Making a prediction based on a passage - MCAT Critical Analysis and Reasoning Skills

Adapted from "Concerning Tobacco" in What is Man? And Other Essays by Mark Twain (1906)

As concerns tobacco, there are many superstitions. And the chiefest is this—that there is a standard governing the matter, whereas there is nothing of the kind. Each man's own preference is the only standard for him, the only one which he can accept, the only one which can command him. A congress of all the tobacco-lovers in the world could not elect a standard which would be binding upon you or me, or would even much influence us.

The next superstition is that a man has a standard of his own. He hasn't. He thinks he has, but he hasn't. He thinks he can tell what he regards as a good cigar from what he regards as a bad one—but he can't. He goes by the brand, yet imagines he goes by the flavor. One may palm off the worst counterfeit upon him; if it bears his brand he will smoke it contentedly and never suspect.

Children of twenty-five, who have seven years of experience, try to tell me what is a good cigar and what isn't. Me, who never learned to smoke; me, who came into the world asking for a light.

No one can tell me what is a good cigar—for me. I am the only judge. People who claim to know say that I smoke the worst cigars in the world. They bring their own cigars when they come to my house. They betray an unmanly terror when I offer them a cigar; they tell lies and hurry away to meet engagements which they have not made when they are threatened with the hospitalities of my box. Now then, observe what superstition, assisted by a man's reputation, can do. I was to have twelve personal friends to supper one night. One of them was as notorious for costly and elegant cigars as I was for cheap and devilish ones. I called at his house and when no one was looking borrowed a double handful of his very choicest; cigars which cost him forty cents apiece and bore red-and-gold labels in sign of their nobility. I removed the labels and put the cigars into a box with my favorite brand on it—a brand which those people all knew, and which cowed them as men are cowed by an epidemic. They took these cigars when offered at the end of the supper, and lit them and sternly struggled with them—in dreary silence, for hilarity died when the fell brand came into view and started around—but their fortitude held for a short time only; then they made excuses and filed out, treading on one another's heels with indecent eagerness; and in the morning when I went out to observe results the cigars lay all between the front door and the gate. All except one—that one lay in the plate of the man from whom I had cabbaged the lot. One or two whiffs was all he could stand. He told me afterward that some day I would get shot for giving people that kind of cigars to smoke.

Am I certain of my own standard? Perfectly; yes, absolutely—unless somebody fools me by putting my brand on some other kind of cigar; for no doubt I am like the rest, and know my cigar by the brand instead of by the flavor. However, my standard is a pretty wide one and covers a good deal of territory. To me, almost any cigar is good that nobody else will smoke, and to me almost all cigars are bad that other people consider good. Nearly any cigar will do me, except a Havana. People think they hurt my feelings when they come to my house with their life preservers on—I mean, with their own cigars in their pockets. It is an error; I take care of myself in a similar way. When I go into danger—that is, into rich people's houses, where, in the nature of things, they will have high-tariff cigars, red-and-gilt girded and nested in a rosewood box along with a damp sponge, cigars which develop a dismal black ash and burn down the side and smell, and will grow hot to the fingers, and will go on growing hotter and hotter, and go on smelling more and more infamously and unendurably the deeper the fire tunnels down inside below the thimbleful of honest tobacco that is in the front end, the furnisher of it praising it all the time and telling you how much the deadly thing cost—yes, when I go into that sort of peril I carry my own defense along; I carry my own brand—twenty-seven cents a barrel—and I live to see my family again. I may seem to light his red-gartered cigar, but that is only for courtesy's sake; I smuggle it into my pocket for the poor, of whom I know many, and light one of my own; and while he praises it I join in, but when he says it cost forty-five cents I say nothing, for I know better.

How would the author of this passage respond to people who claim to be able to tell a good wine from a bad one?

Adapted from "Concerning Tobacco" in What is Man? And Other Essays by Mark Twain (1906)

As concerns tobacco, there are many superstitions. And the chiefest is this—that there is a standard governing the matter, whereas there is nothing of the kind. Each man's own preference is the only standard for him, the only one which he can accept, the only one which can command him. A congress of all the tobacco-lovers in the world could not elect a standard which would be binding upon you or me, or would even much influence us.

The next superstition is that a man has a standard of his own. He hasn't. He thinks he has, but he hasn't. He thinks he can tell what he regards as a good cigar from what he regards as a bad one—but he can't. He goes by the brand, yet imagines he goes by the flavor. One may palm off the worst counterfeit upon him; if it bears his brand he will smoke it contentedly and never suspect.

Children of twenty-five, who have seven years of experience, try to tell me what is a good cigar and what isn't. Me, who never learned to smoke; me, who came into the world asking for a light.

No one can tell me what is a good cigar—for me. I am the only judge. People who claim to know say that I smoke the worst cigars in the world. They bring their own cigars when they come to my house. They betray an unmanly terror when I offer them a cigar; they tell lies and hurry away to meet engagements which they have not made when they are threatened with the hospitalities of my box. Now then, observe what superstition, assisted by a man's reputation, can do. I was to have twelve personal friends to supper one night. One of them was as notorious for costly and elegant cigars as I was for cheap and devilish ones. I called at his house and when no one was looking borrowed a double handful of his very choicest; cigars which cost him forty cents apiece and bore red-and-gold labels in sign of their nobility. I removed the labels and put the cigars into a box with my favorite brand on it—a brand which those people all knew, and which cowed them as men are cowed by an epidemic. They took these cigars when offered at the end of the supper, and lit them and sternly struggled with them—in dreary silence, for hilarity died when the fell brand came into view and started around—but their fortitude held for a short time only; then they made excuses and filed out, treading on one another's heels with indecent eagerness; and in the morning when I went out to observe results the cigars lay all between the front door and the gate. All except one—that one lay in the plate of the man from whom I had cabbaged the lot. One or two whiffs was all he could stand. He told me afterward that some day I would get shot for giving people that kind of cigars to smoke.

Am I certain of my own standard? Perfectly; yes, absolutely—unless somebody fools me by putting my brand on some other kind of cigar; for no doubt I am like the rest, and know my cigar by the brand instead of by the flavor. However, my standard is a pretty wide one and covers a good deal of territory. To me, almost any cigar is good that nobody else will smoke, and to me almost all cigars are bad that other people consider good. Nearly any cigar will do me, except a Havana. People think they hurt my feelings when they come to my house with their life preservers on—I mean, with their own cigars in their pockets. It is an error; I take care of myself in a similar way. When I go into danger—that is, into rich people's houses, where, in the nature of things, they will have high-tariff cigars, red-and-gilt girded and nested in a rosewood box along with a damp sponge, cigars which develop a dismal black ash and burn down the side and smell, and will grow hot to the fingers, and will go on growing hotter and hotter, and go on smelling more and more infamously and unendurably the deeper the fire tunnels down inside below the thimbleful of honest tobacco that is in the front end, the furnisher of it praising it all the time and telling you how much the deadly thing cost—yes, when I go into that sort of peril I carry my own defense along; I carry my own brand—twenty-seven cents a barrel—and I live to see my family again. I may seem to light his red-gartered cigar, but that is only for courtesy's sake; I smuggle it into my pocket for the poor, of whom I know many, and light one of my own; and while he praises it I join in, but when he says it cost forty-five cents I say nothing, for I know better.

It is likely that the author feels most comfortable in the company of                       .

Adapted from "Concerning Tobacco" in What is Man? And Other Essays by Mark Twain (1906)

As concerns tobacco, there are many superstitions. And the chiefest is this—that there is a standard governing the matter, whereas there is nothing of the kind. Each man's own preference is the only standard for him, the only one which he can accept, the only one which can command him. A congress of all the tobacco-lovers in the world could not elect a standard which would be binding upon you or me, or would even much influence us.

The next superstition is that a man has a standard of his own. He hasn't. He thinks he has, but he hasn't. He thinks he can tell what he regards as a good cigar from what he regards as a bad one—but he can't. He goes by the brand, yet imagines he goes by the flavor. One may palm off the worst counterfeit upon him; if it bears his brand he will smoke it contentedly and never suspect.

