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Passage adapted from “On a Certain Blindness in Human Beings” (1900) by William James
Some years ago, while journeying in the mountains of North Carolina, I passed by a large number of 'coves,' as they call them there, or heads of small valleys between the hills, which had been newly cleared and planted. The impression on my mind was one of unmitigated squalor. The settler had in every case cut down the more manageable trees, and left their charred stumps standing. The larger trees he had girdled and killed, in order that their foliage should not cast a shade. He had then built a log cabin, plastering its chinks with clay, and had set up a tall zigzag rail fence around the scene of his havoc, to keep the pigs and cattle out. Finally, he had irregularly planted the intervals between the stumps and trees with Indian corn, which grew among the chips; and there he dwelt with his wife and babes--an axe, a gun, a few utensils, and some pigs and chickens feeding in the woods, being the sum total of his possessions.
The forest had been destroyed; and what had 'improved' it out of existence was hideous, a sort of ulcer, without a single element of artificial grace to make up for the loss of Nature's beauty. Ugly, indeed, seemed the life of the squatter, scudding, as the sailors say, under bare poles, beginning again away back where our first ancestors started, and by hardly a single item the better off for all the achievements of the intervening generations.
“Talk about going back to nature!” I said to myself, oppressed by the dreariness, as I drove by. Talk of a country life for one's old age and for one's children! Never thus, with nothing but the bare ground and one's bare hands to fight the battle! Never, without the best spoils of culture woven in! The beauties and commodities gained by the centuries are sacred. They are our heritage and birthright. No modern person ought to be willing to live a day in such a state of rudimentariness and denudation.
Then I said to the mountaineer who was driving me, "What sort of people are they who have to make these new clearings?" "All of us," he replied. "Why, we ain't happy here, unless we are getting one of these coves under cultivation." I instantly felt that I had been losing the whole inward significance of the situation. Because to me the clearings spoke of naught but denudation, I thought that to those whose sturdy arms and obedient axes had made them they could tell no other story. But, when they looked on the hideous stumps, what they thought of was personal victory. The chips, the girdled trees, and the vile split rails spoke of honest sweat, persistent toil and final reward. The cabin was a warrant of safety for self and wife and babes. In short, the clearing, which to me was a mere ugly picture on the retina, was to them a symbol redolent with moral memories and sang a very pæan of duty, struggle, and success.
I had been as blind to the peculiar ideality of their conditions as they certainly would also have been to the ideality of mine, had they had a peep at my strange indoor academic ways of life at Cambridge.
Based on the remarks on the second paragraph, to what might the life in North Carolina’s mountains be compared?
The key phrase for answering this question is, "beginning again away back where our first ancestors started." Emerson is implying that this scene reminds him of our very earliest ancestors who had no technology. Likely, he is not talking about the first ancestors in America. Instead, the whole scene appears to be so primitive that even the "accomplishments" are quite ugly and have done nothing to improve the area that was destroyed in order to attempt to create some small amount of civilization.
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Adapted from "Margaret Fuller and Mary Wollstonecraft" by George Eliot (1855)
There is a notion commonly entertained among men that an instructed woman, capable of having opinions, is likely to prove an unpractical yoke-fellow, always pulling one way when her husband wants to go the other, oracular in tone, and prone to give lectures. But surely, so far as obstinacy is concerned, your unreasoning animal is the most difficult of your creatures. For our own parts, we see no reason why women should be better kept under control rather than educated to be mans rational equal.
If you ask me what offices women may fill, I reply—any. I do not care what case you put; let them be sea-captains, if you will. I do not doubt there are women well fitted for such an office, and, if so, I should be glad to welcome the Maid of Saragossa. I think women need, especially at this juncture, a much greater range of occupation than they have, to rouse their latent powers. In families that I know, some little girls like to saw wood, and others to use carpenters' tools. Where these tastes are indulged, cheerfulness and good-humor are promoted. Where they are forbidden, because "such things are not proper for girls," they grow sullen and mischievous.
Men pay a heavy price for their reluctance to encourage self-help and independent resources in women. The precious meridian years of many a man of genius have to be spent in the toil of routine, that an "establishment" may be kept up for a woman who can understand none of his secret yearnings, who is fit for nothing but to sit in her drawing-room like a doll-Madonna in her shrine. No matter. Anything is more endurable than to change our established formulae about women, or to run the risk of looking up to our wives instead of looking down on them. So men say of women, let them be idols, useless absorbents of previous things, provided we are not obliged to admit them to be strictly fellow-beings, to be treated, one and all, with justice and sober reverence.
Which of these arguments is reinforced by the author’s use of the stylistic device comparing women to a “doll-Madonna”?
To answer this question, it is first necessary to identify which of the arguments offered as answer choices have been made in the essay. The idea that female identity has been strengthened by gendered stereotypes sounds like an argument opposite of the one made by the author. Similarly, the author believes that men and women are made more distant, not brought together, by the enforcement of gendered stereotypes, which is made apparent in the sentence that begins, “Men pay a heavy price . . .” So, you can rule out those two answer choices. The author makes no mention of female stubbornness as an obstacle to change, so that answer choice must be incorrect. The author makes some mention of the male imaginings of women, but never references an image to do with power or godliness. That leaves only “Women’s natural talents are neglected when men make them into images and idols.” If you read the context surrounding the reference to woman as a “doll-Madonna,” the author expresses how such an affectation is wasteful for men and women. The comparison to a “doll-Madonna” reflects male imaginings of women that the author is trying to convey. Firstly, the doll aspect refers to making women idle and objectifying them. The Madonna aspect refers to making women into a figure of beauty and perfection. The author uses the comparison in the context of an argument meant to disparage male constructions.
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Adapted from Are the Planets Inhabited? by E. Walter Maunder (1913)
What is a living organism? A living organism is such that, though it is continually changing its substance, its identity, as a whole, remains essentially the same. This definition is incomplete, but it gives us a first essential approximation, it indicates the continuance of the whole, with the unceasing change of the details. Were this definition complete, a river would furnish us with a perfect example of a living organism, because, while the river remains, the individual drops of water are continually changing. There is then something more in the living organism than the continuity of the whole, with the change of the details.
