Card 0 of 104
Adapted from “A Defense of Slang” in The Romance of the Commonplace by Gelett Burgess (1902)
Could Shakespeare come to Chicago and listen curiously to "the man in the street," he would find himself more at home than in London. In the mouths of messenger boys and clerks he would find the English language used with all the freedom of unexpected metaphor and the plastic, suggestive diction that was the privilege of the Elizabethan dramatists; he would say, no doubt, that he had found a nation of poets. There was hardly any such thing as slang in his day, for no graphic trope was too virile or uncommon for acceptance, if its meaning were patent. His own heroes often spoke what corresponds to the slang of today.
The word, indeed, needs precise definition, before we condemn all unconventional talk with vigor. Slang has been called "poetry in the rough," and it is not all coarse or vulgar. There is a prosaic as well as a poetic license. The man in the street calls a charming girl, for instance, a "daisy." Surely this is not inelegant, and such a reference will be understood a century from now. Slang, to prove adjuvant to our speech, which is growing more and more rigid and conventional, should be terse; it should make for force and clarity, without any sacrifice of beauty.
In the passage's second line, why does the author contend that Shakespeare would be more at home in Chicago than in London?
In order to answer this question, it is necessary to consider what you know about the passage as a whole. The author makes no obvious statement as to why Shakespeare would feel more at home in Chicago than in London, but the way in which he discusses slang usage in Chicago in comparison to the London that existed hundreds of years ago provides a clue that the author believes contemporary London to be lacking in colorful language. The author states that Shakespeare would be enamored with Chicago because of the poetic usage of slang, and because the slang that was being used would be familiar to Shakespeare as it resembles the language found often in his plays.
Compare your answer with the correct one above
"Newton's Mistakes" by Daniel Morrison (2014)
Isaac Newton has often been thought of as the greatest thinker in human history. His insight into the role that gravity plays in existence and physics completely changed our collective understanding of the universe and our place in it. He was understood in his own time as a genius. One famous quote by Alexander Pope (himself quite an intelligent man) demonstrates the deep affection felt for Newton: “Nature, and nature’s mysteries, lay bathed in night, God said 'Let there be Newton,’ and all was light.”
Yet, when the famous economist John Kenneth Galbraith purchased Newton’s journals and diaries at auction, he found to his astonishment, and partial dismay, that more than half of Newton’s work was dedicated to the practice of alchemy—the pursuit of turning ordinary materials into precious metals. Our current understanding of science tells us that this is impossible and that Newton was wasting a significant proportion of his time.
Another famous story about Newton tells of his attempts to figure out the effect of direct exposure to sunlight on the human eye. To carry out this experiment he decided to stare at the sun for as long as humanly possible to see what would happen. The effect, as you might have guessed, was that he very nearly went permanently blind and was indeed completely unable to see for two days.
One might determine from these stories that Newton was not the genius we consider him to be—that he was, in fact, a fool; however, it should tell us something about the nature of genius. It is not merely deep intelligence, but the willingness to try new things and the rejection of the fear of failure. Newton was not a genius in spite of his mistakes, but because of them.
What is the author trying to highlight about Isaac Newton by employing Alexander Pope’s saying in the underlined quote in the first paragraph?
It is clear that Alexander Pope himself is highlighting the “illuminating impact of Newton’s revelations” from his use of the word “light.” But, this question is asking you why the author employs Alexander Pope’s quotation, which is a much different question. To understand why the author employs this quotation, you have to go consider what the author says directly before sharing the quotation. He says, “He was understood in his own time as a genius; one famous quote by Alexander Pope (himself quite an intelligent man) demonstrates the deep affection felt for Newton . . . “ This suggests that the author employs Alexander Pope’s famous quotation to demonstrate “the high esteem in which Newton was held by his contemporaries.”
Compare your answer with the correct one above
1 It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going direct to Heaven, we were all going direct the other way – in short, the period was so far like the present period, that some of its noisiest authorities insisted on its being received, for good or for evil, in the superlative degree of comparison only.
