Passage adapted from Robert Louis Stevenson’s Treasure Island, 1883.

1 "Well, then," said he, "this is the berth for me. 2 Here you, matey," he cried to the man who trundled the barrow; "bring up alongside and help up my chest. 3 I'll stay here a bit," he continued. 4 "I'm a plain man; rum and bacon and eggs is what I want, and that head up there for to watch ships off. 5 What you mought call me? 6 You mought call me captain. 7 Oh, I see what you're at—there"; and he threw down three or four gold pieces on the threshold. 8 "You can tell me when I've worked through that," says he, looking as fierce as a commander.

9 And indeed bad as his clothes were and coarsely as he spoke, he had none of the appearance of a man who sailed before the mast, but seemed like a mate or skipper accustomed to be obeyed or to strike. 10 The man who came with the barrow told us the mail had set him down the morning before at the Royal George, that he had inquired what inns there were along the coast, and hearing ours well spoken of, I suppose, and described as lonely, had chosen it from the others for his place of residence. 11 And that was all we could learn of our guest.

Based on the passage, how would the speaker describe himself?

Passage adapted from Robert Louis Stevenson’s Treasure Island, 1883.

1 "Well, then," said he, "this is the berth for me. 2 Here you, matey," he cried to the man who trundled the barrow; "bring up alongside and help up my chest. 3 I'll stay here a bit," he continued. 4 "I'm a plain man; rum and bacon and eggs is what I want, and that head up there for to watch ships off. 5 What you mought call me? 6 You mought call me captain. 7 Oh, I see what you're at—there"; and he threw down three or four gold pieces on the threshold. 8 "You can tell me when I've worked through that," says he, looking as fierce as a commander.

9 And indeed bad as his clothes were and coarsely as he spoke, he had none of the appearance of a man who sailed before the mast, but seemed like a mate or skipper accustomed to be obeyed or to strike. 10 The man who came with the barrow told us the mail had set him down the morning before at the Royal George, that he had inquired what inns there were along the coast, and hearing ours well spoken of, I suppose, and described as lonely, had chosen it from the others for his place of residence. 11 And that was all we could learn of our guest.

In Sentence 4, what does the author mean by “head”?

Passage adapted from Robert Louis Stevenson’s Treasure Island, 1883.

1 "Well, then," said he, "this is the berth for me. 2 Here you, matey," he cried to the man who trundled the barrow; "bring up alongside and help up my chest. 3 I'll stay here a bit," he continued. 4 "I'm a plain man; rum and bacon and eggs is what I want, and that head up there for to watch ships off. 5 What you mought call me? 6 You mought call me captain. 7 Oh, I see what you're at—there"; and he threw down three or four gold pieces on the threshold. 8 "You can tell me when I've worked through that," says he, looking as fierce as a commander.

9 And indeed bad as his clothes were and coarsely as he spoke, he had none of the appearance of a man who sailed before the mast, but seemed like a mate or skipper accustomed to be obeyed or to strike. 10 The man who came with the barrow told us the mail had set him down the morning before at the Royal George, that he had inquired what inns there were along the coast, and hearing ours well spoken of, I suppose, and described as lonely, had chosen it from the others for his place of residence. 11 And that was all we could learn of our guest.

In Sentence 10, what does the author mean by “the mail had set him down the morning before”?

Passage adapted from Robert Louis Stevenson’s Treasure Island, 1883.

1 "Well, then," said he, "this is the berth for me. 2 Here you, matey," he cried to the man who trundled the barrow; "bring up alongside and help up my chest. 3 I'll stay here a bit," he continued. 4 "I'm a plain man; rum and bacon and eggs is what I want, and that head up there for to watch ships off. 5 What you mought call me? 6 You mought call me captain. 7 Oh, I see what you're at—there"; and he threw down three or four gold pieces on the threshold. 8 "You can tell me when I've worked through that," says he, looking as fierce as a commander.