Children of twenty-five, who have seven years of experience, try to tell me what is a good cigar and what isn't. Me, who never learned to smoke; me, who came into the world asking for a light.

No one can tell me what is a good cigar—for me. I am the only judge. People who claim to know say that I smoke the worst cigars in the world. They bring their own cigars when they come to my house. They betray an unmanly terror when I offer them a cigar; they tell lies and hurry away to meet engagements which they have not made when they are threatened with the hospitalities of my box. Now then, observe what superstition, assisted by a man's reputation, can do. I was to have twelve personal friends to supper one night. One of them was as notorious for costly and elegant cigars as I was for cheap and devilish ones. I called at his house and when no one was looking borrowed a double handful of his very choicest; cigars which cost him forty cents apiece and bore red-and-gold labels in sign of their nobility. I removed the labels and put the cigars into a box with my favorite brand on it—a brand which those people all knew, and which cowed them as men are cowed by an epidemic. They took these cigars when offered at the end of the supper, and lit them and sternly struggled with them—in dreary silence, for hilarity died when the fell brand came into view and started around—but their fortitude held for a short time only; then they made excuses and filed out, treading on one another's heels with indecent eagerness; and in the morning when I went out to observe results the cigars lay all between the front door and the gate. All except one—that one lay in the plate of the man from whom I had cabbaged the lot. One or two whiffs was all he could stand. He told me afterward that some day I would get shot for giving people that kind of cigars to smoke.

Am I certain of my own standard? Perfectly; yes, absolutely—unless somebody fools me by putting my brand on some other kind of cigar; for no doubt I am like the rest, and know my cigar by the brand instead of by the flavor. However, my standard is a pretty wide one and covers a good deal of territory. To me, almost any cigar is good that nobody else will smoke, and to me almost all cigars are bad that other people consider good. Nearly any cigar will do me, except a Havana. People think they hurt my feelings when they come to my house with their life preservers on—I mean, with their own cigars in their pockets. It is an error; I take care of myself in a similar way. When I go into danger—that is, into rich people's houses, where, in the nature of things, they will have high-tariff cigars, red-and-gilt girded and nested in a rosewood box along with a damp sponge, cigars which develop a dismal black ash and burn down the side and smell, and will grow hot to the fingers, and will go on growing hotter and hotter, and go on smelling more and more infamously and unendurably the deeper the fire tunnels down inside below the thimbleful of honest tobacco that is in the front end, the furnisher of it praising it all the time and telling you how much the deadly thing cost—yes, when I go into that sort of peril I carry my own defense along; I carry my own brand—twenty-seven cents a barrel—and I live to see my family again. I may seem to light his red-gartered cigar, but that is only for courtesy's sake; I smuggle it into my pocket for the poor, of whom I know many, and light one of my own; and while he praises it I join in, but when he says it cost forty-five cents I say nothing, for I know better.

The author of this passage would most likely believe which of these answer choices to be the likeliest result of the proposal to remove branding and packaging from cigarette cartons in Great Britain?

Adapted from “Walt Whitman” in The Nebraska State Journal by Willa Cather (January 19, 1896)

Speaking of monuments reminds one that there is more talk about a monument to Walt Whitman, “the good, gray poet.” Just why the adjective good is always applied to Whitman it is difficult to discover, probably because people who could not understand him at all took it for granted that he meant well. If ever there was a poet who had no literary ethics at all beyond those of nature, it was he. He was neither good nor bad, any more than are the animals he continually admired and envied. He was a poet without an exclusive sense of the poetic, a man without the finer discriminations, enjoying everything with the unreasoning enthusiasm of a boy. He was the poet of the dung hill as well as of the mountains, which is admirable in theory but excruciating in verse. In the same paragraph he informs you that, “The pure contralto sings in the organ loft,” and that “The malformed limbs are tied to the table, what is removed drop horribly into a pail.” No branch of surgery is poetic, and that hopelessly prosaic word “pail” would kill a whole volume of sonnets. Whitman’s poems are reckless rhapsodies over creation in general, sometimes sublime, sometimes ridiculous. He declares that the ocean with its “imperious waves, commanding” is beautiful, and that the fly-specks on the walls are also beautiful. Such catholic taste may go in science, but in poetry their results are sad. The poet’s task is usually to select the poetic. Whitman never bothers to do that, he takes everything in the universe from fly-specks to the fixed stars. His Leaves of Grass is a sort of dictionary of the English language, and in it is the name of everything in creation set down with great reverence but without any particular connection.

But however ridiculous Whitman may be there is a primitive elemental force about him. He is so full of hardiness and of the joy of life. He looks at all nature in the delighted, admiring way in which the old Greeks and the primitive poets did. He exults so in the red blood in his body and the strength in his arms. He has such a passion for the warmth and dignity of all that is natural. He has no code but to be natural, a code that this complex world has so long outgrown. He is sensual, not after the manner of Swinburne and Gautier, who are always seeking for perverted and bizarre effects on the senses, but in the frank fashion of the old barbarians who ate and slept and married and smacked their lips over the mead horn. He is rigidly limited to the physical, things that quicken his pulses, please his eyes or delight his nostrils. There is an element of poetry in all this, but it is by no means the highest. If a joyous elephant should break forth into song, his lay would probably be very much like Whitman’s famous “Song of Myself.” It would have just about as much delicacy and deftness and discriminations. He says:

“I think I could turn and live with the animals. They are so placid and self-contained, I stand and look at them long and long. They do not sweat and whine about their condition. They do not lie awake in the dark and weep for their sins. They do not make me sick discussing their duty to God. Not one is dissatisfied nor not one is demented with the mania of many things. Not one kneels to another nor to his kind that lived thousands of years ago. Not one is respectable or unhappy, over the whole earth.” And that is not irony on nature, he means just that, life meant no more to him. He accepted the world just as it is and glorified it, the seemly and unseemly, the good and the bad. He had no conception of a difference in people or in things. All men had bodies and were alike to him, one about as good as another. To live was to fulfill all natural laws and impulses. To be comfortable was to be happy. To be happy was the ultimatum. He did not realize the existence of a conscience or a responsibility. He had no more thought of good or evil than the folks in Kipling’s Jungle Book.

And yet there is an undeniable charm about this optimistic vagabond who is made so happy by the warm sunshine and the smell of spring fields. A sort of good fellowship and whole-heartedness in every line he wrote. His veneration for things physical and material, for all that is in water or air or land, is so real that as you read him you think for the moment that you would rather like to live so if you could. For the time you half believe that a sound body and a strong arm are the greatest things in the world. Perhaps no book shows so much as Leaves of Grass that keen senses do not make a poet. When you read it you realize how spirited a thing poetry really is and how great a part spiritual perceptions play in apparently sensuous verse, if only to select the beautiful from the gross.

The author would most likely describe Whitman as                       .

Adapted from "The Memorable Assassination" in What is Man? And Other Essays by Mark Twain (1906)

The more one thinks of the assassination, the more imposing and tremendous the event becomes. The destruction of a city is a large event, but it is one which repeats itself several times in a thousand years; the destruction of a third part of a nation by plague and famine is a large event, but it has happened several times in history; the murder of a king is a large event, but it has been frequent.

The murder of an empress is the largest of all large events. One must go back about two thousand years to find an instance to put with this one. The oldest family of unchallenged descent in Christendom lives in Rome and traces its line back seventeen hundred years, but no member of it has been present in the earth when an empress was murdered, until now. Many a time during these seventeen centuries members of that family have been startled with the news of extraordinary events—the destruction of cities, the fall of thrones, the murder of kings, the wreck of dynasties, the extinction of religions, the birth of new systems of government; and their descendants have been by to hear of it and talk about it when all these things were repeated once, twice, or a dozen times—but to even that family has come news at last which is not staled by use, has no duplicates in the long reach of its memory.

It is an event which confers a curious distinction upon every individual now living in the world: he has stood alive and breathing in the presence of an event such as has not fallen within the experience of any traceable or untraceable ancestor of his for twenty centuries, and it is not likely to fall within the experience of any descendant of his for twenty more.

