Adapted from "Fenimore Cooper's Literary Offenses" by Mark Twain (1895)

Cooper's gift in the way of invention was not a rich endowment; but such as it was he liked to work it, he was pleased with the effects, and indeed he did some quite sweet things with it. In his little box of stage-properties he kept six or eight cunning devices, tricks, artifices for his savages and woodsmen to deceive and circumvent each other with, and he was never so happy as when he was working these innocent things and seeing them go. A favorite one was to make a moccasined person tread in the tracks of a moccasined enemy, and thus hide his own trail. Cooper wore out barrels and barrels of moccasins in working that trick. Another stage-property that he pulled out of his box pretty frequently was the broken twig. He prized his broken twig above all the rest of his effects, and worked it the hardest. It is a restful chapter in any book of his when somebody doesn't step on a dry twig and alarm all the Indians and whites for two hundred yards around. Every time a Cooper person is in peril, and absolute silence is worth four dollars a minute, he is sure to step on a dry twig. There may be a hundred other handier things to step on, but that wouldn't satisfy Cooper. Cooper requires him to turn out and find a dry twig; and if he can't do it, go and borrow one. In fact, the Leatherstocking Series ought to have been called the Broken Twig Series.

I am sorry that there is not room to put in a few dozen instances of the delicate art of the forest, as practiced by Natty Bumppo and some of the other Cooperian experts. Perhaps we may venture two or three samples. Cooper was a sailor—a naval officer; yet he gravely tells us how a vessel, driving toward a lee shore in a gale, is steered for a particular spot by her skipper because he knows of an undertow there which will hold her back against the gale and save her. For just pure woodcraft, or sailorcraft, or whatever it is, isn't that neat? For several years, Cooper was daily in the society of artillery, and he ought to have noticed that when a cannon-ball strikes the ground it either buries itself or skips a hundred feet or so; skips again a hundred feet or so—and so on, till finally it gets tired and rolls. Now in one place he loses some "females"—as he always calls women—in the edge of a wood near a plain at night in a fog, on purpose to give Bumppo a chance to show off the delicate art of the forest before the reader. These mislaid people are hunting for a fort. They hear a cannon-blast, and a cannon-ball presently comes rolling into the wood and stops at their feet. To the females this suggests nothing. The case is very different with the admirable Bumppo. I wish I may never know peace again if he doesn't strike out promptly and follow the track of that cannon-ball across the plain in the dense fog and find the fort. Isn't it a daisy? If Cooper had any real knowledge of Nature's ways of doing things, he had a most delicate art in concealing the fact. For instance: one of his acute Indian experts, Chingachgook (pronounced Chicago, I think), has lost the trail of a person he is tracking through the forest. Apparently that trail is hopelessly lost. Neither you nor I could ever have guessed the way to find it. It was very different with Chicago. Chicago was not stumped for long. He turned a running stream out of its course, and there, in the slush in its old bed, were that person's moccasin tracks. The current did not wash them away, as it would have done in all other like cases—no, even the eternal laws of Nature have to vacate when Cooper wants to put up a delicate job of woodcraft on the reader.

Twain says that "Chingachgook" is pronounced "Chicago" in order to __________.

Adapted from "Fenimore Cooper's Literary Offenses" by Mark Twain (1895)

Cooper's gift in the way of invention was not a rich endowment; but such as it was he liked to work it, he was pleased with the effects, and indeed he did some quite sweet things with it. In his little box of stage-properties he kept six or eight cunning devices, tricks, artifices for his savages and woodsmen to deceive and circumvent each other with, and he was never so happy as when he was working these innocent things and seeing them go. A favorite one was to make a moccasined person tread in the tracks of a moccasined enemy, and thus hide his own trail. Cooper wore out barrels and barrels of moccasins in working that trick. Another stage-property that he pulled out of his box pretty frequently was the broken twig. He prized his broken twig above all the rest of his effects, and worked it the hardest. It is a restful chapter in any book of his when somebody doesn't step on a dry twig and alarm all the Indians and whites for two hundred yards around. Every time a Cooper person is in peril, and absolute silence is worth four dollars a minute, he is sure to step on a dry twig. There may be a hundred other handier things to step on, but that wouldn't satisfy Cooper. Cooper requires him to turn out and find a dry twig; and if he can't do it, go and borrow one. In fact, the Leatherstocking Series ought to have been called the Broken Twig Series.

