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Adapted from “Civil Disobedience" by Henry David Thoreau (1848)
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 on, 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 the 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.
But, to speak practically and as a citizen, unlike those who call themselves no-government men, I ask for, not at once no government, but at once a better government. Let every man make known what kind of government would command his respect, and that will be one step toward obtaining it.
What idea does Thoreau convey through the image of the "wooden gun"?
Review the context of the phrase "wooden gun." What has the author been discussing previously? He has not been discussing war or weaponry. He is discussing the government. In thinking about his point regarding the government, it should become clear that for him, the government has no real power, particularly when compared to an individual person. Unlike a real gun, a wooden gun has none of the qualities of a real gun: it is ineffectual.
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Adapted from Walden by Henry Thoreau (1854)
Still we live meanly, like ants; it is error upon error, and clout upon clout, and our best virtue has for its occasion a superfluous and evitable wretchedness. Our life is frittered away by detail. An honest man has hardly need to count more than his ten fingers, or in extreme cases he may add his ten toes, and lump the rest. Simplicity, simplicity, simplicity! I say, let your affairs be as two or three, and not a hundred or a thousand; instead of a million count half a dozen, and keep your accounts on your thumbnail. In the midst of this chopping sea of civilized life, such are the clouds and storms and quicksands and thousand-and-one items to be allowed for, that a man has to live, if he would not founder and go to the bottom and not make his port at all, by dead reckoning, and he must be a great calculator indeed who succeeds. Simplify, simplify. Instead of three meals a day, if it be necessary eat but one; instead of a hundred dishes, five; and reduce other things in proportion.
Our life is like a German Confederacy, made up of petty states, with its boundary forever fluctuating, so that even a German cannot tell you how it is bounded at any moment. The nation itself, with all its so-called internal improvements, which, by the way are all external and superficial, is just such an unwieldy and overgrown establishment, cluttered with furniture and tripped up by its own traps, ruined by luxury and heedless expense, by want of calculation and a worthy aim, as the million households in the land; and the only cure for it, as for them, is in a rigid economy, a stern and more than Spartan simplicity of life and elevation of purpose. It lives too fast. Men think that it is essential that the Nation have commerce, and export ice, and talk through a telegraph, and ride thirty miles an hour, without a doubt, whether they do or not, but whether we should live like baboons or like men is a little uncertain. If we do not get out sleepers, and forge rails, and devote days and nights to the work, but go to tinkering upon our lives to improve them, who will build railroads? And if railroads are not built, how shall we get to heaven in season? But if we stay at home and mind our business, who will want railroads? We do not ride on the railroad; it rides upon us. Did you ever think what those sleepers are that underlie the railroad? Each one is a man, an Irishman, or a Yankee man. The rails are laid on them, and they are covered with sand, and the cars run smoothly over them. They are sound sleepers, I assure you.
The author repeats the words “simplicity” and “simplify” in the first paragraph in order to __________.
The author’s repetition of “Simplicity, simplicity, simplicity!” and “Simplify, simplify” in the first paragraph add emphasis exhorting the audience to make their lives simpler, a change Thoreau sees as the solution to many of the excesses of modern life and the problems they cause. There is no mention of any critics in the passage, and his repetition does not suggest simplicity is an ineffective solution. He certainly does not imply that there is too much simplicity in modern society—one might read this into the line out of context, but throughout the passage, once can tell that the author is writing in favor of simplifying. Finally, while repetition can often make something seem as if it is difficult or takes time (e.g. “Digging, digging, digging—all that digging and they were only a few feet closer to the center of the earth.”), that is not what is going on here.
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Adapted from “Gin-Shops” by Charles Darwin (1836)
We will endeavor to sketch the bar of a large gin-shop, and its ordinary customers, for the edification of such of our readers as may not have had opportunities of observing such scenes; and on the chance of finding one well suited to our purpose, we will make for Drury Lane. The filthy and miserable appearance of this part of London can hardly be imagined by those have not witnessed it. Wretched houses with broken windows patched with rags and paper: every room let out to a different family, and in many instances to two or even three; fruit manufacturers in the cellars, barbers and red-herring vendors in the front parlors, cobblers in the back; a bird-fancier in the first floor, three families on the second, starvation in the attics, Irishmen in the passage, a "musician" in the front kitchen, and a charwoman and five hungry children in the back one; filth everywhere, a gutter before the houses and a drain behind, clothes drying and slops emptying, from the windows; girls of fourteen or fifteen, with matted hair, walking about barefoot, and with only white coats to cover them; boys of all ages, in coats of all sizes and no coats at all; men and women, in every variety of scanty and dirty apparel, lounging, scolding, drinking, smoking, squabbling, fighting, and swearing.
You turn the corner. What a change! All is light and brilliancy. The hum of many voices issues from that splendid gin-shop which forms the commencement of the two streets opposite; and the gay building with the fantastically ornamented parapet, the illuminated clock, the plate-glass windows surrounded by stucco rosettes, and its profusion of gas-lights in richly-gilt burners, is perfectly dazzling when contrasted with the darkness and dirt we have just left. Yet, the gin shop is dazzling in appearances only. Soon it grows late and the throng of men, women, and children, who have been constantly going in and out, dwindles down to two or three occasional stragglers--cold, wretched-looking creatures, in the last stage of emaciation and disease. The knot of Irish laborers at the lower end of the place, who have been alternately shaking hands with, and threatening the life of each other, for the last hour, become furious in their disputes, and finding it impossible to silence one man, who is particularly anxious to adjust the difference, they resort to the expedient of knocking him down and jumping on him afterwards. The man in the fur cap, and the potboy rush out; a scene of riot and confusion ensues; half the Irishmen get shut out, and the other half get shut in; the potboy is knocked among the tubs in no time; the landlord hits everybody, and everybody hits the landlord; the barmaids scream; the police come in; the rest is a confused mixture of arms, legs, staves, torn coats, shouting, and struggling. Some of the party are borne off to the station-house, and the remainder slink home to beat their wives for complaining, and kick the children for daring to be hungry.
Gin-drinking is a great vice in England, but wretchedness and dirt are a greater; and until you improve the homes of the poor, or persuade a half-famished wretch not to seek relief in the temporary oblivion of his own misery gin-shops will increase in number and splendor. If Temperance Societies would suggest an antidote against hunger and filth gin-palaces would vanish. In the meantime, they shall only grow in prominence.
What is the description of Drury Lane intended to highlight?
The description of life in Drury Lane is meant to convey a sense of desperate and widespread urban poverty to the author’s audience. From the whole of the passage you can infer that the author believes the rise of alcohol abuse in London is directly related to the deplorable living conditions of the poor. The author employs numerous evocative words such as “filthy” and “wretched” to make sure that his description affects the audience.
