Adapted from "The Philosophy of Composition" by Edgar Allan Poe (1846)

Nothing is more clear than that every plot, worth the name, must be elaborated to its dénouement before any thing be attempted with the pen. It is only with the dénouement constantly in view that we can give a plot its indispensable air of consequence, or causation, by making the incidents, and especially the tone at all points, tend to the development of the intention.

There is a radical error, I think, in the usual mode of constructing a story. Either history affords a thesis—or one is suggested by an incident of the day—or, at best, the author sets himself to work in the combination of striking events to form merely the basis of his narrative—designing, generally, to fill in with description, dialogue, or autorial comment, whatever crevices of fact, or action, may, from page to page, render themselves apparent.

I prefer commencing with the consideration of an effect. Keeping originality always in view—for he is false to himself who ventures to dispense with so obvious and so easily attainable a source of interest—I say to myself, in the first place, “Of the innumerable effects, or impressions, of which the heart, the intellect, or (more generally) the soul is susceptible, what one shall I, on the present occasion, select?” Having chosen a novel, first, and secondly a vivid effect, I consider whether it can best be wrought by incident or tone—whether by ordinary incidents and peculiar tone, or the converse, or by peculiarity both of incident and tone—afterward looking about me (or rather within) for such combinations of event, or tone, as shall best aid me in the construction of the effect.

In the first line, Poe is basically saying __________.

Passage adapted from Giuseppe Mazzini's The Duties of Man (1860) 

Your first Duties— first, at least, in importance— are, as I have told you, to Humanity. You are men before you are citizens or fathers. If you do not embrace the whole human family in your love, if you do not confess your faith in its unity— consequent on the unity of God— and in the brotherhood of the Peoples who are appointed to reduce that unity to fact— if wherever one of your fellowmen groans, wherever the dignity of human nature is violated by falsehood or tyranny, you are not prompt, being able, to succor that wretched one, or do not feel yourself called, being able, to fight for the purpose of relieving the deceived or oppressed— you disobey your law of life, or do not comprehend the religion which will bless the future.

But what can each of you, with his isolated powers, do for the moral improvement, for the progress of Humanity? You can, from time to time, give sterile expression to your belief; you may, on some rare occasion, perform an act of charity to a brother not belonging to your own land, no more. Now, charity is not the watchword of the future faith. The watchword of the future faith is association, fraternal cooperation towards a common aim, and this is as much superior to charity as the work of many uniting to raise with one accord a building for the habitation of all together would be superior to that which you would accomplish by raising a separate hut each for himself, and only helping one another by exchanging stones and bricks and mortar. But divided as you are in language tendencies, habits, and capacities, you cannot attempt this common work. The individual is too weak, and Humanity too vast… But God gave you this means when he gave you a Country, when, like a wise overseer of labour, who distributes the different parts of the work according to the capacity of the workmen, he divided Humanity into distinct groups upon the face of our globe, and thus planted the seeds of nations. Bad governments have disfigured the design of God, which you may see clearly marked out, as far, at least, as regards Europe, by the courses of the great river, by the lines of the lofty mountains, and by other geographical conditions; they have disfigured it by conquest, by greed, by jealously of the just sovereignty of others; disfigured it so much that to-day there is perhaps no nation except England and France whose confines correspond to this design.

They did not, and they do not, recognize any country except their own families and dynasties, the egoism of caste. But the divine design will infallibly be fulfilled. Natural divisions, the innate spontaneous tendencies of the people will replace the arbitrary divisions sanctioned by bad governments. The map of Europe will be remade. The Countries of the People will rise, defined by the voice of the free, upon the ruins of the Countries of Kings and privileged castes. Between these Countries there will be harmony and brotherhood. And then the work of Humanity for the general amelioration, for the discovery and application of the real law of life, carried on in association and distributed according to local capacities, will be accomplished by peaceful and progressive development; then each of you, strong in the affections and in the aid of many millions of men speaking the same language, endowed with the same tendencies, and educated by the same historic tradition, may hope by your personal effort to benefit the whole of Humanity. 

The author explicitly states that God did which of the following?

Passage adapted from Edmund Morel's King Leopold’s Rule in Africa (1904)

Everywhere [in the Congo] we see the same policy [of forced labor] at work, with the same results. What are the chief symptoms of the effects of that policy upon native life?