I am sorry that there is not room to put in a few dozen instances of the delicate art of the forest, as practiced by Natty Bumppo and some of the other Cooperian experts. Perhaps we may venture two or three samples. Cooper was a sailor—a naval officer; yet he gravely tells us how a vessel, driving toward a lee shore in a gale, is steered for a particular spot by her skipper because he knows of an undertow there which will hold her back against the gale and save her. For just pure woodcraft, or sailorcraft, or whatever it is, isn't that neat? For several years, Cooper was daily in the society of artillery, and he ought to have noticed that when a cannon-ball strikes the ground it either buries itself or skips a hundred feet or so; skips again a hundred feet or so—and so on, till finally it gets tired and rolls. Now in one place he loses some "females"—as he always calls women—in the edge of a wood near a plain at night in a fog, on purpose to give Bumppo a chance to show off the delicate art of the forest before the reader. These mislaid people are hunting for a fort. They hear a cannon-blast, and a cannon-ball presently comes rolling into the wood and stops at their feet. To the females this suggests nothing. The case is very different with the admirable Bumppo. I wish I may never know peace again if he doesn't strike out promptly and follow the track of that cannon-ball across the plain in the dense fog and find the fort. Isn't it a daisy? If Cooper had any real knowledge of Nature's ways of doing things, he had a most delicate art in concealing the fact. For instance: one of his acute Indian experts, Chingachgook (pronounced Chicago, I think), has lost the trail of a person he is tracking through the forest. Apparently that trail is hopelessly lost. Neither you nor I could ever have guessed the way to find it. It was very different with Chicago. Chicago was not stumped for long. He turned a running stream out of its course, and there, in the slush in its old bed, were that person's moccasin tracks. The current did not wash them away, as it would have done in all other like cases—no, even the eternal laws of Nature have to vacate when Cooper wants to put up a delicate job of woodcraft on the reader.

Twain seems to dislike Cooper's device of having a character stepping on a twig because __________.

Adapted from "Review of Wyandotté, or The Hutted Knoll” in The Complete Works of Edgar Allan Poe—Vol. XI: Literary Criticism by Edgar Allan Poe (1843; ed. 1902)

It will be at once seen that there is nothing original in this story. On the contrary, it is even excessively common-place. The lover, for example, rescued from captivity by the mistress; the Knoll carried through the treachery of an inmate; and the salvation of the besieged, at the very last moment, by a reinforcement arriving, in consequence of a message borne to a friend by one of the besieged, without the cognizance of the others; these, we say, are incidents which have been the common property of every novelist since the invention of letters. And as for plot, there has been no attempt at any thing of the kind. The tale is a mere succession of events, scarcely any one of which has any necessary dependence upon any one other. Plot, however, is, at best, an artificial effect, requiring, like music, not only a natural bias, but long cultivation of taste for its full appreciation; some of the finest narratives in the world—Gil-Blas and Robinson Crusoe, for example—have been written without its employment; and The Hutted Knoll, like all the sea and forest novels of Cooper, has been made deeply interesting, although depending upon this peculiar source of interest not at all. Thus the absence of plot can never be critically regarded as a defect; although its judicious use, in all cases aiding and in no case injuring other effects, must be regarded as of a very high order of merit.

