed umpires of taste are often persons who have acquired some knowledge of admired pictures or sculptures and have an inclination for whatever is elegant, but if you inquire whether they are beautiful souls, and whether their own acts are like fair pictures, you learn that they are selfish and sensual. Their cultivation is local, as if you should rub a log of dry wood in one spot to produce fire, all the rest remaining cold. Their knowledge of the fine arts is some study of rules and particulars, or some limited judgment of color or form, which is exercised for amusement or for show. It is a proof of the shallowness of the doctrine of beauty, as it lies in the minds of our amateurs, that men seem to have lost the perception of the instant dependence of form upon soul. There is no doctrine of forms in our philosophy. We were put into our bodies, as fire is put into a pan, to be carried about; but there is no accurate adjustment between the spirit and the organ, much less is the latter the germination of the former. So in regard to other forms, the intellectual men do not believe in any essential dependence of the material world on thought and volition. Theologians think it a pretty air-castle to talk of the spiritual meaning of a ship or a cloud, of a city or a contract, but they prefer to come again to the solid ground of historical evidence; and even the poets are contented with a civil and conformed manner of living, and to write poems from the fancy, at a safe distance from their own experience. But the highest minds of the world have never ceased to explore the double meaning, or, shall I say, the quadruple, or the centuple, or much more manifold meaning, of every sensuous fact: Orpheus, Empedocles, Heraclitus, Plato, Plutarch, Dante, Swedenborg, and the masters of sculpture, picture, and poetry. For we are not pans and barrows, nor even porters of the fire and torch-bearers, but children of the fire, made of it, and only the same divinity transmuted, and at two or three removes, when we know least about it. And this hidden truth, that the fountains whence all this river of Time, and its creatures, floweth, are intrinsically ideal and beautiful, draws us to the consideration of the nature and functions of the Poet, or the man of Beauty, to the means and materials he uses, and to the general aspect of the art in the present time.
The breadth of the problem is great, for the poet is representative. He stands among partial men for the complete man, and apprises us not of his wealth, but of the common-wealth. The young man reveres men of genius, because, to speak truly, they are more himself than he is. They receive of the soul as he also receives, but they more. Nature enhances her beauty to the eye of loving men from their belief that the poet is beholding her shows at the same time. He is isolated among his contemporaries, by truth and by his art, but with this consolation in his pursuits, that they will draw all men sooner or later. For all men live by truth, and stand in need of expression. In love, in art, in avarice, in politics, in labor, in games, we study to utter our painful secret. The man is only half himself, the other half is his expression.
Consider the underlined simile concerning wood and fire. Which of the following most accurately describes how this simile makes the abilities of the described individuals seem?
Adapted from "The Poet" in Essays: Second Series by Ralph Waldo Emerson (1844)
Those who are esteemed umpires of taste are often persons who have acquired some knowledge of admired pictures or sculptures and have an inclination for whatever is elegant, but if you inquire whether they are beautiful souls, and whether their own acts are like fair pictures, you learn that they are selfish and sensual. Their cultivation is local, as if you should rub a log of dry wood in one spot to produce fire, all the rest remaining cold. Their knowledge of the fine arts is some study of rules and particulars, or some limited judgment of color or form, which is exercised for amusement or for show. It is a proof of the shallowness of the doctrine of beauty, as it lies in the minds of our amateurs, that men seem to have lost the perception of the instant dependence of form upon soul. There is no doctrine of forms in our philosophy. We were put into our bodies, as fire is put into a pan, to be carried about; but there is no accurate adjustment between the spirit and the organ, much less is the latter the germination of the former. So in regard to other forms, the intellectual men do not believe in any essential dependence of the material world on thought and volition. Theologians think it a pretty air-castle to talk of the spiritual meaning of a ship or a cloud, of a city or a contract, but they prefer to come again to the solid ground of historical evidence; and even the poets are contented with a civil and conformed manner of living, and to write poems from the fancy, at a safe distance from their own experience. But the highest minds of the world have never ceased to explore the double meaning, or, shall I say, the quadruple, or the centuple, or much more manifold meaning, of every sensuous fact: Orpheus, Empedocles, Heraclitus, Plato, Plutarch, Dante, Swedenborg, and the masters of sculpture, picture, and poetry. For we are not pans and barrows, nor even porters of the fire and torch-bearers, but children of the fire, made of it, and only the same divinity transmuted, and at two or three removes, when we know least about it. And this hidden truth, that the fountains whence all this river of Time, and its creatures, floweth, are intrinsically ideal and beautiful, draws us to the consideration of the nature and functions of the Poet, or the man of Beauty, to the means and materials he uses, and to the general aspect of the art in the present time.
The breadth of the problem is great, for the poet is representative. He stands among partial men for the complete man, and apprises us not of his wealth, but of the common-wealth. The young man reveres men of genius, because, to speak truly, they are more himself than he is. They receive of the soul as he also receives, but they more. Nature enhances her beauty to the eye of loving men from their belief that the poet is beholding her shows at the same time. He is isolated among his contemporaries, by truth and by his art, but with this consolation in his pursuits, that they will draw all men sooner or later. For all men live by truth, and stand in need of expression. In love, in art, in avarice, in politics, in labor, in games, we study to utter our painful secret. The man is only half himself, the other half is his expression.
Consider the underlined simile concerning wood and fire. Which of the following most accurately describes how this simile makes the abilities of the described individuals seem?
Fire is associated with mental life, spirituality, and creativity in the passage, but you do not need to recognize this to answer this question correctly. The simile clearly has a negative connotation, so we can eliminate “praiseworthy” and “efficient” as potentially correct answer choices, leaving us with “lacking,” “detestable,” and “fallible.” In the simile, the author describes producing fire on a log “in one spot,” with “all the rest remaining cold.” This suggests that the abilities of the individuals described are “lacking.”
Fire is associated with mental life, spirituality, and creativity in the passage, but you do not need to recognize this to answer this question correctly. The simile clearly has a negative connotation, so we can eliminate “praiseworthy” and “efficient” as potentially correct answer choices, leaving us with “lacking,” “detestable,” and “fallible.” In the simile, the author describes producing fire on a log “in one spot,” with “all the rest remaining cold.” This suggests that the abilities of the individuals described are “lacking.”