Outwardly the most striking effect is depopulation: slaughter, mutilation, emigration, sickness, largely aggravated by cruel and systematic oppression; poverty, and even positive starvation, induced by unlimited taxation in food-stuffs and live stocks; a hopeless despair, and mental depression engendered by ears of grinding tyranny; neglect of children by the general maltreatment of women, one of the most odious and disgraceful features of the system— these are some of the many recorded cases of depopulation which, in certain districts, has assumed gigantic proportions…

What a sum total of human wretchedness does not lie behind that bald word “depopulation”! To my mind, the horror of this curse which has come upon the Congo peoples reaches its maximum of intensity when we force ourselves to consider its everyday concomitants; the crushing weight of perpetual, remorseless oppression; the gradual elimination of everything in the daily life of the natives which makes that life worth living. Under a prevailing system, every village is a penal settlement. Armed soldiers are quartered in every hamlet; the men pass nearly their whole lives in satisfying the ceaseless demands of the “Administration,” or its affiliates the Trusts…

The cumulative effects of depopulation and infantile mortality by dragging women away from their homes for forced labour requisitions— seizing them as “hostages,” and “tying them up,” whether virgins, wives, mothers, or those about to become mothers, in order to bring pressure to bear upon brothers, husbands, and fathers for the adequate supply of rubber or food taxes; flinging them into “prison,” together with their children, often to die of starvation and neglect…

What has come over the civilized people of the globe that they can allow their government to remain inactive and apathetic in the face of incidents which recall in aggravated form the worst horrors of the over-sea slave trade, which surpass the exploits of Arab slave catchers? What could be worse than scenes such as these, which can be culled by the dozen…

The Congo Government boasts that, in stopping the intertribal warfare, it has stopped the selling of tribal prisoners of war into domestic slavery. The condition of the domestic slave under the African system is blissful beyond words, if you compare his lot with that of the degraded serf under the Leopoldian system…

Enough has been said to show that under this system of “moral and material regeneration,” constituting a monstrous invasion of primitive rights which has no parallel in the whole world, the family life and social ties of the people are utterly destroyed…

Why are these people allowed to suffer thus cruelly? What crime have they collectively committed in past ages that they should undergo to-day so terrible an expiation? Are they “groaning and dying” under this murderous system as a great object-lesson to Europe?... Belgium, technically unconcerned, is morally responsible, and Belgium will suffer…  If the Congo Basin were capable of being colonized by the Caucasian race, the policy we condemn and reprobate would still be a crime against humanity, an outrage upon civilization. But the Congo territories can never be a white man’s country; the “Congo State” is naught but a collection of individuals— with one supreme above the all— working for their own selfish ends, caring nothing for posterity, callous of the present, indifferent of the future, as of the past, animated by no fanaticism other than the fanaticism of dividends— and so upon the wickedness of this thing is grafted the fatuous stupidity and inhumanity of the Powers in allowing the extermination of the Congo races to go on unchecked, barely, if at all, reproved. 

The author argues that which of the following is a motive for the forced labor policies employed in the Congo?

Excerpted from The Picture of Dorian Gray by Oscar Wilde (1890)

Hallward got up from the seat and walked up and down the garden. After some time he came back. "Harry," he said, "Dorian Gray is to me simply a motive in art. You might see nothing in him. I see everything in him. He is never more present in my work than when no image of him is there. He is a suggestion, as I have said, of a new manner. I find him in the curves of certain lines, in the loveliness and subtleties of certain colours. That is all."

"Then why won't you exhibit his portrait?" asked Lord Henry.

"Because, without intending it, I have put into it some expression of all this curious artistic idolatry, of which, of course, I have never cared to speak to him. He knows nothing about it. He shall never know anything about it. But the world might guess it, and I will not bare my soul to their shallow prying eyes. My heart shall never be put under their microscope. There is too much of myself in the thing, Harry—too much of myself!"

"Poets are not so scrupulous as you are. They know how useful passion is for publication. Nowadays a broken heart will run to many editions."

"I hate them for it," cried Hallward. "An artist should create beautiful things, but should put nothing of his own life into them. We live in an age when men treat art as if it were meant to be a form of autobiography. We have lost the abstract sense of beauty. Some day I will show the world what it is; and for that reason the world shall never see my portrait of Dorian Gray."

