Argumentative Humanities Passages - SSAT Upper Level Reading
Card 1 of 932
Adapted from “Aristotle at Afternoon Tea” by Oscar Wilde (1887)
In society, says Mr. Mahaffy, every civilized man and woman ought to feel it their duty to say something, even when there is hardly anything to be said, and, in order to encourage this delightful art of brilliant chatter, he has published a social guide without which no debutante or dandy should ever dream of going out to dine. Not that Mr. Mahaffy's book can be said to be, in any sense of the word, popular. In discussing this important subject of conversation, he has not merely followed the scientific method of Aristotle which is, perhaps, excusable, but he has adopted the literary style of Aristotle for which no excuse is possible. There is, also, hardly a single anecdote, hardly a single illustration, and the reader is left to put the professor's abstract rules into practice, without either the examples or the warnings of history to encourage or to dissuade him in his reckless career. Still, the book can be warmly recommended to all who propose to substitute the vice of verbosity for the stupidity of silence. It fascinates in spite of its form and pleases in spite of its pedantry, and is the nearest approach, that we know of, in modern literature to meeting Aristotle at an afternoon tea.
The overall tone of this passage is .
Adapted from “Aristotle at Afternoon Tea” by Oscar Wilde (1887)
In society, says Mr. Mahaffy, every civilized man and woman ought to feel it their duty to say something, even when there is hardly anything to be said, and, in order to encourage this delightful art of brilliant chatter, he has published a social guide without which no debutante or dandy should ever dream of going out to dine. Not that Mr. Mahaffy's book can be said to be, in any sense of the word, popular. In discussing this important subject of conversation, he has not merely followed the scientific method of Aristotle which is, perhaps, excusable, but he has adopted the literary style of Aristotle for which no excuse is possible. There is, also, hardly a single anecdote, hardly a single illustration, and the reader is left to put the professor's abstract rules into practice, without either the examples or the warnings of history to encourage or to dissuade him in his reckless career. Still, the book can be warmly recommended to all who propose to substitute the vice of verbosity for the stupidity of silence. It fascinates in spite of its form and pleases in spite of its pedantry, and is the nearest approach, that we know of, in modern literature to meeting Aristotle at an afternoon tea.
The overall tone of this passage is .
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The author employs a great deal of sarcasm and irony in this passage. The tone could therefore best be described as "sardonic," which means mocking or sarcastic. An example of the author’s sardonic tone can be found when the author says, “the book can be warmly recommended to all who propose to substitute the vice of verbosity for the stupidity of silence.” As for the other answer choices, "histrionic" means excessively dramatic, "contemplative" means thoughtful, and "laconic" means terse or brief.
The author employs a great deal of sarcasm and irony in this passage. The tone could therefore best be described as "sardonic," which means mocking or sarcastic. An example of the author’s sardonic tone can be found when the author says, “the book can be warmly recommended to all who propose to substitute the vice of verbosity for the stupidity of silence.” As for the other answer choices, "histrionic" means excessively dramatic, "contemplative" means thoughtful, and "laconic" means terse or brief.
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Adapted from "Advice to Youth" by Mark Twain (1882)
Being told I would be expected to talk here, I inquired what sort of talk I ought to make. They said it should be something suitable to youth—something didactic, instructive, or something in the nature of good advice. Very well. I have a few things in my mind which I have often longed to say for the instruction of the young; for it is in one’s tender early years that such things will best take root and be most enduring and most valuable. First, then. I will say to you, my young friends—and I say it beseechingly, urgently—always obey your parents, when they are present. This is the best policy in the long run, because if you don’t, they will make you. Most parents think they know better than you do, and you can generally make more by humoring that superstition than you can by acting on your own better judgment.
Go to bed early, get up early—this is wise. Some authorities say get up with the sun; some say get up with one thing, others with another. But a lark is really the best thing to get up with. It gives you a splendid reputation with everybody to know that you get up with the lark; and if you get the right kind of lark, and work at him right, you can easily train him to get up at half past nine, every time—it’s no trick at all.
The author most likely mentions parental rules in order to .
Adapted from "Advice to Youth" by Mark Twain (1882)
Being told I would be expected to talk here, I inquired what sort of talk I ought to make. They said it should be something suitable to youth—something didactic, instructive, or something in the nature of good advice. Very well. I have a few things in my mind which I have often longed to say for the instruction of the young; for it is in one’s tender early years that such things will best take root and be most enduring and most valuable. First, then. I will say to you, my young friends—and I say it beseechingly, urgently—always obey your parents, when they are present. This is the best policy in the long run, because if you don’t, they will make you. Most parents think they know better than you do, and you can generally make more by humoring that superstition than you can by acting on your own better judgment.
Go to bed early, get up early—this is wise. Some authorities say get up with the sun; some say get up with one thing, others with another. But a lark is really the best thing to get up with. It gives you a splendid reputation with everybody to know that you get up with the lark; and if you get the right kind of lark, and work at him right, you can easily train him to get up at half past nine, every time—it’s no trick at all.
The author most likely mentions parental rules in order to .
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Although there are several close answers, the best fit is that the example of parental rules is used to jest at the current system of rules that doesn't often take into account the decision abilities of youth.
Although there are several close answers, the best fit is that the example of parental rules is used to jest at the current system of rules that doesn't often take into account the decision abilities of youth.
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Adapted from "Slang in America" in Vol. 141, No. 348 of The North American Review by Walt Whitman (November 1885)
View'd freely, the English language is the accretion and growth of every dialect, people, and range of time, and is both the free and compacted composition of all. From this point of view, it stands for Language in the largest sense, and is really the greatest of studies. It involves so much; is indeed a sort of universal absorber, combiner, and conqueror. The scope of its etymologies is the scope not only of man and civilization, but the history of Nature in all departments, and of the organic Universe, brought up to date; for all are comprehended in words, and their backgrounds. This is when words become vitalized, and stand for things, as they unerringly and soon come to do, in the mind that enters on their study with fitting spirit, grasp, and appreciation.
Slang, profoundly consider’d, is the lawless germinal element, below all words and sentences, and behind all poetry, and proves a certain perennial rankness and protestantism in speech. As the United States inherit by far their most precious possession—the language they talk and write—from the Old World, under and out of its feudal institutes, I will allow myself to borrow a simile even of those forms farthest removed from American Democracy. Considering Language then as some mighty potentate, into the majestic audience-hall of the monarch ever enters a personage like one of Shakespeare’s clowns, and takes position there, and plays a part even in the stateliest ceremonies. Such is Slang, or indirection, an attempt of common humanity to escape from bald literalism, and express itself illimitably, which in highest walks produces poets and poems, and doubtless in prehistoric times gave the start to, and perfected, the whole immense tangle of the old mythologies. For, curious as it may appear, it is strictly the same impulse-source, the same thing. Slang, too, is the wholesome fermentation or eructation of those processes eternally active in language, by which froth and specks are thrown up, mostly to pass away, though occasionally to settle and permanently crystallize.
Using the simile alluded to in the previous question, Whitman then compares slang to .
Adapted from "Slang in America" in Vol. 141, No. 348 of The North American Review by Walt Whitman (November 1885)
View'd freely, the English language is the accretion and growth of every dialect, people, and range of time, and is both the free and compacted composition of all. From this point of view, it stands for Language in the largest sense, and is really the greatest of studies. It involves so much; is indeed a sort of universal absorber, combiner, and conqueror. The scope of its etymologies is the scope not only of man and civilization, but the history of Nature in all departments, and of the organic Universe, brought up to date; for all are comprehended in words, and their backgrounds. This is when words become vitalized, and stand for things, as they unerringly and soon come to do, in the mind that enters on their study with fitting spirit, grasp, and appreciation.
Slang, profoundly consider’d, is the lawless germinal element, below all words and sentences, and behind all poetry, and proves a certain perennial rankness and protestantism in speech. As the United States inherit by far their most precious possession—the language they talk and write—from the Old World, under and out of its feudal institutes, I will allow myself to borrow a simile even of those forms farthest removed from American Democracy. Considering Language then as some mighty potentate, into the majestic audience-hall of the monarch ever enters a personage like one of Shakespeare’s clowns, and takes position there, and plays a part even in the stateliest ceremonies. Such is Slang, or indirection, an attempt of common humanity to escape from bald literalism, and express itself illimitably, which in highest walks produces poets and poems, and doubtless in prehistoric times gave the start to, and perfected, the whole immense tangle of the old mythologies. For, curious as it may appear, it is strictly the same impulse-source, the same thing. Slang, too, is the wholesome fermentation or eructation of those processes eternally active in language, by which froth and specks are thrown up, mostly to pass away, though occasionally to settle and permanently crystallize.
Using the simile alluded to in the previous question, Whitman then compares slang to .
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The sort of "clown" that Whitman means when he refers to one of Shakespeare's clowns would more readily be called a court jester, and this is the figure to which he compares slang.
The sort of "clown" that Whitman means when he refers to one of Shakespeare's clowns would more readily be called a court jester, and this is the figure to which he compares slang.
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Adapted from "The Writing of Essays" in Certain Personal Matters by H.G. Wells (1901)
The art of the essayist is so simple, so entirely free from canons of criticism, and withal so delightful, that one must needs wonder why all men are not essayists. Perhaps people do not know how easy it is. Or perhaps beginners are misled. Rightly taught it may be learnt in a brief ten minutes or so, what art there is in it. And all the rest is as easy as wandering among woodlands on a bright morning in the spring.