9 And indeed bad as his clothes were and coarsely as he spoke, he had none of the appearance of a man who sailed before the mast, but seemed like a mate or skipper accustomed to be obeyed or to strike. 10 The man who came with the barrow told us the mail had set him down the morning before at the Royal George, that he had inquired what inns there were along the coast, and hearing ours well spoken of, I suppose, and described as lonely, had chosen it from the others for his place of residence. 11 And that was all we could learn of our guest.

Based on context, what is the “Royal George” (Sentence 10)?

Passage adapted from Jonathan Swift’s Gulliver’s Travels, 1892.

1 “In the right coat-pocket of the great man-mountain… after the strictest search, we found only one great piece of coarse-cloth, large enough to be a foot-cloth for your majesty’s chief room of state. 2 In the left pocket we saw a huge silver chest, with a cover of the same metal, which we, the searchers, were not able to lift. 3 We desired it should be opened, and one of us stepping into it, found himself up to the mid leg in a sort of dust, some part whereof flying up to our faces set us both a sneezing for several times together… 4 In the large pocket, on the right side of his middle cover” (so I translate the word ranfulo, by which they meant my breeches,) “we saw a hollow pillar of iron, about the length of a man, fastened to a strong piece of timber larger than the pillar; and upon one side of the pillar, were huge pieces of iron sticking out, cut into strange figures, which we know not what to make of. 5 In the smaller pocket on the right side, were several round flat pieces of white and red metal, of different bulk; some of the white, which seemed to be silver, were so large and heavy, that my comrade and I could hardly lift them.”

Based on context, what can be inferred about the person whom the speaker is describing?

Passage adapted from Jonathan Swift’s Gulliver’s Travels, 1892.

1 “In the right coat-pocket of the great man-mountain… after the strictest search, we found only one great piece of coarse-cloth, large enough to be a foot-cloth for your majesty’s chief room of state. 2 In the left pocket we saw a huge silver chest, with a cover of the same metal, which we, the searchers, were not able to lift. 3 We desired it should be opened, and one of us stepping into it, found himself up to the mid leg in a sort of dust, some part whereof flying up to our faces set us both a sneezing for several times together… 4 In the large pocket, on the right side of his middle cover” (so I translate the word ranfulo, by which they meant my breeches,) “we saw a hollow pillar of iron, about the length of a man, fastened to a strong piece of timber larger than the pillar; and upon one side of the pillar, were huge pieces of iron sticking out, cut into strange figures, which we know not what to make of. 5 In the smaller pocket on the right side, were several round flat pieces of white and red metal, of different bulk; some of the white, which seemed to be silver, were so large and heavy, that my comrade and I could hardly lift them.”

Based on context, what object is being described in Sentences 2 and 3?

Passage adapted from Jonathan Swift’s Gulliver’s Travels, 1892.

1 “In the right coat-pocket of the great man-mountain… after the strictest search, we found only one great piece of coarse-cloth, large enough to be a foot-cloth for your majesty’s chief room of state. 2 In the left pocket we saw a huge silver chest, with a cover of the same metal, which we, the searchers, were not able to lift. 3 We desired it should be opened, and one of us stepping into it, found himself up to the mid leg in a sort of dust, some part whereof flying up to our faces set us both a sneezing for several times together… 4 In the large pocket, on the right side of his middle cover” (so I translate the word ranfulo, by which they meant my breeches,) “we saw a hollow pillar of iron, about the length of a man, fastened to a strong piece of timber larger than the pillar; and upon one side of the pillar, were huge pieces of iron sticking out, cut into strange figures, which we know not what to make of. 5 In the smaller pocket on the right side, were several round flat pieces of white and red metal, of different bulk; some of the white, which seemed to be silver, were so large and heavy, that my comrade and I could hardly lift them.”

Based on context, what object is being described in Sentence 4?

Passage adapted from Jonathan Swift’s Gulliver’s Travels, 1892.