"I think you are wrong, Basil, but I won't argue with you. It is only the intellectually lost who ever argue. Tell me, is Dorian Gray very fond of you?"

The painter considered for a few moments. "He likes me," he answered after a pause; "I know he likes me. Of course I flatter him dreadfully. I find a strange pleasure in saying things to him that I know I shall be sorry for having said. As a rule, he is charming to me, and we sit in the studio and talk of a thousand things. Now and then, however, he is horribly thoughtless, and seems to take a real delight in giving me pain. Then I feel, Harry, that I have given away my whole soul to some one who treats it as if it were a flower to put in his coat, a bit of decoration to charm his vanity, an ornament for a summer's day."

From the information in the passage, what is Dorian Gray's profession?

Adapted from On Sumner and the South (1874) by Lucius Q.C. Lamar

Charles Sumner in life believed that all occasion for strife and distrust between the North and South had passed away, and there no longer remained any cause for continued estrangement between those two sections of our common country. Are there not many of us who believe the same thing? Is not that the common sentiment, or if not, ought it not to be, of the great mass of our people, North and South? Bound to each other by a common constitution, destined to live together under a common government, forming united but a single member of the great family of nations, shall we not now at last endeavor to grow toward each other once more in heart, as we are indissolubly linked to each other in fortunes? Shall we not, while honoring the memory of this great champion of liberty, this feeling sympathizer with human sorrow, this earnest pleader for the exercise of human tenderness and heavenly charity, lay aside the concealments which serve only to perpetuate misunderstandings and distrust, and frankly confess that on both sides we most earnestly desire to be one—one not merely in political organization; one not merely in community of language, and literature, and traditions, and country; but more and better than all that, one also in feeling and in heart?

Am I mistaken in this? Do not the concealments of which I speak still cover animosities, which neither time nor reflection nor the march of events has yet sufficed to subdue? I cannot believe it. Since I have been here I have scrutinized your sentiments, as expressed not merely in public debate, but in the abandon of personal confidence. I know well the sentiments of these my Southern friends, whose hearts are so infolded that the feeling of each is the feeling of all; and I see on both sides only the seeming of a constraint which each apparently hesitates to dismiss.

The South—prostrate, exhausted, drained of her life-blood as well as her material resources, yet still honorable and true—accepts the bitter award of the bloody arbitration without reservation, resolutely determined to abide the result with chivalrous fidelity. Yet, as if struck dumb by the magnitude of her reverses, she suffers on in silence. The North, exultant in her triumph and elevated by success, still cherishes, as we are assured, a heart full of magnanimous emotions toward her disarmed and discomfited antagonist; and yet, as if under some mysterious spell, her words and acts are words and acts of suspicion and distrust. Would that the spirit of the illustrious dead, whom we lament today, could speak from the grave to both parties to this deplorable discord, in tones which would reach each and every heart throughout this broad territory: My countrymen! Know one another and you will love one another.

To whom does the author attribute the concluding statement “My countrymen! Know one another and you will love one another?”

Passage adapted from “Utopia” by Thomas More (1516) in Ideal Commonwealths: Comprising More's Utopia, Bacon's New Atlantis, Campanella's City of the Sun, and Harrington's Oceans (1901)

Thus have I described to you, as particularly as I could, the constitution of that commonwealth, which I do not only think the best in the world, but indeed the only commonwealth that truly deserves that name. In all other places it is visible that, while people talk of a commonwealth, every man only seeks his own wealth; but there, where no man has any property, all men zealously pursue the good of the public, and, indeed, it is no wonder to see men act so differently, for in other commonwealths every man knows that unless he provides for himself, how flourishing soever the commonwealth may be, he must die of hunger, so that he sees the necessity of preferring his own concerns to the public; but in Utopia, where every man has a right to everything, they all know that if care is taken to keep the public stores full no private man can want anything, for among them there is no unequal distribution, so that no man is poor, none in necessity, and though no man has anything, yet they are all rich; for what can make a man so rich as to lead a serene and cheerful life, free from anxieties, neither apprehending want himself, nor vexed with the endless complaints of his wife? He is not afraid of the misery of his children, nor is he contriving how to raise a portion for his daughters, but is secure in this, that both he and his wife, his children and grandchildren, to as many generations as he can fancy, will all live both plentifully and happily, since, among them, there is no less care taken of those who were once engaged in labor, but grow afterwards unable to follow it, than there is, elsewhere, of these that continue still employed. I would gladly hear any man compare the justice that is among them with that of all other nations; among whom may I perish if I see anything that looks either like justice or equity; for what justice is there in this: that a nobleman, a goldsmith, a banker, or any other man, who either does nothing at all, or, at best, is employed in things that are of no use to the public, should live in great luxury and splendor upon what is so ill acquired, and a mean man, a carter, a smith, or a plowman, who works harder even than the beasts themselves, and is employed in labors so necessary, that no commonwealth could hold out a year without them, can only earn so poor a livelihood and must lead so miserable a life, that the condition of the beasts is much better than theirs? For as the beasts do not work so constantly, so they feed almost as well, and with more pleasure, and have no anxiety about what is to come, whilst these men are depressed by a barren and fruitless employment, and tormented with the apprehensions of want in their old age; since that which they get by their daily labour does but maintain them at present, and is consumed as fast as it comes in, there is no overplus left to lay up for old age.

