Passage adapted from Edgehill: The Battle and Battlefield (1904), by Edwin Walford.

The reign of King Charles I. showed a widening of the difference between the ecclesiastic and puritan elements of the English community—elements which were the centers of the subsequently enlarged sections, royalist and parliamentarian. In the later dissentions between the King and the Commons it was early apparent how widespread had been the alienation of the people from the King’s cause—an alienation heightened, as Green in his “Short History” tells us, by a fear that the spirit of Roman Catholicism, so victorious on the continent, should once more become dominant in England. How great was the tension may be known from the fact of the contemplated emigration to the American colonies of such leaders as Lord Saye and Sele, Lord Warwick, Lord Brooke, and Sir John Hampden and Oliver Cromwell. When the rupture at last came, the Parliament was found to have secured the larger arsenals, and also to have forces at its disposal in the trained bands of London and in the militia, which it was enabled rapidly to enroll. Though the unfurling of the Royal Standard near Nottingham failed to secure many adherents to the King’s cause, Essex hesitated to attack the royalists when they might have been easily dispersed, thinking no doubt to overawe the King by mere show of force. Yet when Charles began recruiting in the neighborhood of Shrewsbury, he was soon able to gather an army, and on October 12th, 1642, he commenced his march upon London. The astute and carefully moderate policy of the Commons was to rescue the King from his surroundings, and to destroy the enemies, especially the foreign enemies, of the State, about the King’s person. The sanctity of the King’s person was yet a prominent factor—the belief in divinity of Kingship, notwithstanding all the misrule there had been, was yet alive in the hearts of the people. Therefore when the King had gathered his forces together and began his Southward march, Lord Essex with his army was commissioned “to march against his Majesties Army and fight with them, and to rescue the persons of the King, Prince and Duke of York.” The Earl of Essex, with the Parliamentarian forces, was at that time in Worcestershire, endeavoring to prevent the recruiting of the King’s troops; and though the Earl moved two days later on by rapid marches into Warwickshire, it was only to find that he had been out-marched by the King, who, after resting at Southam, stood with the Royalist army at Edgcot across the way to the capital. That this had been accomplished, notwithstanding the opposition of the strongholds of Warwick and Coventry, speaks not unfavorably for the generalship of Earl Lindsay, the King’s Lieutenant-General, whom we find at Edgcot contemplating an attack upon Banbury Castle. The King’s was a good position: it commanded all the roads to London, held Banbury in its hand, covered the Cherwell bridge and fords, and had within touch the dominating escarpment of Edge Hill. If the purpose was the subjection of some prominent leaders of the Parliamentarians it succeeded only in the taking of Lord Saye and Sele’s house at Broughton, and of Banbury, and Banbury Castle; in the partial destruction of Lord Spencer’s house at Wormleighton, and in sending a summons to Warwick Castle to surrender.

Which of the following statements must be true based on the information presented in the passage?

"Ed Sullivan and All the Rest" by William Floyd (2015)

Modern television talk shows center on the host, with the guests as a side dish that still accentuates the main entrée of the funny person at the center of the spectacle. Their forerunners were on television as early as television was in American homes, scene stealers such as Steve Allen and Jack Parr making even the most famous celebrities play inside their world. At the same time, though, one man showed how a television show could highlight a variety of performers, from the remarkable to the mundane and the famous to the unknown. If more television shows operated like “The Ed Sullivan Show,” maybe television would be less ego centric.

Ed Sullivan began his career before World War II as an entertainment and sports reporter, gaining his first significant notoriety as a celebrity maker for his gossip column in the New York Daily News. This influential position led him to be chosen as the host of “The Toast of the Town,” a variety show on CBS, in 1948. He was awkward on camera and made no effort to be a schmoozer or comedian. Despite his awkwardness, Ed Sullivan became a household name, with his show first informally and then officially being known as “The Ed Sullivan Show.” No one cared about watching Sullivan himself, but rather what Sullivan presented to his audience each week. Sullivan was a force behind the scenes, putting together the show that everyone wanted to watch each week.