1 “In the right coat-pocket of the great man-mountain… after the strictest search, we found only one great piece of coarse-cloth, large enough to be a foot-cloth for your majesty’s chief room of state. 2 In the left pocket we saw a huge silver chest, with a cover of the same metal, which we, the searchers, were not able to lift. 3 We desired it should be opened, and one of us stepping into it, found himself up to the mid leg in a sort of dust, some part whereof flying up to our faces set us both a sneezing for several times together… 4 In the large pocket, on the right side of his middle cover” (so I translate the word ranfulo, by which they meant my breeches,) “we saw a hollow pillar of iron, about the length of a man, fastened to a strong piece of timber larger than the pillar; and upon one side of the pillar, were huge pieces of iron sticking out, cut into strange figures, which we know not what to make of. 5 In the smaller pocket on the right side, were several round flat pieces of white and red metal, of different bulk; some of the white, which seemed to be silver, were so large and heavy, that my comrade and I could hardly lift them.”

Based on context, what object is being described in Sentence 5?

Passage adapted from Jonathan Swift’s Gulliver’s Travels, 1892.

1 “In the right coat-pocket of the great man-mountain… after the strictest search, we found only one great piece of coarse-cloth, large enough to be a foot-cloth for your majesty’s chief room of state. 2 In the left pocket we saw a huge silver chest, with a cover of the same metal, which we, the searchers, were not able to lift. 3 We desired it should be opened, and one of us stepping into it, found himself up to the mid leg in a sort of dust, some part whereof flying up to our faces set us both a sneezing for several times together… 4 In the large pocket, on the right side of his middle cover” (so I translate the word ranfulo, by which they meant my breeches,) “we saw a hollow pillar of iron, about the length of a man, fastened to a strong piece of timber larger than the pillar; and upon one side of the pillar, were huge pieces of iron sticking out, cut into strange figures, which we know not what to make of. 5 In the smaller pocket on the right side, were several round flat pieces of white and red metal, of different bulk; some of the white, which seemed to be silver, were so large and heavy, that my comrade and I could hardly lift them.”

Based on context, what can be inferred about the status of the speaker who is exploring the enormous man’s pockets?

Adapted from George Alexander Fischer, Beethoven (1905)

Up to Beethoven's time musicians in general (Bach is always an exception) performed their work without the aid of an intellect for the most part; they worked by intuition. In everything outside their art they were like children. Beethoven was the first one having the independence to think for himself—the first to have ideas on subjects unconnected with his art. He it was who established the dignity of the artist over that of the simply well-born. His entire life was a protest against the pretensions of birth over mind. His predecessors, to a great extent subjugated by their social superiors, sought only to please. Nothing further was expected of them. This mental attitude is apparent in their work. The language of the courtier is usually polished, but will never have the virility that characterizes the speech of the free man.

As with all valuable things, however, Beethoven's music is not to be enjoyed for nothing. We must on our side contribute something to the enterprise, something more than simply buying a ticket to the performance. We must study his work in the right spirit, and place ourselves in a receptive attitude when listening to it to understand his message. Often metaphysical, particularly in the work of his later years, his meaning will be revealed only when we devote to it earnest and sympathetic study. No other composer demands so much of one; no other rewards the student so richly for the effort required. The making a fact the subject of thought vitalizes it. It is as if the master had said to the aspirant: "I will admit you into the ranks of my disciples, but you must first prove yourself worthy." An initiation is necessary; somewhat of the intense mental activity which characterized Beethoven in the composition of his works is required of the student also. There is a tax imposed for the enjoyment of them.

Like Thoreau, Beethoven came on the world's stage "just in the nick of time," and almost immediately had to begin hewing out a path for himself. He was born in the workshop, as was Mozart, and learned music simultaneously with speaking. Stirring times they were in which he first saw the light, and so indeed continued with ever-increasing intensity, like a good drama, until nearly his end. The American Revolution became an accomplished fact during his boyhood. Nearer home, events were fast coming to a focus, which culminated in the French Revolution. The magic words, Liberty, Equality, Fraternity, and the ideas for which they stood, were everywhere in the minds of the people. The age called for enlightenment, spiritual growth.

It is clear from the passage above that the author views the "intellectualism" of Beethoven as __________________.