An analogy, given by Max Verworn, carries us a step further. He likens life to a flame, and takes a gas flame with its butterfly shape as a particularly appropriate illustration. Here the shape of the flame remains constant, even in its details. Immediately above the burner, at the base of the flame, there is a completely dark space; surrounding this, a bluish zone that is faintly luminous; and beyond this again, the broad spread of the two wings that are brightly luminous. The flame, like the river, preserves its identity of form, while its constituent details—the gases that feed it—are in continual change. But there is not only a change of material in the flame; there is a change of condition. Everywhere the gas from the burner is entering into energetic combination with the oxygen of the air, with evolution of light and heat. There is change in the constituent particles as well as change of the constituent particles; there is more than the mere flux of material through the form; there is change of the material, and in the process of that change energy is developed.
A steam-engine may afford us a third illustration. Here fresh material is continually being introduced into the engine there to suffer change. Part is supplied as fuel to the fire there to maintain the temperature of the engine; so far the illustration is analogous to that of the gas flame. But the engine carries us a step further, for part of the material supplied to it is water, which is converted into steam by the heat of the fire, and from the expansion of the steam the energy sought from the machine is derived. Here again we have change in the material with development of energy; but there is not only work done in the subject, there is work done by it.
But the living organism differs from artificial machines in that, of itself and by itself, it is continuously drawing into itself non-living matter, converting it into an integral part of the organism, and so endowing it with the qualities of life. And from this non-living matter it derives fresh energy for the carrying on of the life of the organism.
The author uses three different metaphors to explain what a living organism is in order to __________.
The three metaphors which make up the bulk of the passage all illustrate some aspect of how a living organism works; however, each one is somehow incomplete, as the river is not complex enough, the flame is essentially only change, and the steam engine is not self-sufficient. Together, these provide a fairly strong example of how a living organism functions.
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Passage adapted from Henry David Thoreau's Walden (1854_)._
The shore is irregular enough not to be monotonous. I have in my mind's eye the western, indented with deep bays, the bolder northern, and the beautifully scalloped southern shore, where successive capes overlap each other and suggest unexplored coves between. The forest has never so good a setting, nor is so distinctly beautiful, as when seen from the middle of a small lake amid hills which rise from the water's edge; for the water in which it is reflected not only makes the best foreground in such a case, but, with its winding shore, the most natural and agreeable boundary to it. There is no rawness or imperfection in its edge there, as where the axe has cleared a part, or a cultivated field abuts on it. The trees have ample room to expand on the water side, and each sends forth its most vigorous branch in that direction. There Nature has woven a natural selvage, and the eye rises by just gradations from the low shrubs of the shore to the highest trees. There are few traces of man's hand to be seen. The water laves the shore as it did a thousand years ago.
A lake is the landscape's most beautiful and expressive feature. It is earth's eye; looking into which the beholder measures the depth of his own nature. The fluviatile trees next to the shore are the slender eyelashes which fringe it, and the wooded hills and cliffs around are its overhanging brows.
Standing on the smooth sandy beach at the east end of the pond, in a calm September afternoon, when a slight haze makes the opposite shore-line indistinct, I have seen whence came the expression, "the glassy surface of a lake." When you invert your head, it looks like a thread of finest gossamer stretched across the valley, and gleaming against the distant pine woods, separating one stratum of the atmosphere from another. You would think that you could walk dry under it to the opposite hills, and that the swallows which skim over might perch on it. Indeed, they sometimes dive below the line, as it were by mistake, and are undeceived. As you look over the pond westward you are obliged to employ both your hands to defend your eyes against the reflected as well as the true sun, for they are equally bright; and if, between the two, you survey its surface critically, it is literally as smooth as glass, except where the skater insects, at equal intervals scattered over its whole extent, by their motions in the sun produce the finest imaginable sparkle on it, or, perchance, a duck plumes itself, or, as I have said, a swallow skims so low as to touch it. It may be that in the distance a fish describes an arc of three or four feet in the air, and there is one bright flash where it emerges, and another where it strikes the water; sometimes the whole silvery arc is revealed; or here and there, perhaps, is a thistle-down floating on its surface, which the fishes dart at and so dimple it again. It is like molten glass cooled but not congealed, and the few motes in it are pure and beautiful like the imperfections in glass. You may often detect a yet smoother and darker water, seperated from the rest as if by an invisible cobweb, boom of the water nymphs, resting on it. From a hilltop you can see a fish leap in almost any part; for not a pickerel or shiner picks an insect from this smooth surface but it manifestly disturbs the equilibrium of the whole lake. It is wonderful with what elaborateness this simple fact is advertised--this piscine murder will out--and from my distant perch I distinguish the circling undulations when they are half a dozen rods in diameter. You can even detect a water-bug ceaselessly progressing over the smooth surface a quarter of a mile off; for they furrow the water slightly, making a conspicuous ripple bounded by two diverging lines, but the skaters glide over it without rippling it perceptibly. When the surface is considerably agitated there are no skaters nor water-bugs on it, but apparently, in calm days, they leave their havens and adventurously glide forth from the shore by short impulses till they completely cover it. It is a soothing employment, on one of those fine days in the fall when all the warmth of the sun is fully appreciated, to sit on a stump on such a height as this, overlooking the pond, and study the dimpling circles which are incessantly inscribed on its otherwise invisible surface amid the reflected skies and trees.
In the passage, what image does the author use to describe the features of a lake surrounded by trees, hills and cliffs?
The author describes a lake surrounded by trees, hills and cliffs as "earth's eye." The trees are lashes and the cliffs and hills are overhanging brows.
The passage contains no references to the lake as an ember, a fish's belly, the moon, or a fingernail.
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Passage adapted from “An Essay on Friendship” (1841) by Ralph Waldo Emerson
I do not wish to treat friendships daintily, but with roughest courage. When they are real, they are not glass threads or frost-work, but the solidest thing we know. For now, after so many ages of experience, what do we know of nature, or of ourselves? Not one step has man taken toward the solution of the problem of his destiny. In one condemnation of folly stand the whole universe of men. But the sweet sincerity of joy and peace, which I draw from this alliance with my brother's soul, is the nut itself whereof all nature and all thought is but the husk and shell.
Happy is the house that shelters a friend! It might well be built, like a festal bower or arch, to entertain him a single day. Happier, if he know the solemnity of that relation, and honor its law! He who offers himself a candidate for that covenant comes up, like an Olympian, to the great games, where the first-born of the world are the competitors. He proposes himself for contest where Time, Want, Danger are in the lists, and he alone is victor who has truth enough in his constitution to preserve the delicacy of his beauty from the wear and tear of all these. The gifts of fortune may be present or absent, but all the hap in that contest depends on intrinsic nobleness, and the contempt of trifles. There are two elements that go to the composition of friendship, each so sovereign, that I can detect no superiority in either, no reason why either should be first named. One is Truth.