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Adapted from “Gin-Shops” by Charles Darwin (1836)
We will endeavor to sketch the bar of a large gin-shop, and its ordinary customers, for the edification of such of our readers as may not have had opportunities of observing such scenes; and on the chance of finding one well suited to our purpose, we will make for Drury Lane. The filthy and miserable appearance of this part of London can hardly be imagined by those have not witnessed it. Wretched houses with broken windows patched with rags and paper: every room let out to a different family, and in many instances to two or even three; fruit manufacturers in the cellars, barbers and red-herring vendors in the front parlors, cobblers in the back; a bird-fancier in the first floor, three families on the second, starvation in the attics, Irishmen in the passage, a "musician" in the front kitchen, and a charwoman and five hungry children in the back one; filth everywhere, a gutter before the houses and a drain behind, clothes drying and slops emptying, from the windows; girls of fourteen or fifteen, with matted hair, walking about barefoot, and with only white coats to cover them; boys of all ages, in coats of all sizes and no coats at all; men and women, in every variety of scanty and dirty apparel, lounging, scolding, drinking, smoking, squabbling, fighting, and swearing.
You turn the corner. What a change! All is light and brilliancy. The hum of many voices issues from that splendid gin-shop which forms the commencement of the two streets opposite; and the gay building with the fantastically ornamented parapet, the illuminated clock, the plate-glass windows surrounded by stucco rosettes, and its profusion of gas-lights in richly-gilt burners, is perfectly dazzling when contrasted with the darkness and dirt we have just left. Yet, the gin shop is dazzling in appearances only. Soon it grows late and the throng of men, women, and children, who have been constantly going in and out, dwindles down to two or three occasional stragglers--cold, wretched-looking creatures, in the last stage of emaciation and disease. The knot of Irish laborers at the lower end of the place, who have been alternately shaking hands with, and threatening the life of each other, for the last hour, become furious in their disputes, and finding it impossible to silence one man, who is particularly anxious to adjust the difference, they resort to the expedient of knocking him down and jumping on him afterwards. The man in the fur cap, and the potboy rush out; a scene of riot and confusion ensues; half the Irishmen get shut out, and the other half get shut in; the potboy is knocked among the tubs in no time; the landlord hits everybody, and everybody hits the landlord; the barmaids scream; the police come in; the rest is a confused mixture of arms, legs, staves, torn coats, shouting, and struggling. Some of the party are borne off to the station-house, and the remainder slink home to beat their wives for complaining, and kick the children for daring to be hungry.
Gin-drinking is a great vice in England, but wretchedness and dirt are a greater; and until you improve the homes of the poor, or persuade a half-famished wretch not to seek relief in the temporary oblivion of his own misery gin-shops will increase in number and splendor. If Temperance Societies would suggest an antidote against hunger and filth gin-palaces would vanish. In the meantime, they shall only grow in prominence.
What purpose does the description of the appearance of the gin-shop primarily serve?
The actual appearance of the gin-shop is described in majestic language. Firstly, the author introduces the gin-shop by saying: “All is light and brilliancy!” (Line 13) And words with positive connotations like “splendid,” “perfectly,” and “illuminated” are thrown around liberally to create an image in the mind of the reader. The purpose of this is to contrast the appearance with the atmosphere. The author moves from the description of the appearance to a description of the atmosphere when he says: “Yet, the gin shop is dazzling in appearances only.” (Line 17) And he goes on to highlight the negative and crushing atmosphere within the gin-shops. The reader is more heavily affected by the description of the negative atmosphere because he/she has just been reading a descriptive paragraph coaxed in positive language. The contrast strengthens the author’s message.
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Adapted from “Introduced Species That Have Become Pests” in Our Vanishing Wild Life, Its Extermination and Protection by William Temple Hornaday (1913)
The man who successfully transplants or "introduces" into a new habitat any persistent species of living thing assumes a very grave responsibility. Every introduced species is doubtful gravel until panned out. The enormous losses that have been inflicted upon the world through the perpetuation of follies with wild vertebrates and insects would, if added together, be enough to purchase a principality. The most aggravating feature of these follies in transplantation is that never yet have they been made severely punishable. We are just as careless and easygoing on this point as we were about the government of the Yellowstone Park in the days when Howell and other poachers destroyed our first national bison herd, and when caught red-handed—as Howell was, skinning seven Park bison cows—could not be punished for it, because there was no penalty prescribed by any law. Today, there is a way in which any revengeful person could inflict enormous damage on the entire South, at no cost to himself, involve those states in enormous losses and the expenditure of vast sums of money, yet go absolutely unpunished!
The gypsy moth is a case in point. This winged calamity was imported at Maiden, Massachusetts, near Boston, by a French entomologist, Mr. Leopold Trouvelot, in 1868 or 69. History records the fact that the man of science did not purposely set free the pest. He was endeavoring with live specimens to find a moth that would produce a cocoon of commercial value to America, and a sudden gust of wind blew out of his study, through an open window, his living and breeding specimens of the gypsy moth. The moth itself is not bad to look at, but its larvae is a great, overgrown brute with an appetite like a hog. Immediately Mr. Trouvelot sought to recover his specimens, and when he failed to find them all, like a man of real honor, he notified the State authorities of the accident. Every effort was made to recover all the specimens, but enough escaped to produce progeny that soon became a scourge to the trees of Massachusetts. The method of the big, nasty-looking mottled-brown caterpillar was very simple. It devoured the entire foliage of every tree that grew in its sphere of influence.
The gypsy moth spread with alarming rapidity and persistence. In course of time, the state authorities of Massachusetts were forced to begin a relentless war upon it, by poisonous sprays and by fire. It was awful! Up to this date (1912) the New England states and the United States Government service have expended in fighting this pest about $7,680,000!
The spread of this pest has been retarded, but the gypsy moth never will be wholly stamped out. Today it exists in Rhode Island, Connecticut, and New Hampshire, and it is due to reach New York at an early date. It is steadily spreading in three directions from Boston, its original point of departure, and when it strikes the State of New York, we, too, will begin to pay dearly for the Trouvelot experiment.
Which of the following best paraphrases the underlined sentence, “Every introduced species is doubtful gravel until panned out”?
Here, the author is using figurative language to describe introduced species. He metaphorically calls them “doubtful gravel until \[they are\] panned out.” Because he’s not speaking literally, this sentence has nothing to do with the ground or gravel itself, so we can eliminate the answer choices “Species that live underground should be carefully examined before being moved into new environments” and “Species that live in gravel are usually harmful when placed in new environments.”
What is the author getting at with his metaphor? Panning rocks and dirt allows miners to separate out valuable minerals from other matter. Think of miners “panning for gold”—it’s the same principle, except here, the author is speaking of it as applying to gravel. By calling the gravel “doubtful,” the author is expressing that you don’t know what you’re going to get with it before you “pan it out” and see if there is anything valuable in it. Applying this thinking to invasive species, the author is therefore saying that “one can’t tell whether an introduced species will be helpful or harmful until it is actually introduced.”