There are one or two points, however, in the mere conduct of the story now before us, which may, perhaps, be considered as defective. For instance, there is too much obviousness in all that appertains to the hanging of the large gate. In more than a dozen instances, Mrs. Willoughby is made to allude to the delay in the hanging; so that the reader is too positively and pointedly forced to perceive that this delay is to result in the capture of the Knoll. As we are never in doubt of the fact, we feel diminished interest when it actually happens. A single vague allusion, well-managed, would have been in the true artistical spirit.

Again; we see too plainly, from the first, that Beekman is to marry Beulah, and that Robert Willoughby is to marry Maud. The killing of Beulah, of Mrs. Willoughby, and Jamie Allen, produces, too, a painful impression which does not properly appertain to the right fiction. Their deaths affect us as revolting and supererogatory; since the purposes of the story are not thereby furthered in any regard. To Willoughby’s murder, however distressing, the reader makes no similar objection; merely because in his decease is fulfilled a species of poetical justice. We may observe here, nevertheless, that his repeated references to his flogging [another character] seem unnatural, because we have otherwise no reason to think him a fool, or a madman, and these references, under the circumstances, are absolutely insensate. We object, also, to the manner in which the general interest is dragged out, or suspended. The besieging party are kept before the Knoll so long, while so little is done, and so many opportunities of action are lost, that the reader takes it for granted that nothing of consequence will occur—that the besieged will be finally delivered. He gets so accustomed to the presence of danger that its excitement, at length, departs. The action is not sufficiently rapid. There is too much procrastination. There is too much mere talk for talk’s sake. The interminable discussions between Woods and Captain Willoughby are, perhaps, the worst feature of the book, for they have not even the merit of referring to the matters on hand. In general, there is quite too much colloquy for the purpose of manifesting character, and too little for the explanation of motive. The characters of the drama would have been better made out by action; while the motives to action, the reasons for the different courses of conduct adopted by the dramatis personae, might have been made to proceed more satisfactorily from their own mouths, in casual conversations, than from that of the author in person. To conclude our remarks upon the head of ill-conduct in the story, we may mention occasional incidents of the merest melodramatic absurdity: as, for example, at page 156, of the second volume, where “Willoughby had an arm round the waist of Maud, and bore her forward with a rapidity to which her own strength was entirely unequal.” We may be permitted to doubt whether a young lady of sound health and limbs, exists, within the limits of Christendom, who could not run faster, on her own proper feet, for any considerable distance, than she could be carried upon one arm of either the Cretan Milo or of the Hercules Farnese. 

Poe says that the main defect of the novel is __________.

Adapted from “Poe on Headley and Channing" in Vol. XVI, no. 10 of the Southern Literary Messenger by Edgar Allan Poe (October 1850)

To be serious, then; as we always wish to be if possible. Mr. Channing (whom we suppose to be a very young man, since we are precluded from supposing him a very old one,) appears to have been inoculated, at the same moment, with virus from Tennyson and from Carlyle. And here we do not wish to be misunderstood. For Tennyson, as for a man imbued with the richest and rarest poetic impulses, we have an admiration—a reverence unbounded. His “Morte D’Arthur,” his “Locksley Hall,” his “Sleeping Beauty,” his “Lady of Shalott,” his “Lotos Eaters,” his “Ænone,” and many other poems, are not surpassed, in all that gives to Poetry its distinctive value, by the compositions of any one living or dead. And his leading error—that error which renders him unpopular—a point, to be sure, of no particular importance—that very error, we say, is founded in truth—in a keen perception of the elements of poetic beauty. We allude to his quaintness—to what the world chooses to term his affectation. No true poet—no critic whose approbation is worth even a copy of the volume we now hold in our hand—will deny that he feels impressed, sometimes even to tears, by many of those very affectations which he is impelled by the prejudice of his education, or by the cant of his reason, to condemn. He should thus be led to examine the extent of the one, and to be wary of the deductions of the other. In fact, the profound intuition of Lord Bacon has supplied, in one of his immortal apothegms, the whole philosophy of the point at issue. “There is no exquisite beauty,” he truly says, “without some strangeness in its proportions.” We maintain, then, that Tennyson errs, not in his occasional quaintness, but in its continual and obtrusive excess. And, in accusing Mr. Channing of having been inoculated with virus from Tennyson, we merely mean to say that he has adopted and exaggerated that noble poet’s characteristic defect, having mistaken it for his principal merit.