A friend is a person with whom I may be sincere. Before him, I may think aloud. I am arrived at last in the presence of a man so real and equal that I may drop even those undermost garments of dissimulation, courtesy, and second thought, which men never put off, and may deal with him with the simplicity and wholeness, with which one chemical atom meets another. . . .
Every man alone is sincere. At the entrance of a second person, hypocrisy begins. We parry and fend the approach of our fellow-man by compliments, by gossip, by amusements, by affairs. We cover up our thought from him under a hundred folds. I knew a man who, under a certain religious frenzy, cast off this drapery, and omitting all compliments and commonplace, spoke to the conscience of every person he encountered, and that with great insight and beauty. At first he was resisted, and all men agreed he was mad. But persisting, as indeed he could not help doing, for some time in this course, he attained to the advantage of bringing every man of his acquaintance into true relations with him.
What is the purpose of Emerson’s use of “glass threads” and “frost-work” in the first paragraph?
Consider the complete sentence in which these two words are used:
When they are real, they are not glass threads or frost-work, but the solidest thing we know.
The glass and frost-work are being placed in contrast to being "the solidest thing we know." The image is certainly metaphorical, but it serves a direct purpose, namely to provide something in contrast to the solidity that Emerson argues is an essential component of true friendship.
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Passage adapted from “An Essay on Friendship” (1841) by Ralph Waldo Emerson
I do not wish to treat friendships daintily, but with roughest courage. When they are real, they are not glass threads or frost-work, but the solidest thing we know. For now, after so many ages of experience, what do we know of nature, or of ourselves? Not one step has man taken toward the solution of the problem of his destiny. In one condemnation of folly stand the whole universe of men. But the sweet sincerity of joy and peace, which I draw from this alliance with my brother's soul, is the nut itself whereof all nature and all thought is but the husk and shell.
Happy is the house that shelters a friend! It might well be built, like a festal bower or arch, to entertain him a single day. Happier, if he know the solemnity of that relation, and honor its law! He who offers himself a candidate for that covenant comes up, like an Olympian, to the great games, where the first-born of the world are the competitors. He proposes himself for contest where Time, Want, Danger are in the lists, and he alone is victor who has truth enough in his constitution to preserve the delicacy of his beauty from the wear and tear of all these. The gifts of fortune may be present or absent, but all the hap in that contest depends on intrinsic nobleness, and the contempt of trifles. There are two elements that go to the composition of friendship, each so sovereign, that I can detect no superiority in either, no reason why either should be first named. One is Truth.
A friend is a person with whom I may be sincere. Before him, I may think aloud. I am arrived at last in the presence of a man so real and equal that I may drop even those undermost garments of dissimulation, courtesy, and second thought, which men never put off, and may deal with him with the simplicity and wholeness, with which one chemical atom meets another. . . .
Every man alone is sincere. At the entrance of a second person, hypocrisy begins. We parry and fend the approach of our fellow-man by compliments, by gossip, by amusements, by affairs. We cover up our thought from him under a hundred folds. I knew a man who, under a certain religious frenzy, cast off this drapery, and omitting all compliments and commonplace, spoke to the conscience of every person he encountered, and that with great insight and beauty. At first he was resisted, and all men agreed he was mad. But persisting, as indeed he could not help doing, for some time in this course, he attained to the advantage of bringing every man of his acquaintance into true relations with him.
What is the meaning of the metaphor of the nut at the end of the first paragraph?
In the first paragraph, Emerson speaks of our knowledge of nature and of ourselves. He claims that we have very little knowledge of these matters. When we experience union with a friend—"alliance with my brother's soul"—we experience something much more profound than our knowledge of nature and even the knowledge that we can have of ourselves. It is like all of that other knowledge is an unimportant shell, with the "nut" that we really want to have being the experience and activity of friendship. All of the incorrect options are likely quite tempting. They all, however, add some sort of detail that is superfluous. In this paragraph, he is merely contrasting our knowledge of nature and our human destiny to the very experience of friendship.
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Passage adapted from “An Essay on Friendship” (1841) by Ralph Waldo Emerson
I do not wish to treat friendships daintily, but with roughest courage. When they are real, they are not glass threads or frost-work, but the solidest thing we know. For now, after so many ages of experience, what do we know of nature, or of ourselves? Not one step has man taken toward the solution of the problem of his destiny. In one condemnation of folly stand the whole universe of men. But the sweet sincerity of joy and peace, which I draw from this alliance with my brother's soul, is the nut itself whereof all nature and all thought is but the husk and shell.
Happy is the house that shelters a friend! It might well be built, like a festal bower or arch, to entertain him a single day. Happier, if he know the solemnity of that relation, and honor its law! He who offers himself a candidate for that covenant comes up, like an Olympian, to the great games, where the first-born of the world are the competitors. He proposes himself for contest where Time, Want, Danger are in the lists, and he alone is victor who has truth enough in his constitution to preserve the delicacy of his beauty from the wear and tear of all these. The gifts of fortune may be present or absent, but all the hap in that contest depends on intrinsic nobleness, and the contempt of trifles. There are two elements that go to the composition of friendship, each so sovereign, that I can detect no superiority in either, no reason why either should be first named. One is Truth.
A friend is a person with whom I may be sincere. Before him, I may think aloud. I am arrived at last in the presence of a man so real and equal that I may drop even those undermost garments of dissimulation, courtesy, and second thought, which men never put off, and may deal with him with the simplicity and wholeness, with which one chemical atom meets another. . . .
Every man alone is sincere. At the entrance of a second person, hypocrisy begins. We parry and fend the approach of our fellow-man by compliments, by gossip, by amusements, by affairs. We cover up our thought from him under a hundred folds. I knew a man who, under a certain religious frenzy, cast off this drapery, and omitting all compliments and commonplace, spoke to the conscience of every person he encountered, and that with great insight and beauty. At first he was resisted, and all men agreed he was mad. But persisting, as indeed he could not help doing, for some time in this course, he attained to the advantage of bringing every man of his acquaintance into true relations with him.
What is meant by Emerson’s image of the Olympian in the second paragraph?