2 There were a king with a large jaw and a queen with a plain face, on the throne of England; there were a king with a large jaw and a queen with a fair face, on the throne of France. 3 In both countries it was clearer than crystal to the lords of the State preserves of loaves and fishes, that things in general were settled forever. …
4 France, less favored on the whole as to matters spiritual than her sister of the shield and trident, rolled with exceeding smoothness downhill, making paper money and spending it. 5 Under the guidance of her Christian pastors, she entertained herself, besides, with such humane achievements as sentencing a youth to have his hands cut off, his tongue torn out with pincers, and his body burned alive, because he had not kneeled down in the rain to do honor to a dirty procession of monks which passed within his view, at a distance of some fifty or sixty yards. 6 It is likely enough that, rooted in the woods of France and Norway, there were growing trees, when that sufferer was put to death, already marked by the Woodman, Fate, to come down and be sawn into boards, to make a certain movable framework with a sack and a knife in it, terrible in history.
What is the purpose of Sentence 2 in the passage?
By using virtually identical descriptions to depict the rulers of England and France (“There were a king with a large jaw and a queen with a plain face, on the throne of England; there were a king with a large jaw and a queen with a fair face, on the throne of France”), the author is making a point about these rulers’ interchangeability. Reading closely the rest of the passage, we can apply this interchangeability more broadly to the political climates in France and England.
Passage adapted from Charles Dickens’ A Tale of Two Cities (1859).
Compare your answer with the correct one above
1 Call me Ishmael. 2 Some years ago—never mind how long precisely—having little or no money in my purse, and nothing particular to interest me on shore, I thought I would sail about a little and see the watery part of the world. 3 It is a way I have of driving off the spleen and regulating the circulation. 4 Whenever I find myself growing grim about the mouth; whenever it is a damp, drizzly November in my soul; whenever I find myself involuntarily pausing before coffin warehouses, and bringing up the rear of every funeral I meet; and especially whenever my hypos get such an upper hand of me, that it requires a strong moral principle to prevent me from deliberately stepping into the street, and methodically knocking people’s hats off—then, I account it high time to get to sea as soon as I can. 5 This is my substitute for pistol and ball. 6 With a philosophical flourish Cato throws himself upon his sword; I quietly take to the ship. 7 There is nothing surprising in this. 8 If they but knew it, almost all men in their degree, some time or other, cherish very nearly the same feelings towards the ocean with me.
9 There now is your insular city of the Manhattoes, belted round by wharves as Indian isles by coral reefs—commerce surrounds it with her surf. 10 Right and left, the streets take you waterward. 11 Its extreme downtown is the battery, where that noble mole is washed by waves, and cooled by breezes, which a few hours previous were out of sight of land. 12 Look at the crowds of water-gazers there.
What is the role of Sentences 7-8 in the overall passage?
In Sentences 7-8, the narrator notes that it’s unsurprising that he feels the way he does. He claims that his woes are similar to the woes of others: “If they but knew it, almost all men in their degree, some time or other, cherish very nearly the same feelings towards the ocean with me.” This effectively links the narrator’s personal account with the experiences of the general populace.
Passage adapted from Herman Melville’s Moby-Dick; or, the Whale (1851)
Compare your answer with the correct one above
"Ah, yes," continued Caderousse, "and capital offers, too; but you know, you will be captain, and who could refuse you then?"
"Meaning to say," replied Dantes, with a smile which but ill-concealed his trouble, "that if I were not a captain"—
"Eh—eh!" said Caderousse, shaking his head.
"Come, come," said the sailor, "I have a better opinion than you of women in general, and of Mercedes in particular; and I am certain that, captain or not, she will remain ever faithful to me."
"So much the better—so much the better," said Caderousse. "When one is going to be married, there is nothing like implicit confidence; but never mind that, my boy,—go and announce your arrival, and let her know all your hopes and prospects."
"I will go directly," was Edmond's reply; and, embracing his father, and nodding to Caderousse, he left the apartment.