Compare your answer with the correct one above
Adapted from "The Poet" in Essays: Second Series by Ralph Waldo Emerson (1844)
Those who are esteemed umpires of taste are often persons who have acquired some knowledge of admired pictures or sculptures and have an inclination for whatever is elegant, but if you inquire whether they are beautiful souls, and whether their own acts are like fair pictures, you learn that they are selfish and sensual. Their cultivation is local, as if you should rub a log of dry wood in one spot to produce fire, all the rest remaining cold. Their knowledge of the fine arts is some study of rules and particulars, or some limited judgment of color or form, which is exercised for amusement or for show. It is a proof of the shallowness of the doctrine of beauty, as it lies in the minds of our amateurs, that men seem to have lost the perception of the instant dependence of form upon soul. There is no doctrine of forms in our philosophy. We were put into our bodies, as fire is put into a pan, to be carried about; but there is no accurate adjustment between the spirit and the organ, much less is the latter the germination of the former. So in regard to other forms, the intellectual men do not believe in any essential dependence of the material world on thought and volition. Theologians think it a pretty air-castle to talk of the spiritual meaning of a ship or a cloud, of a city or a contract, but they prefer to come again to the solid ground of historical evidence; and even the poets are contented with a civil and conformed manner of living, and to write poems from the fancy, at a safe distance from their own experience. But the highest minds of the world have never ceased to explore the double meaning, or, shall I say, the quadruple, or the centuple, or much more manifold meaning, of every sensuous fact: Orpheus, Empedocles, Heraclitus, Plato, Plutarch, Dante, Swedenborg, and the masters of sculpture, picture, and poetry. For we are not pans and barrows, nor even porters of the fire and torch-bearers, but children of the fire, made of it, and only the same divinity transmuted, and at two or three removes, when we know least about it. And this hidden truth, that the fountains whence all this river of Time, and its creatures, floweth, are intrinsically ideal and beautiful, draws us to the consideration of the nature and functions of the Poet, or the man of Beauty, to the means and materials he uses, and to the general aspect of the art in the present time.
The breadth of the problem is great, for the poet is representative. He stands among partial men for the complete man, and apprises us not of his wealth, but of the common-wealth. The young man reveres men of genius, because, to speak truly, they are more himself than he is. They receive of the soul as he also receives, but they more. Nature enhances her beauty to the eye of loving men from their belief that the poet is beholding her shows at the same time. He is isolated among his contemporaries, by truth and by his art, but with this consolation in his pursuits, that they will draw all men sooner or later. For all men live by truth, and stand in need of expression. In love, in art, in avarice, in politics, in labor, in games, we study to utter our painful secret. The man is only half himself, the other half is his expression.
Throughout the first paragraph, the image of fire is used to represent what?
Adapted from "The Poet" in Essays: Second Series by Ralph Waldo Emerson (1844)
Those who are esteemed umpires of taste are often persons who have acquired some knowledge of admired pictures or sculptures and have an inclination for whatever is elegant, but if you inquire whether they are beautiful souls, and whether their own acts are like fair pictures, you learn that they are selfish and sensual. Their cultivation is local, as if you should rub a log of dry wood in one spot to produce fire, all the rest remaining cold. Their knowledge of the fine arts is some study of rules and particulars, or some limited judgment of color or form, which is exercised for amusement or for show. It is a proof of the shallowness of the doctrine of beauty, as it lies in the minds of our amateurs, that men seem to have lost the perception of the instant dependence of form upon soul. There is no doctrine of forms in our philosophy. We were put into our bodies, as fire is put into a pan, to be carried about; but there is no accurate adjustment between the spirit and the organ, much less is the latter the germination of the former. So in regard to other forms, the intellectual men do not believe in any essential dependence of the material world on thought and volition. Theologians think it a pretty air-castle to talk of the spiritual meaning of a ship or a cloud, of a city or a contract, but they prefer to come again to the solid ground of historical evidence; and even the poets are contented with a civil and conformed manner of living, and to write poems from the fancy, at a safe distance from their own experience. But the highest minds of the world have never ceased to explore the double meaning, or, shall I say, the quadruple, or the centuple, or much more manifold meaning, of every sensuous fact: Orpheus, Empedocles, Heraclitus, Plato, Plutarch, Dante, Swedenborg, and the masters of sculpture, picture, and poetry. For we are not pans and barrows, nor even porters of the fire and torch-bearers, but children of the fire, made of it, and only the same divinity transmuted, and at two or three removes, when we know least about it. And this hidden truth, that the fountains whence all this river of Time, and its creatures, floweth, are intrinsically ideal and beautiful, draws us to the consideration of the nature and functions of the Poet, or the man of Beauty, to the means and materials he uses, and to the general aspect of the art in the present time.
The breadth of the problem is great, for the poet is representative. He stands among partial men for the complete man, and apprises us not of his wealth, but of the common-wealth. The young man reveres men of genius, because, to speak truly, they are more himself than he is. They receive of the soul as he also receives, but they more. Nature enhances her beauty to the eye of loving men from their belief that the poet is beholding her shows at the same time. He is isolated among his contemporaries, by truth and by his art, but with this consolation in his pursuits, that they will draw all men sooner or later. For all men live by truth, and stand in need of expression. In love, in art, in avarice, in politics, in labor, in games, we study to utter our painful secret. The man is only half himself, the other half is his expression.
Throughout the first paragraph, the image of fire is used to represent what?
The image of fire appears several times in the first paragraph: in complaining about how certain critics is “some limited judgment of color or form,” the author states, “Their cultivation is local, as if you should rub a log of dry wood in one spot to produce fire, all the rest remaining cold.” Later, he says, “We were put into our bodies, as fire is put into a pan, to be carried about; but there is no accurate adjustment between the spirit and the organ . . .” Finally, near the end of the paragraph, he says, “For we are not pans and barrows, nor even porters of the fire and torch-bearers, but children of the fire, made of it, and only the same divinity transmuted, and at two or three removes, when we know least about it.” From these quotations, we can determine that the author is using the image of fire to represent something to do with the soul and creativity, and that the author sees this as divine (see last quotation). This means that “the soul’s artistic creativity, which the author sees as divine,” is the correct answer.
The image of fire appears several times in the first paragraph: in complaining about how certain critics is “some limited judgment of color or form,” the author states, “Their cultivation is local, as if you should rub a log of dry wood in one spot to produce fire, all the rest remaining cold.” Later, he says, “We were put into our bodies, as fire is put into a pan, to be carried about; but there is no accurate adjustment between the spirit and the organ . . .” Finally, near the end of the paragraph, he says, “For we are not pans and barrows, nor even porters of the fire and torch-bearers, but children of the fire, made of it, and only the same divinity transmuted, and at two or three removes, when we know least about it.” From these quotations, we can determine that the author is using the image of fire to represent something to do with the soul and creativity, and that the author sees this as divine (see last quotation). This means that “the soul’s artistic creativity, which the author sees as divine,” is the correct answer.