The genius of Sullivan’s show was that it was truly a variety show. Sullivan made sure to show his audience ballet and opera selections, yet also never shied away from presenting Rock n Roll acts on his prestigious time slot. He was also a key benefactor for a number of young comedians, who would present their usual stand-up routines free of comment in front of a national audience. Naturally, the Beatles were not actually big in America until they had gotten the Sullivan anointment, but many other acts could credit Sullivan with a breakthrough. Considering the time he was on the air, 1948 to 1971, Sullivan made twentieth century American popular culture. With the fragmentation of culture through cable, the internet, and streaming services, no one can ever hope to have the same impact as a man described as having the personality of an Easter Island statue.

Based on the information in the passage, which of the following statements must be true?

Passage adapted from Shakespearean Playhouses (1917) by Joseph Quincy Adams.

Before the building of regular playhouses, the itinerant troupes of actors were accustomed, except when received into private homes, to give their performances in any place that chance provided, such as open street-squares, barns, town-halls, moot-courts, schoolhouses, churches, and—most frequently of all, perhaps—the yards of inns. These yards, especially those of carriers' inns, were admirably suited to dramatic representations, consisting as they did of a large open court surrounded by two or more galleries. Many examples of such inn-yards are still to be seen in various parts of England... In the yard a temporary platform—a few boards, it may be, set on barrel-heads—could be erected for a stage; in the adjacent stables a dressing-room could be provided for the actors; the rabble—always the larger and more enthusiastic part of the audience—could be accommodated with standing-room about the stage; while the more aristocratic members of the audience could be comfortably seated in the galleries overhead. Thus a ready-made and very serviceable theatre was always at the command of the players; and it seems to have been frequently made use of from the very beginning of professionalism in acting.

One of the earliest extant moralities, Mankind, acted by strollers in the latter half of the fifteenth century, gives us an interesting glimpse of an inn-yard performance. The opening speech makes distinct reference to the two classes of the audience described above as occupying the galleries and the yard:

"O ye sovereigns that sit, and ye brothers that stand right up."

The "brothers," indeed, seem to have stood up so closely about the stage that the actors had great difficulty in passing to and from their dressing-room. Thus, Nowadays leaves the stage with the request:

“Make space, sirs, let me go out!”

New Gyse enters with the threat:

“Out of my way, sirs, for dread of a beating!”

While Nought, with even less respect, shouts:

“Avaunt, knaves! Let me go by!”

Language such as this would hardly be appropriate if addressed to the "sovereigns" who sat in the galleries above; but, as addressed to the "brothers," it probably served to create a general feeling of good nature. And a feeling of good nature was desirable, for the actors were facing the difficult problem of inducing the audience to pay for its entertainment.

Which of the following statements must be true based on the information presented in the passage?

Adapted from “The King of Spain” by Oscar Wilde in Selected Prose of Oscar Wilde (1914)

From a window in the palace the sad melancholy king watched them. Behind him stood his brother, Don Pedro of Aragon, who he hated, and his confessor, the Grand Inquisitor of Granada, sat by his side. Sadder even than usual was the king, for as he looked at the Infanta bowing with childish gravity to the assembling counters, or laughing behind her fan at the grim Duchess of Albuquerque who always accompanied her, he thought of the young queen, her mother, who but a short time before—so it seemed to him—had come from the gay country of France, and had withered away in the somber splendor of the Spanish court, dying just six months after the birth of her child, and before she had seen the almonds blossom twice in the orchard or plucked the second year’s fruit from the old gnarled fig-tree that stood in the center of the now grass-grown courtyard. So great had been his love for her that he had not suffered even the grave to hide her from him. She had been embalmed by a Moorish physician, who in return for this service had been granted his life, which for heresy and suspicion of magical practices had been already forfeited, men said, to the Holy Office, and her body was still lying on its tapestried bier in the black marble chapel of the Palace, just as the monks had borne her in on that windy March day nearly twelve years before. Once every month the king, wrapped in a dark cloak and with a muffled lantern in his hand, went in and knelt by her side calling out, “Mi reina! Mi reina!” and sometimes breaking through the formal etiquette that in Spain governs every separate action of life and sets limits even to the sorrow of a king, he would clutch at the pale jeweled hands in a wild agony of grief, and try to wake by his mad kisses the cold painted face.