Caderousse lingered for a moment, then taking leave of old Dantes, he went downstairs to rejoin Danglars, who awaited him at the corner of the Rue Senac.
"Well," said Danglars, "did you see him?"
"I have just left him," answered Caderousse.
"Did he allude to his hope of being captain?"
"He spoke of it as a thing already decided."
"Indeed!" said Danglars, "he is in too much hurry, it appears to me."
"Why, it seems M. Morrel has promised him the thing."
"So that he is quite elated about it?"
"Why, yes, he is actually insolent over the matter—has already offered me his patronage, as if he were a grand personage, and proffered me a loan of money, as though he were a banker."
"Which you refused?"
"Most assuredly; although I might easily have accepted it, for it was I who put into his hands the first silver he ever earned; but now M. Dantes has no longer any occasion for assistance—he is about to become a captain."
"Pooh!" said Danglars, "he is not one yet."
"Ma foi, it will be as well if he is not," answered Caderousse; "for if he should be, there will be really no speaking to him."
"If we choose," replied Danglars, "he will remain what he is; and perhaps become even less than he is."
"What do you mean?"
"Nothing—I was speaking to myself. And is he still in love with the Catalane?"
"Over head and ears; but, unless I am much mistaken, there will be a storm in that quarter.”
Dantes believes which of the following about Mercedes?
“That she will still be interested in marrying him” is the correct answer. This was a relatively simple question that required you to compare and contrast the viewpoints of Dantes and Cadarousse. It is relatively clear from the passage that Cadarousse believes (or at least gives the impression that he believes) that Mercedes will only be interested in Dantes if he is made captain. Dantes, on the other hand, disagrees with that notion, and says that he is “certain, captain or not, Mercedes will remain ever faithful.”
Passage adapted from Alexandre Dumas' The Count of Monte Cristo (1844)
Compare your answer with the correct one above
Adapted from An Enquiry Concerning Human Understanding by David Hume (1748)
Everyone will readily allow that there is a considerable difference between the perceptions of the mind, when a man feels the pain of excessive heat, or the pleasure of moderate warmth, and when he afterwards recalls to his memory this sensation, or anticipates it by his imagination. These faculties may mimic or copy the perceptions of the senses, but they never can entirely reach the force and vivacity of the original sentiment. The utmost we say of them, even when they operate with greatest vigor, is, that they represent their object in so lively a manner that we could almost say we feel or see it. But, except the mind be disordered by disease or madness, they never can arrive at such a pitch of vivacity as to render these perceptions altogether undistinguishable. All the colors of poetry, however splendid, can never paint natural objects in such a manner as to make the description be taken for a real landscape. The most lively thought is still inferior to the dullest sensation.
We may observe a like distinction to run through all the other perceptions of the mind. A man in a fit of anger is actuated in a very different manner from one who only thinks of that emotion. If you tell me that any person is in love I easily understand your meaning, and form a just conception of his situation, but never can mistake that conception for the real disorders and agitations of the passion. When we reflect on our past sentiments and affections, our thought is a faithful mirror and copies its objects truly, but the colors which it employs are faint and dull in comparison of those in which our original perceptions were clothed. It requires no nice discernment or metaphysical head to mark the distinction between them.
Here, therefore, we may divide all the perceptions of the mind into two classes or species, which are distinguished by their different degrees of force and vivacity. The less forcible and lively are commonly denominated "thoughts" or "ideas." The other species want a name in our language, and in most others; I suppose because it was not requisite for any but philosophical purposes to rank them under a general term or appellation. Let us, therefore, use a little freedom, and call them "impressions," employing that word in a sense somewhat different from the usual. By the term "impression," then, I mean all our more lively perceptions, when we hear, or see, or feel, or love, or hate, or desire, or will. And impressions are distinguished from ideas, which are the less lively perceptions, of which we are conscious when we reflect on any of those sensations or movements above mentioned.
Which of the following statements about love is supported by the passage?