Compare your answer with the correct one above
Adapted from “The Celebration of Intellect” by Ralph Waldo Emerson (1861)
I cannot consent to wander from the duties of this day into the fracas of politics. The brute noise of cannon has, I know, a most poetic echo in these days when it is an instrument of freedom and the primal sentiments of humanity. Yet it is but representative and a far-off means and servant; but here in the college we are in the presence of the constituency and the principle itself. Here is, or should be, the majesty of reason and the creative cause, and it were a compounding of all gradation and reverence to suffer the flash of swords and the boyish strife of passion and the feebleness of military strength to intrude on this sanctity and omnipotence of Intellectual Law.
Against the heroism of soldiers I set the heroism of scholars, which consists in ignoring the other. You shall not put up in your Academy the statue of Caesar or Pompey, of Nelson or Wellington, of Washington or Napoleon, of Garibaldi, but of Archimedes, of Milton, of Newton. . . .
For either science and literature is a hypocrisy, or it is not. If it be, then resign your charter to the Legislature, turn your college into barracks and warehouses, and divert the funds of your founders into the stock of a rope-walk or a candle-factory, a tan-yard or some other undoubted conveniency for the surrounding population. But if the intellectual interest be, as I hold, no hypocrisy, but the only reality, then it behooves us to enthrone it, obey it, and give it possession of us and ours; to give, among other possessions, the college into its hand casting down every idol, every pretender, every hoary lie, every dignified blunder that has crept into its administration.
How is the underlined expression “poetic echo” used as an image in the passage?
Adapted from “The Celebration of Intellect” by Ralph Waldo Emerson (1861)
I cannot consent to wander from the duties of this day into the fracas of politics. The brute noise of cannon has, I know, a most poetic echo in these days when it is an instrument of freedom and the primal sentiments of humanity. Yet it is but representative and a far-off means and servant; but here in the college we are in the presence of the constituency and the principle itself. Here is, or should be, the majesty of reason and the creative cause, and it were a compounding of all gradation and reverence to suffer the flash of swords and the boyish strife of passion and the feebleness of military strength to intrude on this sanctity and omnipotence of Intellectual Law.
Against the heroism of soldiers I set the heroism of scholars, which consists in ignoring the other. You shall not put up in your Academy the statue of Caesar or Pompey, of Nelson or Wellington, of Washington or Napoleon, of Garibaldi, but of Archimedes, of Milton, of Newton. . . .
For either science and literature is a hypocrisy, or it is not. If it be, then resign your charter to the Legislature, turn your college into barracks and warehouses, and divert the funds of your founders into the stock of a rope-walk or a candle-factory, a tan-yard or some other undoubted conveniency for the surrounding population. But if the intellectual interest be, as I hold, no hypocrisy, but the only reality, then it behooves us to enthrone it, obey it, and give it possession of us and ours; to give, among other possessions, the college into its hand casting down every idol, every pretender, every hoary lie, every dignified blunder that has crept into its administration.
How is the underlined expression “poetic echo” used as an image in the passage?
The expression "poetic echo" clearly is meant to evoke the sound of canons echoing. It is said to be "poetic" because such canon fire seems to be something very positive to many people during Emerson's day. It is implied that it has a certain charm or beauty—that is, a certain kind of poetry.
The expression "poetic echo" clearly is meant to evoke the sound of canons echoing. It is said to be "poetic" because such canon fire seems to be something very positive to many people during Emerson's day. It is implied that it has a certain charm or beauty—that is, a certain kind of poetry.
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Passage adapted from The Profit of Religion (1917) by Upton Sinclair
Life is a process of expansion, of the unfoldment of new powers; driven by that inner impulse which the philosophers of Pragmatism call the élan vital. Whenever this impulse has its way, there is an emotion of joy; whenever it is balked, there is one of distress. So pleasure and pain are the guides of life, and the final goal is a condition of free and constantly accelerating growth, in which joy is enduring.
That man will ever reach such a state is more than we can say. It is a perfectly conceivable thing that tomorrow a comet may fall upon the earth and wipe out all man's labors. But on the other hand, it is a conceivable thing that man may someday learn to control the movements of comets, and even of starry systems. It seems certain that if he is given time, he will make himself master of the forces of his immediate environment—-
The untamed giants of nature shall bow down—-
The tides, the tempest and the lightning cease
From mockery and destruction, and be turned
Unto the making of the soul of man.
It is a conceivable thing that man may learn to create his food from the elements without the slow processes of agriculture; it is conceivable that he may master the bacteria which at present prey upon his body, and so put an end to death. It is certain that he will ascertain the laws of heredity, and create human qualities as he has created the spurs of the fighting-cock and the legs of the greyhound. He will find out what genius is, and the laws of its being, and the tests whereby it may be recognized. In the new science of psycho-analysis he has already begun the work of bringing an infinity of sub consciousness into the light of day; it may be that in the evidence of telepathy which the psychic researchers are accumulating, he is beginning to grope his way into a universal consciousness, which may come to include the joys and griefs of the inhabitants of Mars, and of the dark stars which the spectroscope and the telescope are disclosing.
All these are fascinating possibilities. What stands in the way of their realization? Ignorance and superstition, fear and submission, the old habits of rapine and hatred which man has brought with him from his animal past. These make him a slave, a victim of himself and of others; to root them out of the garden of the soul is the task of the modern thinker.
The new morality is thus a morality of freedom. It teaches that man is the master, or shall become so; that there is no law, save the law of his own being, no check upon his will save that which he himself imposes.
The new morality is a morality of joy. It teaches that true pleasure is the end of being, and the test of all righteousness.
The new morality is a morality of reason. It teaches that there is no authority above reason; no possibility of such authority, because if such were to appear, reason would have to judge it, and accept or reject it.
The new morality is a morality of development. It teaches that there can no more be an immutable law of conduct, than there can be an immutable position for the steering-wheel of an aeroplane. The business of the pilot of an aeroplane is to keep his machine aloft amid shifting currents of wind. The business of a moralist is to adjust life to a constantly changing environment. An action which was suicide yesterday becomes heroism today, and futility or hypocrisy tomorrow.
"The tides, the tempest, and the lightning cease From mockery and destruction, and be turned" is an example of .
Passage adapted from The Profit of Religion (1917) by Upton Sinclair
Life is a process of expansion, of the unfoldment of new powers; driven by that inner impulse which the philosophers of Pragmatism call the élan vital. Whenever this impulse has its way, there is an emotion of joy; whenever it is balked, there is one of distress. So pleasure and pain are the guides of life, and the final goal is a condition of free and constantly accelerating growth, in which joy is enduring.