Time has made some great changes since the Roman days. The murder of an empress then—even the assassination of Caesar himself—could not electrify the world as this murder has electrified it. For one reason, there was then not much of a world to electrify; it was a small world, as to known bulk, and it had rather a thin population, besides; and for another reason, the news traveled so slowly that its tremendous initial thrill wasted away, week by week and month by month, on the journey, and by the time it reached the remoter regions there was but little of it left. It was no longer a fresh event, it was a thing of the far past; it was not properly news, it was history. But the world is enormous now, and prodigiously populated—that is one change; and another is the lightning swiftness of the flight of tidings, good and bad. "The Empress is murdered!" When those amazing words struck upon my ear in this Austrian village last Saturday, three hours after the disaster, I knew that it was already old news in London, Paris, Berlin, New York, San Francisco, Japan, China, Melbourne, Cape Town, Bombay, Madras, Calcutta, and that the entire globe with a single voice, was cursing the perpetrator of it. Since the telegraph first began to stretch itself wider and wider about the earth, larger and increasingly larger areas of the world have, as time went on, received simultaneously the shock of a great calamity; but this is the first time in history that the entire surface of the globe has been swept in a single instant with the thrill of so gigantic an event.

How do you think the author would respond to the spread of news in the modern era?

Adapted from "Hallam" in Volume 1 of Critical and Historical Essays by Thomas Babbington Macaulay (1828)

History, at least in its state of ideal perfection, is a compound of poetry and philosophy. It impresses general truths on the mind by a vivid representation of particular characters and incidents. But, in fact, the two hostile elements of which it consists have never been known to form a perfect amalgamation, and at length, in our own time, they have been completely and professedly separated. The problem seems only to be getting worse. Good histories, in the proper sense of the word, we have not. But we have good historical romances, and good historical essays. The imagination and the reason, if we may use a legal metaphor, have made partition of a province of literature of which they were formerly seized per my et per tout, and now they hold their respective portions in severalty, instead of holding the whole in common.

To make the past present, to bring the distant near, to place us in the society of a great man or on the eminence which overlooks the field of a mighty battle, to invest with the reality of human flesh and blood beings whom we are too much inclined to consider as personified qualities in an allegory, to call up our ancestors before us with all their peculiarities of language, manners, and garb, to show us over their houses, to seat us at their tables, to rummage their old-fashioned wardrobes, to explain the uses of their ponderous furniture, these parts of the duty which properly belongs to the historian have been appropriated by the historical novelist. On the other hand, to extract the philosophy of history, to direct on judgment of events and men, to trace the connection of cause and effects, and to draw from the occurrences of former time general lessons of moral and political wisdom has become the business of a distinct class of writers.

Of the two kinds of composition into which history has been thus divided, the one may be compared to a map, the other to a painted landscape. The picture, though it places the country before us, does not enable us to ascertain with accuracy the dimensions, the distances, and the angles. The map is not a work of imitative art. It presents no scene to the imagination, but it gives us exact information as to the bearings of the various points, and is a more useful companion to the traveller or the general than the painted landscape could be, though it were the grandest that ever Rosa peopled with outlaws, or the sweetest over which Claude ever poured the mellow effulgence of a setting sun.

It is remarkable that the practice of separating the two ingredients of which history is composed has become prevalent on the Continent as well as in this country. Italy has already produced a historical novel, of high merit and of still higher promise. In France, the practice has been carried to a length somewhat whimsical. M. Sismondi publishes a grave and stately history of the Merovingian kings, very valuable, and a little tedious. He then sends forth as a companion to it a novel, in which he attempts to give a lively representation of characters and manners. This course, as it seems to us, has all the disadvantages of a division of labour, and none of its advantages.

After reading a work of eloquent historical fiction, the author would most likely feel                       .

Adapted from “Federalist No.19” in The Federalist Papers by Alexander Hamilton and James Madison (1788)

Among the confederacies of antiquity, the most considerable was that of the Grecian republics, associated under the Amphictyonic council. From the best accounts transmitted of this celebrated institution, it bore a very instructive analogy to the present Confederation of the American States. The members retained the character of independent and sovereign states, and had equal votes in the federal council. This council had a general authority to propose and resolve whatever it judged necessary for the common welfare of Greece; to declare and carry on war; to decide, in the last resort, all controversies between the members; to fine the aggressing party; to employ the whole force of the confederacy against the disobedient; and to admit new members. The Amphictyons were the guardians of religion, and of the immense riches belonging to the temple of Delphos, where they had the right of jurisdiction in controversies between the inhabitants and those who came to consult the oracle. As a further provision for the efficacy of the federal powers, they took an oath mutually to defend and protect the united cities, to punish the violators of this oath, and to inflict vengeance on sacrilegious despoilers of the temple.

In theory, and upon paper, this apparatus of powers seems amply sufficient for all general purposes. In several material instances, they exceed the powers enumerated in the Articles of Confederation. The Amphictyons had in their hands the superstition of the times, one of the principal engines by which government was then maintained; they had a declared authority to use coercion against refractory cities, and were bound by oath to exert this authority on the necessary occasions.

Very different, nevertheless, was the experiment from the theory. The powers, like those of the present Congress, were administered by deputies appointed wholly by the cities in their political capacities, and exercised over them in the same capacities. Hence the weakness, the disorders, and finally the destruction of the confederacy. The more powerful members, instead of being kept in awe and subordination, tyrannized successively over all the rest. Athens, as we learn from Demosthenes, was the arbiter of Greece seventy-three years. The Lacedaemonians next governed it twenty-nine years; at a subsequent period, after the battle of Leuctra, the Thebans had their turn of domination. It happened but too often, according to Plutarch, that the deputies of the strongest cities awed and corrupted those of the weaker; and that judgment went in favor of the most powerful party. Even in the midst of defensive and dangerous wars with Persia and Macedon, the members never acted in concert, and were, more or fewer of them, eternally the dupes or the hirelings of the common enemy. The intervals of foreign war were filled up by domestic vicissitudes, convulsions, and carnage.

After the conclusion of the war with Xerxes, it appears that the Lacedaemonians required that a number of the cities should be turned out of the confederacy for the unfaithful part they had acted. The Athenians, finding that the Lacedaemonians would lose fewer partisans by such a measure than themselves, and would become masters of the public deliberations, vigorously opposed and defeated the attempt. This piece of history proves at once the inefficiency of the union, the ambition and jealousy of its most powerful members, and the dependent and degraded condition of the rest. The smaller members, though entitled by the theory of their system to revolve in equal pride and majesty around the common center, had become, in fact, satellites of the orbs of primary magnitude.

Had the Greeks, says the Abbe Milot, been as wise as they were courageous, they would have been admonished by experience of the necessity of a closer union, and would have availed themselves of the peace which followed their success against the Persian arms to establish such a reformation. Instead of this obvious policy, Athens and Sparta, inflated with the victories and the glory they had acquired, became first rivals and then enemies, and did each other infinitely more mischief than they had suffered from Xerxes. Their mutual jealousies, fears, hatreds, and injuries ended in the celebrated Peloponnesian war, which itself ended in the ruin and slavery of the Athenians who had begun it.

The author of this passage would have most likely considered the Civil War to be                       .

Adapted from “Edgar Allen Poe” in The Courier by Willa Cather (October 12, 1895)

The Shakespeare society of New York, which is really about the only useful literary organization in this country, is making vigorous efforts to redress an old wrong and atone for a long neglect. Sunday, Sept. 22, it held a meeting at the Poe cottage on Kingsbridge road near Fordham, for the purpose of starting an organized movement to buy back the cottage, restore it to its original condition, and preserve it as a memorial of Poe. So it has come at last. After helping build monuments to Shelley, Keats, and Carlyle, we have at last remembered this man, the greatest of our poets and the most unhappy. I am glad that this movement is in the hands of American actors, for it was among them that Poe found his best friends and warmest admirers. In some way he always seemed to belong to the strolling Thespians who were his mother’s people.