If you didn’t know what panning gravel was, you could still solve this question by narrowing down your answer choices. For instance, nowhere in the passage are the beneficial effects of introduced species discussed, though the author discusses this in a previous chapter of his book. Because they’re not mentioned in the passage, we can discard the answer choice “An invasive species can cause beneficial effects to its new environment as well as harmful ones.” This is definitely not what the indicated sentence is saying; if we replaced the sentence with this answer choice, the logic of the paragraph wouldn’t make any sense.
As for the remaining answer choice, “One should never move a species from its natural environment into a new environment for fear of the consequences,” it cannot be correct because in the sentence before the one on which this question focuses, the author writes, “The man who successfully transplants or ‘introduces' into a new habitat any persistent species of living thing assumes a very grave responsibility.” Note that he doesn’t say that this should never be done; he just implies that it could go very badly. It wouldn’t make much sense if in the next sentence, the author said this should never be done. It seems more logical that he would have led with that statement, it being the stronger of the two.
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Adapted from "The Poet" in Essays: Second Series by Ralph Waldo Emerson (1844)
Those who are esteemed umpires of taste are often persons who have acquired some knowledge of admired pictures or sculptures and have an inclination for whatever is elegant, but if you inquire whether they are beautiful souls, and whether their own acts are like fair pictures, you learn that they are selfish and sensual. Their cultivation is local, as if you should rub a log of dry wood in one spot to produce fire, all the rest remaining cold. Their knowledge of the fine arts is some study of rules and particulars, or some limited judgment of color or form, which is exercised for amusement or for show. It is a proof of the shallowness of the doctrine of beauty, as it lies in the minds of our amateurs, that men seem to have lost the perception of the instant dependence of form upon soul. There is no doctrine of forms in our philosophy. We were put into our bodies, as fire is put into a pan, to be carried about; but there is no accurate adjustment between the spirit and the organ, much less is the latter the germination of the former. So in regard to other forms, the intellectual men do not believe in any essential dependence of the material world on thought and volition. Theologians think it a pretty air-castle to talk of the spiritual meaning of a ship or a cloud, of a city or a contract, but they prefer to come again to the solid ground of historical evidence; and even the poets are contented with a civil and conformed manner of living, and to write poems from the fancy, at a safe distance from their own experience. But the highest minds of the world have never ceased to explore the double meaning, or, shall I say, the quadruple, or the centuple, or much more manifold meaning, of every sensuous fact: Orpheus, Empedocles, Heraclitus, Plato, Plutarch, Dante, Swedenborg, and the masters of sculpture, picture, and poetry. For we are not pans and barrows, nor even porters of the fire and torch-bearers, but children of the fire, made of it, and only the same divinity transmuted, and at two or three removes, when we know least about it. And this hidden truth, that the fountains whence all this river of Time, and its creatures, floweth, are intrinsically ideal and beautiful, draws us to the consideration of the nature and functions of the Poet, or the man of Beauty, to the means and materials he uses, and to the general aspect of the art in the present time.
The breadth of the problem is great, for the poet is representative. He stands among partial men for the complete man, and apprises us not of his wealth, but of the common-wealth. The young man reveres men of genius, because, to speak truly, they are more himself than he is. They receive of the soul as he also receives, but they more. Nature enhances her beauty to the eye of loving men from their belief that the poet is beholding her shows at the same time. He is isolated among his contemporaries, by truth and by his art, but with this consolation in his pursuits, that they will draw all men sooner or later. For all men live by truth, and stand in need of expression. In love, in art, in avarice, in politics, in labor, in games, we study to utter our painful secret. The man is only half himself, the other half is his expression.
Consider the underlined simile concerning wood and fire. Which of the following most accurately describes how this simile makes the abilities of the described individuals seem?
Fire is associated with mental life, spirituality, and creativity in the passage, but you do not need to recognize this to answer this question correctly. The simile clearly has a negative connotation, so we can eliminate “praiseworthy” and “efficient” as potentially correct answer choices, leaving us with “lacking,” “detestable,” and “fallible.” In the simile, the author describes producing fire on a log “in one spot,” with “all the rest remaining cold.” This suggests that the abilities of the individuals described are “lacking.”
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Adapted from "The Poet" in Essays: Second Series by Ralph Waldo Emerson (1844)
Those who are esteemed umpires of taste are often persons who have acquired some knowledge of admired pictures or sculptures and have an inclination for whatever is elegant, but if you inquire whether they are beautiful souls, and whether their own acts are like fair pictures, you learn that they are selfish and sensual. Their cultivation is local, as if you should rub a log of dry wood in one spot to produce fire, all the rest remaining cold. Their knowledge of the fine arts is some study of rules and particulars, or some limited judgment of color or form, which is exercised for amusement or for show. It is a proof of the shallowness of the doctrine of beauty, as it lies in the minds of our amateurs, that men seem to have lost the perception of the instant dependence of form upon soul. There is no doctrine of forms in our philosophy. We were put into our bodies, as fire is put into a pan, to be carried about; but there is no accurate adjustment between the spirit and the organ, much less is the latter the germination of the former. So in regard to other forms, the intellectual men do not believe in any essential dependence of the material world on thought and volition. Theologians think it a pretty air-castle to talk of the spiritual meaning of a ship or a cloud, of a city or a contract, but they prefer to come again to the solid ground of historical evidence; and even the poets are contented with a civil and conformed manner of living, and to write poems from the fancy, at a safe distance from their own experience. But the highest minds of the world have never ceased to explore the double meaning, or, shall I say, the quadruple, or the centuple, or much more manifold meaning, of every sensuous fact: Orpheus, Empedocles, Heraclitus, Plato, Plutarch, Dante, Swedenborg, and the masters of sculpture, picture, and poetry. For we are not pans and barrows, nor even porters of the fire and torch-bearers, but children of the fire, made of it, and only the same divinity transmuted, and at two or three removes, when we know least about it. And this hidden truth, that the fountains whence all this river of Time, and its creatures, floweth, are intrinsically ideal and beautiful, draws us to the consideration of the nature and functions of the Poet, or the man of Beauty, to the means and materials he uses, and to the general aspect of the art in the present time.
The breadth of the problem is great, for the poet is representative. He stands among partial men for the complete man, and apprises us not of his wealth, but of the common-wealth. The young man reveres men of genius, because, to speak truly, they are more himself than he is. They receive of the soul as he also receives, but they more. Nature enhances her beauty to the eye of loving men from their belief that the poet is beholding her shows at the same time. He is isolated among his contemporaries, by truth and by his art, but with this consolation in his pursuits, that they will draw all men sooner or later. For all men live by truth, and stand in need of expression. In love, in art, in avarice, in politics, in labor, in games, we study to utter our painful secret. The man is only half himself, the other half is his expression.
Throughout the first paragraph, the image of fire is used to represent what?