Certainly he had loved her madly, and to the ruin, many thought, of his country, then at war with England for the possession of the empire of the New World. He had hardly ever permitted her to be out of his sight; for her, he had forgotten, or seemed to have forgotten, all grave affairs of State; and, with that terrible blindness that passion brings upon its servants, he had failed to notice that the elaborate ceremonies by which he sought to please her did but aggravate the strange malady from which she suffered. When she died he was, for a time, like one bereft of reason. Indeed, there is no doubt but that he would have formally abdicated and retired to the great Trappist monastery at Granada, of which he was already titular Prior, had he not been afraid to leave the little Infanta at the mercy of his brother, whose cruelty, even in Spain, was notorious, and who was suspected by many of having caused the queen’s death by means of a pair of poisoned gloves that he had presented to her on the occasion of her visiting his castle in Aragon. Even after the expiration of the three years of public mourning that he had ordained throughout his whole dominions by royal edict, he would never suffer his ministers to speak about any new alliance, and when the Emperor himself sent to him, and offered him the hand of the lovely Archduchess of Bohemia, his niece, in marriage, he bade the ambassadors tell their master that the king of Spain was already wedded to Sorrow, and that though she was a barren bride, he loved her better than Beauty; an answer that cost his crown the rich provinces of the Netherlands, which soon after, at the Emperor’s instigation, revolted against him under the leadership of some fanatics of the reformed church.

Which of these statements is contradicted by the passage?

Adapted from Volume 1 of History of Woman Suffrage by Elizabeth Cady Stanton, Susan B. Anthony, and Matilda Joslyn Gage (1887)

The prolonged slavery of woman is the darkest page in human history. A survey of the condition of humanity through those barbarous periods when physical force governed the world and when the motto "might makes right" was the law enables one to account for the origin of woman's subjection to man without referring the fact to the general inferiority of the sex or Nature's law. Writers on this question differ as to the cause of the universal degradation of woman in all periods and nations.

One of the greatest minds of the century has thrown a ray of light on this gloomy picture by tracing the origin of woman's slavery to the same principle of selfishness and love of power in man that has thus far dominated all weaker nations and classes. This brings hope of final emancipation, for as all nations and classes are gradually, one after another, asserting and maintaining their independence, the path is clear for woman to follow. The slavish instinct of an oppressed class has led her to toil patiently through the ages, giving all and asking little, cheerfully sharing with man all perils and privations by land and sea, that husband and sons might attain honor and success. Justice and freedom for herself is her latest and highest demand.

Another writer asserts that the tyranny of man over woman has its roots, after all, in his nobler feelings; his love, his chivalry, and his desire to protect woman in the barbarous periods of pillage, lust, and war. But wherever the roots may be traced, the results at this hour are equally disastrous to woman. Her best interests and happiness do not seem to have been consulted in the arrangements made for her protection. She has been bought and sold, caressed and crucified at the will and pleasure of her master. But if a chivalrous desire to protect woman has always been the mainspring of man's dominion over her, it should have prompted him to place in her hands the same weapons of defense he has found to be most effective against wrong and oppression.

It is often asserted that as woman has always been man's slave—subject—inferior—dependent, that under all forms of government and religion, slavery must be her normal condition. This might have some weight had not the vast majority of men also been enslaved for centuries to kings, popes, and orders of nobility, who, in the progress of civilization, have reached complete equality.

In an age when the wrongs of society are adjusted in the courts and at the ballot-box, material force yields to reason and majorities. Woman's steady march onward, and her growing desire for a broader outlook, prove that she has not reached her normal condition, and that society has not yet conceded all that is necessary for its attainment.

Why does the author believe that the argument of the underlined selection does not hold up?

Adapted from Jack London’s The Road (1907)

Barring accidents, a good hobo, with youth and agility, can hold a train down despite all the efforts of the train-crew to "ditch" him—given, of course, night-time as an essential condition. When such a hobo, under such conditions, makes up his mind that he is going to hold her down, either he does hold her down, or chance trips him up. There is no legitimate way, short of murder, whereby the train-crew can ditch him. That train-crews have not stopped short of murder is a current belief in the tramp world. Not having had that particular experience in my tramp days I cannot vouch for it personally.

