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Adapted from “Introductory Remarks” in The Interpretation of Dreams by Sigmund Freud (trans. 1913)
In attempting to discuss the interpretation of dreams, I do not believe that I have overstepped the bounds of neuropathological interest. For, when investigated psychologically, the dream proves to be the first link in a chain of abnormal psychic structures whose other links—the hysterical phobia, the obsession, and the delusion—must interest the physician for practical reasons. The dream can lay no claim to a corresponding practical significance; however, its theoretical value is very great, and one who cannot explain the origin of the content of dreams will strive in vain to understand phobias, obsessive and delusional ideas, and likewise their therapeutic importance.
While this relationship makes our subject important, it is responsible also for the deficiencies in this work. The surfaces of fracture, which will be frequently discussed, correspond to many points of contact where the problem of dream formation informs more comprehensive problems of psychopathology which cannot be discussed here. These larger issues will be elaborated upon in the future.
Peculiarities in the material I have used to elucidate the interpretation of dreams have rendered this publication difficult. The work itself will demonstrate why all dreams related in scientific literature or collected by others had to remain useless for my purpose. In choosing my examples, I had to limit myself to considering my own dreams and those of my patients who were under psychoanalytic treatment. I was restrained from utilizing material derived from my patients' dreams by the fact that during their treatment, the dream processes were subjected to an undesirable complication—the intermixture of neurotic characters. On the other hand, in discussing my own dreams, I was obliged to expose more of the intimacies of my psychic life than I should like, more so than generally falls to the task of an author who is not a poet but an investigator of nature. This was painful, but unavoidable; I had to put up with the inevitable in order to demonstrate the truth of my psychological results at all. To be sure, I disguised some of my indiscretions through omissions and substitutions, though I feel that these detract from the value of the examples in which they appear. I can only express the hope that the reader of this work, putting himself in my difficult position, will show patience, and also that anyone inclined to take offense at any of the reported dreams will concede freedom of thought at least to the dream life.
In the third paragraph, what does the author tell us about the omissions and substitutions he made when discussing his own dreams in the work that follow the passage?
Of the omissions and substitutions the author made when discussing his own dreams in the work he is describing, the author writes in the third paragraph, “To be sure, I disguised some of my indiscretions through omissions and substitutions, though I feel that these detract from the value of the examples in which they appear.” Thus, while many answer choices sound reasonable, the correct answer is “He feels that the adjusted examples would be more useful had they remained unadjusted.”
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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.
In this passage, the author is most concerned with which theme?
Thoreau makes no mention of boundary disputes within the nation, and while he calls the economy “rigid,” it is not his primary worry, but instead a recommendation for people to take stock of their households and pursuits more carefully. Likewise, he discusses the development of infrastructure when he discusses railroads at the end of the second paragraph, but this is not his primary focus. Instead, Thoreau is concerned with all the aspects of contemporary American culture that are opposed to a “Spartan simplicity of life,” which can be considered together as “excess.”
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Adapted from Common Sense by Thomas Paine (1776)
Society in every state is a blessing, but government even in its best state is but a necessary evil, in its worst state an intolerable one; for when we suffer, or are exposed to the same miseries heightened by reflecting that we furnish the means by which we suffer. Government, like dress, is the badge of lost innocence; the palaces of kings are built on the ruins of the bowers of paradise. For were the impulses of conscience clear, uniform, and irresistibly obeyed, man would need no other lawgiver; but that not being the case, he finds it necessary to surrender up a part of his property to furnish means for the protection of the rest; and this he is induced to do by the same prudence that in every other case advises him out of two evils to choose the least. WHEREFORE, security being the true design and end of government, it unanswerably follows that whatever FORM thereof appears most likely to ensure it to us, with the least expense and greatest benefit, is preferable to all others.
In order to gain a clear and just idea of the design and end of government, let us suppose a small number of persons settled in some sequestered part of the Earth, unconnected with the rest; they will then represent the first peopling of any country, or of the world. In this state of natural liberty, society will be their first thought. A thousand motives will excite them thereto, the strength of one man is so unequal to his wants, and his mind so unfitted for perpetual solitude, that he is soon obliged to seek assistance and relief of another, who in his turn requires the same. Four or five united would be able to raise a tolerable dwelling in the midst of a wilderness, but ONE man might labor out the common period of life without accomplishing any thing; when he had felled his timber he could not remove it, nor erect it after it was removed; hunger in the mean time would urge him from his work, and every different want call him a different way.