The author states that “If you tell me that any person is in love I easily understand your meaning, and form a just conception of his situation, but never can mistake that conception for the real disorders and agitations of the passion.” The author says that it is wrong to mistake his idea of a person being in love as being anything close to the passions of actually experiencing love.
Compare your answer with the correct one above
"Newton's Mistakes" by Daniel Morrison (2014)
Isaac Newton has often been thought of as the greatest thinker in human history. His insight into the role that gravity plays in existence and physics completely changed our collective understanding of the universe and our place in it. He was understood in his own time as a genius. One famous quote by Alexander Pope (himself quite an intelligent man) demonstrates the deep affection felt for Newton: “Nature, and nature’s mysteries, lay bathed in night, God said 'Let there be Newton,’ and all was light.”
Yet, when the famous economist John Kenneth Galbraith purchased Newton’s journals and diaries at auction, he found to his astonishment, and partial dismay, that more than half of Newton’s work was dedicated to the practice of alchemy—the pursuit of turning ordinary materials into precious metals. Our current understanding of science tells us that this is impossible and that Newton was wasting a significant proportion of his time.
Another famous story about Newton tells of his attempts to figure out the effect of direct exposure to sunlight on the human eye. To carry out this experiment he decided to stare at the sun for as long as humanly possible to see what would happen. The effect, as you might have guessed, was that he very nearly went permanently blind and was indeed completely unable to see for two days.
One might determine from these stories that Newton was not the genius we consider him to be—that he was, in fact, a fool; however, it should tell us something about the nature of genius. It is not merely deep intelligence, but the willingness to try new things and the rejection of the fear of failure. Newton was not a genius in spite of his mistakes, but because of them.
Why does the author believe that Newton’s attempts to turn ordinary material into precious metal was a waste of his time?
When discussing Newton’s attempts to turn ordinary materials into precious metals, the author declares, “Our current understanding of science tells us that this is impossible and that Newton was wasting a significant proportion of his time.” This detail tells you that the author believes Newton was wasting his time because it is not “scientifically possible to do so.” You could say that it “distracted Newton from focusing” elsewhere, but this answer requires a little more inference than the correct answer, which is directly stated.
Compare your answer with the correct one above
"Newton's Mistakes" by Daniel Morrison (2014)
Isaac Newton has often been thought of as the greatest thinker in human history. His insight into the role that gravity plays in existence and physics completely changed our collective understanding of the universe and our place in it. He was understood in his own time as a genius. One famous quote by Alexander Pope (himself quite an intelligent man) demonstrates the deep affection felt for Newton: “Nature, and nature’s mysteries, lay bathed in night, God said 'Let there be Newton,’ and all was light.”
Yet, when the famous economist John Kenneth Galbraith purchased Newton’s journals and diaries at auction, he found to his astonishment, and partial dismay, that more than half of Newton’s work was dedicated to the practice of alchemy—the pursuit of turning ordinary materials into precious metals. Our current understanding of science tells us that this is impossible and that Newton was wasting a significant proportion of his time.
Another famous story about Newton tells of his attempts to figure out the effect of direct exposure to sunlight on the human eye. To carry out this experiment he decided to stare at the sun for as long as humanly possible to see what would happen. The effect, as you might have guessed, was that he very nearly went permanently blind and was indeed completely unable to see for two days.
One might determine from these stories that Newton was not the genius we consider him to be—that he was, in fact, a fool; however, it should tell us something about the nature of genius. It is not merely deep intelligence, but the willingness to try new things and the rejection of the fear of failure. Newton was not a genius in spite of his mistakes, but because of them.
The main argument of this essay is __________.
Throughout this essay, the author is primarily contrasting Newton’s scientific contributions and esteemed reputation with examples of his whimsy and foolishness in order to lead the reader to his main argument and conclusion. This is, “But, really it should tell us something about the nature of genius. It is not merely deep intelligence, but the willingness to try new things and the rejection of the fear of failure. Newton was not a genius in spite of his mistakes, but because of them.” So, the correct answer is “That Newton was a genius because of his willingness to make mistakes, not in spite of this.”