Then sit you down if you would join us, taking paper, pens, and ink; and mark this, your pen is a matter of vital moment. For every pen writes its own sort of essay, and pencils also after their kind. The ink perhaps may have its influence too, and the paper; but paramount is the pen. This, indeed, is the fundamental secret of essay-writing. Wed any man to his proper pen, and the delights of composition and the birth of an essay are assured. Only many of us wander through the earth and never meet with her—futile and lonely men.
And, of all pens, your quill for essays that are literature. There is a subtle informality, a delightful easiness, perhaps even a faint immorality essentially literary, about the quill. The quill is rich in suggestion and quotation. There are quills that would quote you Montaigne and Horace in the hands of a trades-union delegate. And those quirky, idle noises this pen makes are delightful, and would break your easy fluency with wit. All the classical essayists wrote with a quill, and Addison used the most expensive kind the Government purchased. And the beginning of the inferior essay was the dawn of the cheap steel pen.
Wells says that all of the following are possible with the quill pen EXCEPT .
Adapted from "The Writing of Essays" in Certain Personal Matters by H.G. Wells (1901)
The art of the essayist is so simple, so entirely free from canons of criticism, and withal so delightful, that one must needs wonder why all men are not essayists. Perhaps people do not know how easy it is. Or perhaps beginners are misled. Rightly taught it may be learnt in a brief ten minutes or so, what art there is in it. And all the rest is as easy as wandering among woodlands on a bright morning in the spring.
Then sit you down if you would join us, taking paper, pens, and ink; and mark this, your pen is a matter of vital moment. For every pen writes its own sort of essay, and pencils also after their kind. The ink perhaps may have its influence too, and the paper; but paramount is the pen. This, indeed, is the fundamental secret of essay-writing. Wed any man to his proper pen, and the delights of composition and the birth of an essay are assured. Only many of us wander through the earth and never meet with her—futile and lonely men.
And, of all pens, your quill for essays that are literature. There is a subtle informality, a delightful easiness, perhaps even a faint immorality essentially literary, about the quill. The quill is rich in suggestion and quotation. There are quills that would quote you Montaigne and Horace in the hands of a trades-union delegate. And those quirky, idle noises this pen makes are delightful, and would break your easy fluency with wit. All the classical essayists wrote with a quill, and Addison used the most expensive kind the Government purchased. And the beginning of the inferior essay was the dawn of the cheap steel pen.
Wells says that all of the following are possible with the quill pen EXCEPT .
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While near the beginning of the third paragraph, Wells claims, "There is a subtle informality, a delightful easiness, perhaps even a faint immorality essentially literary, about the quill," he never mentions focus as one of the chief benefits of using a quill pen.
While near the beginning of the third paragraph, Wells claims, "There is a subtle informality, a delightful easiness, perhaps even a faint immorality essentially literary, about the quill," he never mentions focus as one of the chief benefits of using a quill pen.
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Adapted from "The Writing of Essays" in Certain Personal Matters by H.G. Wells (1901)
The art of the essayist is so simple, so entirely free from canons of criticism, and withal so delightful, that one must needs wonder why all men are not essayists. Perhaps people do not know how easy it is. Or perhaps beginners are misled. Rightly taught it may be learnt in a brief ten minutes or so, what art there is in it. And all the rest is as easy as wandering among woodlands on a bright morning in the spring.
Then sit you down if you would join us, taking paper, pens, and ink; and mark this, your pen is a matter of vital moment. For every pen writes its own sort of essay, and pencils also after their kind. The ink perhaps may have its influence too, and the paper; but paramount is the pen. This, indeed, is the fundamental secret of essay-writing. Wed any man to his proper pen, and the delights of composition and the birth of an essay are assured. Only many of us wander through the earth and never meet with her—futile and lonely men.
And, of all pens, your quill for essays that are literature. There is a subtle informality, a delightful easiness, perhaps even a faint immorality essentially literary, about the quill. The quill is rich in suggestion and quotation. There are quills that would quote you Montaigne and Horace in the hands of a trades-union delegate. And those quirky, idle noises this pen makes are delightful, and would break your easy fluency with wit. All the classical essayists wrote with a quill, and Addison used the most expensive kind the Government purchased. And the beginning of the inferior essay was the dawn of the cheap steel pen.
Wells suggests that bad essays began being written when .
Adapted from "The Writing of Essays" in Certain Personal Matters by H.G. Wells (1901)
The art of the essayist is so simple, so entirely free from canons of criticism, and withal so delightful, that one must needs wonder why all men are not essayists. Perhaps people do not know how easy it is. Or perhaps beginners are misled. Rightly taught it may be learnt in a brief ten minutes or so, what art there is in it. And all the rest is as easy as wandering among woodlands on a bright morning in the spring.
Then sit you down if you would join us, taking paper, pens, and ink; and mark this, your pen is a matter of vital moment. For every pen writes its own sort of essay, and pencils also after their kind. The ink perhaps may have its influence too, and the paper; but paramount is the pen. This, indeed, is the fundamental secret of essay-writing. Wed any man to his proper pen, and the delights of composition and the birth of an essay are assured. Only many of us wander through the earth and never meet with her—futile and lonely men.
And, of all pens, your quill for essays that are literature. There is a subtle informality, a delightful easiness, perhaps even a faint immorality essentially literary, about the quill. The quill is rich in suggestion and quotation. There are quills that would quote you Montaigne and Horace in the hands of a trades-union delegate. And those quirky, idle noises this pen makes are delightful, and would break your easy fluency with wit. All the classical essayists wrote with a quill, and Addison used the most expensive kind the Government purchased. And the beginning of the inferior essay was the dawn of the cheap steel pen.
Wells suggests that bad essays began being written when .
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In the passage's last line, Wells says that "the beginning of the inferior essay was the dawn of the cheap steel pen," so he suggests that the introduction of the steel pen was the turning point for the quality of essay writing.
In the passage's last line, Wells says that "the beginning of the inferior essay was the dawn of the cheap steel pen," so he suggests that the introduction of the steel pen was the turning point for the quality of essay writing.
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Adapted from "The Modern Essay" in The Times Literary Supplement by Virginia Woolf (November 30, 1922)
As Mr. Rhys truly says, it is unnecessary to go profoundly into the history and origin of the essay—whether it derives from Socrates or Siranney the Persian—since, like all living things, its present is more important than its past. Moreover, the family is widely spread; and while some of its representatives have risen in the world and wear their coronets with the best, others pick up a precarious living in the gutter near Fleet Street. The form, too, admits variety. The essay can be short or long, serious or trifling, about God and Spinoza, or about turtles and Cheapside. But as we turn over the pages of these five little volumes, containing essays written between 1870 and 1920, certain principles appear to control the chaos, and we detect in the short period under review something like the progress of history.
Of all forms of literature, however, the essay is the one which least calls for the use of long words. The principle which controls it is simply that it should give pleasure; the desire which impels us when we take it from the shelf is simply to receive pleasure. Everything in an essay must be subdued to that end. It should lay us under a spell with its first word, and we should only wake, refreshed, with its last. In the interval we may pass through the most various experiences of amusement, surprise, interest, indignation; we may soar to the heights of fantasy with Lamb or plunge to the depths of wisdom with Bacon, but we must never be roused. The essay must lap us about and draw its curtain across the world.
Woolf mentions that we can experience all of the following while reading an essay EXCEPT .
Adapted from "The Modern Essay" in The Times Literary Supplement by Virginia Woolf (November 30, 1922)
As Mr. Rhys truly says, it is unnecessary to go profoundly into the history and origin of the essay—whether it derives from Socrates or Siranney the Persian—since, like all living things, its present is more important than its past. Moreover, the family is widely spread; and while some of its representatives have risen in the world and wear their coronets with the best, others pick up a precarious living in the gutter near Fleet Street. The form, too, admits variety. The essay can be short or long, serious or trifling, about God and Spinoza, or about turtles and Cheapside. But as we turn over the pages of these five little volumes, containing essays written between 1870 and 1920, certain principles appear to control the chaos, and we detect in the short period under review something like the progress of history.
Of all forms of literature, however, the essay is the one which least calls for the use of long words. The principle which controls it is simply that it should give pleasure; the desire which impels us when we take it from the shelf is simply to receive pleasure. Everything in an essay must be subdued to that end. It should lay us under a spell with its first word, and we should only wake, refreshed, with its last. In the interval we may pass through the most various experiences of amusement, surprise, interest, indignation; we may soar to the heights of fantasy with Lamb or plunge to the depths of wisdom with Bacon, but we must never be roused. The essay must lap us about and draw its curtain across the world.
Woolf mentions that we can experience all of the following while reading an essay EXCEPT .
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Woolf uses no synonyms for "disgust" when listing the various experiences an essay reader can have, but she gives synonyms for all of the other choices listed here.
Woolf uses no synonyms for "disgust" when listing the various experiences an essay reader can have, but she gives synonyms for all of the other choices listed here.