That man will ever reach such a state is more than we can say. It is a perfectly conceivable thing that tomorrow a comet may fall upon the earth and wipe out all man's labors. But on the other hand, it is a conceivable thing that man may someday learn to control the movements of comets, and even of starry systems. It seems certain that if he is given time, he will make himself master of the forces of his immediate environment—-
The untamed giants of nature shall bow down—-
The tides, the tempest and the lightning cease
From mockery and destruction, and be turned
Unto the making of the soul of man.
It is a conceivable thing that man may learn to create his food from the elements without the slow processes of agriculture; it is conceivable that he may master the bacteria which at present prey upon his body, and so put an end to death. It is certain that he will ascertain the laws of heredity, and create human qualities as he has created the spurs of the fighting-cock and the legs of the greyhound. He will find out what genius is, and the laws of its being, and the tests whereby it may be recognized. In the new science of psycho-analysis he has already begun the work of bringing an infinity of sub consciousness into the light of day; it may be that in the evidence of telepathy which the psychic researchers are accumulating, he is beginning to grope his way into a universal consciousness, which may come to include the joys and griefs of the inhabitants of Mars, and of the dark stars which the spectroscope and the telescope are disclosing.
All these are fascinating possibilities. What stands in the way of their realization? Ignorance and superstition, fear and submission, the old habits of rapine and hatred which man has brought with him from his animal past. These make him a slave, a victim of himself and of others; to root them out of the garden of the soul is the task of the modern thinker.
The new morality is thus a morality of freedom. It teaches that man is the master, or shall become so; that there is no law, save the law of his own being, no check upon his will save that which he himself imposes.
The new morality is a morality of joy. It teaches that true pleasure is the end of being, and the test of all righteousness.
The new morality is a morality of reason. It teaches that there is no authority above reason; no possibility of such authority, because if such were to appear, reason would have to judge it, and accept or reject it.
The new morality is a morality of development. It teaches that there can no more be an immutable law of conduct, than there can be an immutable position for the steering-wheel of an aeroplane. The business of the pilot of an aeroplane is to keep his machine aloft amid shifting currents of wind. The business of a moralist is to adjust life to a constantly changing environment. An action which was suicide yesterday becomes heroism today, and futility or hypocrisy tomorrow.
"The tides, the tempest, and the lightning cease From mockery and destruction, and be turned" is an example of .
Since "mockery" is is teasing or contemptuous language, the author is ascribing this attitude to the tides, tempest, and lightning, thus giving them a human quality.
Since "mockery" is is teasing or contemptuous language, the author is ascribing this attitude to the tides, tempest, and lightning, thus giving them a human quality.
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Adapted from Walden by Henry Thoreau (1854)
Still we live meanly, like ants; it is error upon error, and clout upon clout, and our best virtue has for its occasion a superfluous and evitable wretchedness. Our life is frittered away by detail. An honest man has hardly need to count more than his ten fingers, or in extreme cases he may add his ten toes, and lump the rest. Simplicity, simplicity, simplicity! I say, let your affairs be as two or three, and not a hundred or a thousand; instead of a million count half a dozen, and keep your accounts on your thumbnail. In the midst of this chopping sea of civilized life, such are the clouds and storms and quicksands and thousand-and-one items to be allowed for, that a man has to live, if he would not founder and go to the bottom and not make his port at all, by dead reckoning, and he must be a great calculator indeed who succeeds. Simplify, simplify. Instead of three meals a day, if it be necessary eat but one; instead of a hundred dishes, five; and reduce other things in proportion.
Our life is like a German Confederacy, made up of petty states, with its boundary forever fluctuating, so that even a German cannot tell you how it is bounded at any moment. The nation itself, with all its so-called internal improvements, which, by the way are all external and superficial, is just such an unwieldy and overgrown establishment, cluttered with furniture and tripped up by its own traps, ruined by luxury and heedless expense, by want of calculation and a worthy aim, as the million households in the land; and the only cure for it, as for them, is in a rigid economy, a stern and more than Spartan simplicity of life and elevation of purpose. It lives too fast. Men think that it is essential that the Nation have commerce, and export ice, and talk through a telegraph, and ride thirty miles an hour, without a doubt, whether they do or not, but whether we should live like baboons or like men is a little uncertain. If we do not get out sleepers, and forge rails, and devote days and nights to the work, but go to tinkering upon our lives to improve them, who will build railroads? And if railroads are not built, how shall we get to heaven in season? But if we stay at home and mind our business, who will want railroads? We do not ride on the railroad; it rides upon us. Did you ever think what those sleepers are that underlie the railroad? Each one is a man, an Irishman, or a Yankee man. The rails are laid on them, and they are covered with sand, and the cars run smoothly over them. They are sound sleepers, I assure you.
In this passage, the author is most concerned with which theme?
Adapted from Walden by Henry Thoreau (1854)
Still we live meanly, like ants; it is error upon error, and clout upon clout, and our best virtue has for its occasion a superfluous and evitable wretchedness. Our life is frittered away by detail. An honest man has hardly need to count more than his ten fingers, or in extreme cases he may add his ten toes, and lump the rest. Simplicity, simplicity, simplicity! I say, let your affairs be as two or three, and not a hundred or a thousand; instead of a million count half a dozen, and keep your accounts on your thumbnail. In the midst of this chopping sea of civilized life, such are the clouds and storms and quicksands and thousand-and-one items to be allowed for, that a man has to live, if he would not founder and go to the bottom and not make his port at all, by dead reckoning, and he must be a great calculator indeed who succeeds. Simplify, simplify. Instead of three meals a day, if it be necessary eat but one; instead of a hundred dishes, five; and reduce other things in proportion.
Our life is like a German Confederacy, made up of petty states, with its boundary forever fluctuating, so that even a German cannot tell you how it is bounded at any moment. The nation itself, with all its so-called internal improvements, which, by the way are all external and superficial, is just such an unwieldy and overgrown establishment, cluttered with furniture and tripped up by its own traps, ruined by luxury and heedless expense, by want of calculation and a worthy aim, as the million households in the land; and the only cure for it, as for them, is in a rigid economy, a stern and more than Spartan simplicity of life and elevation of purpose. It lives too fast. Men think that it is essential that the Nation have commerce, and export ice, and talk through a telegraph, and ride thirty miles an hour, without a doubt, whether they do or not, but whether we should live like baboons or like men is a little uncertain. If we do not get out sleepers, and forge rails, and devote days and nights to the work, but go to tinkering upon our lives to improve them, who will build railroads? And if railroads are not built, how shall we get to heaven in season? But if we stay at home and mind our business, who will want railroads? We do not ride on the railroad; it rides upon us. Did you ever think what those sleepers are that underlie the railroad? Each one is a man, an Irishman, or a Yankee man. The rails are laid on them, and they are covered with sand, and the cars run smoothly over them. They are sound sleepers, I assure you.