Compare your answer with the correct one above
Adapted from "On the Sonnet" by John Keats (1848)
If by dull rhymes our English must be chain'd,
And, like Andromeda, the Sonnet sweet
Fetter'd, in spite of pained loveliness;
Let us find out, if we must be constrain'd,
Sandals more interwoven and complete
To fit the naked foot of poesy;
Let us inspect the lyre, and weigh the stress
Of every chord, and see what may be gain'd
By ear industrious, and attention meet:
Misers of sound and syllable, no less
Than Midas of his coinage, let us be
Jealous of dead leaves in the bay wreath crown;
So, if we may not let the Muse be free,
She will be bound with garlands of her own.
Which of the following is most central to the speaker's argument?
"The sonnet form" is most central to the speaker's argument. The poem is urging poets to consider the inherent properties of language in order to make the poetic forms that they use best suit the language of the poems they compose. The sonnet form, an example of one of these strict poetic forms, is mentioned in the second line of the poem: "If by dull rhymes our English must be chain'd, / And, like Andromeda, the Sonnet sweet / Fetter'd." The poem never discusses the translation of poetic works or the use of complex references in poetry, and while sandals are mentioned ("Let us find out, if we must be constrain'd, / Sandals more interwoven and complete / To fit the naked foot of poesy,") they are mentioned as part of a figurative construction; the speaker is not literally wanting to make a pair of sandals; the "sandals" are here comparable to forms that better suit language. Similarly, while the story of King Midas is alluded to later in the poem ("Misers of sound and syllable, no less / Than Midas of his coinage"), it functions as part of a comparison and is not as central to the speaker's argument as is the sonnet form.
Compare your answer with the correct one above
It is not the critic who counts; not the man who points out how the strong man stumbles, or where the doer of deeds could have done them better. The credit belongs to the man who is actually in the arena, whose face is marred by dust and sweat and blood; who strives valiantly; who errs, who comes short again and again, because there is no effort without error and shortcoming; but who does actually strive to do the deeds; who knows great enthusiasms, the great devotions; who spends himself in a worthy cause; who at the best knows in the end the triumph of high achievement, and who at the worst, if he fails, at least fails while daring greatly, so that his place shall never be with those cold and timid souls who neither know victory nor defeat.
(1910)
What is the main idea in this text?
Roosevelt points out the essential difference between those who try, even if they should fail. He identifies those only criticize as "cold and timid souls who neither know victory, nor defeat."
Passage adapted from Citizenship in a Republic, a speech given by Theodore Roosevelt on April 23, 1910.
Compare your answer with the correct one above
The isolation of every human soul and the necessity of self-dependence must give each individual the right to choose his own surroundings. The strongest reason for giving woman all the opportunities for higher education, for the full development of her faculties, her forces of mind and body; for giving her the most enlarged freedom of thought and action; a complete emancipation from all forms of bondage, of custom, dependence, superstition; from all the crippling influences of fear--is the solitude and personal responsibility of her own individual life. The strongest reason why we ask for woman a voice in the government under which she lives; in the religion she is asked to believe; equality in social life, where she is the chief factor; a place in the trades and professions, where she may earn her bread, is because of her birthright to self sovereignty; because, as an individual, she must rely on herself.
To throw obstacles in the way of a complete education is like putting out the eyes; to deny the rights of property is like cutting off the hands. To refuse political equality is to rob the ostracized of all self-respect, of credit in the market place, of recompense in the world of work, of a voice in choosing those who make and administer the law, a choice in the jury before whom they are tried, and in the judge who decides their punishment. Shakespeare's play of Titus and Andronicus contains a terrible satire on woman's position in the nineteenth century--"Rude men seized the king's daughter, cut out her tongue, cut off her hands, and then bade her go call for water and wash her hands." What a picture of woman's position! Robbed of her natural rights, handicapped by law and custom at every turn, yet compelled to fight her own battles, and in the emergencies of life to fall back on herself for protection.