In which of the following quotations does the narrator give a reason why people consider their own wants before the public good in countries other than Utopia?

Passage adapted from “Utopia” by Thomas More (1516) in Ideal Commonwealths: Comprising More's Utopia, Bacon's New Atlantis, Campanella's City of the Sun, and Harrington's Oceans(1901)

Thus have I described to you, as particularly as I could, the constitution of that commonwealth, which I do not only think the best in the world, but indeed the only commonwealth that truly deserves that name. In all other places it is visible that, while people talk of a commonwealth, every man only seeks his own wealth; but there, where no man has any property, all men zealously pursue the good of the public, and, indeed, it is no wonder to see men act so differently, for in other commonwealths every man knows that unless he provides for himself, how flourishing soever the commonwealth may be, he must die of hunger, so that he sees the necessity of preferring his own concerns to the public; but in Utopia, where every man has a right to everything, they all know that if care is taken to keep the public stores full no private man can want anything, for among them there is no unequal distribution, so that no man is poor, none in necessity, and though no man has anything, yet they are all rich; for what can make a man so rich as to lead a serene and cheerful life, free from anxieties, neither apprehending want himself, nor vexed with the endless complaints of his wife? He is not afraid of the misery of his children, nor is he contriving how to raise a portion for his daughters, but is secure in this, that both he and his wife, his children and grandchildren, to as many generations as he can fancy, will all live both plentifully and happily, since, among them, there is no less care taken of those who were once engaged in labor, but grow afterwards unable to follow it, than there is, elsewhere, of these that continue still employed. I would gladly hear any man compare the justice that is among them with that of all other nations; among whom may I perish if I see anything that looks either like justice or equity; for what justice is there in this: that a nobleman, a goldsmith, a banker, or any other man, who either does nothing at all, or, at best, is employed in things that are of no use to the public, should live in great luxury and splendor upon what is so ill acquired, and a mean man, a carter, a smith, or a plowman, who works harder even than the beasts themselves, and is employed in labors so necessary, that no commonwealth could hold out a year without them, can only earn so poor a livelihood and must lead so miserable a life, that the condition of the beasts is much better than theirs? For as the beasts do not work so constantly, so they feed almost as well, and with more pleasure, and have no anxiety about what is to come, whilst these men are depressed by a barren and fruitless employment, and tormented with the apprehensions of want in their old age; since that which they get by their daily labour does but maintain them at present, and is consumed as fast as it comes in, there is no overplus left to lay up for old age.

The passage tells us that the inhabitants of Utopia all work for the public good, but which of the following describes what they do in their work in more detail?

Passage adapted from "Of One Defect in Our Government" in Essays of Michael, Seigneur de Montaigne in The Complete Works of Michael de Montaigne (1580, trans. C. Cotton, ed. W. Hazlitt 1842)

My late father, a man that had no other advantages than experience and his own natural parts, was nevertheless of a very clear judgment, formerly told me that he once had thoughts of endeavoring to introduce this practice; that there might be in every city a certain place assigned to which such as stood in need of anything might repair, and have their business entered by an officer appointed for that purpose. As for example: I want a chapman to buy my pearls; I want one that has pearls to sell; such a one wants company to go to Paris; such a one seeks a servant of such a quality; such a one a master; such a one such an artificer; some inquiring for one thing, some for another, every one according to what he wants. And doubtless, these mutual advertisements would be of no contemptible advantage to the public correspondence and intelligence: for there are evermore conditions that hunt after one another, and for want of knowing one another's occasions leave men in very great necessity.