Which of the following best represents the argument the author in the process of making at the end of the second paragraph?
At the end of the second paragraph, the author states, “Four or five united would be able to raise a tolerable dwelling in the midst of a wilderness, but ONE man might labor out the common period of life without accomplishing any thing; when he had felled his timber he could not remove it, nor erect it after it was removed; hunger in the mean time would urge him from his work, and every different want call him a different way.” Thus, the author is in the process of making the argument that four or five people working together in the wilderness can do much more than one person, and “one person working by him- or herself in the wilderness isn’t able to achieve anything.”
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Adapted from “Introductory Remarks” in The Interpretation of Dreams by Sigmund Freud (trans. 1913)
In attempting to discuss the interpretation of dreams, I do not believe that I have overstepped the bounds of neuropathological interest. For, when investigated psychologically, the dream proves to be the first link in a chain of abnormal psychic structures whose other links—the hysterical phobia, the obsession, and the delusion—must interest the physician for practical reasons. The dream can lay no claim to a corresponding practical significance; however, its theoretical value is very great, and one who cannot explain the origin of the content of dreams will strive in vain to understand phobias, obsessive and delusional ideas, and likewise their therapeutic importance.
While this relationship makes our subject important, it is responsible also for the deficiencies in this work. The surfaces of fracture, which will be frequently discussed, correspond to many points of contact where the problem of dream formation informs more comprehensive problems of psychopathology which cannot be discussed here. These larger issues will be elaborated upon in the future.
Peculiarities in the material I have used to elucidate the interpretation of dreams have rendered this publication difficult. The work itself will demonstrate why all dreams related in scientific literature or collected by others had to remain useless for my purpose. In choosing my examples, I had to limit myself to considering my own dreams and those of my patients who were under psychoanalytic treatment. I was restrained from utilizing material derived from my patients' dreams by the fact that during their treatment, the dream processes were subjected to an undesirable complication—the intermixture of neurotic characters. On the other hand, in discussing my own dreams, I was obliged to expose more of the intimacies of my psychic life than I should like, more so than generally falls to the task of an author who is not a poet but an investigator of nature. This was painful, but unavoidable; I had to put up with the inevitable in order to demonstrate the truth of my psychological results at all. To be sure, I disguised some of my indiscretions through omissions and substitutions, though I feel that these detract from the value of the examples in which they appear. I can only express the hope that the reader of this work, putting himself in my difficult position, will show patience, and also that anyone inclined to take offense at any of the reported dreams will concede freedom of thought at least to the dream life.
The author of this passage is most interested in __________.
The author of this passage is clearly interested in studying dreams from a psychological standpoint. He does not mention the physical structure of the brain at all, nor does he make any comparison between human brains and the brains of other mammals. While he is interested in dreams, he does not discuss any ability of dreams to foreshadow future events. While he attempts to address potential flaws in his work, his primary interest is not in the role of criticism in science; it is in “the workings of the human mind.” While this is the most general answer choice, the specificity of each of the other options makes each incorrect.
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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.
At the time the passage was written, in which of the following states was the gypsy moth NOT found?
The part of the passage most relevant to this question is found in the last paragraph:
“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.”
We can tell that “New York” is the answer based on this quotation, but one state remains unaccounted for: Massachusetts. Earlier in the passage, we are told that the gypsy moth “was imported at Maiden, Massachusetts, near Boston,” and that “enough escaped to produce progeny that soon became a scourge to the trees of Massachusetts.” We can infer that the gypsy moth is found in Massachusetts at the time the passage was written, especially given that the author writes, “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!” This quotation—especially the author’s use of the transition “Up to this date”—suggests that the gypsy moth remained a problem in Massachusetts at the time the author was writing.
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Adapted from the Advertisement to Lyrical Ballads by William Wordsworth (1798)
It is the honorable characteristic of Poetry that its materials are to be found in every subject which can interest the human mind. The evidence of this fact is to be sought, not in the writings of Critics, but in those of Poets themselves.