Among all the thousands of life’s little ironies that make history so diverting, there is none more paradoxical than that Edgar Poe should have been an American. Look at his face. Had we ever another like it? He must have been a strange figure in his youth, among those genial, courtly Virginians, this handsome, pale fellow, violent in his enthusiasm, ardent in his worship, but spiritually cold in his affections. Now playing heavily for the mere excitement of play; now worshipping at the shrine of a woman old enough to be his mother, merely because her voice was beautiful; now swimming six miles up the James river against a heavy current in the glaring sun of a June midday. He must have seemed to them an unreal figure, a sort of stage man who was wandering about the streets with his mask and buskins on, a theatrical figure who had escaped by some strange mischance into the prosaic daylight. His speech and actions were unconsciously and sincerely dramatic, always as though done for effect. He had that nervous, egotistic, self-centered nature common to stage children who seem to have been dazzled by the footlights and maddened by the applause before they are born. It was in his blood. With the exception of two women who loved him, lived for him, died for him, he went through life friendless, misunderstood, with that dense, complete, hopeless misunderstanding which, as Amiel said, is the secret of that sad smile upon the lips of the great. Men tried to befriend him, but in some way or other he hurt and disappointed them. He tried to mingle and share with other men, but he was always shut from them by that shadow, light as gossamer but unyielding as adamant, by which, from the beginning of the world, art has shielded and guarded and protected her own, that God-concealing mist in which the heroes of old were hidden, immersed in that gloom and solitude which, if we could but know it here, is but the shadow of God’s hand as it falls upon his elect.

We lament our dearth of great prose. With the exception of Henry James and Hawthorne, Poe is our only master of pure prose. We lament our dearth of poets. With the exception of Lowell, Poe is our only great poet. Poe found short story writing a bungling makeshift. He left it a perfect art. He wrote the first perfect short stories in the English language. He first gave the short story purpose, method, and artistic form. In a careless reading one cannot realize the wonderful literary art, the cunning devices, the masterly effects that those entrancing tales conceal. They are simple and direct enough to delight us when we are children, subtle and artistic enough to be our marvel when we are old. To this day they are the wonder and admiration of the French, who are the acknowledged masters of craft and form. How in his wandering, laborious life, bound to the hack work of the press and crushed by an ever-growing burden of want and debt, did he ever come upon all this deep and mystical lore, this knowledge of all history, of all languages, of all art, this penetration into the hidden things of the East? As Steadman says, “The self-training of genius is always a marvel.” The past is spread before us all and most of us spend our lives in learning those things which we do not need to know, but genius reaches out instinctively and takes only the vital detail, by some sort of spiritual gravitation goes directly to the right thing.

With which of these statements about Poe would the author be least likely to agree?

Adapted from “Edgar Allen Poe” in The Courier by Willa Cather (October 12, 1895)

The Shakespeare society of New York, which is really about the only useful literary organization in this country, is making vigorous efforts to redress an old wrong and atone for a long neglect. Sunday, Sept. 22, it held a meeting at the Poe cottage on Kingsbridge road near Fordham, for the purpose of starting an organized movement to buy back the cottage, restore it to its original condition, and preserve it as a memorial of Poe. So it has come at last. After helping build monuments to Shelley, Keats, and Carlyle, we have at last remembered this man, the greatest of our poets and the most unhappy. I am glad that this movement is in the hands of American actors, for it was among them that Poe found his best friends and warmest admirers. In some way he always seemed to belong to the strolling Thespians who were his mother’s people.

Among all the thousands of life’s little ironies that make history so diverting, there is none more paradoxical than that Edgar Poe should have been an American. Look at his face. Had we ever another like it? He must have been a strange figure in his youth, among those genial, courtly Virginians, this handsome, pale fellow, violent in his enthusiasm, ardent in his worship, but spiritually cold in his affections. Now playing heavily for the mere excitement of play; now worshipping at the shrine of a woman old enough to be his mother, merely because her voice was beautiful; now swimming six miles up the James river against a heavy current in the glaring sun of a June midday. He must have seemed to them an unreal figure, a sort of stage man who was wandering about the streets with his mask and buskins on, a theatrical figure who had escaped by some strange mischance into the prosaic daylight. His speech and actions were unconsciously and sincerely dramatic, always as though done for effect. He had that nervous, egotistic, self-centered nature common to stage children who seem to have been dazzled by the footlights and maddened by the applause before they are born. It was in his blood. With the exception of two women who loved him, lived for him, died for him, he went through life friendless, misunderstood, with that dense, complete, hopeless misunderstanding which, as Amiel said, is the secret of that sad smile upon the lips of the great. Men tried to befriend him, but in some way or other he hurt and disappointed them. He tried to mingle and share with other men, but he was always shut from them by that shadow, light as gossamer but unyielding as adamant, by which, from the beginning of the world, art has shielded and guarded and protected her own, that God-concealing mist in which the heroes of old were hidden, immersed in that gloom and solitude which, if we could but know it here, is but the shadow of God’s hand as it falls upon his elect.

We lament our dearth of great prose. With the exception of Henry James and Hawthorne, Poe is our only master of pure prose. We lament our dearth of poets. With the exception of Lowell, Poe is our only great poet. Poe found short story writing a bungling makeshift. He left it a perfect art. He wrote the first perfect short stories in the English language. He first gave the short story purpose, method, and artistic form. In a careless reading one cannot realize the wonderful literary art, the cunning devices, the masterly effects that those entrancing tales conceal. They are simple and direct enough to delight us when we are children, subtle and artistic enough to be our marvel when we are old. To this day they are the wonder and admiration of the French, who are the acknowledged masters of craft and form. How in his wandering, laborious life, bound to the hack work of the press and crushed by an ever-growing burden of want and debt, did he ever come upon all this deep and mystical lore, this knowledge of all history, of all languages, of all art, this penetration into the hidden things of the East? As Steadman says, “The self-training of genius is always a marvel.” The past is spread before us all and most of us spend our lives in learning those things which we do not need to know, but genius reaches out instinctively and takes only the vital detail, by some sort of spiritual gravitation goes directly to the right thing.

A follow-up article to the passage is published by the same author. Which of the following pieces of information would most likely be found in the follow-up article?

Adapted from “The Memorable Assassination” in What is Man? And Other Essays by Mark Twain (1906)

One of the commonest forms of madness is the desire to be noticed, the pleasure derived from being noticed. Perhaps it is not merely common, but universal. In its mildest form it doubtless is universal. Every child is pleased at being noticed; many intolerable children put in their whole time in distressing and idiotic effort to attract the attention of visitors; boys are always "showing off"; apparently all men and women are glad and grateful when they find that they have done a thing which has lifted them for a moment out of obscurity and caused wondering talk. This common madness can develop, by nurture, into a hunger for notoriety in one, for fame in another. It is this madness for being noticed and talked about which has invented kingship and the thousand other dignities, and tricked them out with pretty and showy fineries; it has made kings pick one another's pockets, scramble for one another's crowns and estates, slaughter one another's subjects; it has raised up prize-fighters, and poets, and village mayors, and little and big politicians, and big and little charity-founders, and bicycle champions, and banditti chiefs, and frontier desperadoes, and Napoleons. Anything to get notoriety; anything to set the village, or the township, or the city, or the state, or the nation, or the planet shouting, "Look—there he goes—that is the man!" And in five minutes' time, at no cost of brain, or labor, or genius this mangy Italian tramp has beaten them all, transcended them all, outstripped them all, for in time their names will perish, but by the friendly help of the insane newspapers and courts and kings and historians, his is safe to live and thunder in the world all down the ages as long as human speech shall endure! Oh, if it were not so tragic, how ludicrous it would be!

She was so blameless, the Empress; and so beautiful, in mind and heart, in person and spirit; and whether with a crown upon her head or without it and nameless, a grace to the human race, and almost a justification of its creation; would be, indeed, but that the animal that struck her down reestablishes the doubt.