But this I have heard of the "bad" roads. When a tramp has "gone underneath," on the rods, and the train is in motion, there is apparently no way of dislodging him until the train stops. The tramp, snugly ensconced inside the truck, with the four wheels and all the framework around him, has the "cinch" on the crew—or so he thinks, until some day he rides the rods on a bad road. A bad road is usually one on which a short time previously one or several trainmen have been killed by tramps. Heaven pity the tramp who is caught "underneath" on such a road—for caught he is, though the train be going sixty miles an hour.

The "shack" (brakeman) takes a coupling-pin and a length of bell-cord to the platform in front of the truck in which the tramp is riding. The shack fastens the coupling-pin to the bell- cord, drops the former down between the platforms, and pays out the latter. The coupling-pin strikes the ties between the rails, rebounds against the bottom of the car, and again strikes the ties. The shack plays it back and forth, now to this side, now to the other, lets it out a bit and hauls it in a bit, giving his weapon opportunity for every variety of impact and rebound. Every blow of that flying coupling-pin is freighted with death, and at sixty miles an hour it beats a veritable tattoo of death. The next day the remains of that tramp are gathered up along the right of way, and a line in the local paper mentions the unknown man, undoubtedly a tramp, assumably drunk, who had probably fallen asleep on the track.

Given the information presented in the passage, which of the following statements cannot be true?

Adapted from from Olympe De Gouge's Declaration of the Rights of Women and the Female Citizen (1791).

Women, wake up; the tocsin of reason sounds throughout the universe; recognize your rights. The powerful empire of nature is no longer surrounded by prejudice, fanaticism, superstition, and lies. The torch of truth has dispersed all the clouds of folly and usurpation. Enslaved man has multiplied his force and needs yours to break his chains. Having become free, he has become unjust toward his companion. Oh women! Women, when will you cease to be blind? What advantages have you gathered in the revolution? A scorn more marked, a disdain more conspicious. During the centuries of corruption you only reigned over the weakness of men. Your empire is destroyed; what is left to you then? Firm belief in the injustices of men. The reclaiming of your patrimony founded on the wise decrees of nature; why should you fear such a beautiful enterprise?

…Whatever the barriers set up against you, it is in your power to overcome them; you only have to want it. Let us pass now to the appalling account of what you have been in society; and since national education is an issue at this moment, let us see if our wise legislators will think sanely about the education of women.

Women have done more harm than good. Constraint and dissimulation have been their lot. What force has taken from them, ruse returned; they have had recourse to all the resources of their charms, and the most irreproachable man has not resisted them. Poison, the sword, women controlled everything; they ordered up crimes as much as virtues. For centuries, the French government, especially, depended on the nocturnal administration of women; officials kept no secrets from their indiscretion; ambassadorial posts, military commands, the ministry, the presidency [of a court], the papacy, the college of cardinals, in short everything that characterizes the folly of men, profane and sacred, has been submitted to the cupidity and ambition of this sex formerly considered despicable and respected, and since the revolution, respectable and despised…

Under the former regime, everyone was vicious, everyone guilty… A woman only had to be beautiful and amiable; when she possessed these two advantages, she saw a hundred fortunes at her feet… The most indecent woman could make herself respectable with gold; the commerce in women was a kind of industry amongst the highest classes, which henceforth will enjoy no more credit. If it still did, the revolution would be lost, and in the new situation we would still be corrupted. Can reason hide the fact that every other road to fortune is closed to a woman bought by a man, bought like a slave from the coasts of Africa? The difference between them is great; this is known. The slave [that is, the woman] commands her master, but if the master gives her her freedom without compensation and at an age when the slave has lost all her charms, what does this unfortunate woman become? The plaything of disdain; even the doors of charity are closed to her; she is poor and old, they say: why did she not know how to make her fortune?

According to the author, which of the following does not characterize the folly of men?

Adapted from from Olympe De Gouge's Declaration of the Rights of Women and the Female Citizen (1791).