In this passage, the author is most concerned with which theme?
Thoreau makes no mention of boundary disputes within the nation, and while he calls the economy “rigid,” it is not his primary worry, but instead a recommendation for people to take stock of their households and pursuits more carefully. Likewise, he discusses the development of infrastructure when he discusses railroads at the end of the second paragraph, but this is not his primary focus. Instead, Thoreau is concerned with all the aspects of contemporary American culture that are opposed to a “Spartan simplicity of life,” which can be considered together as “excess.”
Thoreau makes no mention of boundary disputes within the nation, and while he calls the economy “rigid,” it is not his primary worry, but instead a recommendation for people to take stock of their households and pursuits more carefully. Likewise, he discusses the development of infrastructure when he discusses railroads at the end of the second paragraph, but this is not his primary focus. Instead, Thoreau is concerned with all the aspects of contemporary American culture that are opposed to a “Spartan simplicity of life,” which can be considered together as “excess.”
Compare your answer with the correct one above
Adapted from Common Sense by Thomas Paine (1776)
Society in every state is a blessing, but government even in its best state is but a necessary evil, in its worst state an intolerable one; for when we suffer, or are exposed to the same miseries heightened by reflecting that we furnish the means by which we suffer. Government, like dress, is the badge of lost innocence; the palaces of kings are built on the ruins of the bowers of paradise. For were the impulses of conscience clear, uniform, and irresistibly obeyed, man would need no other lawgiver; but that not being the case, he finds it necessary to surrender up a part of his property to furnish means for the protection of the rest; and this he is induced to do by the same prudence that in every other case advises him out of two evils to choose the least. WHEREFORE, security being the true design and end of government, it unanswerably follows that whatever FORM thereof appears most likely to ensure it to us, with the least expense and greatest benefit, is preferable to all others.
In order to gain a clear and just idea of the design and end of government, let us suppose a small number of persons settled in some sequestered part of the Earth, unconnected with the rest; they will then represent the first peopling of any country, or of the world. In this state of natural liberty, society will be their first thought. A thousand motives will excite them thereto, the strength of one man is so unequal to his wants, and his mind so unfitted for perpetual solitude, that he is soon obliged to seek assistance and relief of another, who in his turn requires the same. Four or five united would be able to raise a tolerable dwelling in the midst of a wilderness, but ONE man might labor out the common period of life without accomplishing any thing; when he had felled his timber he could not remove it, nor erect it after it was removed; hunger in the mean time would urge him from his work, and every different want call him a different way.
Which of the following best represents the argument the author in the process of making at the end of the second paragraph?
Adapted from Common Sense by Thomas Paine (1776)
Society in every state is a blessing, but government even in its best state is but a necessary evil, in its worst state an intolerable one; for when we suffer, or are exposed to the same miseries heightened by reflecting that we furnish the means by which we suffer. Government, like dress, is the badge of lost innocence; the palaces of kings are built on the ruins of the bowers of paradise. For were the impulses of conscience clear, uniform, and irresistibly obeyed, man would need no other lawgiver; but that not being the case, he finds it necessary to surrender up a part of his property to furnish means for the protection of the rest; and this he is induced to do by the same prudence that in every other case advises him out of two evils to choose the least. WHEREFORE, security being the true design and end of government, it unanswerably follows that whatever FORM thereof appears most likely to ensure it to us, with the least expense and greatest benefit, is preferable to all others.
In order to gain a clear and just idea of the design and end of government, let us suppose a small number of persons settled in some sequestered part of the Earth, unconnected with the rest; they will then represent the first peopling of any country, or of the world. In this state of natural liberty, society will be their first thought. A thousand motives will excite them thereto, the strength of one man is so unequal to his wants, and his mind so unfitted for perpetual solitude, that he is soon obliged to seek assistance and relief of another, who in his turn requires the same. Four or five united would be able to raise a tolerable dwelling in the midst of a wilderness, but ONE man might labor out the common period of life without accomplishing any thing; when he had felled his timber he could not remove it, nor erect it after it was removed; hunger in the mean time would urge him from his work, and every different want call him a different way.
Which of the following best represents the argument the author in the process of making at the end of the second paragraph?
At the end of the second paragraph, the author states, “Four or five united would be able to raise a tolerable dwelling in the midst of a wilderness, but ONE man might labor out the common period of life without accomplishing any thing; when he had felled his timber he could not remove it, nor erect it after it was removed; hunger in the mean time would urge him from his work, and every different want call him a different way.” Thus, the author is in the process of making the argument that four or five people working together in the wilderness can do much more than one person, and “one person working by him- or herself in the wilderness isn’t able to achieve anything.”
At the end of the second paragraph, the author states, “Four or five united would be able to raise a tolerable dwelling in the midst of a wilderness, but ONE man might labor out the common period of life without accomplishing any thing; when he had felled his timber he could not remove it, nor erect it after it was removed; hunger in the mean time would urge him from his work, and every different want call him a different way.” Thus, the author is in the process of making the argument that four or five people working together in the wilderness can do much more than one person, and “one person working by him- or herself in the wilderness isn’t able to achieve anything.”
Compare your answer with the correct one above
Adapted from “Introductory Remarks” in The Interpretation of Dreams by Sigmund Freud (trans. 1913)
In attempting to discuss the interpretation of dreams, I do not believe that I have overstepped the bounds of neuropathological interest. For, when investigated psychologically, the dream proves to be the first link in a chain of abnormal psychic structures whose other links—the hysterical phobia, the obsession, and the delusion—must interest the physician for practical reasons. The dream can lay no claim to a corresponding practical significance; however, its theoretical value is very great, and one who cannot explain the origin of the content of dreams will strive in vain to understand phobias, obsessive and delusional ideas, and likewise their therapeutic importance.
While this relationship makes our subject important, it is responsible also for the deficiencies in this work. The surfaces of fracture, which will be frequently discussed, correspond to many points of contact where the problem of dream formation informs more comprehensive problems of psychopathology which cannot be discussed here. These larger issues will be elaborated upon in the future.
Peculiarities in the material I have used to elucidate the interpretation of dreams have rendered this publication difficult. The work itself will demonstrate why all dreams related in scientific literature or collected by others had to remain useless for my purpose. In choosing my examples, I had to limit myself to considering my own dreams and those of my patients who were under psychoanalytic treatment. I was restrained from utilizing material derived from my patients' dreams by the fact that during their treatment, the dream processes were subjected to an undesirable complication—the intermixture of neurotic characters. On the other hand, in discussing my own dreams, I was obliged to expose more of the intimacies of my psychic life than I should like, more so than generally falls to the task of an author who is not a poet but an investigator of nature. This was painful, but unavoidable; I had to put up with the inevitable in order to demonstrate the truth of my psychological results at all. To be sure, I disguised some of my indiscretions through omissions and substitutions, though I feel that these detract from the value of the examples in which they appear. I can only express the hope that the reader of this work, putting himself in my difficult position, will show patience, and also that anyone inclined to take offense at any of the reported dreams will concede freedom of thought at least to the dream life.