The image of fire appears several times in the first paragraph: in complaining about how certain critics is “some limited judgment of color or form,” the author states, “Their cultivation is local, as if you should rub a log of dry wood in one spot to produce fire, all the rest remaining cold.” Later, he says, “We were put into our bodies, as fire is put into a pan, to be carried about; but there is no accurate adjustment between the spirit and the organ . . .” Finally, near the end of the paragraph, he says, “For we are not pans and barrows, nor even porters of the fire and torch-bearers, but children of the fire, made of it, and only the same divinity transmuted, and at two or three removes, when we know least about it.” From these quotations, we can determine that the author is using the image of fire to represent something to do with the soul and creativity, and that the author sees this as divine (see last quotation). This means that “the soul’s artistic creativity, which the author sees as divine,” is the correct answer.
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Adapted from “The Celebration of Intellect” by Ralph Waldo Emerson (1861)
I cannot consent to wander from the duties of this day into the fracas of politics. The brute noise of cannon has, I know, a most poetic echo in these days when it is an instrument of freedom and the primal sentiments of humanity. Yet it is but representative and a far-off means and servant; but here in the college we are in the presence of the constituency and the principle itself. Here is, or should be, the majesty of reason and the creative cause, and it were a compounding of all gradation and reverence to suffer the flash of swords and the boyish strife of passion and the feebleness of military strength to intrude on this sanctity and omnipotence of Intellectual Law.
Against the heroism of soldiers I set the heroism of scholars, which consists in ignoring the other. You shall not put up in your Academy the statue of Caesar or Pompey, of Nelson or Wellington, of Washington or Napoleon, of Garibaldi, but of Archimedes, of Milton, of Newton. . . .
For either science and literature is a hypocrisy, or it is not. If it be, then resign your charter to the Legislature, turn your college into barracks and warehouses, and divert the funds of your founders into the stock of a rope-walk or a candle-factory, a tan-yard or some other undoubted conveniency for the surrounding population. But if the intellectual interest be, as I hold, no hypocrisy, but the only reality, then it behooves us to enthrone it, obey it, and give it possession of us and ours; to give, among other possessions, the college into its hand casting down every idol, every pretender, every hoary lie, every dignified blunder that has crept into its administration.
How is the underlined expression “poetic echo” used as an image in the passage?
The expression "poetic echo" clearly is meant to evoke the sound of canons echoing. It is said to be "poetic" because such canon fire seems to be something very positive to many people during Emerson's day. It is implied that it has a certain charm or beauty—that is, a certain kind of poetry.
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Passage adapted from The Profit of Religion (1917) by Upton Sinclair
Life is a process of expansion, of the unfoldment of new powers; driven by that inner impulse which the philosophers of Pragmatism call the élan vital. Whenever this impulse has its way, there is an emotion of joy; whenever it is balked, there is one of distress. So pleasure and pain are the guides of life, and the final goal is a condition of free and constantly accelerating growth, in which joy is enduring.
That man will ever reach such a state is more than we can say. It is a perfectly conceivable thing that tomorrow a comet may fall upon the earth and wipe out all man's labors. But on the other hand, it is a conceivable thing that man may someday learn to control the movements of comets, and even of starry systems. It seems certain that if he is given time, he will make himself master of the forces of his immediate environment—-
The untamed giants of nature shall bow down—-
The tides, the tempest and the lightning cease
From mockery and destruction, and be turned
Unto the making of the soul of man.
It is a conceivable thing that man may learn to create his food from the elements without the slow processes of agriculture; it is conceivable that he may master the bacteria which at present prey upon his body, and so put an end to death. It is certain that he will ascertain the laws of heredity, and create human qualities as he has created the spurs of the fighting-cock and the legs of the greyhound. He will find out what genius is, and the laws of its being, and the tests whereby it may be recognized. In the new science of psycho-analysis he has already begun the work of bringing an infinity of sub consciousness into the light of day; it may be that in the evidence of telepathy which the psychic researchers are accumulating, he is beginning to grope his way into a universal consciousness, which may come to include the joys and griefs of the inhabitants of Mars, and of the dark stars which the spectroscope and the telescope are disclosing.
All these are fascinating possibilities. What stands in the way of their realization? Ignorance and superstition, fear and submission, the old habits of rapine and hatred which man has brought with him from his animal past. These make him a slave, a victim of himself and of others; to root them out of the garden of the soul is the task of the modern thinker.
The new morality is thus a morality of freedom. It teaches that man is the master, or shall become so; that there is no law, save the law of his own being, no check upon his will save that which he himself imposes.
The new morality is a morality of joy. It teaches that true pleasure is the end of being, and the test of all righteousness.
The new morality is a morality of reason. It teaches that there is no authority above reason; no possibility of such authority, because if such were to appear, reason would have to judge it, and accept or reject it.
The new morality is a morality of development. It teaches that there can no more be an immutable law of conduct, than there can be an immutable position for the steering-wheel of an aeroplane. The business of the pilot of an aeroplane is to keep his machine aloft amid shifting currents of wind. The business of a moralist is to adjust life to a constantly changing environment. An action which was suicide yesterday becomes heroism today, and futility or hypocrisy tomorrow.
"The tides, the tempest, and the lightning cease From mockery and destruction, and be turned" is an example of ____________.
Since "mockery" is is teasing or contemptuous language, the author is ascribing this attitude to the tides, tempest, and lightning, thus giving them a human quality.
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Adapted from “Civil Disobedience" by Henry David Thoreau (1848)
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 on, 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 the 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.
But, to speak practically and as a citizen, unlike those who call themselves no-government men, I ask for, not at once no government, but at once a better government. Let every man make known what kind of government would command his respect, and that will be one step toward obtaining it.
What idea does Thoreau convey through the image of the "wooden gun"?
Review the context of the phrase "wooden gun." What has the author been discussing previously? He has not been discussing war or weaponry. He is discussing the government. In thinking about his point regarding the government, it should become clear that for him, the government has no real power, particularly when compared to an individual person. Unlike a real gun, a wooden gun has none of the qualities of a real gun: it is ineffectual.
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Adapted from Walden by Henry Thoreau (1854)
Still we live meanly, like ants; it is error upon error, and clout upon clout, and our best virtue has for its occasion a superfluous and evitable wretchedness. Our life is frittered away by detail. An honest man has hardly need to count more than his ten fingers, or in extreme cases he may add his ten toes, and lump the rest. Simplicity, simplicity, simplicity! I say, let your affairs be as two or three, and not a hundred or a thousand; instead of a million count half a dozen, and keep your accounts on your thumbnail. In the midst of this chopping sea of civilized life, such are the clouds and storms and quicksands and thousand-and-one items to be allowed for, that a man has to live, if he would not founder and go to the bottom and not make his port at all, by dead reckoning, and he must be a great calculator indeed who succeeds. Simplify, simplify. Instead of three meals a day, if it be necessary eat but one; instead of a hundred dishes, five; and reduce other things in proportion.