I have heard, to the great shame of the age we live in, that in our very sight two most excellent men for learning died so poor that they had scarce bread to put in their mouths: Lilius Gregorius Giraldus in Italy and Sebastianus Castalio in Germany: and I believe there are a thousand men would have invited them into their families, with very advantageous conditions, or have relieved them where they were, had they known their wants. The world is not so generally corrupted, but that I know a man that would heartily wish the estate his ancestors have left him might be employed, so long as it shall please fortune to give him leave to enjoy it, to secure rare and remarkable persons of any kind, whom misfortune sometimes persecutes to the last degree, from the dangers of necessity; and at least place them in such a condition that they must be very hard to please, if they are not contented.

My father in his domestic economy had this rule (which I know how to commend, but by no means to imitate), namely, that besides the day-book or memorial of household affairs, where the small accounts, payments, and disbursements, which do not require a secretary's hand, were entered, and which a steward always had in custody, he ordered him whom he employed to write for him, to keep a journal, and in it to set down all the remarkable occurrences, and daily memorials of the history of his house: very pleasant to look over, when time begins to wear things out of memory, and very useful sometimes to put us out of doubt when such a thing was begun, when ended; what visitors came, and when they went; our travels, absences, marriages, and deaths; the reception of good or ill news; the change of principal servants, and the like. An ancient custom, which I think it would not be amiss for every one to revive in his own house; and I find I did very foolishly in neglecting it.

How many books did the narrator's father have kept concerning his house, and what were they?

Adapted from "Mr. Coleridge" from The Spirit of the Age by William Hazlitt (1825)

The present is an age of talkers, and not of doers, and the reason is, that the world is growing old. We are so far advanced in the Arts and Sciences, that we live in retrospect, and dote on past achievements. The accumulation of knowledge has been so great that we are lost in wonder at the height it has reached, instead of attempting to climb or add to it, while the variety of objects distracts and dazzles the looker-on. What niche remains unoccupied? What path untried? What is the use of doing anything, unless we could do better than all those who have gone before us? What hope is there of this? We are like those who have been to see some noble monument of art, who are content to admire without thinking of rivaling it; or like guests after a feast, who praise the hospitality of the donor "and thank the bounteous Pan"—perhaps carrying away some trifling fragments; or like the spectators of a mighty battle, who still hear its sound afar off, and the clashing of armor and the neighing of the war-horse and the shout of victory is in their ears, like the rushing of innumerable waters!

Mr. Coleridge has "a mind reflecting ages past”; his voice is like the echo of the congregated roar of the "dark rearward and abyss" of thought. He who has seen a mouldering tower by the side of a crystal lake, hid by the mist, but glittering in the wave below, may conceive the dim, gleaming, uncertain intelligence of his eye; he who has marked the evening clouds up rolled (a world of vapors), has seen the picture of his mind: unearthly, unsubstantial, with gorgeous tints and ever-varying forms.

Our author's mind is (as he himself might express it) tangential. There is no subject on which he has not touched, none on which he has rested. With an understanding fertile, subtle, expansive, "quick, forgetive, apprehensive," beyond all living precedent, few traces of it will perhaps remain. He lends himself to all impressions alike; he gives up his mind and liberty of thought to none. He is a general lover of art and science, and wedded to no one in particular. He pursues knowledge as a mistress, with outstretched hands and winged speed; but as he is about to embrace her, his Daphne turns—alas! not to a laurel! Hardly a speculation has been left on record from the earliest time, but it is loosely folded up in Mr. Coleridge's memory, like a rich, but somewhat tattered piece of tapestry; we might add (with more seeming than real extravagance), that scarce a thought can pass through the mind of man, but its sound has at some time or other passed over his head with rustling pinions. On whatever question or author you speak, he is prepared to take up the theme with advantage—from Peter Abelard down to Thomas Moore, from the subtlest metaphysics to the politics of the Courier. There is no man of genius, in whose praise he descants, but the critic seems to stand above the author, and "what in him is weak, to strengthen, what is low, to raise and support”; nor is there any work of genius that does not come out of his hands like an Illuminated Missal, sparkling even in its defects. If Mr. Coleridge had not been the most impressive talker of his age, he would probably have been the finest writer; but he lays down his pen to make sure of an auditor, and mortgages the admiration of posterity for the stare of an idler. If he had not been a poet, he would have been a powerful logician; if he had not dipped his wing in the Unitarian controversy, he might have soared to the very summit of fancy. But in writing verse, he is trying to subject the Muse to transcendental theories: in his abstract reasoning, he misses his way by strewing it with flowers. All that he has done of moment, he had done twenty years ago: since then, he may be said to have lived on the sound of his own voice. Mr. Coleridge is too rich in intellectual wealth to need to task himself to any drudgery: he has only to draw the sliders of his imagination, and a thousand subjects expand before him, startling him with their brilliancy, or losing themselves in endless obscurity.