Consider the whole sentence containing this simile:
He who offers himself a candidate for that covenant comes up, like an Olympian, to the great games, where the first-born of the world are the competitors.
The image that this evokes is that of conquering in a competition. From the beginning of the essay, Emerson has wanted to stress the courageous and strong character of friendship. The Olympian of ancient Greece competed in games that required much skill and strength. Hence, the "Olympian" nature of friendship is one that is courageous and vigorous.
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Passage adapted from “An Essay on Friendship” (1841) by Ralph Waldo Emerson
I do not wish to treat friendships daintily, but with roughest courage. When they are real, they are not glass threads or frost-work, but the solidest thing we know. For now, after so many ages of experience, what do we know of nature, or of ourselves? Not one step has man taken toward the solution of the problem of his destiny. In one condemnation of folly stand the whole universe of men. But the sweet sincerity of joy and peace, which I draw from this alliance with my brother's soul, is the nut itself whereof all nature and all thought is but the husk and shell.
Happy is the house that shelters a friend! It might well be built, like a festal bower or arch, to entertain him a single day. Happier, if he know the solemnity of that relation, and honor its law! He who offers himself a candidate for that covenant comes up, like an Olympian, to the great games, where the first-born of the world are the competitors. He proposes himself for contest where Time, Want, Danger are in the lists, and he alone is victor who has truth enough in his constitution to preserve the delicacy of his beauty from the wear and tear of all these. The gifts of fortune may be present or absent, but all the hap in that contest depends on intrinsic nobleness, and the contempt of trifles. There are two elements that go to the composition of friendship, each so sovereign, that I can detect no superiority in either, no reason why either should be first named. One is Truth.
A friend is a person with whom I may be sincere. Before him, I may think aloud. I am arrived at last in the presence of a man so real and equal that I may drop even those undermost garments of dissimulation, courtesy, and second thought, which men never put off, and may deal with him with the simplicity and wholeness, with which one chemical atom meets another. . . .
Every man alone is sincere. At the entrance of a second person, hypocrisy begins. We parry and fend the approach of our fellow-man by compliments, by gossip, by amusements, by affairs. We cover up our thought from him under a hundred folds. I knew a man who, under a certain religious frenzy, cast off this drapery, and omitting all compliments and commonplace, spoke to the conscience of every person he encountered, and that with great insight and beauty. At first he was resisted, and all men agreed he was mad. But persisting, as indeed he could not help doing, for some time in this course, he attained to the advantage of bringing every man of his acquaintance into true relations with him.
In the third paragraph, to what does Emerson compare chemical atoms?
The key clue for this question is Emerson's remark that friends are like atoms in that they can...
drop even those undermost garments of dissimulation, courtesy, and second thought, which men never put off, and may deal with him with the simplicity and wholeness.
He is saying that friends can "be themselves" without any kind of artificial affectation meant to impress others or to help one remain "civil" in appearance. Just as atoms can meet each other and "react naturally", so too friends are hinted to have such a natural demeanor with each other.
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Passage adapted from “An Essay on Friendship” (1841) by Ralph Waldo Emerson
I do not wish to treat friendships daintily, but with roughest courage. When they are real, they are not glass threads or frost-work, but the solidest thing we know. For now, after so many ages of experience, what do we know of nature, or of ourselves? Not one step has man taken toward the solution of the problem of his destiny. In one condemnation of folly stand the whole universe of men. But the sweet sincerity of joy and peace, which I draw from this alliance with my brother's soul, is the nut itself whereof all nature and all thought is but the husk and shell.
Happy is the house that shelters a friend! It might well be built, like a festal bower or arch, to entertain him a single day. Happier, if he know the solemnity of that relation, and honor its law! He who offers himself a candidate for that covenant comes up, like an Olympian, to the great games, where the first-born of the world are the competitors. He proposes himself for contest where Time, Want, Danger are in the lists, and he alone is victor who has truth enough in his constitution to preserve the delicacy of his beauty from the wear and tear of all these. The gifts of fortune may be present or absent, but all the hap in that contest depends on intrinsic nobleness, and the contempt of trifles. There are two elements that go to the composition of friendship, each so sovereign, that I can detect no superiority in either, no reason why either should be first named. One is Truth.
A friend is a person with whom I may be sincere. Before him, I may think aloud. I am arrived at last in the presence of a man so real and equal that I may drop even those undermost garments of dissimulation, courtesy, and second thought, which men never put off, and may deal with him with the simplicity and wholeness, with which one chemical atom meets another. . . .
Every man alone is sincere. At the entrance of a second person, hypocrisy begins. We parry and fend the approach of our fellow-man by compliments, by gossip, by amusements, by affairs. We cover up our thought from him under a hundred folds. I knew a man who, under a certain religious frenzy, cast off this drapery, and omitting all compliments and commonplace, spoke to the conscience of every person he encountered, and that with great insight and beauty. At first he was resisted, and all men agreed he was mad. But persisting, as indeed he could not help doing, for some time in this course, he attained to the advantage of bringing every man of his acquaintance into true relations with him.
In the fourth paragraph, to what does the word “drapery” refer?
Given this paragraph's focus on the kind of insincerity that we can have in social interactions, Emerson is using the image of "casting off drapery" to express the idea of throwing over the kinds of "covers" that we create with social niceties and customs, especially customs of communication that we use deceptively to manipulate conversations and other personal interactions. The person to whom he refers is being pictured as throwing off a piece of cloth that was covering his true self.
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Passage adapted from The Idea of a University (1852) by John Henry Newman
It has often been observed that, when the eyes of the infant first open upon the world, the reflected rays of light which strike them from the myriad of surrounding objects present to him no image, but a medley of colours and shadows. They do not form into a whole; they do not rise into foregrounds and melt into distances; they do not divide into groups; they do not coalesce into unities; they do not combine into persons; but each particular hue and tint stands by itself, wedged in amid a thousand others upon the vast and flat mosaic, having no intelligence, and conveying no story, any more than the wrong side of some rich tapestry. The little babe stretches out his arms and fingers, as if to grasp or to fathom the many-coloured vision; and thus he gradually learns the connexion of part with part, separates what moves from what is stationary, watches the coming and going of figures, masters the idea of shape and of perspective, calls in the information conveyed through the other senses to assist him in his mental process, and thus gradually converts a calidoscope into a picture.