Our life is like a German Confederacy, made up of petty states, with its boundary forever fluctuating, so that even a German cannot tell you how it is bounded at any moment. The nation itself, with all its so-called internal improvements, which, by the way are all external and superficial, is just such an unwieldy and overgrown establishment, cluttered with furniture and tripped up by its own traps, ruined by luxury and heedless expense, by want of calculation and a worthy aim, as the million households in the land; and the only cure for it, as for them, is in a rigid economy, a stern and more than Spartan simplicity of life and elevation of purpose. It lives too fast. Men think that it is essential that the Nation have commerce, and export ice, and talk through a telegraph, and ride thirty miles an hour, without a doubt, whether they do or not, but whether we should live like baboons or like men is a little uncertain. If we do not get out sleepers, and forge rails, and devote days and nights to the work, but go to tinkering upon our lives to improve them, who will build railroads? And if railroads are not built, how shall we get to heaven in season? But if we stay at home and mind our business, who will want railroads? We do not ride on the railroad; it rides upon us. Did you ever think what those sleepers are that underlie the railroad? Each one is a man, an Irishman, or a Yankee man. The rails are laid on them, and they are covered with sand, and the cars run smoothly over them. They are sound sleepers, I assure you.
The author repeats the words “simplicity” and “simplify” in the first paragraph in order to __________.
The author’s repetition of “Simplicity, simplicity, simplicity!” and “Simplify, simplify” in the first paragraph add emphasis exhorting the audience to make their lives simpler, a change Thoreau sees as the solution to many of the excesses of modern life and the problems they cause. There is no mention of any critics in the passage, and his repetition does not suggest simplicity is an ineffective solution. He certainly does not imply that there is too much simplicity in modern society—one might read this into the line out of context, but throughout the passage, once can tell that the author is writing in favor of simplifying. Finally, while repetition can often make something seem as if it is difficult or takes time (e.g. “Digging, digging, digging—all that digging and they were only a few feet closer to the center of the earth.”), that is not what is going on here.
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Adapted from “Gin-Shops” by Charles Darwin (1836)
We will endeavor to sketch the bar of a large gin-shop, and its ordinary customers, for the edification of such of our readers as may not have had opportunities of observing such scenes; and on the chance of finding one well suited to our purpose, we will make for Drury Lane. The filthy and miserable appearance of this part of London can hardly be imagined by those have not witnessed it. Wretched houses with broken windows patched with rags and paper: every room let out to a different family, and in many instances to two or even three; fruit manufacturers in the cellars, barbers and red-herring vendors in the front parlors, cobblers in the back; a bird-fancier in the first floor, three families on the second, starvation in the attics, Irishmen in the passage, a "musician" in the front kitchen, and a charwoman and five hungry children in the back one; filth everywhere, a gutter before the houses and a drain behind, clothes drying and slops emptying, from the windows; girls of fourteen or fifteen, with matted hair, walking about barefoot, and with only white coats to cover them; boys of all ages, in coats of all sizes and no coats at all; men and women, in every variety of scanty and dirty apparel, lounging, scolding, drinking, smoking, squabbling, fighting, and swearing.
You turn the corner. What a change! All is light and brilliancy. The hum of many voices issues from that splendid gin-shop which forms the commencement of the two streets opposite; and the gay building with the fantastically ornamented parapet, the illuminated clock, the plate-glass windows surrounded by stucco rosettes, and its profusion of gas-lights in richly-gilt burners, is perfectly dazzling when contrasted with the darkness and dirt we have just left. Yet, the gin shop is dazzling in appearances only. Soon it grows late and the throng of men, women, and children, who have been constantly going in and out, dwindles down to two or three occasional stragglers--cold, wretched-looking creatures, in the last stage of emaciation and disease. The knot of Irish laborers at the lower end of the place, who have been alternately shaking hands with, and threatening the life of each other, for the last hour, become furious in their disputes, and finding it impossible to silence one man, who is particularly anxious to adjust the difference, they resort to the expedient of knocking him down and jumping on him afterwards. The man in the fur cap, and the potboy rush out; a scene of riot and confusion ensues; half the Irishmen get shut out, and the other half get shut in; the potboy is knocked among the tubs in no time; the landlord hits everybody, and everybody hits the landlord; the barmaids scream; the police come in; the rest is a confused mixture of arms, legs, staves, torn coats, shouting, and struggling. Some of the party are borne off to the station-house, and the remainder slink home to beat their wives for complaining, and kick the children for daring to be hungry.
Gin-drinking is a great vice in England, but wretchedness and dirt are a greater; and until you improve the homes of the poor, or persuade a half-famished wretch not to seek relief in the temporary oblivion of his own misery gin-shops will increase in number and splendor. If Temperance Societies would suggest an antidote against hunger and filth gin-palaces would vanish. In the meantime, they shall only grow in prominence.
What is the description of Drury Lane intended to highlight?
The description of life in Drury Lane is meant to convey a sense of desperate and widespread urban poverty to the author’s audience. From the whole of the passage you can infer that the author believes the rise of alcohol abuse in London is directly related to the deplorable living conditions of the poor. The author employs numerous evocative words such as “filthy” and “wretched” to make sure that his description affects the audience.
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Adapted from “Gin-Shops” by Charles Darwin (1836)
We will endeavor to sketch the bar of a large gin-shop, and its ordinary customers, for the edification of such of our readers as may not have had opportunities of observing such scenes; and on the chance of finding one well suited to our purpose, we will make for Drury Lane. The filthy and miserable appearance of this part of London can hardly be imagined by those have not witnessed it. Wretched houses with broken windows patched with rags and paper: every room let out to a different family, and in many instances to two or even three; fruit manufacturers in the cellars, barbers and red-herring vendors in the front parlors, cobblers in the back; a bird-fancier in the first floor, three families on the second, starvation in the attics, Irishmen in the passage, a "musician" in the front kitchen, and a charwoman and five hungry children in the back one; filth everywhere, a gutter before the houses and a drain behind, clothes drying and slops emptying, from the windows; girls of fourteen or fifteen, with matted hair, walking about barefoot, and with only white coats to cover them; boys of all ages, in coats of all sizes and no coats at all; men and women, in every variety of scanty and dirty apparel, lounging, scolding, drinking, smoking, squabbling, fighting, and swearing.
You turn the corner. What a change! All is light and brilliancy. The hum of many voices issues from that splendid gin-shop which forms the commencement of the two streets opposite; and the gay building with the fantastically ornamented parapet, the illuminated clock, the plate-glass windows surrounded by stucco rosettes, and its profusion of gas-lights in richly-gilt burners, is perfectly dazzling when contrasted with the darkness and dirt we have just left. Yet, the gin shop is dazzling in appearances only. Soon it grows late and the throng of men, women, and children, who have been constantly going in and out, dwindles down to two or three occasional stragglers--cold, wretched-looking creatures, in the last stage of emaciation and disease. The knot of Irish laborers at the lower end of the place, who have been alternately shaking hands with, and threatening the life of each other, for the last hour, become furious in their disputes, and finding it impossible to silence one man, who is particularly anxious to adjust the difference, they resort to the expedient of knocking him down and jumping on him afterwards. The man in the fur cap, and the potboy rush out; a scene of riot and confusion ensues; half the Irishmen get shut out, and the other half get shut in; the potboy is knocked among the tubs in no time; the landlord hits everybody, and everybody hits the landlord; the barmaids scream; the police come in; the rest is a confused mixture of arms, legs, staves, torn coats, shouting, and struggling. Some of the party are borne off to the station-house, and the remainder slink home to beat their wives for complaining, and kick the children for daring to be hungry.