Which of the following statements about the author’s attitude toward Coleridge's present fame is supported by the passage?

Adapted from "Mr. Coleridge" from The Spirit of the Age by William Hazlitt (1825)

The present is an age of talkers, and not of doers, and the reason is, that the world is growing old. We are so far advanced in the Arts and Sciences, that we live in retrospect, and dote on past achievements. The accumulation of knowledge has been so great that we are lost in wonder at the height it has reached, instead of attempting to climb or add to it, while the variety of objects distracts and dazzles the looker-on. What niche remains unoccupied? What path untried? What is the use of doing anything, unless we could do better than all those who have gone before us? What hope is there of this? We are like those who have been to see some noble monument of art, who are content to admire without thinking of rivaling it; or like guests after a feast, who praise the hospitality of the donor "and thank the bounteous Pan"—perhaps carrying away some trifling fragments; or like the spectators of a mighty battle, who still hear its sound afar off, and the clashing of armor and the neighing of the war-horse and the shout of victory is in their ears, like the rushing of innumerable waters!

Mr. Coleridge has "a mind reflecting ages past”; his voice is like the echo of the congregated roar of the "dark rearward and abyss" of thought. He who has seen a mouldering tower by the side of a crystal lake, hid by the mist, but glittering in the wave below, may conceive the dim, gleaming, uncertain intelligence of his eye; he who has marked the evening clouds up rolled (a world of vapors), has seen the picture of his mind: unearthly, unsubstantial, with gorgeous tints and ever-varying forms.

Our author's mind is (as he himself might express it) tangential. There is no subject on which he has not touched, none on which he has rested. With an understanding fertile, subtle, expansive, "quick, forgetive, apprehensive," beyond all living precedent, few traces of it will perhaps remain. He lends himself to all impressions alike; he gives up his mind and liberty of thought to none. He is a general lover of art and science, and wedded to no one in particular. He pursues knowledge as a mistress, with outstretched hands and winged speed; but as he is about to embrace her, his Daphne turns—alas! not to a laurel! Hardly a speculation has been left on record from the earliest time, but it is loosely folded up in Mr. Coleridge's memory, like a rich, but somewhat tattered piece of tapestry; we might add (with more seeming than real extravagance), that scarce a thought can pass through the mind of man, but its sound has at some time or other passed over his head with rustling pinions. On whatever question or author you speak, he is prepared to take up the theme with advantage—from Peter Abelard down to Thomas Moore, from the subtlest metaphysics to the politics of the Courier. There is no man of genius, in whose praise he descants, but the critic seems to stand above the author, and "what in him is weak, to strengthen, what is low, to raise and support”; nor is there any work of genius that does not come out of his hands like an Illuminated Missal, sparkling even in its defects. If Mr. Coleridge had not been the most impressive talker of his age, he would probably have been the finest writer; but he lays down his pen to make sure of an auditor, and mortgages the admiration of posterity for the stare of an idler. If he had not been a poet, he would have been a powerful logician; if he had not dipped his wing in the Unitarian controversy, he might have soared to the very summit of fancy. But in writing verse, he is trying to subject the Muse to transcendental theories: in his abstract reasoning, he misses his way by strewing it with flowers. All that he has done of moment, he had done twenty years ago: since then, he may be said to have lived on the sound of his own voice. Mr. Coleridge is too rich in intellectual wealth to need to task himself to any drudgery: he has only to draw the sliders of his imagination, and a thousand subjects expand before him, startling him with their brilliancy, or losing themselves in endless obscurity.

Which of the following statements about Coleridge's opinion of other writers is supported by the passage?