The majority of the following poems are to be considered as experiments. They were written chiefly with a view to ascertain how far the language of conversation in the middle and lower classes of society is adapted to the purposes of poetic pleasure. Readers accustomed to the gaudiness and inane phraseology of many modern writers, if they persist in reading this book to its conclusion, will perhaps frequently have to struggle with feelings of strangeness and awkwardness: they will look round for poetry, and will be induced to enquire by what species of courtesy these attempts can be permitted to assume that title. It is desirable that such readers, for their own sakes, should not suffer the solitary word Poetry, a word of very disputed meaning, to stand in the way of their gratification; but that, while they are perusing this book, they should ask themselves if it contains a natural delineation of human passions, human characters, and human incidents; and if the answer be favorable to the author's wishes, that they should consent to be pleased in spite of that most dreadful enemy to our pleasures, our own pre-established codes of decision.
Readers of superior judgement may disapprove of the style in which many of these pieces are executed it must be expected that many lines and phrases will not exactly suit their taste. It will perhaps appear to them, that wishing to avoid the prevalent fault of the day, the author has sometimes descended too low, and that many of his expressions are too familiar, and not of sufficient dignity. It is apprehended, that the more conversant the reader is with our elder writers, and with those in modern times who have been the most successful in painting manners and passions, the fewer complaints of this kind will he have to make.
An accurate taste in poetry, and in all the other arts, Sir Joshua Reynolds has observed, is an acquired talent, which can only be produced by severe thought, and a long continued intercourse with the best models of composition. This is mentioned not with so ridiculous a purpose as to prevent the most inexperienced reader from judging for himself; but merely to temper the rashness of decision, and to suggest that if poetry be a subject on which much time has not been bestowed, the judgement may be erroneous, and that in many cases it necessarily will be so.
Which of the following statements about “the following poems” is supported by the passage?
When talking about the “following poems” in the second paragraph the author states that they are “to be considered as experiments” suggesting that they are untested or exploratory. The nature of the following poems is experimental.
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Adapted from the Advertisement to Lyrical Ballads by William Wordsworth (1798)
It is the honorable characteristic of Poetry that its materials are to be found in every subject which can interest the human mind. The evidence of this fact is to be sought, not in the writings of Critics, but in those of Poets themselves.
The majority of the following poems are to be considered as experiments. They were written chiefly with a view to ascertain how far the language of conversation in the middle and lower classes of society is adapted to the purposes of poetic pleasure. Readers accustomed to the gaudiness and inane phraseology of many modern writers, if they persist in reading this book to its conclusion, will perhaps frequently have to struggle with feelings of strangeness and awkwardness: they will look round for poetry, and will be induced to enquire by what species of courtesy these attempts can be permitted to assume that title. It is desirable that such readers, for their own sakes, should not suffer the solitary word Poetry, a word of very disputed meaning, to stand in the way of their gratification; but that, while they are perusing this book, they should ask themselves if it contains a natural delineation of human passions, human characters, and human incidents; and if the answer be favorable to the author's wishes, that they should consent to be pleased in spite of that most dreadful enemy to our pleasures, our own pre-established codes of decision.
Readers of superior judgement may disapprove of the style in which many of these pieces are executed it must be expected that many lines and phrases will not exactly suit their taste. It will perhaps appear to them, that wishing to avoid the prevalent fault of the day, the author has sometimes descended too low, and that many of his expressions are too familiar, and not of sufficient dignity. It is apprehended, that the more conversant the reader is with our elder writers, and with those in modern times who have been the most successful in painting manners and passions, the fewer complaints of this kind will he have to make.
An accurate taste in poetry, and in all the other arts, Sir Joshua Reynolds has observed, is an acquired talent, which can only be produced by severe thought, and a long continued intercourse with the best models of composition. This is mentioned not with so ridiculous a purpose as to prevent the most inexperienced reader from judging for himself; but merely to temper the rashness of decision, and to suggest that if poetry be a subject on which much time has not been bestowed, the judgement may be erroneous, and that in many cases it necessarily will be so.
The passage states that which of the following is true?
In the second paragraph, the author states that “\[readers\] should consent to be pleased in spite of that most dreadful enemy to our pleasures, our own pre-established codes of decision.” To state this differently, the author hopes that readers will be pleased by the poems regardless of how they already view poetry, the following poems being “experimental” in nature.