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Adapted from "Preface: The Maypole and the Column" in Extemporary Essays by Maurice Hewlett (1922)
In days of more single purpose than these, young men and maidens, in the first flush of summer, set up a maypole on the green; but before they joined hands and danced round about it they had done honor to what it stood for by draping it with swags of flowers and green-stuff, hanging it with streamers of diverse colors, and sticking it with as many gilt hearts as there were hearts among them of votive inclination. So they transfigured the thing signified, and turned a shaven tree-trunk from a very crude emblem into a thing of happy fantasy. That will serve me for a figure of how the poet deals with his little idea, or great one; and in his more sober mood it is open to the essayist so to deal with his, supposing he have one. He must hang his pole, or concept, not with rhyme but with wise or witty talk. He must turn it about and about, not to set the ornaments jingling, or little bells ringing; rather that you may see its shapeliness enhanced, its proportions emphasized, and in all the shifting lights and shadows of its ornamentation discern it still for the notion that it is. That, at least, is my own notion of what the essayist should do, though I am aware that very distinguished practitioners have not agreed with me and do not agree at this hour. The modern essayist, for reasons which I shall try to expound, has been driven from the maypole to the column.
Certainly, the parent of the Essay draped no maypoles with speech. Montaigne was a sedentary philosopher, of the order of the post-prandials; a wine-and-walnuts man. One thing would open out into another, and one seem better than the other, at the time of hearing. "Je n'enseigne point; je raconte," he tells you of himself; and it is true. To listen to him is a liberal education; yet you can hardly think of Montaigne footing it on the green. Bacon's line, again, was the aphoristic. He shreds off his maypole rather than clothes it: but he has one set up. He can give his argument as witty a turn as the Frenchman when he pleases—"There is no man doth a wrong for the wrong's sake, but thereby to purchase himself profit, or pleasure, or honor, or the like. Therefore why should I be angry with a man for loving himself better than me?" That is the turn his thoughts take upon Revenge, and a fair sample of his way with an abstract idea—shredding off it all the time, getting down to the pith. But he can be very obscure: "A single life doth well with Churchmen; for charity will hardly water the ground where it must first fill a pool." That is proleptic reasoning. We are to caper about the pole before the ornaments are on.
Hewlett says that other essayists .
Adapted from "Preface: The Maypole and the Column" in Extemporary Essays by Maurice Hewlett (1922)
In days of more single purpose than these, young men and maidens, in the first flush of summer, set up a maypole on the green; but before they joined hands and danced round about it they had done honor to what it stood for by draping it with swags of flowers and green-stuff, hanging it with streamers of diverse colors, and sticking it with as many gilt hearts as there were hearts among them of votive inclination. So they transfigured the thing signified, and turned a shaven tree-trunk from a very crude emblem into a thing of happy fantasy. That will serve me for a figure of how the poet deals with his little idea, or great one; and in his more sober mood it is open to the essayist so to deal with his, supposing he have one. He must hang his pole, or concept, not with rhyme but with wise or witty talk. He must turn it about and about, not to set the ornaments jingling, or little bells ringing; rather that you may see its shapeliness enhanced, its proportions emphasized, and in all the shifting lights and shadows of its ornamentation discern it still for the notion that it is. That, at least, is my own notion of what the essayist should do, though I am aware that very distinguished practitioners have not agreed with me and do not agree at this hour. The modern essayist, for reasons which I shall try to expound, has been driven from the maypole to the column.
Certainly, the parent of the Essay draped no maypoles with speech. Montaigne was a sedentary philosopher, of the order of the post-prandials; a wine-and-walnuts man. One thing would open out into another, and one seem better than the other, at the time of hearing. "Je n'enseigne point; je raconte," he tells you of himself; and it is true. To listen to him is a liberal education; yet you can hardly think of Montaigne footing it on the green. Bacon's line, again, was the aphoristic. He shreds off his maypole rather than clothes it: but he has one set up. He can give his argument as witty a turn as the Frenchman when he pleases—"There is no man doth a wrong for the wrong's sake, but thereby to purchase himself profit, or pleasure, or honor, or the like. Therefore why should I be angry with a man for loving himself better than me?" That is the turn his thoughts take upon Revenge, and a fair sample of his way with an abstract idea—shredding off it all the time, getting down to the pith. But he can be very obscure: "A single life doth well with Churchmen; for charity will hardly water the ground where it must first fill a pool." That is proleptic reasoning. We are to caper about the pole before the ornaments are on.
Hewlett says that other essayists .
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Hewlett bluntly states at the end of the first paragraph that "very distinguished practitioners have not agreed with \[him\]."
Hewlett bluntly states at the end of the first paragraph that "very distinguished practitioners have not agreed with \[him\]."
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Adapted from “Talking About Our Troubles” by Mark Rutherford (1901)
We may talk about our troubles to those persons who can give us direct help, but even in this case we ought as much as possible to come to a provisional conclusion before consultation; to be perfectly clear to ourselves within our own limits. Some people have a foolish trick of applying for aid before they have done anything whatever to aid themselves, and in fact try to talk themselves into perspicuity. The only way in which they can think is by talking, and their speech consequently is not the expression of opinion already and carefully formed, but the manufacture of it.
We may also tell our troubles to those who are suffering if we can lessen their own. It may be a very great relief to them to know that others have passed through trials equal to theirs and have survived. There are obscure, nervous diseases, hypochondriac fancies, almost uncontrollable impulses, which terrify by their apparent singularity. If we could believe that they are common, the worst of the fear would vanish.
But, as a rule, we should be very careful for our own sake not to speak much about what distresses us. Expression is apt to carry with it exaggeration, and this exaggerated form becomes henceforth that under which we represent our miseries to ourselves, so that they are thereby increased. By reserve, on the other hand, they are diminished, for we attach less importance to that which it was not worthwhile to mention. Secrecy, in fact, may be our salvation.
The word "perspicuity" most nearly means .
Adapted from “Talking About Our Troubles” by Mark Rutherford (1901)
We may talk about our troubles to those persons who can give us direct help, but even in this case we ought as much as possible to come to a provisional conclusion before consultation; to be perfectly clear to ourselves within our own limits. Some people have a foolish trick of applying for aid before they have done anything whatever to aid themselves, and in fact try to talk themselves into perspicuity. The only way in which they can think is by talking, and their speech consequently is not the expression of opinion already and carefully formed, but the manufacture of it.
We may also tell our troubles to those who are suffering if we can lessen their own. It may be a very great relief to them to know that others have passed through trials equal to theirs and have survived. There are obscure, nervous diseases, hypochondriac fancies, almost uncontrollable impulses, which terrify by their apparent singularity. If we could believe that they are common, the worst of the fear would vanish.
But, as a rule, we should be very careful for our own sake not to speak much about what distresses us. Expression is apt to carry with it exaggeration, and this exaggerated form becomes henceforth that under which we represent our miseries to ourselves, so that they are thereby increased. By reserve, on the other hand, they are diminished, for we attach less importance to that which it was not worthwhile to mention. Secrecy, in fact, may be our salvation.
The word "perspicuity" most nearly means .
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"Perspicuity" means clarity or lucidity. Other than knowing the meaning of the word the only way to solve this problem is to read-in-context. From the context of the first paragraph it is clear that the author is talking about how some people do not deal with their problems but instead try and talk them through with other people until they reach “perspicuity.” You can therefore infer that perspicuity must refer to some sort of desirable conclusion. "Misunderstanding," "concern," and "fear" are all undesirable conclusions, and "opulence" simply refers to fanciness or luxury.
"Perspicuity" means clarity or lucidity. Other than knowing the meaning of the word the only way to solve this problem is to read-in-context. From the context of the first paragraph it is clear that the author is talking about how some people do not deal with their problems but instead try and talk them through with other people until they reach “perspicuity.” You can therefore infer that perspicuity must refer to some sort of desirable conclusion. "Misunderstanding," "concern," and "fear" are all undesirable conclusions, and "opulence" simply refers to fanciness or luxury.
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Adapted from "Preface: The Maypole and the Column" in Extemporary Essays by Maurice Hewlett (1922)
In days of more single purpose than these, young men and maidens, in the first flush of summer, set up a maypole on the green; but before they joined hands and danced round about it they had done honor to what it stood for by draping it with swags of flowers and green-stuff, hanging it with streamers of diverse colors, and sticking it with as many gilt hearts as there were hearts among them of votive inclination. So they transfigured the thing signified, and turned a shaven tree-trunk from a very crude emblem into a thing of happy fantasy. That will serve me for a figure of how the poet deals with his little idea, or great one; and in his more sober mood it is open to the essayist so to deal with his, supposing he have one. He must hang his pole, or concept, not with rhyme but with wise or witty talk. He must turn it about and about, not to set the ornaments jingling, or little bells ringing; rather that you may see its shapeliness enhanced, its proportions emphasized, and in all the shifting lights and shadows of its ornamentation discern it still for the notion that it is. That, at least, is my own notion of what the essayist should do, though I am aware that very distinguished practitioners have not agreed with me and do not agree at this hour. The modern essayist, for reasons which I shall try to expound, has been driven from the maypole to the column.
Certainly, the parent of the Essay draped no maypoles with speech. Montaigne was a sedentary philosopher, of the order of the post-prandials; a wine-and-walnuts man. One thing would open out into another, and one seem better than the other, at the time of hearing. "Je n'enseigne point; je raconte," he tells you of himself; and it is true. To listen to him is a liberal education; yet you can hardly think of Montaigne footing it on the green. Bacon's line, again, was the aphoristic. He shreds off his maypole rather than clothes it: but he has one set up. He can give his argument as witty a turn as the Frenchman when he pleases—"There is no man doth a wrong for the wrong's sake, but thereby to purchase himself profit, or pleasure, or honor, or the like. Therefore why should I be angry with a man for loving himself better than me?" That is the turn his thoughts take upon Revenge, and a fair sample of his way with an abstract idea—shredding off it all the time, getting down to the pith. But he can be very obscure: "A single life doth well with Churchmen; for charity will hardly water the ground where it must first fill a pool." That is proleptic reasoning. We are to caper about the pole before the ornaments are on.