(1892)
What is the main idea of this passage?
Stanton's thesis states that the need for education stems from "the isolation of the human soul and the necessity of self-dependence." In the second paragraph, she states that denying women educational opportunities is "like putting out the eyes", or not allowing women access to the tools they need to become truly self-sufficient.
Passage adapted from The Solitude of Self by Elizabeth Cady Stanton (1892)
Compare your answer with the correct one above
Adapted from “Solitary Death, make me thine own” in Underneath the Bough: A Book of Verses by Michael Field (pseudonym of Katherine Bradley and Edith Cooper) (1893)
Solitary Death, make me thine own,
And let us wander the bare fields together;
Yea, thou and I alone
Roving in unembittered unison forever.
I will not harry thy treasure-graves,
I do not ask thy still hands a lover;
My heart within me craves
To travel till we twain Time’s wilderness discover.
To sojourn with thee my soul was bred,
And I, the courtly sights of life refusing,
To the wide shadows fled,
And mused upon thee often as I fell a-musing.
Escaped from chaos, thy mother Night,
In her maiden breast a burthen that awed her,
By cavern waters white
Drew thee her first-born, her unfathered off-spring toward her.
On dewey plats, near twilight dingle,
She oft, to still thee from men’s sobs and curses
In thine ears a-tingle,
Pours her cool charms, her weird, reviving chaunt rehearses.
Though mortals menace thee or elude,
And from thy confines break in swift transgression.
Thou for thyself art sued
Of me, I claim thy cloudy purlieus my possession.
To a long freshwater, where the sea
Stirs the silver flux of the reeds and willows,
Come thou, and beckon me
To lie in the lull of the sand-sequestered billows:
Then take the life I have called my own
And to the liquid universe deliver;
Loosening my spirit’s zone,
Wrap round me as thy limbs the wind, the light, the river.
Which of the following is NOT a subject treated in the poem?
The only subject listed that is not treated in the poem is the unjustness of early death. While death is covered extensively, the idea of “fairness” or justice with relation to death is directly at odds with the poem's treatment of death not as an exchange or an intrusion, but a natural and philosophically fruitful part of life.
Fear of death (in others) is alluded to by “men’s sobs and curses.” The nature of loyal companionship is alluded to throughout, but especially in the second stanza. The metaphysical origin of death is said to be “mother night” (who herself “escaped from chaos”), and the poem itself functions as a philosophical reflection, in addition to referencing the speaker taking this action (“And I, the courtly sights of life refusing, / To the wide shadows fled, / And mused upon thee often as I fell a-musing.”)
Compare your answer with the correct one above
Adapted from "Review of Wyandotté, or The Hutted Knoll" by Edgar Allan Poe (1843)
The most obvious and most unaccountable faults of The Hutted Knoll are those which appertain to the style—to the mere grammatical construction; for, in other and more important particulars of style, Mr. Cooper, of late days, has made a very manifest improvement. His sentences, however, are arranged with an awkwardness so remarkable as to be matter of absolute astonishment, when we consider the education of the author and his long and continual practice with the pen. In minute descriptions of localities, any verbal inaccuracy or confusion becomes a source of vexation and misunderstanding, detracting very much from the pleasure of perusal; and in these inaccuracies Wyandotté abounds. Although, for instance, we carefully read and reread that portion of the narrative that details the situation of the Knoll, and the construction of the buildings and walls about it, we were forced to proceed with the story without any exact or definite impressions upon the subject. Similar difficulties, from similar causes, occur passim throughout the book. For example, at page 41, vol. I:
“The man gazed at the house with a fierce intentness that sometimes glared, in a manner that had got to be, in its ordinary aspects, dull.” This it is utterly impossible to comprehend. We presume, however, the intention is to say that although the man’s ordinary manner (of gazing) had “got to be” dull, he occasionally gazed with an intentness that glared, and that he did so in the instance in question. The “got to be” is atrocious, the whole sentence no less so.