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Adapted from a work by Oscar Wilde in Selected Prose of Oscar Wilde (1914)
Art begins with abstract decoration, with purely imaginative and pleasurable work dealing with what is unreal and non-existent. This is the first stage. Then Life becomes fascinated with this new wonder, and asks to be admitted into the charmed circle. Art takes Life as part of her rough material, recreates it, and refashions it in fresh forms, is absolutely indifferent to fact, invents, imagines, dreams, and keeps between herself and reality the impenetrable barrier of beautiful style, of decorative or ideal treatment. The third stage is when Life gets the upper hand, and drives Art out into the wilderness. That is the true decadence, and it is from this that we are now suffering.
Take the case of the English drama. At first in the hands of the monks Dramatic Art was abstract, decorative, and mythological. Then she enlisted Life in her service, and using some of life’s external forms, she created an entirely new race of beings, whose sorrows were more terrible than any sorrow man has ever felt, whose joys were keener than lover’s joys, who had the rage of the Titans and the calm of the gods, who had monstrous and marvelous sins, monstrous and marvelous virtues. To them she gave a language different from that of actual use, a language full of resonant music and sweet rhythm, made stately by solemn cadence, or made delicate by fanciful rhyme, jeweled with wonderful words, and enriched with lofty diction. She clothed her children in strange raiment and gave them masks, and at her bidding the antique world rose from its marble tomb. A new Cæsar stalked through the streets of risen Rome, and with purple sail and flute-led oars another Cleopatra passed up the river to Antioch. Old myth and legend and dream took shape and substance. History was entirely re-written, and there was hardly one of the dramatists who did not recognize that the object of Art is not simple truth but complex beauty. In this they were perfectly right. Art itself is really a form of exaggeration; and selection, which is the very spirit of art, is nothing more than an intensified mode of overemphasis.
But Life soon shattered the perfection of the form. Even in Shakespeare we can see the beginning of the end. It shows itself by the gradual breaking-up of the blank-verse in the later plays, by the predominance given to prose, and by the over-importance assigned to characterization. The passages in Shakespeare—and they are many—where the language is uncouth, vulgar, exaggerated, fantastic, obscene even, are entirely due to Life calling for an echo of her own voice, and rejecting the intervention of beautiful style, through which alone should life be suffered to find expression. Shakespeare is not by any means a flawless artist. He is too fond of going directly to Life, and borrowing Life’s natural utterance. He forgets that when Art surrenders her imaginative medium she surrenders everything.
Which of the following is the best title for this passage?
When you are asked to give the best title for a passage, you are generally being asked if you understand the thesis and the author’s intention in writing the piece. In this instance, the author’s primary purpose is to argue against the influence of life in artistic expression. The author believes that art has become corrupted by the involvement of life in it; however, the best title is not “The Corruption of Art” because this answer choice only captures a portion of the author’s argument. The answer choice that best represents the whole of the author’s argument is “Life: The Interloper in Art.” An “interloper” is someone or something that interferes in a process and is not welcome. From the whole of the author’s argument, we can clearly see that the author believes life has involved itself detrimentally in the area of artistic expression. The answer choice “The Impact of Art on Life” presents the relationship between the two quantities as if art is affecting life, while in the passage, the author is focused on the ability of life to affect art.
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From “Essay on Liberty” by John Stuart Mill
Mankind can hardly be too often reminded, that there was once a man named Socrates, between whom and the legal authorities and public opinion of his time, there took place a memorable collision. Born in an age and country abounding in individual greatness, this man has been handed down to us by those who best knew both him and the age, as the most virtuous man in it; while we know him as the head and prototype of all subsequent teachers of virtue, the source equally of the lofty inspiration of Plato and the judicious utilitarianism of Aristotle, "i maëstri di color che sanno," the two headsprings of ethical as of all other philosophy. This acknowledged master of all the eminent thinkers who have since lived—whose fame, still growing after more than two thousand years, all but outweighs the whole remainder of the names which make his native city illustrious—was put to death by his countrymen, after a judicial conviction, for impiety and immorality. Impiety, in denying the gods recognized by the State; indeed his accuser asserted (see the Apologia) that he believed in no gods at all. Immorality, in being, by his doctrines and instructions, a "corrupter of youth." Of these charges the tribunal, there is every ground for believing, honestly found him guilty, and condemned the man who probably of all then born had deserved best of mankind, to be put to death as a criminal.