Women, wake up; the tocsin of reason sounds throughout the universe; recognize your rights. The powerful empire of nature is no longer surrounded by prejudice, fanaticism, superstition, and lies. The torch of truth has dispersed all the clouds of folly and usurpation. Enslaved man has multiplied his force and needs yours to break his chains. Having become free, he has become unjust toward his companion. Oh women! Women, when will you cease to be blind? What advantages have you gathered in the revolution? A scorn more marked, a disdain more conspicious. During the centuries of corruption you only reigned over the weakness of men. Your empire is destroyed; what is left to you then? Firm belief in the injustices of men. The reclaiming of your patrimony founded on the wise decrees of nature; why should you fear such a beautiful enterprise?

…Whatever the barriers set up against you, it is in your power to overcome them; you only have to want it. Let us pass now to the appalling account of what you have been in society; and since national education is an issue at this moment, let us see if our wise legislators will think sanely about the education of women.

Women have done more harm than good. Constraint and dissimulation have been their lot. What force has taken from them, ruse returned; they have had recourse to all the resources of their charms, and the most irreproachable man has not resisted them. Poison, the sword, women controlled everything; they ordered up crimes as much as virtues. For centuries, the French government, especially, depended on the nocturnal administration of women; officials kept no secrets from their indiscretion; ambassadorial posts, military commands, the ministry, the presidency [of a court], the papacy, the college of cardinals, in short everything that characterizes the folly of men, profane and sacred, has been submitted to the cupidity and ambition of this sex formerly considered despicable and respected, and since the revolution, respectable and despised…

Under the former regime, everyone was vicious, everyone guilty… A woman only had to be beautiful and amiable; when she possessed these two advantages, she saw a hundred fortunes at her feet… The most indecent woman could make herself respectable with gold; the commerce in women was a kind of industry amongst the highest classes, which henceforth will enjoy no more credit. If it still did, the revolution would be lost, and in the new situation we would still be corrupted. Can reason hide the fact that every other road to fortune is closed to a woman bought by a man, bought like a slave from the coasts of Africa? The difference between them is great; this is known. The slave [that is, the woman] commands her master, but if the master gives her her freedom without compensation and at an age when the slave has lost all her charms, what does this unfortunate woman become? The plaything of disdain; even the doors of charity are closed to her; she is poor and old, they say: why did she not know how to make her fortune?

Which of the following does the author not indicate occurred during the "centuries of corruption?"

Passage adapted from John Stuart Mill's On Liberty (1859).

The object of this Essay is to assert one very simple principle, as entitled to govern absolutely the dealings of society with the individual in the way of compulsion and control, whether the means used be physical force in the form of legal penalties, or the moral coercion of public opinion. That principle is, that the sole end for which mankind are warranted, individually or collectively, in interfering with the liberty of action of any of their number, is self-protection. That the only purpose for which power can be rightfully exercised over any member of a civilized community, against his will, is to prevent harm to others. His own good, either physical or moral, is not a sufficient warrant. He cannot rightfully be compelled to do or forbear because it will be better for him to do so, because it will make him happier, because, in the opinion of others, to do so would be wise, or even right. These are good reasons for remonstrating with him, or reasoning with him, or persuading him, or entreating him, but not for compelling him, or visiting him with any evil in case he do otherwise. To justify that, the conduct from which it is desired to deter him must be calculated to produce evil to someone else.  The only part of the conduct of any one, for which he is amenable to society, is that which concerns others. In the part which merely concerns himself, his independence is, of right, absolute. Over himself, over his own body and mind, the individual is sovereign.

It is, perhaps hardly necessary to say that this doctrine is meant to apply only to human beings in the maturity of their faculties. We are not speaking of children, or of young persons below the age which the law may fix as that of manhood or womanhood. Those who are still in a state to require being taken care of by others, must be protected against their own actions as well as well as against external injury. For the same reason, we may leave out of consideration those backward states of society in which the race itself may be considered as in its nonage. The early difficulties in the way of spontaneous progress are so great, that there is seldom any choice of overcoming them; and a ruler full of the spirit of improvement is warranted in the use of any expedients that will attain an end, perhaps otherwise unattainable.  Despotism is a legitimate mode of government in dealing with barbarians, provided the end be their improvement, and the means justified by actually effecting that end. Liberty, as a principle, has no application to any state of things anterior to the time when mankind have become capable of being improved by free and equal discussion. Until then, there is nothing for them but implicit obedience… But as soon as mankind have attained the capacity of being guided to their own improvement by conviction or persuasion (a period long since reached in all nations with whom we need here concern ourselves), compulsion, either in the direct form or in that of pains and penalties for non-compliance, is no longer admissible as a means to their own good, and justifiable only for the security of others.