Gin-drinking is a great vice in England, but wretchedness and dirt are a greater; and until you improve the homes of the poor, or persuade a half-famished wretch not to seek relief in the temporary oblivion of his own misery gin-shops will increase in number and splendor. If Temperance Societies would suggest an antidote against hunger and filth gin-palaces would vanish. In the meantime, they shall only grow in prominence.
What purpose does the description of the appearance of the gin-shop primarily serve?
The actual appearance of the gin-shop is described in majestic language. Firstly, the author introduces the gin-shop by saying: “All is light and brilliancy!” (Line 13) And words with positive connotations like “splendid,” “perfectly,” and “illuminated” are thrown around liberally to create an image in the mind of the reader. The purpose of this is to contrast the appearance with the atmosphere. The author moves from the description of the appearance to a description of the atmosphere when he says: “Yet, the gin shop is dazzling in appearances only.” (Line 17) And he goes on to highlight the negative and crushing atmosphere within the gin-shops. The reader is more heavily affected by the description of the negative atmosphere because he/she has just been reading a descriptive paragraph coaxed in positive language. The contrast strengthens the author’s message.
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Adapted from “Introduced Species That Have Become Pests” in Our Vanishing Wild Life, Its Extermination and Protection by William Temple Hornaday (1913)
The man who successfully transplants or "introduces" into a new habitat any persistent species of living thing assumes a very grave responsibility. Every introduced species is doubtful gravel until panned out. The enormous losses that have been inflicted upon the world through the perpetuation of follies with wild vertebrates and insects would, if added together, be enough to purchase a principality. The most aggravating feature of these follies in transplantation is that never yet have they been made severely punishable. We are just as careless and easygoing on this point as we were about the government of the Yellowstone Park in the days when Howell and other poachers destroyed our first national bison herd, and when caught red-handed—as Howell was, skinning seven Park bison cows—could not be punished for it, because there was no penalty prescribed by any law. Today, there is a way in which any revengeful person could inflict enormous damage on the entire South, at no cost to himself, involve those states in enormous losses and the expenditure of vast sums of money, yet go absolutely unpunished!
The gypsy moth is a case in point. This winged calamity was imported at Maiden, Massachusetts, near Boston, by a French entomologist, Mr. Leopold Trouvelot, in 1868 or 69. History records the fact that the man of science did not purposely set free the pest. He was endeavoring with live specimens to find a moth that would produce a cocoon of commercial value to America, and a sudden gust of wind blew out of his study, through an open window, his living and breeding specimens of the gypsy moth. The moth itself is not bad to look at, but its larvae is a great, overgrown brute with an appetite like a hog. Immediately Mr. Trouvelot sought to recover his specimens, and when he failed to find them all, like a man of real honor, he notified the State authorities of the accident. Every effort was made to recover all the specimens, but enough escaped to produce progeny that soon became a scourge to the trees of Massachusetts. The method of the big, nasty-looking mottled-brown caterpillar was very simple. It devoured the entire foliage of every tree that grew in its sphere of influence.
The gypsy moth spread with alarming rapidity and persistence. In course of time, the state authorities of Massachusetts were forced to begin a relentless war upon it, by poisonous sprays and by fire. It was awful! Up to this date (1912) the New England states and the United States Government service have expended in fighting this pest about $7,680,000!
The spread of this pest has been retarded, but the gypsy moth never will be wholly stamped out. Today it exists in Rhode Island, Connecticut, and New Hampshire, and it is due to reach New York at an early date. It is steadily spreading in three directions from Boston, its original point of departure, and when it strikes the State of New York, we, too, will begin to pay dearly for the Trouvelot experiment.
Which of the following best paraphrases the underlined sentence, “Every introduced species is doubtful gravel until panned out”?
Here, the author is using figurative language to describe introduced species. He metaphorically calls them “doubtful gravel until \[they are\] panned out.” Because he’s not speaking literally, this sentence has nothing to do with the ground or gravel itself, so we can eliminate the answer choices “Species that live underground should be carefully examined before being moved into new environments” and “Species that live in gravel are usually harmful when placed in new environments.”
What is the author getting at with his metaphor? Panning rocks and dirt allows miners to separate out valuable minerals from other matter. Think of miners “panning for gold”—it’s the same principle, except here, the author is speaking of it as applying to gravel. By calling the gravel “doubtful,” the author is expressing that you don’t know what you’re going to get with it before you “pan it out” and see if there is anything valuable in it. Applying this thinking to invasive species, the author is therefore saying that “one can’t tell whether an introduced species will be helpful or harmful until it is actually introduced.”
If you didn’t know what panning gravel was, you could still solve this question by narrowing down your answer choices. For instance, nowhere in the passage are the beneficial effects of introduced species discussed, though the author discusses this in a previous chapter of his book. Because they’re not mentioned in the passage, we can discard the answer choice “An invasive species can cause beneficial effects to its new environment as well as harmful ones.” This is definitely not what the indicated sentence is saying; if we replaced the sentence with this answer choice, the logic of the paragraph wouldn’t make any sense.
As for the remaining answer choice, “One should never move a species from its natural environment into a new environment for fear of the consequences,” it cannot be correct because in the sentence before the one on which this question focuses, the author writes, “The man who successfully transplants or ‘introduces' into a new habitat any persistent species of living thing assumes a very grave responsibility.” Note that he doesn’t say that this should never be done; he just implies that it could go very badly. It wouldn’t make much sense if in the next sentence, the author said this should never be done. It seems more logical that he would have led with that statement, it being the stronger of the two.