In her character was every quality that in woman invites and engages respect, esteem, affection, and homage. Her tastes, her instincts, and her aspirations were all high and fine and all her life her heart and brain were busy with activities of a noble sort. She had had bitter griefs, but they did not sour her spirit, and she had had the highest honors in the world's gift, but she went her simple way unspoiled. She knew all ranks, and won them all, and made them her friends. An English fisherman's wife said, "When a body was in trouble she didn't send her help; she brought it herself." Crowns have adorned others, but she adorned her crowns.

It was a swift celebrity the assassin achieved. And it is marked by some curious contrasts. At noon last Saturday there was no one in the world who would have considered acquaintanceship with him a thing worth claiming or mentioning; no one would have been vain of such an acquaintanceship. The humblest honest boot-black would not have valued the fact that he had met him or seen him at some time or other; he was sunk in abysmal obscurity, he was away beneath the notice of the bottom grades of officialdom. Three hours later he was the one subject of conversation in the world, the gilded generals and admirals and governors were discussing him, all the kings and queens and emperors had put aside their other interests to talk about him. And wherever there was a man, at the summit of the world or the bottom of it, who by chance had at some time or other come across that creature, he remembered it with a secret satisfaction, and mentioned it—for it was a distinction, now! It brings human dignity pretty low, and for a moment the thing is not quite realizable—but it is perfectly true. If there is a king who can remember, now, that he once saw that creature in a time past, he has let that fact out, in a more or less studiously casual and indifferent way, some dozens of times during the past week. For a king is merely human; the inside of him is exactly like the inside of any other person, and it is human to find satisfaction in being in a kind of personal way connected with amazing events. We are all privately vain of such a thing. We are all alike; a king is a king by accident. The reason the rest of us are not kings is merely due to another accident. We are all made out of the same clay, and it is a sufficiently poor quality.

With which of these statements would the author of this passage most likely disagree?

Adapted from “The Memorable Assassination” in What is Man? And Other Essays by Mark Twain (1906)

One of the commonest forms of madness is the desire to be noticed, the pleasure derived from being noticed. Perhaps it is not merely common, but universal. In its mildest form it doubtless is universal. Every child is pleased at being noticed; many intolerable children put in their whole time in distressing and idiotic effort to attract the attention of visitors; boys are always "showing off"; apparently all men and women are glad and grateful when they find that they have done a thing which has lifted them for a moment out of obscurity and caused wondering talk. This common madness can develop, by nurture, into a hunger for notoriety in one, for fame in another. It is this madness for being noticed and talked about which has invented kingship and the thousand other dignities, and tricked them out with pretty and showy fineries; it has made kings pick one another's pockets, scramble for one another's crowns and estates, slaughter one another's subjects; it has raised up prize-fighters, and poets, and village mayors, and little and big politicians, and big and little charity-founders, and bicycle champions, and banditti chiefs, and frontier desperadoes, and Napoleons. Anything to get notoriety; anything to set the village, or the township, or the city, or the state, or the nation, or the planet shouting, "Look—there he goes—that is the man!" And in five minutes' time, at no cost of brain, or labor, or genius this mangy Italian tramp has beaten them all, transcended them all, outstripped them all, for in time their names will perish, but by the friendly help of the insane newspapers and courts and kings and historians, his is safe to live and thunder in the world all down the ages as long as human speech shall endure! Oh, if it were not so tragic, how ludicrous it would be!

She was so blameless, the Empress; and so beautiful, in mind and heart, in person and spirit; and whether with a crown upon her head or without it and nameless, a grace to the human race, and almost a justification of its creation; would be, indeed, but that the animal that struck her down reestablishes the doubt.

In her character was every quality that in woman invites and engages respect, esteem, affection, and homage. Her tastes, her instincts, and her aspirations were all high and fine and all her life her heart and brain were busy with activities of a noble sort. She had had bitter griefs, but they did not sour her spirit, and she had had the highest honors in the world's gift, but she went her simple way unspoiled. She knew all ranks, and won them all, and made them her friends. An English fisherman's wife said, "When a body was in trouble she didn't send her help; she brought it herself." Crowns have adorned others, but she adorned her crowns.

It was a swift celebrity the assassin achieved. And it is marked by some curious contrasts. At noon last Saturday there was no one in the world who would have considered acquaintanceship with him a thing worth claiming or mentioning; no one would have been vain of such an acquaintanceship. The humblest honest boot-black would not have valued the fact that he had met him or seen him at some time or other; he was sunk in abysmal obscurity, he was away beneath the notice of the bottom grades of officialdom. Three hours later he was the one subject of conversation in the world, the gilded generals and admirals and governors were discussing him, all the kings and queens and emperors had put aside their other interests to talk about him. And wherever there was a man, at the summit of the world or the bottom of it, who by chance had at some time or other come across that creature, he remembered it with a secret satisfaction, and mentioned it—for it was a distinction, now! It brings human dignity pretty low, and for a moment the thing is not quite realizable—but it is perfectly true. If there is a king who can remember, now, that he once saw that creature in a time past, he has let that fact out, in a more or less studiously casual and indifferent way, some dozens of times during the past week. For a king is merely human; the inside of him is exactly like the inside of any other person, and it is human to find satisfaction in being in a kind of personal way connected with amazing events. We are all privately vain of such a thing. We are all alike; a king is a king by accident. The reason the rest of us are not kings is merely due to another accident. We are all made out of the same clay, and it is a sufficiently poor quality.

The author of this passage would be most surprised to learn that                       .

Adapted from "Harold Frederic" in The Pittsburgh Leader by Willa Cather (June 10, 1899)

It is very fitting that Mr. Frederic’s last book should be in praise of action, the thing that makes the world go round; of force, however misspent, which is the sum of life as distinguished from the inertia of death. In the forty-odd years of his life he wrote almost as many pages as Balzac, most of it mere newspaper copy, it is true, read and forgotten, but all of it vigorous and with the stamp of a strong man upon it. And he played just as hard as he worked—alas, it was the play that killed him! The young artist who illustrated the story gave to the pictures of “Joel Thorpe” very much the look of Harold Frederic himself, and they might almost stand for his portraits. I fancy the young man did not select his model carelessly. In this big, burly adventurer who took fortune and women by storm, who bluffed the world by his prowess and fought his way to the front with battle-ax blows, there is a great deal of Harold Frederic, the soldier of fortune, the Utica milk boy who fought his way from the petty slavery of a provincial newspaper to the foremost ranks of the journalists of the world and on into literature, into literature worth the writing. The man won his place in England much as his hero won his, by defiance, by strong shoulder blows, by his self-sufficiency and inexhaustible strength, and when he finished his book he did not know that his end would be so much less glorious than his hero’s, that it would be his portion not to fall manfully in the thick of the combat and the press of battle, but to die poisoned in the tent of Chryseis. For who could foresee a tragedy so needless, so blind, so brutal in its lack of dignity, or know that such strength could perish through such insidious weakness, that so great a man could be stung to death by a mania born in little minds?

In point of execution and literary excellence, both The Market Place and Gloria Mundi are vastly inferior to The Damnation of Theron Ware or that exquisite London idyl, March Hares. The first two hundred pages of Theron Ware are as good as anything in American fiction, much better than most of it. They are not so much the work of a literary artist as of a vigorous thinker, a man of strong opinions and an intimate and comprehensive knowledge of men. The whole work, despite its irregularities and indifference to form, is full of brain stuff, the kind of active, healthful, masterful intellect that some men put into politics, some into science and a few, a very few, into literature. Both Gloria Mundi and The Market Place bear unmistakable evidences of the slack rein and the hasty hand. Both of them contain considerable padding, the stamp of the space writer. They are imperfectly developed, and are not packed with ideas like his earlier novels. Their excellence is in flashes; it is not the searching, evenly distributed light which permeates his more careful work. There were, as we know too well, good reasons why Mr. Frederic should work hastily. He needed a large income and he worked heroically, writing many thousands of words a day to obtain it. From the experience of the ages we have learned to expect to find, coupled with great strength, a proportionate weakness, and usually it devours the greater part, as the seven lean kine devoured the seven fat in Pharaoh’s vision. Achilles was a god in all his nobler parts, but his feet were of the earth and to the earth they held him down, and he died stung by an arrow in the heel.