The author of this passage is most interested in .
Adapted from “Introductory Remarks” in The Interpretation of Dreams by Sigmund Freud (trans. 1913)
In attempting to discuss the interpretation of dreams, I do not believe that I have overstepped the bounds of neuropathological interest. For, when investigated psychologically, the dream proves to be the first link in a chain of abnormal psychic structures whose other links—the hysterical phobia, the obsession, and the delusion—must interest the physician for practical reasons. The dream can lay no claim to a corresponding practical significance; however, its theoretical value is very great, and one who cannot explain the origin of the content of dreams will strive in vain to understand phobias, obsessive and delusional ideas, and likewise their therapeutic importance.
While this relationship makes our subject important, it is responsible also for the deficiencies in this work. The surfaces of fracture, which will be frequently discussed, correspond to many points of contact where the problem of dream formation informs more comprehensive problems of psychopathology which cannot be discussed here. These larger issues will be elaborated upon in the future.
Peculiarities in the material I have used to elucidate the interpretation of dreams have rendered this publication difficult. The work itself will demonstrate why all dreams related in scientific literature or collected by others had to remain useless for my purpose. In choosing my examples, I had to limit myself to considering my own dreams and those of my patients who were under psychoanalytic treatment. I was restrained from utilizing material derived from my patients' dreams by the fact that during their treatment, the dream processes were subjected to an undesirable complication—the intermixture of neurotic characters. On the other hand, in discussing my own dreams, I was obliged to expose more of the intimacies of my psychic life than I should like, more so than generally falls to the task of an author who is not a poet but an investigator of nature. This was painful, but unavoidable; I had to put up with the inevitable in order to demonstrate the truth of my psychological results at all. To be sure, I disguised some of my indiscretions through omissions and substitutions, though I feel that these detract from the value of the examples in which they appear. I can only express the hope that the reader of this work, putting himself in my difficult position, will show patience, and also that anyone inclined to take offense at any of the reported dreams will concede freedom of thought at least to the dream life.
The author of this passage is most interested in .
The author of this passage is clearly interested in studying dreams from a psychological standpoint. He does not mention the physical structure of the brain at all, nor does he make any comparison between human brains and the brains of other mammals. While he is interested in dreams, he does not discuss any ability of dreams to foreshadow future events. While he attempts to address potential flaws in his work, his primary interest is not in the role of criticism in science; it is in “the workings of the human mind.” While this is the most general answer choice, the specificity of each of the other options makes each incorrect.
The author of this passage is clearly interested in studying dreams from a psychological standpoint. He does not mention the physical structure of the brain at all, nor does he make any comparison between human brains and the brains of other mammals. While he is interested in dreams, he does not discuss any ability of dreams to foreshadow future events. While he attempts to address potential flaws in his work, his primary interest is not in the role of criticism in science; it is in “the workings of the human mind.” While this is the most general answer choice, the specificity of each of the other options makes each incorrect.
Compare your answer with the correct one above
Adapted from “Introductory Remarks” in The Interpretation of Dreams by Sigmund Freud (trans. 1913)
In attempting to discuss the interpretation of dreams, I do not believe that I have overstepped the bounds of neuropathological interest. For, when investigated psychologically, the dream proves to be the first link in a chain of abnormal psychic structures whose other links—the hysterical phobia, the obsession, and the delusion—must interest the physician for practical reasons. The dream can lay no claim to a corresponding practical significance; however, its theoretical value is very great, and one who cannot explain the origin of the content of dreams will strive in vain to understand phobias, obsessive and delusional ideas, and likewise their therapeutic importance.
While this relationship makes our subject important, it is responsible also for the deficiencies in this work. The surfaces of fracture, which will be frequently discussed, correspond to many points of contact where the problem of dream formation informs more comprehensive problems of psychopathology which cannot be discussed here. These larger issues will be elaborated upon in the future.
Peculiarities in the material I have used to elucidate the interpretation of dreams have rendered this publication difficult. The work itself will demonstrate why all dreams related in scientific literature or collected by others had to remain useless for my purpose. In choosing my examples, I had to limit myself to considering my own dreams and those of my patients who were under psychoanalytic treatment. I was restrained from utilizing material derived from my patients' dreams by the fact that during their treatment, the dream processes were subjected to an undesirable complication—the intermixture of neurotic characters. On the other hand, in discussing my own dreams, I was obliged to expose more of the intimacies of my psychic life than I should like, more so than generally falls to the task of an author who is not a poet but an investigator of nature. This was painful, but unavoidable; I had to put up with the inevitable in order to demonstrate the truth of my psychological results at all. To be sure, I disguised some of my indiscretions through omissions and substitutions, though I feel that these detract from the value of the examples in which they appear. I can only express the hope that the reader of this work, putting himself in my difficult position, will show patience, and also that anyone inclined to take offense at any of the reported dreams will concede freedom of thought at least to the dream life.
In the third paragraph, what does the author tell us about the omissions and substitutions he made when discussing his own dreams in the work that follow the passage?
Adapted from “Introductory Remarks” in The Interpretation of Dreams by Sigmund Freud (trans. 1913)
In attempting to discuss the interpretation of dreams, I do not believe that I have overstepped the bounds of neuropathological interest. For, when investigated psychologically, the dream proves to be the first link in a chain of abnormal psychic structures whose other links—the hysterical phobia, the obsession, and the delusion—must interest the physician for practical reasons. The dream can lay no claim to a corresponding practical significance; however, its theoretical value is very great, and one who cannot explain the origin of the content of dreams will strive in vain to understand phobias, obsessive and delusional ideas, and likewise their therapeutic importance.
While this relationship makes our subject important, it is responsible also for the deficiencies in this work. The surfaces of fracture, which will be frequently discussed, correspond to many points of contact where the problem of dream formation informs more comprehensive problems of psychopathology which cannot be discussed here. These larger issues will be elaborated upon in the future.