The first view was the more splendid, the second the more real; the former more poetical, the latter more philosophical. Alas! what are we doing all through life, both as a necessity and as a duty, but unlearning the world’s poetry, and attaining to its prose! This is our education, as boys and as men, in the action of life, and in the closet or library; in our affections, in our aims, in our hopes, and in our memories. And in like manner it is the education of our intellect; I say, that one main portion of intellectual education, of the labours of both school and university, is to remove the original dimness of the mind’s eye; to strengthen and perfect its vision; to enable it to look out into the world right forward, steadily and truly; to give the mind clearness, accuracy, precision; to enable it to use words aright, to understand what it says, to conceive justly what it thinks about, to abstract, compare, analyze, divide, define, and reason, correctly.
There is a particular science which takes these matters in hand, and it is called logic; but it is not by logic, certainly not by logic alone, that the faculty I speak of is acquired. The infant does not learn to spell and read the hues upon his retina by any scientific rule; nor does the student learn accuracy of thought by any manual or treatise. The instruction given him, of whatever kind, if it be really instruction, is mainly, or at least preeminently, this,—a discipline in accuracy of mind.
Which of the following sentences could be accused of using a mixed metaphor?
It is helpful to consider the two options that are most likely to tempt you into choosing a wrong answer. First, consider the opening sentence:
It has often been observed that, when the eyes of the infant first open upon the world, the reflected rays of light which strike them from the myriad of surrounding objects present to him no image, but a medley of colours and shadows.
It might seem that this sentence mixes the idea of light with that of music because of the word "medley." This word, however, can refer to any assortment whatsoever, so there is no need to think that there is some kind implied reference to music in this word choice.
The second possible wrong option is:
The little babe stretches out his arms and fingers, as if to grasp or to fathom the many-coloured vision.
Perhaps the mixing of vision and stretching may appear to mix some kind of metaphor; however, this really is not the case, as the grasping is the metaphor being used with regard to the baby's vision. There are not two metaphors at play here.
Thus, the best answer is the one that just states that there is no good option provided!
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Passage adapted from The Idea of a University (1852) by John Henry Newman
It has often been observed that, when the eyes of the infant first open upon the world, the reflected rays of light which strike them from the myriad of surrounding objects present to him no image, but a medley of colours and shadows. They do not form into a whole; they do not rise into foregrounds and melt into distances; they do not divide into groups; they do not coalesce into unities; they do not combine into persons; but each particular hue and tint stands by itself, wedged in amid a thousand others upon the vast and flat mosaic, having no intelligence, and conveying no story, any more than the wrong side of some rich tapestry. The little babe stretches out his arms and fingers, as if to grasp or to fathom the many-coloured vision; and thus he gradually learns the connexion of part with part, separates what moves from what is stationary, watches the coming and going of figures, masters the idea of shape and of perspective, calls in the information conveyed through the other senses to assist him in his mental process, and thus gradually converts a calidoscope into a picture.
The first view was the more splendid, the second the more real; the former more poetical, the latter more philosophical. Alas! what are we doing all through life, both as a necessity and as a duty, but unlearning the world’s poetry, and attaining to its prose! This is our education, as boys and as men, in the action of life, and in the closet or library; in our affections, in our aims, in our hopes, and in our memories. And in like manner it is the education of our intellect; I say, that one main portion of intellectual education, of the labours of both school and university, is to remove the original dimness of the mind’s eye; to strengthen and perfect its vision; to enable it to look out into the world right forward, steadily and truly; to give the mind clearness, accuracy, precision; to enable it to use words aright, to understand what it says, to conceive justly what it thinks about, to abstract, compare, analyze, divide, define, and reason, correctly.
There is a particular science which takes these matters in hand, and it is called logic; but it is not by logic, certainly not by logic alone, that the faculty I speak of is acquired. The infant does not learn to spell and read the hues upon his retina by any scientific rule; nor does the student learn accuracy of thought by any manual or treatise. The instruction given him, of whatever kind, if it be really instruction, is mainly, or at least preeminently, this,—a discipline in accuracy of mind.
In what way is the eye metaphorically used in this passage?
The best clue for this question is Newman's remark where he says,
I say, that one main portion of intellectual education, of the labours of both school and university, is to remove the original dimness of the mind’s eye . . .
The expression "mind's eye" captures the whole of the metaphor. It is as though the mind itself had an eye that could see reality in an intellectual manner. Perhaps the eye is weak (i.e. dim). It is, however, still there as the latent intellectual power of the human person. This is the general way that Newman uses the ideas of the eye and of light throughout the passage.
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Passage adapted from “The Essence of Humanism” (1905) by William James
Humanism is a ferment that has 'come to stay.' It is not a single hypothesis or theorem, and it dwells on no new facts. It is rather a slow shifting in the philosophic perspective, making things appear as from a new centre of interest or point of sight. Some writers are strongly conscious of the shifting, others half unconscious, even though their own vision may have undergone much change. The result is no small confusion in debate, the half-conscious humanists often taking part against the radical ones, as if they wished to count upon the other side.
If humanism really be the name for such a shifting of perspective, it is obvious that the whole scene of the philosophic stage will change in some degree if humanism prevails. The emphasis of things, their foreground and background distribution, their sizes and values, will not keep just the same. If such pervasive consequences be involved in humanism, it is clear that no pains which philosophers may take, first in defining it, and then in furthering, checking, or steering its progress, will be thrown away.
It suffers badly at present from incomplete definition. Its most systematic advocates, Schiller and Dewey, have published fragmentary programs only; and its bearing on many vital philosophic problems has not been traced except by adversaries who, scenting heresies in advance, have showered blows on doctrines—subjectivism and scepticism, for example—that no good humanist finds it necessary to entertain. By their still greater reticences, the anti-humanists have, in turn, perplexed the humanists. Much of the controversy has involved the word 'truth.' It is always good in debate to know your adversary's point of view authentically. But the critics of humanism never define exactly what the word 'truth' signifies when they use it themselves. The humanists have to guess at their view; and the result has doubtless been much beating of the air. Add to all this, great individual differences in both camps, and it becomes clear that nothing is so urgently needed, at the stage which things have reached at present, as a sharper definition by each side of its central point of view.
Whoever will contribute any touch of sharpness will help us to make sure of what's what and who is who. Anyone can contribute such a definition, and, without it, no one knows exactly where he stands. If I offer my own provisional definition of humanism now and here, others may improve it, some adversary may be led to define his own creed more sharply by the contrast, and a certain quickening of the crystallization of general opinion may result.