To pass from this to the only other instance of judicial iniquity, the mention of which, after the condemnation of Socrates, would not be an anti-climax: the event which took place on Calvary rather more than eighteen hundred years ago. The man who left on the memory of those who witnessed his life and conversation, such an impression of his moral grandeur, that eighteen subsequent centuries have done homage to him as the Almighty in person, was ignominiously put to death, as what? As a blasphemer. Men did not merely mistake their benefactor; they mistook him for the exact contrary of what he was, and treated him as that prodigy of impiety, which they themselves are now held to be, for their treatment of him. The feelings with which mankind now regard these lamentable transactions, especially the later of the two, render them extremely unjust in their judgment of the unhappy actors. These were, to all appearance, not bad men—not worse than men most commonly are, but rather the contrary; men who possessed in a full, or somewhat more than a full measure, the religious, moral, and patriotic feelings of their time and people: the very kind of men who, in all times, our own included, have every chance of passing through life blameless and respected. The high-priest who rent his garments when the words were pronounced, which, according to all the ideas of his country, constituted the blackest guilt, was in all probability quite as sincere in his horror and indignation, as the generality of respectable and pious men now are in the religious and moral sentiments they profess; and most of those who now shudder at his conduct, if they had lived in his time, and been born Jews, would have acted precisely as he did. Orthodox Christians who are tempted to think that those who stoned to death the first martyrs must have been worse men than they themselves are, ought to remember that one of those persecutors was Saint Paul.
How might most of the world describe the people who were scandalized by Jesus, as described by Mill in the second paragraph?
At the risk of being a bit pedantic, it is helpful to cite in full one passage in particular to make this answer quite clear:
"These were, to all appearance, not bad men—not worse than men most commonly are, but rather the contrary; men who possessed in a full, or somewhat more than a full measure, the religious, moral, and patriotic feelings of their time and people: the very kind of men who, in all times, our own included, have every chance of passing through life blameless and respected."
This means that the people who led Jesus to death did not seem to be bad. They were very religious, moral,a nd patriotic. They were people who "in all times" are likely to be respected by most people. The most tempting wrong answer is likely, "As exemplars of the working class, standing up for the city's values and traditions." However, there is nothing about the working class in this passage. The better answer is the one that states that such people would likely have fit the cultural expectations of the wider society.
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Adapted from A Modest Proposal by Jonathan Swift (1729)
The number of souls in this kingdom being usually reckoned one million and a half, of these I calculate there may be about two hundred thousand couple whose wives are breeders; from which number I subtract thirty thousand couples who are able to maintain their own children, although I apprehend there cannot be so many, under the present distresses of the kingdom; but this being granted, there will remain an hundred and seventy thousand breeders. I again subtract fifty thousand for those women who miscarry, or whose children die by accident or disease within the year. There only remains one hundred and twenty thousand children of poor parents annually born. The question therefore is, how this number shall be reared and provided for, which, as I have already said, under the present situation of affairs, is utterly impossible by all the methods hitherto proposed. For we can neither employ them in handicraft or agriculture; we neither build houses (I mean in the country) nor cultivate land: they can very seldom pick up a livelihood by stealing, till they arrive at six years old, except where they are of towardly parts, although I confess they learn the rudiments much earlier, during which time, they can however be properly looked upon only as probationers, as I have been informed by a principal gentleman in the county of Cavan, who protested to me that he never knew above one or two instances under the age of six, even in a part of the kingdom so renowned for the quickest proficiency in that art.
I am assured by our merchants, that a boy or a girl before twelve years old is no salable commodity; and even when they come to this age they will not yield above three pounds, or three pounds and half-a-crown at most on the exchange; which cannot turn to account either to the parents or kingdom, the charge of nutriment and rags having been at least four times that value.
I shall now therefore humbly propose my own thoughts, which I hope will not be liable to the least objection.
I have been assured by a very knowing American of my acquaintance in London, that a young healthy child well nursed is at a year old a most delicious, nourishing, and wholesome food, whether stewed, roasted, baked, or boiled; and I make no doubt that it will equally serve in a fricassee or a ragout.