Peculiarities in the material I have used to elucidate the interpretation of dreams have rendered this publication difficult. The work itself will demonstrate why all dreams related in scientific literature or collected by others had to remain useless for my purpose. In choosing my examples, I had to limit myself to considering my own dreams and those of my patients who were under psychoanalytic treatment. I was restrained from utilizing material derived from my patients' dreams by the fact that during their treatment, the dream processes were subjected to an undesirable complication—the intermixture of neurotic characters. On the other hand, in discussing my own dreams, I was obliged to expose more of the intimacies of my psychic life than I should like, more so than generally falls to the task of an author who is not a poet but an investigator of nature. This was painful, but unavoidable; I had to put up with the inevitable in order to demonstrate the truth of my psychological results at all. To be sure, I disguised some of my indiscretions through omissions and substitutions, though I feel that these detract from the value of the examples in which they appear. I can only express the hope that the reader of this work, putting himself in my difficult position, will show patience, and also that anyone inclined to take offense at any of the reported dreams will concede freedom of thought at least to the dream life.
In the third paragraph, what does the author tell us about the omissions and substitutions he made when discussing his own dreams in the work that follow the passage?
Of the omissions and substitutions the author made when discussing his own dreams in the work he is describing, the author writes in the third paragraph, “To be sure, I disguised some of my indiscretions through omissions and substitutions, though I feel that these detract from the value of the examples in which they appear.” Thus, while many answer choices sound reasonable, the correct answer is “He feels that the adjusted examples would be more useful had they remained unadjusted.”
Of the omissions and substitutions the author made when discussing his own dreams in the work he is describing, the author writes in the third paragraph, “To be sure, I disguised some of my indiscretions through omissions and substitutions, though I feel that these detract from the value of the examples in which they appear.” Thus, while many answer choices sound reasonable, the correct answer is “He feels that the adjusted examples would be more useful had they remained unadjusted.”
Compare your answer with the correct one above
Adapted from “Introduced Species That Have Become Pests” in Our Vanishing Wild Life, Its Extermination and Protection by William Temple Hornaday (1913)
The man who successfully transplants or "introduces" into a new habitat any persistent species of living thing assumes a very grave responsibility. Every introduced species is doubtful gravel until panned out. The enormous losses that have been inflicted upon the world through the perpetuation of follies with wild vertebrates and insects would, if added together, be enough to purchase a principality. The most aggravating feature of these follies in transplantation is that never yet have they been made severely punishable. We are just as careless and easygoing on this point as we were about the government of the Yellowstone Park in the days when Howell and other poachers destroyed our first national bison herd, and when caught red-handed—as Howell was, skinning seven Park bison cows—could not be punished for it, because there was no penalty prescribed by any law. Today, there is a way in which any revengeful person could inflict enormous damage on the entire South, at no cost to himself, involve those states in enormous losses and the expenditure of vast sums of money, yet go absolutely unpunished!
The gypsy moth is a case in point. This winged calamity was imported at Maiden, Massachusetts, near Boston, by a French entomologist, Mr. Leopold Trouvelot, in 1868 or 69. History records the fact that the man of science did not purposely set free the pest. He was endeavoring with live specimens to find a moth that would produce a cocoon of commercial value to America, and a sudden gust of wind blew out of his study, through an open window, his living and breeding specimens of the gypsy moth. The moth itself is not bad to look at, but its larvae is a great, overgrown brute with an appetite like a hog. Immediately Mr. Trouvelot sought to recover his specimens, and when he failed to find them all, like a man of real honor, he notified the State authorities of the accident. Every effort was made to recover all the specimens, but enough escaped to produce progeny that soon became a scourge to the trees of Massachusetts. The method of the big, nasty-looking mottled-brown caterpillar was very simple. It devoured the entire foliage of every tree that grew in its sphere of influence.
The gypsy moth spread with alarming rapidity and persistence. In course of time, the state authorities of Massachusetts were forced to begin a relentless war upon it, by poisonous sprays and by fire. It was awful! Up to this date (1912) the New England states and the United States Government service have expended in fighting this pest about \$7,680,000!
The spread of this pest has been retarded, but the gypsy moth never will be wholly stamped out. Today it exists in Rhode Island, Connecticut, and New Hampshire, and it is due to reach New York at an early date. It is steadily spreading in three directions from Boston, its original point of departure, and when it strikes the State of New York, we, too, will begin to pay dearly for the Trouvelot experiment.
At the time the passage was written, in which of the following states was the gypsy moth NOT found?
Adapted from “Introduced Species That Have Become Pests” in Our Vanishing Wild Life, Its Extermination and Protection by William Temple Hornaday (1913)
The man who successfully transplants or "introduces" into a new habitat any persistent species of living thing assumes a very grave responsibility. Every introduced species is doubtful gravel until panned out. The enormous losses that have been inflicted upon the world through the perpetuation of follies with wild vertebrates and insects would, if added together, be enough to purchase a principality. The most aggravating feature of these follies in transplantation is that never yet have they been made severely punishable. We are just as careless and easygoing on this point as we were about the government of the Yellowstone Park in the days when Howell and other poachers destroyed our first national bison herd, and when caught red-handed—as Howell was, skinning seven Park bison cows—could not be punished for it, because there was no penalty prescribed by any law. Today, there is a way in which any revengeful person could inflict enormous damage on the entire South, at no cost to himself, involve those states in enormous losses and the expenditure of vast sums of money, yet go absolutely unpunished!
The gypsy moth is a case in point. This winged calamity was imported at Maiden, Massachusetts, near Boston, by a French entomologist, Mr. Leopold Trouvelot, in 1868 or 69. History records the fact that the man of science did not purposely set free the pest. He was endeavoring with live specimens to find a moth that would produce a cocoon of commercial value to America, and a sudden gust of wind blew out of his study, through an open window, his living and breeding specimens of the gypsy moth. The moth itself is not bad to look at, but its larvae is a great, overgrown brute with an appetite like a hog. Immediately Mr. Trouvelot sought to recover his specimens, and when he failed to find them all, like a man of real honor, he notified the State authorities of the accident. Every effort was made to recover all the specimens, but enough escaped to produce progeny that soon became a scourge to the trees of Massachusetts. The method of the big, nasty-looking mottled-brown caterpillar was very simple. It devoured the entire foliage of every tree that grew in its sphere of influence.
The gypsy moth spread with alarming rapidity and persistence. In course of time, the state authorities of Massachusetts were forced to begin a relentless war upon it, by poisonous sprays and by fire. It was awful! Up to this date (1912) the New England states and the United States Government service have expended in fighting this pest about \$7,680,000!
The spread of this pest has been retarded, but the gypsy moth never will be wholly stamped out. Today it exists in Rhode Island, Connecticut, and New Hampshire, and it is due to reach New York at an early date. It is steadily spreading in three directions from Boston, its original point of departure, and when it strikes the State of New York, we, too, will begin to pay dearly for the Trouvelot experiment.