What is meant by the underlined word “sharpness”?
What James wishes to do is to increase the clarity of discussions about humanism. He is looking to help there be a more precise definition. Thus, the "sharpness" that he is looking for is that of precision. It is as though he wishes for there to be sharper boundaries around the concept of "humanism" when it is discussed. He is opposed to the nebulous and hazy state of affairs that seems to reign in his day.
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Passage adapted from A Vindication of the Rights of Woman (1792) by Mary Wollstonecraft
It is of great importance to observe, that the character of every man is, in some degree, formed by his profession. A man of sense may only have a cast of countenance that wears off as you trace his individuality, whilst the weak, common man, has scarcely ever any character, but what belongs to the body; at least, all his opinions have been so steeped in the vat consecrated by authority, that the faint spirit which the grape of his own vine yields cannot be distinguished.
Society, therefore, as it becomes more enlightened, should be very careful not to establish bodies of men who must necessarily be made foolish or vicious by the very constitution of their profession.
In the infancy of society, when men were just emerging out of barbarism, chiefs and priests, touching the most powerful springs of savage conduct—hope and fear—must have had unbounded sway. An aristocracy, of course, is naturally the first form of government. But clashing interests soon losing their equipoise, a monarchy and hierarchy break out of the confusion of ambitious struggles, and the foundation of both is secured by feudal tenures. This appears to be the origin of monarchial and priestly power, and the dawn of civilization. But such combustible materials cannot long be pent up; and getting vent in foreign wars and intestine insurrections, the people acquire some power in the tumult, which obliges their rulers to gloss over their oppression with a show of right. Thus, as wars, agriculture, commerce, and literature expand the mind, despots are compelled to make covert corruption hold fast the power which was formerly snatched by open force. And this baneful lurking gangrene is most quickly spread by luxury and superstition, the sure dregs of ambition. The indolent puppet of a court first becomes a luxurious monster, or fastidious sensualist, and then makes the contagion which his unnatural state spreads, the instrument of tyranny.
What is meant by the underlined selection?
The underlined selection uses a metaphor with the process of wine-making. The "vat of authority" is the general environment in which someone lives, often under the sway of various authorities whose opinions are accepted without questioning. His own opinions are the "grapes." The "spirits" are referring to alcoholic content (the product of this process). The idea is that such people have not really formed their own opinions. They are only following whatever the authorities say. Therefore, they haven't really "thought for themselves." Their own opinions are not easily detectable in the "mixture" of opinions that they are "brewing."
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Passage adapted from A Vindication of the Rights of Woman (1792) by Mary Wollstonecraft
It is of great importance to observe, that the character of every man is, in some degree, formed by his profession. A man of sense may only have a cast of countenance that wears off as you trace his individuality, whilst the weak, common man, has scarcely ever any character, but what belongs to the body; at least, all his opinions have been so steeped in the vat consecrated by authority, that the faint spirit which the grape of his own vine yields cannot be distinguished.
Society, therefore, as it becomes more enlightened, should be very careful not to establish bodies of men who must necessarily be made foolish or vicious by the very constitution of their profession.
In the infancy of society, when men were just emerging out of barbarism, chiefs and priests, touching the most powerful springs of savage conduct—hope and fear—must have had unbounded sway. An aristocracy, of course, is naturally the first form of government. But clashing interests soon losing their equipoise, a monarchy and hierarchy break out of the confusion of ambitious struggles, and the foundation of both is secured by feudal tenures. This appears to be the origin of monarchial and priestly power, and the dawn of civilization. But such combustible materials cannot long be pent up; and getting vent in foreign wars and intestine insurrections, the people acquire some power in the tumult, which obliges their rulers to gloss over their oppression with a show of right. Thus, as wars, agriculture, commerce, and literature expand the mind, despots are compelled to make covert corruption hold fast the power which was formerly snatched by open force. And this baneful lurking gangrene is most quickly spread by luxury and superstition, the sure dregs of ambition. The indolent puppet of a court first becomes a luxurious monster, or fastidious sensualist, and then makes the contagion which his unnatural state spreads, the instrument of tyranny.
What is the implied metaphor being used in the underlined selection?
A metaphor is not the direct meaning of the sentence. Thus, it is not at all correct to select luxury or corruption. There are two selections that help to focus on the metaphor being used here: "gangrene" and "contagion . . . spreads." These are words dealing with disease. Thus, there is a kind of metaphoric use of the plague being used in this selection.
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Passage adapted from “The Place of Science in a Liberal Education” (1913) by Bertrand Russell
Our whole life is built about a certain number—not a very small number—of primary instincts and impulses. Only what is in some way connected with these instincts and impulses appears to us desirable or important; there is no faculty, whether "reason" or "virtue" or whatever it may be called, that can take our active life and our hopes and fears outside the region controlled by these first movers of all desire. Each of them is like a queen-bee, aided by a hive of workers gathering honey; but when the queen is gone the workers languish and die, and the cells remain empty of their expected sweetness.
So with each primary impulse in civilised man: it is surrounded and protected by a busy swarm of attendant derivative desires, which store up in its service whatever honey the surrounding world affords. But if the queen-impulse dies, the death-dealing influence, though retarded a little by habit, spreads slowly through all the subsidiary impulses, and a whole tract of life becomes inexplicably colourless. What was formerly full of zest, and so obviously worth doing that it raised no questions, has now grown dreary and purposeless: with a sense of disillusion we inquire the meaning of life, and decide, perhaps, that all is vanity. The search for an outside meaning that can compel an inner response must always be disappointed: all "meaning" must be at bottom related to our primary desires, and when they are extinct no miracle can restore to the world the value which they reflected upon it.
The purpose of education, therefore, cannot be to create any primary impulse which is lacking in the uneducated; the purpose can only be to enlarge the scope of those that human nature provides, by increasing the number and variety of attendant thoughts, and by showing where the most permanent satisfaction is to be found. Under the impulse of a Calvinistic horror of the "natural man," this obvious truth has been too often misconceived in the training of the young; "nature" has been falsely regarded as excluding all that is best in what is natural, and the endeavour to teach virtue has led to the production of stunted and contorted hypocrites instead of full-grown human beings. From such mistakes in education a better psychology or a kinder heart is beginning to preserve the present generation; we need, therefore, waste no more words on the theory that the purpose of education is to thwart or eradicate nature.