I do therefore humbly offer it to public consideration that of the hundred and twenty thousand children already computed, twenty thousand may be reserved for breed, whereof only one-fourth part to be males; which is more than we allow to sheep, black cattle or swine; and my reason is, that these children are seldom the fruits of marriage, a circumstance not much regarded by our savages, therefore one male will be sufficient to serve four females. That the remaining hundred thousand may, at a year old, be offered in the sale to the persons of quality and fortune through the kingdom; always advising the mother to let them suck plentifully in the last month, so as to render them plump and fat for a good table. A child will make two dishes at an entertainment for friends; and when the family dines alone, the fore or hind quarter will make a reasonable dish, and seasoned with a little pepper or salt will be very good boiled on the fourth day, especially in winter.
I have reckoned upon a medium that a child just born will weigh 12 pounds, and in a solar year, if tolerably nursed, increaseth to 28 pounds.
I grant this food will be somewhat dear, and therefore very proper for landlords, who, as they have already devoured most of the parents, seem to have the best title to the children.
With which of the following statements would the speaker in this excerpt most likely agree?
The author of this excerpt argues, though ironically, that there are not enough resources. Therefore, he states, we should be consuming children to better balance the resources and provide food for the rich. This is the main logic for his satirical proposal.
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Adapted from An Enquiry Concerning Human Understanding by David Hume (1748)
1. Moral philosophy, or the science of human nature, may be treated after two different manners, each of which has its peculiar merit and may contribute to the entertainment, instruction, and reformation of mankind. The one considers man chiefly as born for action and as influenced in his measures by taste and sentiment, pursuing one object and avoiding another according to the value that these objects seem to possess and according to the light in which they present themselves. As virtue, of all objects, is allowed to be the most valuable, this species of philosophers paint her in the most amiable colors, borrowing all helps from poetry and eloquence and treating their subject in an easy and obvious manner and such as is best fitted to please the imagination and engage the affections. They select the most striking observations and instances from common life; place opposite characters in a proper contrast; and alluring us into the paths of virtue by the views of glory and happiness, direct our steps in these paths by the soundest precepts and most illustrious examples. They make us feel the difference between vice and virtue; they excite and regulate our sentiments; and so they can but bend our hearts to the love of probity and true honor, they think, that they have fully attained the end of all their labors.
2. The other species of philosophers considers man in the light of a reasonable rather than an active being, and endeavors to form his understanding more than cultivate his manners. They regard human nature as a subject of speculation, and with a narrow scrutiny examine it in order to find those principles that regulate our understanding, excite our sentiments, and make us approve or blame any particular object, action, or behavior. They think it a reproach to all literature that philosophy should not yet have fixed, beyond controversy, the foundation of morals, reasoning, and criticism, and should forever talk of truth and falsehood, vice and virtue, beauty and deformity, without being able to determine the source of these distinctions. While they attempt this arduous task, they are deterred by no difficulties, but proceeding from particular instances to general principles, they still push on their enquiries to principles more general, and rest not satisfied ‘till they arrive at those original principles, by which, in every science, all human curiosity must be bounded. Though their speculations seem abstract, and even unintelligible to common readers, they aim at the approbation of the learned and the wise, and think themselves sufficiently compensated for the labor of their whole lives if they can discover some hidden truths that may contribute to the instruction of posterity.
3. It is certain that the easy and obvious philosophy will always, with the generality of mankind, have the preference above the accurate and abstruse, and by many will be recommended, not only as more agreeable, but more useful than the other. It enters more into common life; molds the heart and affections; and, by touching those principles which actuate men, reforms their conduct, and brings them nearer to that model of perfection that it describes. On the contrary, the abstruse philosophy, being founded on a turn of mind, which cannot enter into business and action, vanishes when the philosopher leaves the shade, and comes into open day; nor can its principles easily retain any influence over our conduct and behavior. The feelings of our hearts, the agitation of our passions, the vehemence of our affections, dissipate all its conclusions, and reduce the profound philosopher to the mere plebeian.
Which of the following is NOT within the scope of the passage?
The passage features a general outlining of, and arguments for and against, the practical applicability of what the author considers the two major schools of moral philosophy. Since his discussion is intentionally general in nature, an application of the two philosophies to specific instances would be outside the scope of the passage. The goal of the passage is to discuss the two schools broadly and to express the author's highly generalized preference for one over the other; his argument is not based on the specific outcomes in specific situations of the two schools of thought.
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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.
According to the information in the passage, the author a gas flame is most dependent upon __________.