Mr. Tennyson is quaint only; he is never, as some have supposed him, obscure—except, indeed, to the uneducated, whom he does not address. Mr. Carlyle, on the other hand, is obscure only; he is seldom, as some have imagined him, quaint. So far he is right; for although quaintness, employed by a man of judgment and genius, may be made auxiliary to a poem, whose true thesis is beauty, and beauty alone, it is grossly, and even ridiculously, out of place in a work of prose. But in his obscurity it is scarcely necessary to say that he is wrong. Either a man intends to be understood, or he does not. If he write a book which he intends not to be understood, we shall be very happy indeed not to understand it; but if he write a book which he means to be understood, and, in this book, be at all possible pains to prevent us from understanding it, we can only say that he is an ass—and this, to be brief, is our private opinion of Mr. Carlyle, which we now take the liberty of making public.

Poe suggests here that, in being influenced by Tennyson, Channing has __________.

Adapted from The Spoiled Children of Civilization (1912) by Samuel McChord Crothers

To spoil a child is no easy task, for Nature is all the time working on behalf of the childish virtues and veracities, and is gently correcting the abnormalities of education. Still it can be done. The secret of it is never to let the child alone, and to insist on doing for him all that he would otherwise do for himself—and more.

In that "more" is the spoiling power. The child must be early made acquainted with the feeling of satiety. There must be too much of everything. If he were left to himself to any extent, this would be an unknown experience. For he is a hungry little creature, with a growing appetite, and naturally is busy ministering to his own needs. He is always doing something for himself, and enjoys the exercise. The little egoist, even when he has "no language but a cry," uses that language to make known to the world that he wants something and wants it very much. As his wants increase, his exertions increase also. Arms and legs, fingers and toes, muscles and nerves and busy brain are all at work to get something which he desires. He is a mechanic fashioning his little world to his own uses. He is a despot who insists on his divine right to rule the subservient creatures around him. He is an inventor devising ways and means to secure all the ends which he has the wit to see. That these great works on which he has set his heart end in self is obvious enough, but we forgive him. Altruism will come in its own time if we can train ourselves.

In this passage the author emphasizes which aspect of the child?

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.

Based on the passage, the primary purpose for the poems was __________.

Adapted from "Benares Hindu University Speech" by Mohandas Gandhi (1916)

We have been told during the last two days how necessary it is, if we are to retain our hold upon the simplicity of Indian character, that our hands and feet should move in unison with our hearts. But this is only by way of preface. I wanted to say it is a matter of deep humiliation and shame for us that I am compelled this evening under the shadow of this great college, in this sacred city, to address my countrymen in a language that is foreign to me. I know that if I was appointed an examiner, to examine all those who have been attending during these two days this series of lectures, most of those who might be examined upon these lectures would fail. And why? Because they have not been touched.

I was present at the sessions of the great Congress in the month of December. There was a much vaster audience, and will you believe me when I tell you that the only speeches that touched the huge audience in Bombay were the speeches that were delivered in Hindustani? In Bombay, mind you, not in Benaras where everybody speaks Hindi. But between the vernaculars of the Bombay Presidency on the one hand and Hindi on the other, no such great dividing line exists as there does between English and the sister language of India; and the Congress audience was better able to follow the speakers in Hindi. I am hoping that this University will see to it that the youths who come to it will receive their instruction through the medium of their vernaculars. Our language is the reflection of ourselves, and if you tell me that our languages are too poor to express the best thought, then I say that the sooner we are wiped out of existence the better for us. Is there a man who dreams that English can ever become the national language of India? Why this handicap on the nation? Just consider for one moment what an equal race our lads have to run with every English lad.