According to the logic of the passage, which of the following statements cannot be true?

Passage adapted from Beethoven (1905) by George Alexander Fischer.

During the period of his work on the Mass, and for some time before, Beethoven's thoughts were occupied more or less with that stupendous work, the Ninth Symphony, sketches for which began to appear already in 1813, shortly after his meeting with Goethe. That Beethoven looked up to Goethe ever after as to a spiritual mentor, studying his works, absorbing his thought, is plain. In projecting this symphony he may very well have designed it as a counterpart to Faust, as has been suggested. Actually begun in 1817, it had to be laid aside before much had been accomplished on it, in favor of the Mass in D. This gave him plenty of time to mature his conception of the work; and this ripening process, covering a period of ten years from its first inception, was one of the factors which helped him achieve his wondrous result. His work on the Mass was a good preparation for the psychological problems expounded in the Symphony.

Here is a work so interwoven into Beethoven's very life and spirit, that the mention of his name at once calls to mind the Ninth Symphony. It is the work of the seer approaching the end of his life-drama, giving with photographic clearness a résumé of it. Here are revelations of the inner nature of a man who had delved deeply into the mysteries surrounding life, learning this lesson in its fullest significance, that no great spiritual height is ever attained without renunciation. The world must be left behind. Asking and getting but little from it, giving it of his best, counting as nothing its material advantages, realizing always that contact with it had for him but little joy, the separation from it was nevertheless a hard task. This mystery constantly confronted Beethoven, that, even when obeying the finer behests of his nature, peace was not readily attained thereby; often there was instead, an accession of unhappiness for the time being. Paradoxically peace was made the occasion for a struggle; it had to be wrested from life. No victory is such unless well fought for and dearly bought.

This eternal struggle with fate, this conflict forever raging in the heart, runs through all the Symphonies, but nowhere is it so strongly depicted as in this, his last. We have here in new picturing, humanity at bay, as in the recently completed Kyrie of the grand mass. The apparently uneven battle of the individual with fate,—the plight of the human being who finds himself a denizen of a world with which he is entirely out of harmony, who, wrought up to despair, finds life impossible yet fears to die,—is here portrayed in dramatic language. To Wagner the first movement pictured to him "the idea of the world in its most terrible of lights," something to recoil from. "Beethoven in the Ninth Symphony," he says, "leads us through the torment of the world relentlessly until the ode to joy is reached."

Great souls have always taught that the only relief for this Weltschmerz is through the power of love; that universal love alone can transform and redeem the world. This is the central teaching of Jesus, of Buddha, of all who have the welfare of humanity at heart. It was Beethoven's solution of the problem of existence. Through this magic power, sorrows are transmuted into gifts of peace and happiness. Beethoven loved his kind. Love for humanity, pity for its misfortunes, hope for its final deliverance, largely occupied his mind. With scarcely an exception Beethoven's works end happily. Among the sketches of the last movement of the Mass in D, he makes the memorandum, "Stärke der Gesinnungen des innern Friedens. Über alles ... Sieg." (Strengthen the conviction of inward peace. Above all—Victory). The effect of the Choral Finale is that of an outburst of joy at deliverance, a celebration of victory. It is as if Beethoven, with prophetic eye, had been able to pierce the future and foresee a golden age for humanity, an age where altruism was to bring about cessation from strife, and where happiness was to be general. Such happiness as is here celebrated in the Ode to Joy, can indeed, only exist in the world through altruism. Pity, that sentiment which allies man to the divine, comes first. From this proceeds love, and through these and by these only is happiness possible. This was the gist of Beethoven's thought. He had occupied himself much with sociological questions all his life, always taking the part of the oppressed.

Based on the information in the passage, which of the following statements cannot be true?