In the passage's second paragraph, Hewlett implies that the creator of the modern essay is .
Adapted from "Preface: The Maypole and the Column" in Extemporary Essays by Maurice Hewlett (1922)
In days of more single purpose than these, young men and maidens, in the first flush of summer, set up a maypole on the green; but before they joined hands and danced round about it they had done honor to what it stood for by draping it with swags of flowers and green-stuff, hanging it with streamers of diverse colors, and sticking it with as many gilt hearts as there were hearts among them of votive inclination. So they transfigured the thing signified, and turned a shaven tree-trunk from a very crude emblem into a thing of happy fantasy. That will serve me for a figure of how the poet deals with his little idea, or great one; and in his more sober mood it is open to the essayist so to deal with his, supposing he have one. He must hang his pole, or concept, not with rhyme but with wise or witty talk. He must turn it about and about, not to set the ornaments jingling, or little bells ringing; rather that you may see its shapeliness enhanced, its proportions emphasized, and in all the shifting lights and shadows of its ornamentation discern it still for the notion that it is. That, at least, is my own notion of what the essayist should do, though I am aware that very distinguished practitioners have not agreed with me and do not agree at this hour. The modern essayist, for reasons which I shall try to expound, has been driven from the maypole to the column.
Certainly, the parent of the Essay draped no maypoles with speech. Montaigne was a sedentary philosopher, of the order of the post-prandials; a wine-and-walnuts man. One thing would open out into another, and one seem better than the other, at the time of hearing. "Je n'enseigne point; je raconte," he tells you of himself; and it is true. To listen to him is a liberal education; yet you can hardly think of Montaigne footing it on the green. Bacon's line, again, was the aphoristic. He shreds off his maypole rather than clothes it: but he has one set up. He can give his argument as witty a turn as the Frenchman when he pleases—"There is no man doth a wrong for the wrong's sake, but thereby to purchase himself profit, or pleasure, or honor, or the like. Therefore why should I be angry with a man for loving himself better than me?" That is the turn his thoughts take upon Revenge, and a fair sample of his way with an abstract idea—shredding off it all the time, getting down to the pith. But he can be very obscure: "A single life doth well with Churchmen; for charity will hardly water the ground where it must first fill a pool." That is proleptic reasoning. We are to caper about the pole before the ornaments are on.
In the passage's second paragraph, Hewlett implies that the creator of the modern essay is .
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Hewlett refers to "the Parent of the essay" and proceeds to describe the work of the French philosopher Montaigne, implying that Montaigne is the creator of the modern essay.
Hewlett refers to "the Parent of the essay" and proceeds to describe the work of the French philosopher Montaigne, implying that Montaigne is the creator of the modern essay.
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Adapted from "Preface: The Maypole and the Column" in Extemporary Essays by Maurice Hewlett (1922)
In days of more single purpose than these, young men and maidens, in the first flush of summer, set up a maypole on the green; but before they joined hands and danced round about it they had done honor to what it stood for by draping it with swags of flowers and green-stuff, hanging it with streamers of diverse colors, and sticking it with as many gilt hearts as there were hearts among them of votive inclination. So they transfigured the thing signified, and turned a shaven tree-trunk from a very crude emblem into a thing of happy fantasy. That will serve me for a figure of how the poet deals with his little idea, or great one; and in his more sober mood it is open to the essayist so to deal with his, supposing he have one. He must hang his pole, or concept, not with rhyme but with wise or witty talk. He must turn it about and about, not to set the ornaments jingling, or little bells ringing; rather that you may see its shapeliness enhanced, its proportions emphasized, and in all the shifting lights and shadows of its ornamentation discern it still for the notion that it is. That, at least, is my own notion of what the essayist should do, though I am aware that very distinguished practitioners have not agreed with me and do not agree at this hour. The modern essayist, for reasons which I shall try to expound, has been driven from the maypole to the column.
Certainly, the parent of the Essay draped no maypoles with speech. Montaigne was a sedentary philosopher, of the order of the post-prandials; a wine-and-walnuts man. One thing would open out into another, and one seem better than the other, at the time of hearing. "Je n'enseigne point; je raconte," he tells you of himself; and it is true. To listen to him is a liberal education; yet you can hardly think of Montaigne footing it on the green. Bacon's line, again, was the aphoristic. He shreds off his maypole rather than clothes it: but he has one set up. He can give his argument as witty a turn as the Frenchman when he pleases—"There is no man doth a wrong for the wrong's sake, but thereby to purchase himself profit, or pleasure, or honor, or the like. Therefore why should I be angry with a man for loving himself better than me?" That is the turn his thoughts take upon Revenge, and a fair sample of his way with an abstract idea—shredding off it all the time, getting down to the pith. But he can be very obscure: "A single life doth well with Churchmen; for charity will hardly water the ground where it must first fill a pool." That is proleptic reasoning. We are to caper about the pole before the ornaments are on.
Hewlett contrasts the maypole and the column to show that .
Adapted from "Preface: The Maypole and the Column" in Extemporary Essays by Maurice Hewlett (1922)
In days of more single purpose than these, young men and maidens, in the first flush of summer, set up a maypole on the green; but before they joined hands and danced round about it they had done honor to what it stood for by draping it with swags of flowers and green-stuff, hanging it with streamers of diverse colors, and sticking it with as many gilt hearts as there were hearts among them of votive inclination. So they transfigured the thing signified, and turned a shaven tree-trunk from a very crude emblem into a thing of happy fantasy. That will serve me for a figure of how the poet deals with his little idea, or great one; and in his more sober mood it is open to the essayist so to deal with his, supposing he have one. He must hang his pole, or concept, not with rhyme but with wise or witty talk. He must turn it about and about, not to set the ornaments jingling, or little bells ringing; rather that you may see its shapeliness enhanced, its proportions emphasized, and in all the shifting lights and shadows of its ornamentation discern it still for the notion that it is. That, at least, is my own notion of what the essayist should do, though I am aware that very distinguished practitioners have not agreed with me and do not agree at this hour. The modern essayist, for reasons which I shall try to expound, has been driven from the maypole to the column.
Certainly, the parent of the Essay draped no maypoles with speech. Montaigne was a sedentary philosopher, of the order of the post-prandials; a wine-and-walnuts man. One thing would open out into another, and one seem better than the other, at the time of hearing. "Je n'enseigne point; je raconte," he tells you of himself; and it is true. To listen to him is a liberal education; yet you can hardly think of Montaigne footing it on the green. Bacon's line, again, was the aphoristic. He shreds off his maypole rather than clothes it: but he has one set up. He can give his argument as witty a turn as the Frenchman when he pleases—"There is no man doth a wrong for the wrong's sake, but thereby to purchase himself profit, or pleasure, or honor, or the like. Therefore why should I be angry with a man for loving himself better than me?" That is the turn his thoughts take upon Revenge, and a fair sample of his way with an abstract idea—shredding off it all the time, getting down to the pith. But he can be very obscure: "A single life doth well with Churchmen; for charity will hardly water the ground where it must first fill a pool." That is proleptic reasoning. We are to caper about the pole before the ornaments are on.
Hewlett contrasts the maypole and the column to show that .
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Hewlett, in describing older essays as maypoles, implies that older essays had more variety and beauty than modern essays.
Hewlett, in describing older essays as maypoles, implies that older essays had more variety and beauty than modern essays.
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Adapted from “Talking About Our Troubles” by Mark Rutherford (1901)
We may talk about our troubles to those persons who can give us direct help, but even in this case we ought as much as possible to come to a provisional conclusion before consultation; to be perfectly clear to ourselves within our own limits. Some people have a foolish trick of applying for aid before they have done anything whatever to aid themselves, and in fact try to talk themselves into perspicuity. The only way in which they can think is by talking, and their speech consequently is not the expression of opinion already and carefully formed, but the manufacture of it.
We may also tell our troubles to those who are suffering if we can lessen their own. It may be a very great relief to them to know that others have passed through trials equal to theirs and have survived. There are obscure, nervous diseases, hypochondriac fancies, almost uncontrollable impulses, which terrify by their apparent singularity. If we could believe that they are common, the worst of the fear would vanish.
But, as a rule, we should be very careful for our own sake not to speak much about what distresses us. Expression is apt to carry with it exaggeration, and this exaggerated form becomes henceforth that under which we represent our miseries to ourselves, so that they are thereby increased. By reserve, on the other hand, they are diminished, for we attach less importance to that which it was not worthwhile to mention. Secrecy, in fact, may be our salvation.
The word “singularity” most nearly means .
Adapted from “Talking About Our Troubles” by Mark Rutherford (1901)
We may talk about our troubles to those persons who can give us direct help, but even in this case we ought as much as possible to come to a provisional conclusion before consultation; to be perfectly clear to ourselves within our own limits. Some people have a foolish trick of applying for aid before they have done anything whatever to aid themselves, and in fact try to talk themselves into perspicuity. The only way in which they can think is by talking, and their speech consequently is not the expression of opinion already and carefully formed, but the manufacture of it.