At the time the passage was written, in which of the following states was the gypsy moth NOT found?
The part of the passage most relevant to this question is found in the last paragraph:
“The spread of this pest has been retarded, but the gypsy moth never will be wholly stamped out. Today it exists in Rhode Island, Connecticut, and New Hampshire, and it is due to reach New York at an early date.”
We can tell that “New York” is the answer based on this quotation, but one state remains unaccounted for: Massachusetts. Earlier in the passage, we are told that the gypsy moth “was imported at Maiden, Massachusetts, near Boston,” and that “enough escaped to produce progeny that soon became a scourge to the trees of Massachusetts.” We can infer that the gypsy moth is found in Massachusetts at the time the passage was written, especially given that the author writes, “In course of time, the state authorities of Massachusetts were forced to begin a relentless war upon it, by poisonous sprays and by fire. It was awful! Up to this date (1912) the New England states and the United States Government service have expended in fighting this pest about \$7,680,000!” This quotation—especially the author’s use of the transition “Up to this date”—suggests that the gypsy moth remained a problem in Massachusetts at the time the author was writing.
The part of the passage most relevant to this question is found in the last paragraph:
“The spread of this pest has been retarded, but the gypsy moth never will be wholly stamped out. Today it exists in Rhode Island, Connecticut, and New Hampshire, and it is due to reach New York at an early date.”
We can tell that “New York” is the answer based on this quotation, but one state remains unaccounted for: Massachusetts. Earlier in the passage, we are told that the gypsy moth “was imported at Maiden, Massachusetts, near Boston,” and that “enough escaped to produce progeny that soon became a scourge to the trees of Massachusetts.” We can infer that the gypsy moth is found in Massachusetts at the time the passage was written, especially given that the author writes, “In course of time, the state authorities of Massachusetts were forced to begin a relentless war upon it, by poisonous sprays and by fire. It was awful! Up to this date (1912) the New England states and the United States Government service have expended in fighting this pest about \$7,680,000!” This quotation—especially the author’s use of the transition “Up to this date”—suggests that the gypsy moth remained a problem in Massachusetts at the time the author was writing.
Compare your answer with the correct one above
Adapted from the Advertisement to Lyrical Ballads by William Wordsworth (1798)
It is the honorable characteristic of Poetry that its materials are to be found in every subject which can interest the human mind. The evidence of this fact is to be sought, not in the writings of Critics, but in those of Poets themselves.
The majority of the following poems are to be considered as experiments. They were written chiefly with a view to ascertain how far the language of conversation in the middle and lower classes of society is adapted to the purposes of poetic pleasure. Readers accustomed to the gaudiness and inane phraseology of many modern writers, if they persist in reading this book to its conclusion, will perhaps frequently have to struggle with feelings of strangeness and awkwardness: they will look round for poetry, and will be induced to enquire by what species of courtesy these attempts can be permitted to assume that title. It is desirable that such readers, for their own sakes, should not suffer the solitary word Poetry, a word of very disputed meaning, to stand in the way of their gratification; but that, while they are perusing this book, they should ask themselves if it contains a natural delineation of human passions, human characters, and human incidents; and if the answer be favorable to the author's wishes, that they should consent to be pleased in spite of that most dreadful enemy to our pleasures, our own pre-established codes of decision.
Readers of superior judgement may disapprove of the style in which many of these pieces are executed it must be expected that many lines and phrases will not exactly suit their taste. It will perhaps appear to them, that wishing to avoid the prevalent fault of the day, the author has sometimes descended too low, and that many of his expressions are too familiar, and not of sufficient dignity. It is apprehended, that the more conversant the reader is with our elder writers, and with those in modern times who have been the most successful in painting manners and passions, the fewer complaints of this kind will he have to make.
An accurate taste in poetry, and in all the other arts, Sir Joshua Reynolds has observed, is an acquired talent, which can only be produced by severe thought, and a long continued intercourse with the best models of composition. This is mentioned not with so ridiculous a purpose as to prevent the most inexperienced reader from judging for himself; but merely to temper the rashness of decision, and to suggest that if poetry be a subject on which much time has not been bestowed, the judgement may be erroneous, and that in many cases it necessarily will be so.
Which of the following statements about “the following poems” is supported by the passage?
Adapted from the Advertisement to Lyrical Ballads by William Wordsworth (1798)
It is the honorable characteristic of Poetry that its materials are to be found in every subject which can interest the human mind. The evidence of this fact is to be sought, not in the writings of Critics, but in those of Poets themselves.
The majority of the following poems are to be considered as experiments. They were written chiefly with a view to ascertain how far the language of conversation in the middle and lower classes of society is adapted to the purposes of poetic pleasure. Readers accustomed to the gaudiness and inane phraseology of many modern writers, if they persist in reading this book to its conclusion, will perhaps frequently have to struggle with feelings of strangeness and awkwardness: they will look round for poetry, and will be induced to enquire by what species of courtesy these attempts can be permitted to assume that title. It is desirable that such readers, for their own sakes, should not suffer the solitary word Poetry, a word of very disputed meaning, to stand in the way of their gratification; but that, while they are perusing this book, they should ask themselves if it contains a natural delineation of human passions, human characters, and human incidents; and if the answer be favorable to the author's wishes, that they should consent to be pleased in spite of that most dreadful enemy to our pleasures, our own pre-established codes of decision.
Readers of superior judgement may disapprove of the style in which many of these pieces are executed it must be expected that many lines and phrases will not exactly suit their taste. It will perhaps appear to them, that wishing to avoid the prevalent fault of the day, the author has sometimes descended too low, and that many of his expressions are too familiar, and not of sufficient dignity. It is apprehended, that the more conversant the reader is with our elder writers, and with those in modern times who have been the most successful in painting manners and passions, the fewer complaints of this kind will he have to make.
An accurate taste in poetry, and in all the other arts, Sir Joshua Reynolds has observed, is an acquired talent, which can only be produced by severe thought, and a long continued intercourse with the best models of composition. This is mentioned not with so ridiculous a purpose as to prevent the most inexperienced reader from judging for himself; but merely to temper the rashness of decision, and to suggest that if poetry be a subject on which much time has not been bestowed, the judgement may be erroneous, and that in many cases it necessarily will be so.
Which of the following statements about “the following poems” is supported by the passage?
When talking about the “following poems” in the second paragraph the author states that they are “to be considered as experiments” suggesting that they are untested or exploratory. The nature of the following poems is experimental.
When talking about the “following poems” in the second paragraph the author states that they are “to be considered as experiments” suggesting that they are untested or exploratory. The nature of the following poems is experimental.
Compare your answer with the correct one above