The author's use of the metaphor about the gas flame is that it has multiple parts which are both constant and in continual renewal. The best example he can give is that as the flame is burning it continually sucks in oxygen from the air, which causes the change between the layers of the flame.
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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 what time period does the author say he recognizes the origin of the expression, "the glassy surface of a lake?"
The author writes that he sees the origin of the expression, "the glassy surface of a lake" on a calm September afternoon.
The author does not reference the time periods of dawn in May, a cold winter's night, just after sunset, or January morning.
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Passage adapted from “Psychology and the Teaching Art” (1899) by William James
I say moreover that you make a great, a very great mistake, if you think that psychology, being the science of the mind's laws, is something from which you can deduce definite programmes and schemes and methods of instruction for immediate schoolroom use. Psychology is a science, and teaching is an art; and sciences never generate arts directly out of themselves. An intermediary inventive mind must make the application, by using its originality.
The science of logic never made a man reason rightly, and the science of ethics (if there be such a thing) never made a man behave rightly. The most such sciences can do is to help us to catch ourselves up and check ourselves, if we start to reason or to behave wrongly; and to criticize ourselves more articulately after we have made mistakes. A science only lays down lines within which the rules of the art must fall, laws which the follower of the art must not transgress; but what particular thing he shall positively do within those lines is left exclusively to his own genius. One genius will do his work well and succeed in one way, while another succeeds as well quite differently; yet neither will transgress the lines.
The art of teaching grew up in the schoolroom, out of inventiveness and sympathetic concrete observation. Even where (as in the case of Herbart) the advancer of the art was also a psychologist, the pedagogics and the psychology ran side by side, and the former was not derived in any sense from the latter. The two were congruent, but neither was subordinate. And so everywhere the teaching must agree with the psychology, but need not necessarily be the only kind of teaching that would so agree; for many diverse methods of teaching may equally well agree with psychological laws.
To know psychology, therefore, is absolutely no guarantee that we shall be good teachers. To advance to that result, we must have an additional endowment altogether, a happy tact and ingenuity to tell us what definite things to say and do when the pupil is before us. That ingenuity in meeting and pursuing the pupil, that tact for the concrete situation, though they are the alpha and omega of the teacher's art, are things to which psychology cannot help us in the least.
According to James, what is the practical benefit of learning a particular science?
The main clue for this question is James's remark: "The most such sciences can do is to help us to catch ourselves up and check ourselves, if we start to reason or to behave wrongly and to criticize ourselves more articulately after we have made mistakes." James is saying that the sciences give us boundaries for checking our skills in a particular art. They do not give us complete rules for every situation. They help in our ability to criticize and evaluate the mistakes that we make.
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Passage adapted from “Psychology and the Teaching Art” (1899) by William James
I say moreover that you make a great, a very great mistake, if you think that psychology, being the science of the mind's laws, is something from which you can deduce definite programmes and schemes and methods of instruction for immediate schoolroom use. Psychology is a science, and teaching is an art; and sciences never generate arts directly out of themselves. An intermediary inventive mind must make the application, by using its originality.
The science of logic never made a man reason rightly, and the science of ethics (if there be such a thing) never made a man behave rightly. The most such sciences can do is to help us to catch ourselves up and check ourselves, if we start to reason or to behave wrongly; and to criticize ourselves more articulately after we have made mistakes. A science only lays down lines within which the rules of the art must fall, laws which the follower of the art must not transgress; but what particular thing he shall positively do within those lines is left exclusively to his own genius. One genius will do his work well and succeed in one way, while another succeeds as well quite differently; yet neither will transgress the lines.
The art of teaching grew up in the schoolroom, out of inventiveness and sympathetic concrete observation. Even where (as in the case of Herbart) the advancer of the art was also a psychologist, the pedagogics and the psychology ran side by side, and the former was not derived in any sense from the latter. The two were congruent, but neither was subordinate. And so everywhere the teaching must agree with the psychology, but need not necessarily be the only kind of teaching that would so agree; for many diverse methods of teaching may equally well agree with psychological laws.
To know psychology, therefore, is absolutely no guarantee that we shall be good teachers. To advance to that result, we must have an additional endowment altogether, a happy tact and ingenuity to tell us what definite things to say and do when the pupil is before us. That ingenuity in meeting and pursuing the pupil, that tact for the concrete situation, though they are the alpha and omega of the teacher's art, are things to which psychology cannot help us in the least.