How do you think the author of this passage would respond to an offer to work for a small newspaper company?

Adapted from What is Man? And Other Essays by Mark Twain (1906)

It is a good many years since I was in Switzerland last. In that remote time there was only one ladder railway in the country. That state of things is all changed. There isn't a mountain in Switzerland now that hasn't a ladder railroad or two up its back like suspenders; indeed, some mountains are latticed with them, and two years hence all will be. In that day the peasant of the high altitudes will have to carry a lantern when he goes visiting in the night to keep from stumbling over railroads that have been built since his last round. And also in that day, if there shall remain a high-altitude peasant whose potato-patch hasn't a railroad through it, it will make him as conspicuous as William Tell.

However, there are only two best ways to travel through Switzerland. The first best is afoot. The second best is by open two-horse carriage. One can come from Lucerne to Interlaken over the Brunig by ladder railroad in an hour or so now, but you can glide smoothly in a carriage in ten, and have two hours for luncheon at noon—for luncheon, not for rest. There is no fatigue connected with the trip. One arrives fresh in spirit and in person in the evening—no fret in his heart, no grime on his face, no grit in his hair, not a cinder in his eye. This is the right condition of mind and body, the right and due preparation for the solemn event which closed the day—stepping with metaphorically uncovered head into the presence of the most impressive mountain mass that the globe can show—the Jungfrau. The stranger's first feeling, when suddenly confronted by that towering and awful apparition wrapped in its shroud of snow, is breath-taking astonishment. It is as if heaven's gates had swung open and exposed the throne.

It is peaceful here and pleasant at Interlaken. Nothing going on—at least nothing but brilliant life-giving sunshine. This is a good atmosphere to be in, morally as well as physically. After trying the political atmosphere of the neighboring monarchies, it is healing and refreshing to breathe in air that has known no taint of slavery for six hundred years, and to come among a people whose political history is great and fine, and worthy to be taught in all schools and studied by all races and peoples. For the struggle here throughout the centuries has not been in the interest of any private family, or any church, but in the interest of the whole body of the nation, and for shelter and protection of all forms of belief. This fact is colossal. If one would realize how colossal it is, and of what dignity and majesty, let him contrast it with the purposes and objects of the Crusades, the siege of York, the War of the Roses, and other historic comedies of that sort and size.

Last week I was beating around the Lake of Four Cantons, and I saw Rutli and Altorf. Rutli is a remote little patch of a meadow, but I do not know how any piece of ground could be holier or better worth crossing oceans and continents to see, since it was there that the great trinity of Switzerland joined hands six centuries ago and swore the oath which set their enslaved and insulted country forever free; and Altorf is also honorable ground and worshipful, since it was there that William, surnamed Tell (which interpreted means "The foolish talker"—that is to say, the too-daring talker), refused to bow to Gessler's hat. Of late years the prying student of history has been delighting himself beyond measure over a wonderful find which he has made—to wit, that Tell did not shoot the apple from his son's head. To hear the students jubilate, one would suppose that the question of whether Tell shot the apple or didn't was an important matter, whereas it ranks in importance exactly with the question of whether Washington chopped down the cherry-tree or didn't. The deeds of Washington, the patriot, are the essential thing; the cherry-tree incident is of no consequence. Tell was more and better than a mere marksman, more and better than a mere cool head; he was a type; he stands for Swiss patriotism; in his person was represented a whole people; his spirit was their spirit—the spirit which would bow to none but God, the spirit which said this in words and confirmed it with deeds. There have always been Tells in Switzerland—people who would not bow. There was a sufficiency of them at Rutli; there were plenty of them at Murten; plenty at Grandson; there are plenty today.

How would the author of this passage most likely respond to an article arguing in support of a religious conflict like the Counter Reformation?

Adapted from “Federalist No. 14” by Alexander Hamilton in The Federalist Papers (1788) by Alexander Hamilton, James Madison, and John Jay (1788)

If the states are united under one government, there will be but one national civil list to support; if they are divided into several confederacies, there will be as many different national civil lists to be provided for—and each of them, as to the principal departments, coextensive with that which would be necessary for a government of the whole. The entire separation of the States into thirteen unconnected sovereignties is a project too extravagant and too replete with danger to have many advocates. The ideas of men who speculate upon the dismemberment of the empire seem generally turned toward three confederacies—one consisting of the four Northern, another of the four Middle, and a third of the five Southern States. According to this distribution, each confederacy would comprise an extent of territory larger than that of the kingdom of Great Britain. No well-informed man will suppose that the affairs of such a confederacy can be properly regulated by a government less comprehensive in its organs or institutions than that which has been proposed by the convention. When the dimensions of a State attain to a certain magnitude, it requires the same energy of government and the same forms of administration which are requisite in one of much greater extent. This idea admits not of precise demonstration, because there is no rule by which we can measure the momentum of civil power necessary to the government of any given number of individuals; but when we consider that the island of Britain, nearly commensurate with each of the supposed confederacies, contains about eight millions of people, and when we reflect upon the degree of authority required to direct the passions of so large a society to the public good, we shall see no reason to doubt that the like portion of power would be sufficient to perform the same task in a society far more numerous.

The supposition that each confederacy into which the states would be likely to be divided would require a government not less comprehensive than the one proposed will be strengthened by another supposition**,** more probable than that which presents us with three confederacies as the alternative to a general Union. If we attend carefully to geographical and commercial considerations, in conjunction with the habits and prejudices of the different States, we shall be led to conclude that in case of disunion they will most naturally league themselves under two governments. The four Eastern states, from all the causes that form the links of national sympathy and connection, may with certainty be expected to unite. New York, situated as she is, would never be unwise enough to oppose a feeble and unsupported flank to the weight of that confederacy. New Jersey is too small a state to think of being a frontier, in opposition to this still more powerful combination. Even Pennsylvania would have strong inducements to join the Northern league. An active foreign commerce, on the basis of her own navigation, is her true policy, and coincides with the opinions and dispositions of her citizens**.** The more Southern States, from various circumstances, may not think themselves much interested in the encouragement of navigation. They may prefer a system which would give unlimited scope to all nations to be the carriers as well as the purchasers of their commodities. Pennsylvania may not choose to confound her interests in a connection so adverse to her policy. As she must at all events be a frontier, she may deem it most consistent with her safety to have her exposed side turned towards the weaker power of the Southern, rather than towards the stronger power of the Northern, Confederacy. This would give her the fairest chance to avoid being the Flanders of America. Whatever may be the determination of Pennsylvania, if the Northern Confederacy includes New Jersey, there is no likelihood of more than one confederacy to the south of that State.

Nothing can be more evident than that the thirteen States will be able to support a national government better than one half, or one third, or any number less than the whole. This reflection must have great weight in obviating that objection to the proposed plan, which is founded on the principle of expense; an objection, however, which, when we come to take a nearer view of it, will appear in every light to stand on mistaken ground. If we take into view the number of persons who must necessarily be employed to guard the inland communication between the different confederacies against illicit trade, and if we also take into view the military establishments which it has been shown would unavoidably result from the jealousies and conflicts of the several nations into which the states would be divided, we shall clearly discover that a separation would be not less detrimental to the economy, than to the tranquillity, commerce, revenue, and liberty of every part.

The author of this passage would most likely view the breakdown of the European Union as                       .

Adapted from “Federalist No. 14” by Alexander Hamilton in The Federalist Papers (1788) by Alexander Hamilton, James Madison, and John Jay (1788)

If the states are united under one government, there will be but one national civil list to support; if they are divided into several confederacies, there will be as many different national civil lists to be provided for—and each of them, as to the principal departments, coextensive with that which would be necessary for a government of the whole. The entire separation of the States into thirteen unconnected sovereignties is a project too extravagant and too replete with danger to have many advocates. The ideas of men who speculate upon the dismemberment of the empire seem generally turned toward three confederacies—one consisting of the four Northern, another of the four Middle, and a third of the five Southern States. According to this distribution, each confederacy would comprise an extent of territory larger than that of the kingdom of Great Britain. No well-informed man will suppose that the affairs of such a confederacy can be properly regulated by a government less comprehensive in its organs or institutions than that which has been proposed by the convention. When the dimensions of a State attain to a certain magnitude, it requires the same energy of government and the same forms of administration which are requisite in one of much greater extent. This idea admits not of precise demonstration, because there is no rule by which we can measure the momentum of civil power necessary to the government of any given number of individuals; but when we consider that the island of Britain, nearly commensurate with each of the supposed confederacies, contains about eight millions of people, and when we reflect upon the degree of authority required to direct the passions of so large a society to the public good, we shall see no reason to doubt that the like portion of power would be sufficient to perform the same task in a society far more numerous.