What does the author mean by the metaphor of the queen bee?
In this passage, Russell expresses the idea that we actually live only to fulfill whatever are our most basic desires. By the end of the passage, you will see that he does not think all of these desires are bad. This, however, may not be totally clear at the start of the passage. Still, the general idea is expressed there, using the metaphor of the queen bee to show how certain desires "rule" the others.
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Passage adapted from “The Place of Science in a Liberal Education” (1913) by Bertrand Russell
Our whole life is built about a certain number—not a very small number—of primary instincts and impulses. Only what is in some way connected with these instincts and impulses appears to us desirable or important; there is no faculty, whether "reason" or "virtue" or whatever it may be called, that can take our active life and our hopes and fears outside the region controlled by these first movers of all desire. Each of them is like a queen-bee, aided by a hive of workers gathering honey; but when the queen is gone the workers languish and die, and the cells remain empty of their expected sweetness.
So with each primary impulse in civilised man: it is surrounded and protected by a busy swarm of attendant derivative desires, which store up in its service whatever honey the surrounding world affords. But if the queen-impulse dies, the death-dealing influence, though retarded a little by habit, spreads slowly through all the subsidiary impulses, and a whole tract of life becomes inexplicably colourless. What was formerly full of zest, and so obviously worth doing that it raised no questions, has now grown dreary and purposeless: with a sense of disillusion we inquire the meaning of life, and decide, perhaps, that all is vanity. The search for an outside meaning that can compel an inner response must always be disappointed: all "meaning" must be at bottom related to our primary desires, and when they are extinct no miracle can restore to the world the value which they reflected upon it.
The purpose of education, therefore, cannot be to create any primary impulse which is lacking in the uneducated; the purpose can only be to enlarge the scope of those that human nature provides, by increasing the number and variety of attendant thoughts, and by showing where the most permanent satisfaction is to be found. Under the impulse of a Calvinistic horror of the "natural man," this obvious truth has been too often misconceived in the training of the young; "nature" has been falsely regarded as excluding all that is best in what is natural, and the endeavour to teach virtue has led to the production of stunted and contorted hypocrites instead of full-grown human beings. From such mistakes in education a better psychology or a kinder heart is beginning to preserve the present generation; we need, therefore, waste no more words on the theory that the purpose of education is to thwart or eradicate nature.
Which of the following is an example of what the author is discussing in the underlined section?
This metaphor is meant to express the situation of someone losing some one of his or her principle desires. The idea is that such a main desire is like a queen bee that helps to organize all of the other desires. When that desire is no longer present, it is like the queen bee leaving, leading to other "workers" (subordinate desires) disappearing as well. The only answer that express this idea well enough is that of someone no longer being captivated by something. When we are captivated, we are filled with amazement and, likely, desire for the thing that captivates us. If that is gone, we lose our desires and emotions for the thing.
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Passage adapted from “Camping Out” by Ernest Hemingway (1920)
Thousands of people will go into the bush this summer to cut the high cost of living. A man who gets his two weeks’ salary while he is on vacation should be able to put those two weeks in fishing and camping and be able to save one week’s salary clear. He ought to be able to sleep comfortably every night, to eat well every day and to return to the city rested and in good condition.
But if he goes into the woods with a frying pan, an ignorance of black flies and mosquitoes, and a great and abiding lack of knowledge about cookery, the chances are that his return will be very different. He will come back with enough mosquito bites to make the back of his neck look like a relief map of the Caucasus. His digestion will be wrecked after a valiant battle to assimilate half-cooked or charred grub.
And he won’t have had a decent night’s sleep while he has been gone.
He will solemnly raise his right hand and inform you that he has joined the grand army of never-agains. The call of the wild may be all right, but it’s a dog’s life. He’s heard the call of the tame with both ears. Waiter, bring him an order of milk toast.
In the first place he overlooked the insects. Black flies, no-see-ums, deer flies, gnats and mosquitoes were instituted by the devil to force people to live in cities where he could get at them better. If it weren’t for them everybody would live in the bush and he would be out of work. It was a rather successful invention.
But there are lots of dopes that will counteract the pests. The simplest perhaps is oil of citronella. Two bits’ worth of this purchased at any pharmacist’s will be enough to last for two weeks in the worst fly and mosquito-ridden country.
Rub a little on the back of your neck, your forehead and your wrists before you start fishing, and the blacks and skeeters will shun you. The odor of citronella is not offensive to people. It smells like gun oil. But the bugs do hate it.
Oil of pennyroyal and eucalyptol are also much hated by mosquitoes, and with citronella they form the basis for many proprietary preparations. But it is cheaper and better to buy the straight citronella. Put a little on the mosquito netting that covers the front of your pup tent or canoe tent at night, and you won’t be bothered.
To be really rested and get any benefit out of a vacation a man must get a good night’s sleep every night. The first requisite for this is to have plenty of cover. It is twice as cold as you expect it will be in the bush four nights out of five, and a good plan is to take just double the bedding that you think you will need. An old quilt that you can wrap up in is as warm as two blankets.
Nearly all outdoor writers rhapsodize over the browse bed. It is all right for the man who knows how to make one and has plenty of time. But in a succession of one-night camps on a canoe trip all you need is level ground for your tent floor and you will sleep all right if you have plenty of covers under you. Take twice as much cover as you think that you will need, and then put two-thirds of it under you. You will sleep warm and get your rest.
When it is clear weather you don’t need to pitch your tent if you are only stopping for the night. Drive four stakes at the head of your made-up bed and drape your mosquito bar over that, then you can sleep like a log and laugh at the mosquitoes.
Which of the following sentences includes an example of a simile?
A simile is a rhetorical device that makes a comparison between two things using the words "like" or "as." Although several of the sentences listed as choices include comparisons, only one has a simile within. The saying, "you can sleep like a log," is an example of a simile because it compares "you" to the "log" using the word like.
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Passage adapted from Cape Cod by Henry David Thoreau (1865)
Boston, New York, Philadelphia, Charleston, New Orleans, and the rest, are the names of wharves projecting into the sea (surrounded by the shops and dwellings of the merchants), good places to take in and to discharge a cargo (to land the products of other climes and load the exports of our own). I see a great many barrels and fig-drums, piles of wood for umbrella-sticks, blocks of granite and ice, great heaps of goods, and the means of packing and conveying them, much wrapping-paper and twine, many crates and hogsheads and trucks, and that is Boston. The more barrels, the more Boston. The museums and scientific societies and libraries are accidental. They gather around the sands to save carting. The wharf-rats and customhouse officers, and broken-down poets, seeking a fortune amid the barrels. Their better or worse lyceums, and preachings, and doctorings, these, too, are accidental, and the malls of commons are always small potatoes....