We may also tell our troubles to those who are suffering if we can lessen their own. It may be a very great relief to them to know that others have passed through trials equal to theirs and have survived. There are obscure, nervous diseases, hypochondriac fancies, almost uncontrollable impulses, which terrify by their apparent singularity. If we could believe that they are common, the worst of the fear would vanish.
But, as a rule, we should be very careful for our own sake not to speak much about what distresses us. Expression is apt to carry with it exaggeration, and this exaggerated form becomes henceforth that under which we represent our miseries to ourselves, so that they are thereby increased. By reserve, on the other hand, they are diminished, for we attach less importance to that which it was not worthwhile to mention. Secrecy, in fact, may be our salvation.
The word “singularity” most nearly means .
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The author describes certain diseases and nervous afflictions as being terrifying by their singularity, and suggests that in these instances discovering that other people have been afflicted by similar afflictions might lessen the terror felt by the individual experiencing those problems for the first time. This should make it apparent that the word “singularity” refers to uniqueness, for in knowing that their suffering is not unique, people are made more comfortable.
The author describes certain diseases and nervous afflictions as being terrifying by their singularity, and suggests that in these instances discovering that other people have been afflicted by similar afflictions might lessen the terror felt by the individual experiencing those problems for the first time. This should make it apparent that the word “singularity” refers to uniqueness, for in knowing that their suffering is not unique, people are made more comfortable.
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Adapted from “Where I Lived, and What I Lived For” in Walden by Henry David Thoreau (1845)
I went to the woods because I wished to live deliberately, to front only the essential facts of life, and see if I could not learn what it had to teach, and not, when I came to die, discover that I had not lived. I did not wish to live what was not life, living is so dear; nor did I wish to practice resignation, unless it was quite necessary. I wanted to live deep and suck out all the marrow of life, to live so sturdily and Spartan-like as to put to rout all that was not life, to cut a broad swath and shave close, to drive life into a corner, and reduce it to its lowest terms, and, if it proved to be mean, why then to get the whole and genuine meanness of it, and publish its meanness to the world; or if it were sublime, to know it by experience, and be able to give a true account of it in my next excursion. For most men, it appears to me, are in a strange uncertainty about it, and have somewhat hastily concluded that it is the chief end of man here to "glorify God and enjoy him forever."
The underlined word “practice” most nearly means .
Adapted from “Where I Lived, and What I Lived For” in Walden by Henry David Thoreau (1845)
I went to the woods because I wished to live deliberately, to front only the essential facts of life, and see if I could not learn what it had to teach, and not, when I came to die, discover that I had not lived. I did not wish to live what was not life, living is so dear; nor did I wish to practice resignation, unless it was quite necessary. I wanted to live deep and suck out all the marrow of life, to live so sturdily and Spartan-like as to put to rout all that was not life, to cut a broad swath and shave close, to drive life into a corner, and reduce it to its lowest terms, and, if it proved to be mean, why then to get the whole and genuine meanness of it, and publish its meanness to the world; or if it were sublime, to know it by experience, and be able to give a true account of it in my next excursion. For most men, it appears to me, are in a strange uncertainty about it, and have somewhat hastily concluded that it is the chief end of man here to "glorify God and enjoy him forever."
The underlined word “practice” most nearly means .
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This is a difficult question that requires you to know the secondary definition for more than one word. The word “practice” is most commonly used to mean study or rehearse for something; however, in this context, it is being used to describe doing something as a custom or habit. Out of the five answer choices, it is most similar to "observe." The primary meaning of "observe" is to see or witness; however, it also can mean to do something habitually. These types of questions are rare; usually you will only have to know the secondary meaning of one word. But, it is important to study and remember the secondary definitions of numerous words. Or, failing that, remember that if you see a word that seems particularly easy or obviously defined, it is highly likely that the test may be asking you to remember a secondary meaning.
This is a difficult question that requires you to know the secondary definition for more than one word. The word “practice” is most commonly used to mean study or rehearse for something; however, in this context, it is being used to describe doing something as a custom or habit. Out of the five answer choices, it is most similar to "observe." The primary meaning of "observe" is to see or witness; however, it also can mean to do something habitually. These types of questions are rare; usually you will only have to know the secondary meaning of one word. But, it is important to study and remember the secondary definitions of numerous words. Or, failing that, remember that if you see a word that seems particularly easy or obviously defined, it is highly likely that the test may be asking you to remember a secondary meaning.
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Adapted from a letter of Thomas Jefferson popularly known as “A Dialogue Between the Head and Heart” (October 12th, 1786) in Volume II of Memoir, Correspondence, and Miscellanies, from the Papers of Thomas Jefferson (1830)
(Note: This work is presented like a play having two characters, the “Head” and the “Heart.” In the following passage, we are privy to the words of the “Head.”)
Every thing in this world is matter of calculation. Advance, then, with caution, the balance in your hand. Put into one scale the pleasures which any object may offer, but put fairly into the other the pains which are to follow, and see which preponderates. The making an acquaintance is not a matter of indifference. When a new one is proposed to you, view it all round. Consider what advantages it presents, and to what inconveniences it may expose you. Do not bite at the bait of pleasure, till you know there is no hook beneath it. The art of life is the art of avoiding pain, and he is the best pilot, who steers clearest of the rocks and shoals with which it is beset. Pleasure is always before us, but misfortune is at our side; while running after that, this arrests us.
The most effectual means of being secure against pain is to retire within ourselves and to suffice for our own happiness. Those which depend on ourselves are the only pleasures a wise man will count on, for nothing is ours, which another may deprive us of. Hence the inestimable value of intellectual pleasures. Ever in our power, always leading us to something new, never cloying, we ride serene and sublime above the concerns of this mortal world, contemplating truth and nature, matter and motion, the laws which bind up their existence, the laws which bind up their existence, and that Eternal Being, who made and bound them up by those laws.
Let this be our employ. Leave the bustle and tumult of society to those who have not talents to occupy themselves without them. Friendship is but another name for an alliance with the follies and the misfortunes of others. Our own share of miseries is sufficient: why enter then as volunteers into those of another? Is there so little gall poured into our cup, that we must heed help to drink that of our neighbor? A friend dies, or leaves us: we feel as if a limb was cut off. He is sick: we must watch over him, and participate of his pains. His fortune is shipwrecked: ours must be laid under contribution. He loses a child, a parent, or a partner: we must mourn the loss as if it were our own.
For what is the underlined sentence an image?
Adapted from a letter of Thomas Jefferson popularly known as “A Dialogue Between the Head and Heart” (October 12th, 1786) in Volume II of Memoir, Correspondence, and Miscellanies, from the Papers of Thomas Jefferson (1830)
(Note: This work is presented like a play having two characters, the “Head” and the “Heart.” In the following passage, we are privy to the words of the “Head.”)
Every thing in this world is matter of calculation. Advance, then, with caution, the balance in your hand. Put into one scale the pleasures which any object may offer, but put fairly into the other the pains which are to follow, and see which preponderates. The making an acquaintance is not a matter of indifference. When a new one is proposed to you, view it all round. Consider what advantages it presents, and to what inconveniences it may expose you. Do not bite at the bait of pleasure, till you know there is no hook beneath it. The art of life is the art of avoiding pain, and he is the best pilot, who steers clearest of the rocks and shoals with which it is beset. Pleasure is always before us, but misfortune is at our side; while running after that, this arrests us.
The most effectual means of being secure against pain is to retire within ourselves and to suffice for our own happiness. Those which depend on ourselves are the only pleasures a wise man will count on, for nothing is ours, which another may deprive us of. Hence the inestimable value of intellectual pleasures. Ever in our power, always leading us to something new, never cloying, we ride serene and sublime above the concerns of this mortal world, contemplating truth and nature, matter and motion, the laws which bind up their existence, the laws which bind up their existence, and that Eternal Being, who made and bound them up by those laws.
Let this be our employ. Leave the bustle and tumult of society to those who have not talents to occupy themselves without them. Friendship is but another name for an alliance with the follies and the misfortunes of others. Our own share of miseries is sufficient: why enter then as volunteers into those of another? Is there so little gall poured into our cup, that we must heed help to drink that of our neighbor? A friend dies, or leaves us: we feel as if a limb was cut off. He is sick: we must watch over him, and participate of his pains. His fortune is shipwrecked: ours must be laid under contribution. He loses a child, a parent, or a partner: we must mourn the loss as if it were our own.
For what is the underlined sentence an image?
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Throughout this paragraph, the "Head" is listing all sorts of reasons why it believes that having friends increases our woes. Above all, he is emphasizing the fact that our friends' pains become our pains. He therefore asks (in effect), "Why would we add such pains to our own instead of being self-sufficient?" These pains are the "gall" used in the sentence.
Throughout this paragraph, the "Head" is listing all sorts of reasons why it believes that having friends increases our woes. Above all, he is emphasizing the fact that our friends' pains become our pains. He therefore asks (in effect), "Why would we add such pains to our own instead of being self-sufficient?" These pains are the "gall" used in the sentence.