The supposition that each confederacy into which the states would be likely to be divided would require a government not less comprehensive than the one proposed will be strengthened by another supposition**,** more probable than that which presents us with three confederacies as the alternative to a general Union. If we attend carefully to geographical and commercial considerations, in conjunction with the habits and prejudices of the different States, we shall be led to conclude that in case of disunion they will most naturally league themselves under two governments. The four Eastern states, from all the causes that form the links of national sympathy and connection, may with certainty be expected to unite. New York, situated as she is, would never be unwise enough to oppose a feeble and unsupported flank to the weight of that confederacy. New Jersey is too small a state to think of being a frontier, in opposition to this still more powerful combination. Even Pennsylvania would have strong inducements to join the Northern league. An active foreign commerce, on the basis of her own navigation, is her true policy, and coincides with the opinions and dispositions of her citizens**.** The more Southern States, from various circumstances, may not think themselves much interested in the encouragement of navigation. They may prefer a system which would give unlimited scope to all nations to be the carriers as well as the purchasers of their commodities. Pennsylvania may not choose to confound her interests in a connection so adverse to her policy. As she must at all events be a frontier, she may deem it most consistent with her safety to have her exposed side turned towards the weaker power of the Southern, rather than towards the stronger power of the Northern, Confederacy. This would give her the fairest chance to avoid being the Flanders of America. Whatever may be the determination of Pennsylvania, if the Northern Confederacy includes New Jersey, there is no likelihood of more than one confederacy to the south of that State.

Nothing can be more evident than that the thirteen States will be able to support a national government better than one half, or one third, or any number less than the whole. This reflection must have great weight in obviating that objection to the proposed plan, which is founded on the principle of expense; an objection, however, which, when we come to take a nearer view of it, will appear in every light to stand on mistaken ground. If we take into view the number of persons who must necessarily be employed to guard the inland communication between the different confederacies against illicit trade, and if we also take into view the military establishments which it has been shown would unavoidably result from the jealousies and conflicts of the several nations into which the states would be divided, we shall clearly discover that a separation would be not less detrimental to the economy, than to the tranquillity, commerce, revenue, and liberty of every part.

How would the author of this passage most likely vote if he lived in Scotland when it held its referendum on independence?

Adapted from “On the Art of Fiction” in The Borzoi by Willa Cather (1920)

One is sometimes asked about the “obstacles” that confront young writers who are trying to do good work. I should say the greatest obstacles that writers today have to get over are the dazzling journalistic successes of twenty years ago, stories that surprised and delighted by their sharp photographic detail and that were really nothing more than lively pieces of reporting. The whole aim of that school of writing was novelty—never a very important thing in art. They gave us, altogether, poor standards—taught us to multiply our ideas instead of to condense them. They tried to make a story out of every theme that occurred to them and to get returns on every situation that suggested itself. They got returns, of a kind. But their work, when one looks back on it, now that the novelty upon which they counted so much is gone, is journalistic and thin. The especial merit of a good reportorial story is that it shall be intensely interesting and pertinent today and shall have lost its point by tomorrow.

Art, it seems to me, should simplify. That, indeed, is very nearly the whole of the higher artistic process; finding what conventions of form and what detail one can do without and yet preserve the spirit of the whole—so that all that one has suppressed and cut away is there to the reader’s consciousness as much as if it were in type on the page. Millet had done hundreds of sketches of peasants sowing grain, some of them very complicated and interesting, but when he came to paint the spirit of them all into one picture, The Sower, the composition is so simple that it seems inevitable. All the discarded sketches that went before made the picture what it finally became, and the process was all the time one of simplifying, of sacrificing many conceptions good in themselves for one that was better and more universal.

Any first rate novel or story must have in it the strength of a dozen fairly good stories that have been sacrificed to it. A good workman can’t be a cheap workman; he can’t be stingy about wasting material, and he cannot compromise. Writing ought either to be the manufacture of stories for which there is a market demand—a business as safe and commendable as making soap or breakfast foods—or it should be an art, which is always a search for something for which there is no market demand, something new and untried, where the values are intrinsic and have nothing to do with standardized values. The courage to go on without compromise does not come to a writer all at once—nor, for that matter, does the ability. Both are phases of natural development. In the beginning the artist, like his public, is wedded to old forms, old ideals, and his vision is blurred by the memory of old delights he would like to recapture.

A follow-up article is published by the same author. Which of the following is most likely to be the focus of the follow-up article?

Adapted from “On the Art of Fiction” in The Borzoi by Willa Cather (1920)

One is sometimes asked about the “obstacles” that confront young writers who are trying to do good work. I should say the greatest obstacles that writers today have to get over are the dazzling journalistic successes of twenty years ago, stories that surprised and delighted by their sharp photographic detail and that were really nothing more than lively pieces of reporting. The whole aim of that school of writing was novelty—never a very important thing in art. They gave us, altogether, poor standards—taught us to multiply our ideas instead of to condense them. They tried to make a story out of every theme that occurred to them and to get returns on every situation that suggested itself. They got returns, of a kind. But their work, when one looks back on it, now that the novelty upon which they counted so much is gone, is journalistic and thin. The especial merit of a good reportorial story is that it shall be intensely interesting and pertinent today and shall have lost its point by tomorrow.

Art, it seems to me, should simplify. That, indeed, is very nearly the whole of the higher artistic process; finding what conventions of form and what detail one can do without and yet preserve the spirit of the whole—so that all that one has suppressed and cut away is there to the reader’s consciousness as much as if it were in type on the page. Millet had done hundreds of sketches of peasants sowing grain, some of them very complicated and interesting, but when he came to paint the spirit of them all into one picture, The Sower, the composition is so simple that it seems inevitable. All the discarded sketches that went before made the picture what it finally became, and the process was all the time one of simplifying, of sacrificing many conceptions good in themselves for one that was better and more universal.

Any first rate novel or story must have in it the strength of a dozen fairly good stories that have been sacrificed to it. A good workman can’t be a cheap workman; he can’t be stingy about wasting material, and he cannot compromise. Writing ought either to be the manufacture of stories for which there is a market demand—a business as safe and commendable as making soap or breakfast foods—or it should be an art, which is always a search for something for which there is no market demand, something new and untried, where the values are intrinsic and have nothing to do with standardized values. The courage to go on without compromise does not come to a writer all at once—nor, for that matter, does the ability. Both are phases of natural development. In the beginning the artist, like his public, is wedded to old forms, old ideals, and his vision is blurred by the memory of old delights he would like to recapture.

The author would likely view the 24/7 media coverage of the twenty-first century as                       .

Adapted from “William Dean Howells” in What is Man? And Other Essays by Mark Twain (1906)

Is it true that the sun of a man's mentality touches noon at forty and then begins to wane toward setting? Doctor Osler is charged with saying so. Maybe he said it, maybe he didn't; I don't know which it is. But if he said it, I can point him to a case which proves his rule. Proves it by being an exception to it. To this place I nominate Mr. Howells.

I read his Venetian Days about forty years ago. I compare it with his paper on Machiavelli in a late number of Harper, and I cannot find that his English has suffered any impairment. For forty years his English has been to me a continual delight and astonishment. In the sustained exhibition of certain great qualities—clearness, compression, verbal exactness, and unforced and seemingly unconscious felicity of phrasing—he is, in my belief, without his peer in the English-writing world. Sustained. I entrench myself behind that protecting word. There are others who exhibit those great qualities as greatly as he does, but only by intervaled distributions of rich moonlight, with stretches of veiled and dimmer landscape between, whereas Howells's moon sails cloudless skies all night and all the nights.