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Adapted from "The Poet" in Essays: Second Series by Ralph Waldo Emerson (1844)
Those who are esteemed umpires of taste are often persons who have acquired some knowledge of admired pictures or sculptures and have an inclination for whatever is elegant, but if you inquire whether they are beautiful souls, and whether their own acts are like fair pictures, you learn that they are selfish and sensual. Their cultivation is local, as if you should rub a log of dry wood in one spot to produce fire, all the rest remaining cold. Their knowledge of the fine arts is some study of rules and particulars, or some limited judgment of color or form, which is exercised for amusement or for show. It is a proof of the shallowness of the doctrine of beauty, as it lies in the minds of our amateurs, that men seem to have lost the perception of the instant dependence of form upon soul. There is no doctrine of forms in our philosophy. We were put into our bodies, as fire is put into a pan, to be carried about; but there is no accurate adjustment between the spirit and the organ, much less is the latter the germination of the former. So in regard to other forms, the intellectual men do not believe in any essential dependence of the material world on thought and volition. Theologians think it a pretty air-castle to talk of the spiritual meaning of a ship or a cloud, of a city or a contract, but they prefer to come again to the solid ground of historical evidence; and even the poets are contented with a civil and conformed manner of living, and to write poems from the fancy, at a safe distance from their own experience. But the highest minds of the world have never ceased to explore the double meaning, or, shall I say, the quadruple, or the centuple, or much more manifold meaning, of every sensuous fact: Orpheus, Empedocles, Heraclitus, Plato, Plutarch, Dante, Swedenborg, and the masters of sculpture, picture, and poetry. For we are not pans and barrows, nor even porters of the fire and torch-bearers, but children of the fire, made of it, and only the same divinity transmuted, and at two or three removes, when we know least about it. And this hidden truth, that the fountains whence all this river of Time, and its creatures, floweth, are intrinsically ideal and beautiful, draws us to the consideration of the nature and functions of the Poet, or the man of Beauty, to the means and materials he uses, and to the general aspect of the art in the present time.
The breadth of the problem is great, for the poet is representative. He stands among partial men for the complete man, and apprises us not of his wealth, but of the common-wealth. The young man reveres men of genius, because, to speak truly, they are more himself than he is. They receive of the soul as he also receives, but they more. Nature enhances her beauty to the eye of loving men from their belief that the poet is beholding her shows at the same time. He is isolated among his contemporaries, by truth and by his art, but with this consolation in his pursuits, that they will draw all men sooner or later. For all men live by truth, and stand in need of expression. In love, in art, in avarice, in politics, in labor, in games, we study to utter our painful secret. The man is only half himself, the other half is his expression.
Consider the underlined simile concerning wood and fire. Which of the following most accurately describes how this simile makes the abilities of the described individuals seem?
Fire is associated with mental life, spirituality, and creativity in the passage, but you do not need to recognize this to answer this question correctly. The simile clearly has a negative connotation, so we can eliminate “praiseworthy” and “efficient” as potentially correct answer choices, leaving us with “lacking,” “detestable,” and “fallible.” In the simile, the author describes producing fire on a log “in one spot,” with “all the rest remaining cold.” This suggests that the abilities of the individuals described are “lacking.”
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Adapted from "The Poet" in Essays: Second Series by Ralph Waldo Emerson (1844)
Those who are esteemed umpires of taste are often persons who have acquired some knowledge of admired pictures or sculptures and have an inclination for whatever is elegant, but if you inquire whether they are beautiful souls, and whether their own acts are like fair pictures, you learn that they are selfish and sensual. Their cultivation is local, as if you should rub a log of dry wood in one spot to produce fire, all the rest remaining cold. Their knowledge of the fine arts is some study of rules and particulars, or some limited judgment of color or form, which is exercised for amusement or for show. It is a proof of the shallowness of the doctrine of beauty, as it lies in the minds of our amateurs, that men seem to have lost the perception of the instant dependence of form upon soul. There is no doctrine of forms in our philosophy. We were put into our bodies, as fire is put into a pan, to be carried about; but there is no accurate adjustment between the spirit and the organ, much less is the latter the germination of the former. So in regard to other forms, the intellectual men do not believe in any essential dependence of the material world on thought and volition. Theologians think it a pretty air-castle to talk of the spiritual meaning of a ship or a cloud, of a city or a contract, but they prefer to come again to the solid ground of historical evidence; and even the poets are contented with a civil and conformed manner of living, and to write poems from the fancy, at a safe distance from their own experience. But the highest minds of the world have never ceased to explore the double meaning, or, shall I say, the quadruple, or the centuple, or much more manifold meaning, of every sensuous fact: Orpheus, Empedocles, Heraclitus, Plato, Plutarch, Dante, Swedenborg, and the masters of sculpture, picture, and poetry. For we are not pans and barrows, nor even porters of the fire and torch-bearers, but children of the fire, made of it, and only the same divinity transmuted, and at two or three removes, when we know least about it. And this hidden truth, that the fountains whence all this river of Time, and its creatures, floweth, are intrinsically ideal and beautiful, draws us to the consideration of the nature and functions of the Poet, or the man of Beauty, to the means and materials he uses, and to the general aspect of the art in the present time.
The breadth of the problem is great, for the poet is representative. He stands among partial men for the complete man, and apprises us not of his wealth, but of the common-wealth. The young man reveres men of genius, because, to speak truly, they are more himself than he is. They receive of the soul as he also receives, but they more. Nature enhances her beauty to the eye of loving men from their belief that the poet is beholding her shows at the same time. He is isolated among his contemporaries, by truth and by his art, but with this consolation in his pursuits, that they will draw all men sooner or later. For all men live by truth, and stand in need of expression. In love, in art, in avarice, in politics, in labor, in games, we study to utter our painful secret. The man is only half himself, the other half is his expression.
Throughout the first paragraph, the image of fire is used to represent what?
The image of fire appears several times in the first paragraph: in complaining about how certain critics is “some limited judgment of color or form,” the author states, “Their cultivation is local, as if you should rub a log of dry wood in one spot to produce fire, all the rest remaining cold.” Later, he says, “We were put into our bodies, as fire is put into a pan, to be carried about; but there is no accurate adjustment between the spirit and the organ . . .” Finally, near the end of the paragraph, he says, “For we are not pans and barrows, nor even porters of the fire and torch-bearers, but children of the fire, made of it, and only the same divinity transmuted, and at two or three removes, when we know least about it.” From these quotations, we can determine that the author is using the image of fire to represent something to do with the soul and creativity, and that the author sees this as divine (see last quotation). This means that “the soul’s artistic creativity, which the author sees as divine,” is the correct answer.
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Adapted from “The Celebration of Intellect” by Ralph Waldo Emerson (1861)
I cannot consent to wander from the duties of this day into the fracas of politics. The brute noise of cannon has, I know, a most poetic echo in these days when it is an instrument of freedom and the primal sentiments of humanity. Yet it is but representative and a far-off means and servant; but here in the college we are in the presence of the constituency and the principle itself. Here is, or should be, the majesty of reason and the creative cause, and it were a compounding of all gradation and reverence to suffer the flash of swords and the boyish strife of passion and the feebleness of military strength to intrude on this sanctity and omnipotence of Intellectual Law.
Against the heroism of soldiers I set the heroism of scholars, which consists in ignoring the other. You shall not put up in your Academy the statue of Caesar or Pompey, of Nelson or Wellington, of Washington or Napoleon, of Garibaldi, but of Archimedes, of Milton, of Newton. . . .
For either science and literature is a hypocrisy, or it is not. If it be, then resign your charter to the Legislature, turn your college into barracks and warehouses, and divert the funds of your founders into the stock of a rope-walk or a candle-factory, a tan-yard or some other undoubted conveniency for the surrounding population. But if the intellectual interest be, as I hold, no hypocrisy, but the only reality, then it behooves us to enthrone it, obey it, and give it possession of us and ours; to give, among other possessions, the college into its hand casting down every idol, every pretender, every hoary lie, every dignified blunder that has crept into its administration.