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Adapted from “Aristotle at Afternoon Tea” by Oscar Wilde (1887)
In society, says Mr. Mahaffy, every civilized man and woman ought to feel it their duty to say something, even when there is hardly anything to be said, and, in order to encourage this delightful art of brilliant chatter, he has published a social guide without which no debutante or dandy should ever dream of going out to dine. Not that Mr. Mahaffy's book can be said to be, in any sense of the word, popular. In discussing this important subject of conversation, he has not merely followed the scientific method of Aristotle which is, perhaps, excusable, but he has adopted the literary style of Aristotle for which no excuse is possible. There is, also, hardly a single anecdote, hardly a single illustration, and the reader is left to put the professor's abstract rules into practice, without either the examples or the warnings of history to encourage or to dissuade him in his reckless career. Still, the book can be warmly recommended to all who propose to substitute the vice of verbosity for the stupidity of silence. It fascinates in spite of its form and pleases in spite of its pedantry, and is the nearest approach, that we know of, in modern literature to meeting Aristotle at an afternoon tea.
As it is used in the context of the passage, the underlined word “practice” most nearly means .
Adapted from “Aristotle at Afternoon Tea” by Oscar Wilde (1887)
In society, says Mr. Mahaffy, every civilized man and woman ought to feel it their duty to say something, even when there is hardly anything to be said, and, in order to encourage this delightful art of brilliant chatter, he has published a social guide without which no debutante or dandy should ever dream of going out to dine. Not that Mr. Mahaffy's book can be said to be, in any sense of the word, popular. In discussing this important subject of conversation, he has not merely followed the scientific method of Aristotle which is, perhaps, excusable, but he has adopted the literary style of Aristotle for which no excuse is possible. There is, also, hardly a single anecdote, hardly a single illustration, and the reader is left to put the professor's abstract rules into practice, without either the examples or the warnings of history to encourage or to dissuade him in his reckless career. Still, the book can be warmly recommended to all who propose to substitute the vice of verbosity for the stupidity of silence. It fascinates in spite of its form and pleases in spite of its pedantry, and is the nearest approach, that we know of, in modern literature to meeting Aristotle at an afternoon tea.
As it is used in the context of the passage, the underlined word “practice” most nearly means .
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The word “practice” is most commonly used to refer to training for something by repeating one's actions to improve one's skills; however, in this context you have to know the secondary meaning of the word "practice." More specifically, you have to know what is meant by “to put something into practice.” It means to apply something or to put something into application; therefore, "application" is the correct answer.
The word “practice” is most commonly used to refer to training for something by repeating one's actions to improve one's skills; however, in this context you have to know the secondary meaning of the word "practice." More specifically, you have to know what is meant by “to put something into practice.” It means to apply something or to put something into application; therefore, "application" is the correct answer.
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Adapted from "Civil Disobedience" by Henry David Thoreau (1849)
I heartily accept the motto, "That government is best which governs least," and I should like to see it acted up to more rapidly and systematically. Carried out, it finally amounts to this, which also I believe, "That government is best which governs not at all," and when men are prepared for it, that will be the kind of government which they will have. Government is at best but an expedient, but most governments are usually, and all governments are sometimes, inexpedient. The objections which have been brought against a standing army, and they are many and weighty, and deserve to prevail, may also at last be brought against a standing government. The standing army is only an arm of the standing government. The government itself, which is only the mode which the people have chosen to execute their will, is equally liable to be abused and perverted before the people can act through it. Witness the present Mexican war, the work of comparatively a few individuals using the standing government as their tool, for in the outset, the people would not have consented to this measure.
This American government—what is it but a tradition, though a recent one, endeavoring to transmit itself unimpaired to posterity, but each instant losing some of its integrity? It has not the vitality and force of a single living man, for a single man can bend it to his will. It is a sort of wooden gun to the people themselves. But it is not the less necessary for this, for the people must have some complicated machinery or other, and hear its din, to satisfy that idea of government which they have. Governments show thus how successfully men can be imposed upon, even impose on themselves, for their own advantage. It is excellent, we must all allow; yet this government never of itself furthered any enterprise, but by the alacrity with which it got out of its way. It does not keep the country free. It does not settle the West. It does not educate. The character inherent in the American people has done all that has been accomplished; and it would have done somewhat more, if the government had not sometimes got in its way. For government is an expedient, by which men would fain succeed in letting one another alone, and, as has been said, when it is most expedient, the governed are most let alone by it. Trade and commerce, if they were not made of India rubber, would never manage to bounce over obstacles which legislators are continually putting in their way, and if one were to judge these men wholly by the effects of their actions and not partly by their intentions, they would deserve to be classed and punished with those mischievous persons who put obstructions on the railroads.
In the second paragraph, Thoreau suggests all of the following EXCEPT .
Adapted from "Civil Disobedience" by Henry David Thoreau (1849)
I heartily accept the motto, "That government is best which governs least," and I should like to see it acted up to more rapidly and systematically. Carried out, it finally amounts to this, which also I believe, "That government is best which governs not at all," and when men are prepared for it, that will be the kind of government which they will have. Government is at best but an expedient, but most governments are usually, and all governments are sometimes, inexpedient. The objections which have been brought against a standing army, and they are many and weighty, and deserve to prevail, may also at last be brought against a standing government. The standing army is only an arm of the standing government. The government itself, which is only the mode which the people have chosen to execute their will, is equally liable to be abused and perverted before the people can act through it. Witness the present Mexican war, the work of comparatively a few individuals using the standing government as their tool, for in the outset, the people would not have consented to this measure.
This American government—what is it but a tradition, though a recent one, endeavoring to transmit itself unimpaired to posterity, but each instant losing some of its integrity? It has not the vitality and force of a single living man, for a single man can bend it to his will. It is a sort of wooden gun to the people themselves. But it is not the less necessary for this, for the people must have some complicated machinery or other, and hear its din, to satisfy that idea of government which they have. Governments show thus how successfully men can be imposed upon, even impose on themselves, for their own advantage. It is excellent, we must all allow; yet this government never of itself furthered any enterprise, but by the alacrity with which it got out of its way. It does not keep the country free. It does not settle the West. It does not educate. The character inherent in the American people has done all that has been accomplished; and it would have done somewhat more, if the government had not sometimes got in its way. For government is an expedient, by which men would fain succeed in letting one another alone, and, as has been said, when it is most expedient, the governed are most let alone by it. Trade and commerce, if they were not made of India rubber, would never manage to bounce over obstacles which legislators are continually putting in their way, and if one were to judge these men wholly by the effects of their actions and not partly by their intentions, they would deserve to be classed and punished with those mischievous persons who put obstructions on the railroads.
In the second paragraph, Thoreau suggests all of the following EXCEPT .
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In writing, "For government is an expedient, by which men would fain succeed in letting one another alone, and, as has been said, when it is most expedient, the governed are most let alone by it," Thoreau does say that government is an expedient, but one for helping men leave each other alone.
In writing, "For government is an expedient, by which men would fain succeed in letting one another alone, and, as has been said, when it is most expedient, the governed are most let alone by it," Thoreau does say that government is an expedient, but one for helping men leave each other alone.
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Adapted from "The Eulogy of the Dog" by George Graham Vest (1870)
The best friend a man has in this world may turn against him and become his enemy. His son or daughter whom he has reared with loving care may prove ungrateful. Those who are nearest and dearest to us, those whom we trust with our happiness and our good name, may become traitors to their faith. The money that a man has, he may lose. It flies away from him, perhaps when he needs it the most. A man’s reputation may be sacrificed in a moment of ill-considered action. The people who are prone to fall on their knees to do us honor when success is with us may be the first to throw the stone of malice when failure settles its cloud upon our heads. The one absolutely unselfish friend that a man can have in this selfish world, the one that never deserts him and the one that never proves ungrateful or treacherous is his dog.
Gentlemen of the jury, a man’s dog stands by him in prosperity and in poverty, in health and in sickness. He will sleep on the cold ground, where the wintry winds blow and the snow drives fiercely, if only he can be near his master’s side. He will kiss the hand that has no food to offer, he will lick the wounds and sores that come in encounter with the roughness of the world. He guards the sleep of his pauper master as if he were a prince.
When all other friends desert, he remains. When riches take wings and reputation falls to pieces, he is as constant in his love as the sun in its journey through the heavens. If fortune drives the master forth an outcast into the world, friendless and homeless, the faithful dog asks no higher privilege than that of accompanying him, to guard him against danger, to fight against his enemies. And when the last scene of all comes, and death takes his master in its embrace and his body is laid in the cold ground, no matter if all other friends pursue their way, there by his graveside will the noble dog be found, his head between his paws, his eyes sad but open, in alert watchfulness, faithful and true, even unto death.
The author’s attitude toward dogs could best be described as .
Adapted from "The Eulogy of the Dog" by George Graham Vest (1870)
The best friend a man has in this world may turn against him and become his enemy. His son or daughter whom he has reared with loving care may prove ungrateful. Those who are nearest and dearest to us, those whom we trust with our happiness and our good name, may become traitors to their faith. The money that a man has, he may lose. It flies away from him, perhaps when he needs it the most. A man’s reputation may be sacrificed in a moment of ill-considered action. The people who are prone to fall on their knees to do us honor when success is with us may be the first to throw the stone of malice when failure settles its cloud upon our heads. The one absolutely unselfish friend that a man can have in this selfish world, the one that never deserts him and the one that never proves ungrateful or treacherous is his dog.