In the matter of verbal exactness Mr. Howells has no superior, I suppose. He seems to be almost always able to find that elusive and shifty grain of gold, the right word. Others have to put up with approximations, more or less frequently; he has better luck. To me, the others are miners working with the gold-pan—of necessity some of the gold washes over and escapes; whereas, in my fancy, he is quicksilver raiding down a riffle—no grain of the metal stands much chance of eluding him. A powerful agent is the right word: it lights the reader's way and makes it plain; a close approximation to it will answer, and much traveling is done in a well-enough fashion by its help, but we do not welcome it and applaud it and rejoice in it as we do when the right one blazes out on us. Whenever we come upon one of those intensely right words in a book or a newspaper the resulting effect is physical as well as spiritual, and electrically prompt: it tingles exquisitely around through the walls of the mouth and tastes as tart and crisp and good as the autumn-butter that creams the sumac-berry. One has no time to examine the word and vote upon its rank and standing, the automatic recognition of its supremacy is so immediate. There is a plenty of acceptable literature which deals largely in approximations, but it may be likened to a fine landscape seen through the rain; the right word would dismiss the rain, then you would see it better. It doesn't rain when Howells is at work.

And where does he get the easy and effortless flow of his speech, and its cadenced and undulating rhythm, and its architectural felicities of construction, its graces of expression, its pemmican quality of compression, and all that? Born to him, no doubt. All in shining good order in the beginning, all extraordinary, and all just as shining, just as extraordinary today, after forty years of diligent wear and tear and use. He passed his fortieth year long and long ago, but I think his English of today—his perfect English, I wish to say—can throw down the glove before his English of that antique time and not be afraid.

The author of this passage would most likely agree that                       .

Adapted from ‘Mark Twain’ published in The Nebraska State Journal (May 5th, 1895) by Willa Cather.

It is rather a pity that Paul Bourget should have written “Outre Mer,” thoroughly credible book though it is. Mr. Bourget is a novelist, and he should not content himself with being an essayist, there are far too many of them in the world already. He can develop strong characters, invent strong situations, he can write the truth and he should not drift into penning opinions and platitudes. When God has made a man a creator, it is a great mistake for him to turn critic. It is rather an insult to God and certainly a very great wrong to man.

If there is anything which should make an American sick and disgusted at the literary taste of his country, and almost swerve his allegiance to his flag it is that controversy between Mark Twain and Max O’Rell, in which the Frenchman proves himself a wit and a gentleman and the American shows himself little short of a clown and an all around tough. The squabble arose apropos of Paul Bourget’s new book on America, “Outre Mer,” a book which deals more fairly and generously with this country than any book yet written in a foreign tongue. Mr. Clemens did not like the book, and like all men of his class, and limited mentality, he cannot criticise without becoming personal and insulting. He cannot be scathing without being a blackguard. He tried to demolish a serious and well considered work by publishing a scurrilous, slangy and loosely written article about it. In this article Mr. Clemens proves very little against Mr. Bourget and a very great deal against himself. He demonstrates clearly that he is neither a scholar, a reader or a man of letters and very little of a gentleman. His ignorance of French literature is something appalling. Why, in these days it is as necessary for a literary man to have a wide knowledge of the French masterpieces as it is for him to have read Shakespeare or the Bible. What man who pretends to be an author can afford to neglect those models of style and composition. George Meredith, Thomas Hardy and Henry James excepted, the great living novelists are Frenchmen.

Mr. Clemens asks what the French sensualists can possibly teach the great American people about novel writing or morality? Well, it would not seriously hurt the art of the classic author of “Puddin’ Head Wilson” to study Daudet, De Maupassant, Hugo and George Sand, whatever it might do to his morals. Mark Twain is a humorist of a kind. His humor is always rather broad, so broad that the polite world can justly call it coarse. He is not a reader nor a thinker nor a man who loves art of any kind. He is a clever Yankee who has made a “good thing” out of writing. He has been published in the North American Review and in the Century, but he is not and never will be a part of literature. The association and companionship of cultured men has given Mark Twain a sort of professional veneer, but it could not give him fine instincts or nice discriminations or elevated tastes. His works are pure and suitable for children, just as the work of most shallow and mediocre fellows. House dogs and donkeys make the most harmless and chaste companions for young innocence in the world. Mark Twain’s humor is of the kind that teamsters use in bantering with each other, and his laugh is the gruff “haw-haw” of the backwoodsman. He is still the rough, awkward, good-natured boy who swore at the deckhands on the river steamer and chewed uncured tobacco when he was three years old. Thoroughly likeable as a good fellow, but impossible as a man of letters. It is an unfortunate feature of American literature that a hostler with some natural cleverness and a great deal of assertion receives the same recognition as a standard American author that a man like Lowell does. The French academy is a good thing after all. It at least divides the sheep from the goats and gives a sheep the consolation of knowing that he is a sheep.

Which of these contemporary trends would the author most likely lament                       .

Adapted from Real Soldiers of Fortune by Richard Harding Davis (1906)

In the strict sense of the phrase, a soldier of fortune is a man who for pay or for the love of adventure fights under the flag of any country. In the bigger sense, he is the kind of man who in any walk of life makes his own fortune, who, when he sees it coming, leaps to meet it, and turns it to his advantage. Then there is Winston Spencer Churchill. Today there are few young men—and he is a very young man—who have met more varying fortunes, and none who has more frequently bent them to his own advancement. To him it has been indifferent whether, at the moment, the fortune seemed good or evil; in the end always it was good.

As a boy officer, when other subalterns were playing polo and at the Gaiety Theatre attending night school, he ran away to Cuba and fought with the Spaniards. For such a breach of military discipline, any other officer would have been court-martialed. Even his friends feared that by his foolishness his career in the army was at an end. Instead, his escapade was made a question in the House of Commons, and the fact brought him such publicity that The Daily Graphic paid him handsomely to write on the Cuban Revolution, and the Spanish Government rewarded him with the Order of Military Merit.

At the very outbreak of the Boer War, he was taken prisoner. It seemed a climax of misfortune. With his brother officers, he had hoped in that campaign to acquit himself with credit, and that he should lie inactive in Pretoria appeared a terrible calamity. To the others who, through many heart-breaking months, suffered imprisonment, it continued to be a calamity. But within six weeks of his capture, Churchill escaped, and, after many adventures, rejoined his own army to find that the calamity had made him a hero.

When after the battle of Omdurman, in his book The River War, he attacked Lord Kitchener, those who did not like him, and they were many, said: "That's the end of Winston in the army. He'll never get another chance to criticize K. of K." But only two years later the chance came, when, no longer a subaltern, but as a member of the House of Commons, he patronized Kitchener by defending him from the attacks of others.

Later, when his assaults upon the leaders of his own party closed to him, even in his own constituency, the Conservative debating clubs, again his ill-wishers said, "This is the end. He has ridiculed those who sit in high places. He has offended his cousin and patron, the Duke of Marlborough. Without political friends, without the influence and money of the Marlborough family, he is a political nonentity." That was eighteen months ago. Today, at the age of thirty-two, he is one of the leaders of the Government party, Under-Secretary for the Colonies, and with the Liberals the most popular young man in public life.

Only last Christmas, at a banquet, Sir Edward Grey, the new Foreign Secretary, said of him: "Mr. Winston Churchill has achieved distinction in at least five different careers—as a soldier, a war correspondent, a lecturer, an author, and last, but not least, as a politician. I have understated it even now, for he has achieved two careers as a politician—one on each side of the House. His first career on the Government side was a really distinguished career. I trust the second will be even more distinguished—and more prolonged. The remarkable thing is that he has done all this when, unless appearances very much belie him, he has not reached the age of sixty-four, which is the minimum age at which the politician ceases to be young."

A follow-up article is published by the same author. Which of these do you think is most likely to be the focus of the follow-up article?