How is the underlined expression “poetic echo” used as an image in the passage?
The expression "poetic echo" clearly is meant to evoke the sound of canons echoing. It is said to be "poetic" because such canon fire seems to be something very positive to many people during Emerson's day. It is implied that it has a certain charm or beauty—that is, a certain kind of poetry.
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Passage adapted from The Profit of Religion (1917) by Upton Sinclair
Life is a process of expansion, of the unfoldment of new powers; driven by that inner impulse which the philosophers of Pragmatism call the élan vital. Whenever this impulse has its way, there is an emotion of joy; whenever it is balked, there is one of distress. So pleasure and pain are the guides of life, and the final goal is a condition of free and constantly accelerating growth, in which joy is enduring.
That man will ever reach such a state is more than we can say. It is a perfectly conceivable thing that tomorrow a comet may fall upon the earth and wipe out all man's labors. But on the other hand, it is a conceivable thing that man may someday learn to control the movements of comets, and even of starry systems. It seems certain that if he is given time, he will make himself master of the forces of his immediate environment—-
The untamed giants of nature shall bow down—-
The tides, the tempest and the lightning cease
From mockery and destruction, and be turned
Unto the making of the soul of man.
It is a conceivable thing that man may learn to create his food from the elements without the slow processes of agriculture; it is conceivable that he may master the bacteria which at present prey upon his body, and so put an end to death. It is certain that he will ascertain the laws of heredity, and create human qualities as he has created the spurs of the fighting-cock and the legs of the greyhound. He will find out what genius is, and the laws of its being, and the tests whereby it may be recognized. In the new science of psycho-analysis he has already begun the work of bringing an infinity of sub consciousness into the light of day; it may be that in the evidence of telepathy which the psychic researchers are accumulating, he is beginning to grope his way into a universal consciousness, which may come to include the joys and griefs of the inhabitants of Mars, and of the dark stars which the spectroscope and the telescope are disclosing.
All these are fascinating possibilities. What stands in the way of their realization? Ignorance and superstition, fear and submission, the old habits of rapine and hatred which man has brought with him from his animal past. These make him a slave, a victim of himself and of others; to root them out of the garden of the soul is the task of the modern thinker.
The new morality is thus a morality of freedom. It teaches that man is the master, or shall become so; that there is no law, save the law of his own being, no check upon his will save that which he himself imposes.
The new morality is a morality of joy. It teaches that true pleasure is the end of being, and the test of all righteousness.
The new morality is a morality of reason. It teaches that there is no authority above reason; no possibility of such authority, because if such were to appear, reason would have to judge it, and accept or reject it.
The new morality is a morality of development. It teaches that there can no more be an immutable law of conduct, than there can be an immutable position for the steering-wheel of an aeroplane. The business of the pilot of an aeroplane is to keep his machine aloft amid shifting currents of wind. The business of a moralist is to adjust life to a constantly changing environment. An action which was suicide yesterday becomes heroism today, and futility or hypocrisy tomorrow.
"The tides, the tempest, and the lightning cease From mockery and destruction, and be turned" is an example of ____________.
Since "mockery" is is teasing or contemptuous language, the author is ascribing this attitude to the tides, tempest, and lightning, thus giving them a human quality.
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Passage adapted from The Profit of Religion (1917) by Upton Sinclair
Life is a process of expansion, of the unfoldment of new powers; driven by that inner impulse which the philosophers of Pragmatism call the élan vital. Whenever this impulse has its way, there is an emotion of joy; whenever it is balked, there is one of distress. So pleasure and pain are the guides of life, and the final goal is a condition of free and constantly accelerating growth, in which joy is enduring.
That man will ever reach such a state is more than we can say. It is a perfectly conceivable thing that tomorrow a comet may fall upon the earth and wipe out all man's labors. But on the other hand, it is a conceivable thing that man may someday learn to control the movements of comets, and even of starry systems. It seems certain that if he is given time, he will make himself master of the forces of his immediate environment—-
The untamed giants of nature shall bow down—-
The tides, the tempest and the lightning cease
From mockery and destruction, and be turned
Unto the making of the soul of man.
It is a conceivable thing that man may learn to create his food from the elements without the slow processes of agriculture; it is conceivable that he may master the bacteria which at present prey upon his body, and so put an end to death. It is certain that he will ascertain the laws of heredity, and create human qualities as he has created the spurs of the fighting-cock and the legs of the greyhound. He will find out what genius is, and the laws of its being, and the tests whereby it may be recognized. In the new science of psycho-analysis he has already begun the work of bringing an infinity of sub consciousness into the light of day; it may be that in the evidence of telepathy which the psychic researchers are accumulating, he is beginning to grope his way into a universal consciousness, which may come to include the joys and griefs of the inhabitants of Mars, and of the dark stars which the spectroscope and the telescope are disclosing.
All these are fascinating possibilities. What stands in the way of their realization? Ignorance and superstition, fear and submission, the old habits of rapine and hatred which man has brought with him from his animal past. These make him a slave, a victim of himself and of others; to root them out of the garden of the soul is the task of the modern thinker.
The new morality is thus a morality of freedom. It teaches that man is the master, or shall become so; that there is no law, save the law of his own being, no check upon his will save that which he himself imposes.
The new morality is a morality of joy. It teaches that true pleasure is the end of being, and the test of all righteousness.
The new morality is a morality of reason. It teaches that there is no authority above reason; no possibility of such authority, because if such were to appear, reason would have to judge it, and accept or reject it.
The new morality is a morality of development. It teaches that there can no more be an immutable law of conduct, than there can be an immutable position for the steering-wheel of an aeroplane. The business of the pilot of an aeroplane is to keep his machine aloft amid shifting currents of wind. The business of a moralist is to adjust life to a constantly changing environment. An action which was suicide yesterday becomes heroism today, and futility or hypocrisy tomorrow.
"The tides, the tempest, and the lightning cease From mockery and destruction, and be turned" is an example of ____________.
Since "mockery" is is teasing or contemptuous language, the author is ascribing this attitude to the tides, tempest, and lightning, thus giving them a human quality.
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Adapted from “Civil Disobedience" by Henry David Thoreau (1848)
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 on, 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 the 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.
But, to speak practically and as a citizen, unlike those who call themselves no-government men, I ask for, not at once no government, but at once a better government. Let every man make known what kind of government would command his respect, and that will be one step toward obtaining it.
What idea does Thoreau convey through the image of the "wooden gun"?
Review the context of the phrase "wooden gun." What has the author been discussing previously? He has not been discussing war or weaponry. He is discussing the government. In thinking about his point regarding the government, it should become clear that for him, the government has no real power, particularly when compared to an individual person. Unlike a real gun, a wooden gun has none of the qualities of a real gun: it is ineffectual.
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