Gentlemen of the jury, a man’s dog stands by him in prosperity and in poverty, in health and in sickness. He will sleep on the cold ground, where the wintry winds blow and the snow drives fiercely, if only he can be near his master’s side. He will kiss the hand that has no food to offer, he will lick the wounds and sores that come in encounter with the roughness of the world. He guards the sleep of his pauper master as if he were a prince.
When all other friends desert, he remains. When riches take wings and reputation falls to pieces, he is as constant in his love as the sun in its journey through the heavens. If fortune drives the master forth an outcast into the world, friendless and homeless, the faithful dog asks no higher privilege than that of accompanying him, to guard him against danger, to fight against his enemies. And when the last scene of all comes, and death takes his master in its embrace and his body is laid in the cold ground, no matter if all other friends pursue their way, there by his graveside will the noble dog be found, his head between his paws, his eyes sad but open, in alert watchfulness, faithful and true, even unto death.
The author’s attitude toward dogs could best be described as .
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As you know, the author spends the first paragraph disparaging the foibles of man in contrast with the virtues of dogs, so it can be inferred that the author’s attitude toward dogs must be positive. Only "reverential" (respectful) and "conditionally affectionate" are positive answer choices. The author makes no indication that his affection is conditional upon anything; therefore, the best description of the author’s attitude is "reverential." This conclusion is best confirmed in the final paragraph, where the author describes the “noble” dog.
As you know, the author spends the first paragraph disparaging the foibles of man in contrast with the virtues of dogs, so it can be inferred that the author’s attitude toward dogs must be positive. Only "reverential" (respectful) and "conditionally affectionate" are positive answer choices. The author makes no indication that his affection is conditional upon anything; therefore, the best description of the author’s attitude is "reverential." This conclusion is best confirmed in the final paragraph, where the author describes the “noble” dog.
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Adapted from the Advertisement to Lyrical Ballads by William Wordsworth (1798)
It is the honorable characteristic of Poetry that its materials are to be found in every subject which can interest the human mind. The evidence of this fact is to be sought, not in the writings of Critics, but in those of Poets themselves.
The majority of the following poems are to be considered as experiments. They were written chiefly with a view to ascertain how far the language of conversation in the middle and lower classes of society is adapted to the purposes of poetic pleasure. Readers accustomed to the gaudiness and inane phraseology of many modern writers, if they persist in reading this book to its conclusion, will perhaps frequently have to struggle with feelings of strangeness and awkwardness: they will look round for poetry, and will be induced to enquire by what species of courtesy these attempts can be permitted to assume that title. It is desirable that such readers, for their own sakes, should not suffer the solitary word Poetry, a word of very disputed meaning, to stand in the way of their gratification; but that, while they are perusing this book, they should ask themselves if it contains a natural delineation of human passions, human characters, and human incidents; and if the answer be favorable to the author's wishes, that they should consent to be pleased in spite of that most dreadful enemy to our pleasures, our own pre-established codes of decision.
Readers of superior judgement may disapprove of the style in which many of these pieces are executed it must be expected that many lines and phrases will not exactly suit their taste. It will perhaps appear to them, that wishing to avoid the prevalent fault of the day, the author has sometimes descended too low, and that many of his expressions are too familiar, and not of sufficient dignity. It is apprehended, that the more conversant the reader is with our elder writers, and with those in modern times who have been the most successful in painting manners and passions, the fewer complaints of this kind will he have to make.
An accurate taste in poetry, and in all the other arts, Sir Joshua Reynolds has observed, is an acquired talent, which can only be produced by severe thought, and a long continued intercourse with the best models of composition. This is mentioned not with so ridiculous a purpose as to prevent the most inexperienced reader from judging for himself; but merely to temper the rashness of decision, and to suggest that if poetry be a subject on which much time has not been bestowed, the judgement may be erroneous, and that in many cases it necessarily will be so.
Which of the following statements about the author’s attitude toward modern writers is supported by the passage?
Adapted from the Advertisement to Lyrical Ballads by William Wordsworth (1798)
It is the honorable characteristic of Poetry that its materials are to be found in every subject which can interest the human mind. The evidence of this fact is to be sought, not in the writings of Critics, but in those of Poets themselves.
The majority of the following poems are to be considered as experiments. They were written chiefly with a view to ascertain how far the language of conversation in the middle and lower classes of society is adapted to the purposes of poetic pleasure. Readers accustomed to the gaudiness and inane phraseology of many modern writers, if they persist in reading this book to its conclusion, will perhaps frequently have to struggle with feelings of strangeness and awkwardness: they will look round for poetry, and will be induced to enquire by what species of courtesy these attempts can be permitted to assume that title. It is desirable that such readers, for their own sakes, should not suffer the solitary word Poetry, a word of very disputed meaning, to stand in the way of their gratification; but that, while they are perusing this book, they should ask themselves if it contains a natural delineation of human passions, human characters, and human incidents; and if the answer be favorable to the author's wishes, that they should consent to be pleased in spite of that most dreadful enemy to our pleasures, our own pre-established codes of decision.
Readers of superior judgement may disapprove of the style in which many of these pieces are executed it must be expected that many lines and phrases will not exactly suit their taste. It will perhaps appear to them, that wishing to avoid the prevalent fault of the day, the author has sometimes descended too low, and that many of his expressions are too familiar, and not of sufficient dignity. It is apprehended, that the more conversant the reader is with our elder writers, and with those in modern times who have been the most successful in painting manners and passions, the fewer complaints of this kind will he have to make.
An accurate taste in poetry, and in all the other arts, Sir Joshua Reynolds has observed, is an acquired talent, which can only be produced by severe thought, and a long continued intercourse with the best models of composition. This is mentioned not with so ridiculous a purpose as to prevent the most inexperienced reader from judging for himself; but merely to temper the rashness of decision, and to suggest that if poetry be a subject on which much time has not been bestowed, the judgement may be erroneous, and that in many cases it necessarily will be so.
Which of the following statements about the author’s attitude toward modern writers is supported by the passage?
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The second paragraph tells us that “Readers \[may be\] accustomed to the gaudiness and inane phraseology of many modern writers.” This shows us that the author thinks that modern writers use "flashy," or garish, and "mindless," or vacuous, language.
The second paragraph tells us that “Readers \[may be\] accustomed to the gaudiness and inane phraseology of many modern writers.” This shows us that the author thinks that modern writers use "flashy," or garish, and "mindless," or vacuous, language.
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Adapted from "Civil Disobedience" by Henry David Thoreau (1849)
I heartily accept the motto, "That government is best which governs least," and I should like to see it acted up to more rapidly and systematically. Carried out, it finally amounts to this, which also I believe, "That government is best which governs not at all," and when men are prepared for it, that will be the kind of government which they will have. Government is at best but an expedient, but most governments are usually, and all governments are sometimes, inexpedient. The objections which have been brought against a standing army, and they are many and weighty, and deserve to prevail, may also at last be brought against a standing government. The standing army is only an arm of the standing government. The government itself, which is only the mode which the people have chosen to execute their will, is equally liable to be abused and perverted before the people can act through it. Witness the present Mexican war, the work of comparatively a few individuals using the standing government as their tool, for in the outset, the people would not have consented to this measure.
This American government—what is it but a tradition, though a recent one, endeavoring to transmit itself unimpaired to posterity, but each instant losing some of its integrity? It has not the vitality and force of a single living man, for a single man can bend it to his will. It is a sort of wooden gun to the people themselves. But it is not the less necessary for this, for the people must have some complicated machinery or other, and hear its din, to satisfy that idea of government which they have. Governments show thus how successfully men can be imposed upon, even impose on themselves, for their own advantage. It is excellent, we must all allow; yet this government never of itself furthered any enterprise, but by the alacrity with which it got out of its way. It does not keep the country free. It does not settle the West. It does not educate. The character inherent in the American people has done all that has been accomplished; and it would have done somewhat more, if the government had not sometimes got in its way. For government is an expedient, by which men would fain succeed in letting one another alone, and, as has been said, when it is most expedient, the governed are most let alone by it. Trade and commerce, if they were not made of India rubber, would never manage to bounce over obstacles which legislators are continually putting in their way, and if one were to judge these men wholly by the effects of their actions and not partly by their intentions, they would deserve to be classed and punished with those mischievous persons who put obstructions on the railroads.
Thoreau suggests in the underlined sentence in the second paragraph that trade and commerce .
Adapted from "Civil Disobedience" by Henry David Thoreau (1849)
I heartily accept the motto, "That government is best which governs least," and I should like to see it acted up to more rapidly and systematically. Carried out, it finally amounts to this, which also I believe, "That government is best which governs not at all," and when men are prepared for it, that will be the kind of government which they will have. Government is at best but an expedient, but most governments are usually, and all governments are sometimes, inexpedient. The objections which have been brought against a standing army, and they are many and weighty, and deserve to prevail, may also at last be brought against a standing government. The standing army is only an arm of the standing government. The government itself, which is only the mode which the people have chosen to execute their will, is equally liable to be abused and perverted before the people can act through it. Witness the present Mexican war, the work of comparatively a few individuals using the standing government as their tool, for in the outset, the people would not have consented to this measure.