When we reached Boston that October, I had a gill of Provincetown sand in my shoes, and at Concord there was still enough left to sand my pages for many a day; and I seemed to hear the sea roar, as if I lived in a shell, for a week afterward.
The places which I have described may seem strange and remote to my townsmen, indeed, from Boston to Provincetown is twice as far as from England to France; yet step into the cars, and in six hours you may stand on those four planks, and see the Cape which Gosnold is said to have discovered, and which I have so poorly described. If you had started when I first advised you, you might have seen our tracks in the sand, still fresh, and reaching all the way from the Nauset Lights to Race Point, some thirty miles, for at every step we made an impression on the Cape, though we were not aware of it, and though our account may have made no impression on your minds. But what is our account? In it there is no roar, no beach-birds, no tow-cloth.
What is the effect of the author's use of the simile, "I seemed to hear the sea roar, as if I lived in a shell, for a week afterward"?
This question asks you to interpret the author's use of a simile in the second paragraph, "I seemed to hear the sea roar, as if I lived in a shell, for a week afterward." Implying that the noise of the sea still rang in his ears even after leaving Provincetown suggests that the town had a lasting effect on the author. This simile also strengthens the imagery in the beginning of the second paragraph, where he states that sand remained in his shoes for a long period after leaving Provincetown.
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Passage adapted from The Passing of the Armies: The Last Campaign of the Armies by Joshua Lawrence Chamberlain (1915)
The momentous meaning of this occasion impressed me deeply. I resolved to mark it by some token of recognition, which could be no other than a salute of arms. Well aware of the responsibility assumed, and of the criticisms that would follow, as the sequel proved, nothing of that kind could move me in the least. The act could be defended, if needful, by the suggestion that such a salute was not to the cause for which the flag of the Confederacy stood, but to its going down before the flag of the Union. My main reason, however, was one for which I sought no authority nor asked forgiveness. Before us in proud humiliation stood the embodiment of manhood: men whom neither toils and sufferings, nor the fact of death, nor disaster, nor hopelessness could bend from their resolve; standing before us now, thin, worn, and famished, but erect, and with eyes looking level into ours, waking memories that bound us together as no other bond;—was not such manhood to be welcomed back into a Union so tested and assured?
Instructions had been given; and when the head of each division column comes opposite our group, our bugle sounds the signal and instantly our whole line from right to left, regiment by regiment in succession, gives the soldier's salutation, from the "order arms" to the old "carry"—the marching salute. Gordon at the head of the column, riding with heavy spirit and downcast face, catches the sound of shifting arms, looks up, and, taking the meaning, wheels superbly, making with himself and his horse one uplifted figure, with profound salutation as he drops the point of his sword to the boot toe; then facing to his own command, gives word for his successive brigades to pass us with the same position of the manual,—honor answering honor. On our part not a sound of trumpet more, nor roll of drum; not a cheer, nor word nor whisper of vain-glorying, nor motion of man standing again at the order, but an awed stillness rather, and breath-holding, as if it were the passing of the dead!
The author's use of the simile, "as if it were the passing of the dead," serves to __________________.
This question asks you to interpret the author's use of a simile. The comparison of this event to "the passing of the dead" serves to highlight the quiet solemnity with which he and his men greeted the men who were passing, similar to how they might greet a funeral procession. The author's reference to "awed stillness" and "breath-holding" provides evidence for this interpretation.
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Adapted from "Margaret Fuller and Mary Wollstonecraft" by George Eliot (1855)
There is a notion commonly entertained among men that an instructed woman, capable of having opinions, is likely to prove an unpractical yoke-fellow, always pulling one way when her husband wants to go the other, oracular in tone, and prone to give lectures. But surely, so far as obstinacy is concerned, your unreasoning animal is the most difficult of your creatures. For our own parts, we see no reason why women should be better kept under control rather than educated to be mans rational equal.
If you ask me what offices women may fill, I reply—any. I do not care what case you put; let them be sea-captains, if you will. I do not doubt there are women well fitted for such an office, and, if so, I should be glad to welcome the Maid of Saragossa. I think women need, especially at this juncture, a much greater range of occupation than they have, to rouse their latent powers. In families that I know, some little girls like to saw wood, and others to use carpenters' tools. Where these tastes are indulged, cheerfulness and good-humor are promoted. Where they are forbidden, because "such things are not proper for girls," they grow sullen and mischievous.
Men pay a heavy price for their reluctance to encourage self-help and independent resources in women. The precious meridian years of many a man of genius have to be spent in the toil of routine, that an "establishment" may be kept up for a woman who can understand none of his secret yearnings, who is fit for nothing but to sit in her drawing-room like a doll-Madonna in her shrine. No matter. Anything is more endurable than to change our established formulae about women, or to run the risk of looking up to our wives instead of looking down on them. So men say of women, let them be idols, useless absorbents of previous things, provided we are not obliged to admit them to be strictly fellow-beings, to be treated, one and all, with justice and sober reverence.
Which of these arguments is reinforced by the author’s use of the stylistic device comparing women to a “doll-Madonna”?
To answer this question, it is first necessary to identify which of the arguments offered as answer choices have been made in the essay. The idea that female identity has been strengthened by gendered stereotypes sounds like an argument opposite of the one made by the author. Similarly, the author believes that men and women are made more distant, not brought together, by the enforcement of gendered stereotypes, which is made apparent in the sentence that begins, “Men pay a heavy price . . .” So, you can rule out those two answer choices. The author makes no mention of female stubbornness as an obstacle to change, so that answer choice must be incorrect. The author makes some mention of the male imaginings of women, but never references an image to do with power or godliness. That leaves only “Women’s natural talents are neglected when men make them into images and idols.” If you read the context surrounding the reference to woman as a “doll-Madonna,” the author expresses how such an affectation is wasteful for men and women. The comparison to a “doll-Madonna” reflects male imaginings of women that the author is trying to convey. Firstly, the doll aspect refers to making women idle and objectifying them. The Madonna aspect refers to making women into a figure of beauty and perfection. The author uses the comparison in the context of an argument meant to disparage male constructions.
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