I had the privilege of a close conversation with some Poona professors. They assured me that every Indian youth, because he reached his knowledge through the English language, lost at least six precious years of life. Multiply that by the numbers of students turned out by our schools and colleges, and find out for yourselves how many thousand years have been lost to the nation. The charge against us is that we have no initiative. How can we have any, if we are to devote the precious years of our life to the mastery of a foreign tongue? We fail in this attempt also. Was it possible for any speaker yesterday and today to impress his audience as was possible for Mr. Higginbotham? It was not the fault of the previous speakers that they could not engage the audience. They had more than substance enough for us in their addresses. But their addresses could not go home to us. I have heard it said that after all it is English educated India which is leading and which is leading and which is doing all the things for the nation. It would be monstrous if it were otherwise. The only education we receive is English education. Surely we must show something for it. But suppose that we had been receiving during the past fifty years education through our vernaculars, what should we have today? We should have today a free India, we should have our educated men, not as if they were foreigners in their own land but speaking to the heart of the nation; they would be working amongst the poorest of the poor, and whatever they would have gained during these fifty years would be a heritage for the nation. Today even our wives are not the sharers in our best thought. Look at Professor Bose and Professor Ray and their brilliant researches. Is it not a shame that their researches are not the common property of the masses?

The author of this passage is primarily lamenting __________.

Adapted from “Two Ways of Seeing a River” (1883) by Mark Twain

Now when I had mastered the language of this water and had come to know every trifling feature that bordered the great river as familiarly as I knew the letters of the alphabet, I had made a valuable acquisition. But I had lost something, too. I had lost something which could never be restored to me while I lived. All the grace, the beauty, the poetry had gone out of the majestic river! I still keep in mind a certain wonderful sunset which I witnessed when steam boating was new to me. A broad expanse of the river was turned to blood; in the middle distance the red hue brightened into gold, through which a solitary log came floating, black and conspicuous; the shore on our left was densely wooded, and the somber shadow that fell from this forest was broken in one place by a long, ruffled trail that shone like silver; and high above the forest wall a clean-stemmed dead tree waved a single leafy bough that glowed like a flame in the unobstructed splendor that was flowing from the sun. There were graceful curves, reflected images, woody heights, soft distances; and over the whole scene, far and near, the dissolving lights drifted steadily, enriching it, every passing moment, with new marvels of coloring.

I stood like one bewitched. I drank it in, in a speechless rapture. The world was new to me, and I had never seen anything like this at home. But as I have said, a day came when I began to cease from noting the glories and the charms which the moon and the sun and the twilight wrought upon the river's face; another day came when I ceased altogether to note them. Then, if that sunset scene had been repeated, I should have looked upon it without rapture, and should have commented upon it, inwardly, in this fashion: "This sun means that we are going to have wind tomorrow; that floating log means that the river is rising, small thanks to it; that slanting mark on the water refers to a bluff reef which is going to kill somebody's steamboat one of these nights, if it keeps on stretching out like that; that silver streak in the shadow of the forest is the 'break' from a new snag, and he has located himself in the very best place he could have found to fish for steamboats; that tall dead tree, with a single living branch, is not going to last long, and then how is a body ever going to get through this blind place at night without the friendly old landmark?"

No, the romance and the beauty were all gone from the river. All the value any feature of it had for me now was the amount of usefulness it could furnish toward compassing the safe piloting of a steamboat. Since those days, I have pitied doctors from my heart. What does the lovely flush in a beauty's cheek mean to a doctor but a "break" that ripples above some deadly disease? Are not all her visible charms sown thick with what are to him the signs and symbols of hidden decay? Does he ever see her beauty at all, or doesn't he simply view her professionally, and comment upon her unwholesome condition all to himself? And doesn't he sometimes wonder whether he has gained most or lost most by learning his trade?

From the context of the whole passage, what does the author believe he has “lost”?

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.

What is the main idea of the first paragraph?

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.

One of the main points made in the last paragraph is that __________.