This American government—what is it but a tradition, though a recent one, endeavoring to transmit itself unimpaired to posterity, but each instant losing some of its integrity? It has not the vitality and force of a single living man, for a single man can bend it to his will. It is a sort of wooden gun to the people themselves. But it is not the less necessary for this, for the people must have some complicated machinery or other, and hear its din, to satisfy that idea of government which they have. Governments show thus how successfully men can be imposed upon, even impose on themselves, for their own advantage. It is excellent, we must all allow; yet this government never of itself furthered any enterprise, but by the alacrity with which it got out of its way. It does not keep the country free. It does not settle the West. It does not educate. The character inherent in the American people has done all that has been accomplished; and it would have done somewhat more, if the government had not sometimes got in its way. For government is an expedient, by which men would fain succeed in letting one another alone, and, as has been said, when it is most expedient, the governed are most let alone by it. Trade and commerce, if they were not made of India rubber, would never manage to bounce over obstacles which legislators are continually putting in their way, and if one were to judge these men wholly by the effects of their actions and not partly by their intentions, they would deserve to be classed and punished with those mischievous persons who put obstructions on the railroads.
Thoreau suggests in the underlined sentence in the second paragraph that trade and commerce .
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Thoreau suggests that legislators are more likely to create obstacles that trade and commerce cannot "manage to bounce over" rather than to help trade and commerce along.
Thoreau suggests that legislators are more likely to create obstacles that trade and commerce cannot "manage to bounce over" rather than to help trade and commerce along.
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Adapted from "The Modern Essay" in The Times Literary Supplement by Virginia Woolf (November 30, 1922)
As Mr. Rhys truly says, it is unnecessary to go profoundly into the history and origin of the essay—whether it derives from Socrates or Siranney the Persian—since, like all living things, its present is more important than its past. Moreover, the family is widely spread; and while some of its representatives have risen in the world and wear their coronets with the best, others pick up a precarious living in the gutter near Fleet Street. The form, too, admits variety. The essay can be short or long, serious or trifling, about God and Spinoza, or about turtles and Cheapside. But as we turn over the pages of these five little volumes, containing essays written between 1870 and 1920, certain principles appear to control the chaos, and we detect in the short period under review something like the progress of history.
Of all forms of literature, however, the essay is the one which least calls for the use of long words. The principle which controls it is simply that it should give pleasure; the desire which impels us when we take it from the shelf is simply to receive pleasure. Everything in an essay must be subdued to that end. It should lay us under a spell with its first word, and we should only wake, refreshed, with its last. In the interval we may pass through the most various experiences of amusement, surprise, interest, indignation; we may soar to the heights of fantasy with Lamb or plunge to the depths of wisdom with Bacon, but we must never be roused. The essay must lap us about and draw its curtain across the world.
By comparing the essay to a family with members both well-to-do and barely making a living, Woolf is .
Adapted from "The Modern Essay" in The Times Literary Supplement by Virginia Woolf (November 30, 1922)
As Mr. Rhys truly says, it is unnecessary to go profoundly into the history and origin of the essay—whether it derives from Socrates or Siranney the Persian—since, like all living things, its present is more important than its past. Moreover, the family is widely spread; and while some of its representatives have risen in the world and wear their coronets with the best, others pick up a precarious living in the gutter near Fleet Street. The form, too, admits variety. The essay can be short or long, serious or trifling, about God and Spinoza, or about turtles and Cheapside. But as we turn over the pages of these five little volumes, containing essays written between 1870 and 1920, certain principles appear to control the chaos, and we detect in the short period under review something like the progress of history.
Of all forms of literature, however, the essay is the one which least calls for the use of long words. The principle which controls it is simply that it should give pleasure; the desire which impels us when we take it from the shelf is simply to receive pleasure. Everything in an essay must be subdued to that end. It should lay us under a spell with its first word, and we should only wake, refreshed, with its last. In the interval we may pass through the most various experiences of amusement, surprise, interest, indignation; we may soar to the heights of fantasy with Lamb or plunge to the depths of wisdom with Bacon, but we must never be roused. The essay must lap us about and draw its curtain across the world.
By comparing the essay to a family with members both well-to-do and barely making a living, Woolf is .
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Woolf is using this metaphor to show that essays can be written for both high and lowly purposes.
Woolf is using this metaphor to show that essays can be written for both high and lowly purposes.
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Adapted from “Advice to Youth” by Mark Twain (1882)
Being told I would be expected to talk here, I inquired what sort of talk I ought to make. They said it should be something suitable to youth--something didactic, instructive, or something in the nature of good advice. Very well. I have a few things in my mind which I have often longed to say for the instruction of the young; for it is in one’s tender early years that such things will best take root and be most enduring and most valuable. First, then I will say to you my young friends--and I say it beseechingly, urgently-- Always obey your parents, when they are present. This is the best policy in the long run, because if you don’t, they will make you. Most parents think they know better than you do, and you can generally make more by humoring that superstition than you can by acting on your own better judgment.
Be respectful to your superiors, if you have any, also to strangers, and sometimes to others. If a person offends you and you are in doubt as to whether it was intentional or not, do not resort to extreme measures; simply watch your chance and hit him with a brick. That will be sufficient. If you shall find that he had not intended any offense, come out frankly and confess yourself in the wrong when you struck him; acknowledge it like a man and say you didn’t mean to.
Go to bed early, get up early--this is wise. Some authorities say get up with the sun; some say get up with one thing, others with another. But a lark is really the best thing to get up with. It gives you a splendid reputation with everybody to know that you get up with the lark; and if you get the right kind of lark, and work at him right, you can easily train him to get up at half past nine, every time--it’s no trick at all.
Now as to the matter of lying. You want to be very careful about lying; otherwise you are nearly sure to get caught. Once caught, you can never again be in the eyes to the good and the pure, what you were before. Many a young person has injured himself permanently through a single clumsy and ill finished lie, the result of carelessness born of incomplete training. Some authorities hold that the young ought not to lie at all. That of course, is putting it rather stronger than necessary; still while I cannot go quite so far as that, I do maintain, and I believe I am right, that the young ought to be temperate in the use of this great art until practice and experience shall give them that confidence, elegance, and precision which alone can make the accomplishment graceful and profitable. Patience, diligence, painstaking attention to detail--these are requirements; these in time, will make the student perfect; upon these only, may he rely as the sure foundation for future eminence.
But I have said enough. I hope you will treasure up the instructions which I have given you, and make them a guide to your feet and a light to your understanding. Build your character thoughtfully and painstakingly upon these precepts, and by and by, when you have got it built, you will be surprised and gratified to see how nicely and sharply it resembles everybody else’s.
The overall tone of this passage is .
Adapted from “Advice to Youth” by Mark Twain (1882)
Being told I would be expected to talk here, I inquired what sort of talk I ought to make. They said it should be something suitable to youth--something didactic, instructive, or something in the nature of good advice. Very well. I have a few things in my mind which I have often longed to say for the instruction of the young; for it is in one’s tender early years that such things will best take root and be most enduring and most valuable. First, then I will say to you my young friends--and I say it beseechingly, urgently-- Always obey your parents, when they are present. This is the best policy in the long run, because if you don’t, they will make you. Most parents think they know better than you do, and you can generally make more by humoring that superstition than you can by acting on your own better judgment.
Be respectful to your superiors, if you have any, also to strangers, and sometimes to others. If a person offends you and you are in doubt as to whether it was intentional or not, do not resort to extreme measures; simply watch your chance and hit him with a brick. That will be sufficient. If you shall find that he had not intended any offense, come out frankly and confess yourself in the wrong when you struck him; acknowledge it like a man and say you didn’t mean to.
Go to bed early, get up early--this is wise. Some authorities say get up with the sun; some say get up with one thing, others with another. But a lark is really the best thing to get up with. It gives you a splendid reputation with everybody to know that you get up with the lark; and if you get the right kind of lark, and work at him right, you can easily train him to get up at half past nine, every time--it’s no trick at all.
Now as to the matter of lying. You want to be very careful about lying; otherwise you are nearly sure to get caught. Once caught, you can never again be in the eyes to the good and the pure, what you were before. Many a young person has injured himself permanently through a single clumsy and ill finished lie, the result of carelessness born of incomplete training. Some authorities hold that the young ought not to lie at all. That of course, is putting it rather stronger than necessary; still while I cannot go quite so far as that, I do maintain, and I believe I am right, that the young ought to be temperate in the use of this great art until practice and experience shall give them that confidence, elegance, and precision which alone can make the accomplishment graceful and profitable. Patience, diligence, painstaking attention to detail--these are requirements; these in time, will make the student perfect; upon these only, may he rely as the sure foundation for future eminence.
But I have said enough. I hope you will treasure up the instructions which I have given you, and make them a guide to your feet and a light to your understanding. Build your character thoughtfully and painstakingly upon these precepts, and by and by, when you have got it built, you will be surprised and gratified to see how nicely and sharply it resembles everybody else’s.
The overall tone of this passage is .
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The author’s tone throughout this passage is sardonic and humorous. The author takes the notion of giving good, or prudent, advice and inverts it to humorous effect. This is made most obvious in the conclusion where the author notes: “Build your character thoughtfully and painstakingly upon these precepts, and by and by, when you have got it built, you will be surprised and gratified to see how nicely and sharply it resembles everybody else’s.”
The author’s tone throughout this passage is sardonic and humorous. The author takes the notion of giving good, or prudent, advice and inverts it to humorous effect. This is made most obvious in the conclusion where the author notes: “Build your character thoughtfully and painstakingly upon these precepts, and by and by, when you have got it built, you will be surprised and gratified to see how nicely and sharply it resembles everybody else’s.”
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