What does James imply about teaching styles in the second paragraph?
In the paragraph, James speaks about how the details of educating are left to the "genius" of the particular educator. By "genius," he is not making a claim about the intelligence of the particular teachers. This word merely means something like "ingenuity" or creativeness. He is stressing the uniqueness of different teachers and how their styles will differ because of their unique "geniuses."
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Passage adapted from “Psychology and the Teaching Art” (1899) by William James
I say moreover that you make a great, a very great mistake, if you think that psychology, being the science of the mind's laws, is something from which you can deduce definite programmes and schemes and methods of instruction for immediate schoolroom use. Psychology is a science, and teaching is an art; and sciences never generate arts directly out of themselves. An intermediary inventive mind must make the application, by using its originality.
The science of logic never made a man reason rightly, and the science of ethics (if there be such a thing) never made a man behave rightly. The most such sciences can do is to help us to catch ourselves up and check ourselves, if we start to reason or to behave wrongly; and to criticize ourselves more articulately after we have made mistakes. A science only lays down lines within which the rules of the art must fall, laws which the follower of the art must not transgress; but what particular thing he shall positively do within those lines is left exclusively to his own genius. One genius will do his work well and succeed in one way, while another succeeds as well quite differently; yet neither will transgress the lines.
The art of teaching grew up in the schoolroom, out of inventiveness and sympathetic concrete observation. Even where (as in the case of Herbart) the advancer of the art was also a psychologist, the pedagogics and the psychology ran side by side, and the former was not derived in any sense from the latter. The two were congruent, but neither was subordinate. And so everywhere the teaching must agree with the psychology, but need not necessarily be the only kind of teaching that would so agree; for many diverse methods of teaching may equally well agree with psychological laws.
To know psychology, therefore, is absolutely no guarantee that we shall be good teachers. To advance to that result, we must have an additional endowment altogether, a happy tact and ingenuity to tell us what definite things to say and do when the pupil is before us. That ingenuity in meeting and pursuing the pupil, that tact for the concrete situation, though they are the alpha and omega of the teacher's art, are things to which psychology cannot help us in the least.
Why does James mention the person named "Herbart" in the third paragraph?
The mention of Herbart is not completely purposeless for this passage. It is not the most important citation that could be made. Just before this particular sentence, James mentions how teaching "springs up" in the classroom. He wishes to say that such experience is the source of the art of teaching. He then qualifies this assertion by noting that there can be people who combine psychological theories and educational practices, such as Herbart. Thus, James cites Herbart as a potential counter-example. James goes on to explain how the case of Herbart is not, in fact, a counter-example to his overall assertion.
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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 should we expect from the author after this particular selection from the essay?
Certainly, Emerson might undertake to write about any of the options provided here. Only one is hinted at in the prose of this passage. Recall that at the end of the second paragraph, he stated:
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.
He still has not provided the other element that goes into the composition of friendship! Thus, we should expect him to provide this information at some point in what follows.
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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.
In the third paragraph, what does the author imply about country life?
The key sentences for this question are, "Never, without the best spoils of culture woven in! The beauties and commodities gained by the centuries are sacred." The author is stating that one cannot even achieve "country life for one's old age and for one's children" without having the goods achieved by civilization. This is what he means by the idea of having the "best spoils of culture woven in." The country life requires one to "weave in" (i.e. include) many aspects derived from civilization—i.e. from non-country life!
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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.
What is the contrast in the author’s understanding of the wood chips and the settlers’ understanding of them?
The sentences that help to answer this question are:
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.
By "denudation", the author means the absolute lack of cultivation and culture that he discusses throughout the passage. In contrast to this, the settlers saw the wood chips as being the sign of their hard work.
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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 would the author likely not recommend in education reform?
Really, we can't say much about Newman's overall educational philosophy. Following the passage closely, however, we can tell that he wouldn't necessarily want to introduce courses in logic. While he does not deny the usefulness of logic, he does state,
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.
He is interested in making students have a kind of "accuracy of mind." He describes some of the goals of this kind of education at the end of the second paragraph. All of the wrong options could be argued to be part of the kind of curriculum that Newman would like to see, for they help to cultivate various aspects of the skills noted at the end of the second paragraph; however, he significantly qualifies his praise of logic, and therefore we should guess that he would not immediately add more logic to the curriculum.
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