Here, at page 9, vol. I, is something excessively vague: “Of the latter character is the face of most of that region that lies in the angle formed by the junction of the Mohawk with the Hudson,” etc. etc. The Mohawk, joining the Hudson, forms two angles, of course—an acute and an obtuse one; and, without farther explanation, it is difficult to say which is intended.
At page 55, vol. I., we read: “The captain, owing to his English education, had avoided straight lines, and formal paths, giving to the little spot the improvement on nature which is a consequence of embellishing her works without destroying them. On each side of this lawn was an orchard, thrifty and young, and that were already beginning to show signs of putting forth their blossoms.” Here we are tautologically informed that improvement is a consequence of embellishment, and supererogatorily told that the rule holds good only where the embellishment is not accompanied by destruction. Upon the “each orchard were" it is needless to comment.
Poe says that the biggest problem with Cooper's description of the Knoll is __________.
Poe suggests that even after multiple readings, it's hard for the reader to get a sense of what the Knoll really looks like.
Compare your answer with the correct one above
Read the passage and answer the question below.
Dear Congressman Phillips,
I urge you to reconsider your closure of the shipyard. I'm a medical practitioner in the area, so I meet many of the men and women employed by the facility. Many of these people are living paycheck to paycheck, unable to afford regular medical care; any gap in their employment could be devastating. If you must see it economically, consider the tremendous cost to the taxpayers when these people must rely on public programs for assistance. I ask you to please keep this shipyard open.
Very truly yours, . . .
How would you summarize this passage?
The summary should state that the author is asserting a point, or arguing for something, in this case for keeping a shipyard open because it's a massive source of jobs for the area.
Compare your answer with the correct one above
The isolation of every human soul and the necessity of self-dependence must give each individual the right to choose his own surroundings. The strongest reason for giving woman all the opportunities for higher education, for the full development of her faculties, her forces of mind and body; for giving her the most enlarged freedom of thought and action; a complete emancipation from all forms of bondage, of custom, dependence, superstition; from all the crippling influences of fear--is the solitude and personal responsibility of her own individual life. The strongest reason why we ask for woman a voice in the government under which she lives; in the religion she is asked to believe; equality in social life, where she is the chief factor; a place in the trades and professions, where she may earn her bread, is because of her birthright to self sovereignty; because, as an individual, she must rely on herself.
To throw obstacles in the way of a complete education is like putting out the eyes; to deny the rights of property is like cutting off the hands. To refuse political equality is to rob the ostracized of all self-respect, of credit in the market place, of recompense in the world of work, of a voice in choosing those who make and administer the law, a choice in the jury before whom they are tried, and in the judge who decides their punishment. Shakespeare's play of Titus and Andronicus contains a terrible satire on woman's position in the nineteenth century--"Rude men seized the king's daughter, cut out her tongue, cut off her hands, and then bade her go call for water and wash her hands." What a picture of woman's position! Robbed of her natural rights, handicapped by law and custom at every turn, yet compelled to fight her own battles, and in the emergencies of life to fall back on herself for protection.
(1892)
What is the inherent cause-and-effect argument presented in this passage?
Stanton clearly states that women are forced to achieve the same level of self-dependence as men, but are handicapped by a lack of access to basic rights. They are thus at an extreme disadvantage in achieving a sense of self-fulfillment.
Passage adapted from The Solitude of Self by Elizabeth Cady Stanton (1892)
Compare your answer with the correct one above
Adapted from “A Defense of Slang” in The Romance of the Commonplace by Gelett Burgess (1902)
Could Shakespeare come to Chicago and listen curiously to "the man in the street," he would find himself more at home than in London. In the mouths of messenger boys and clerks he would find the English language used with all the freedom of unexpected metaphor and the plastic, suggestive diction that was the privilege of the Elizabethan dramatists; he would say, no doubt, that he had found a nation of poets. There was hardly any such thing as slang in his day, for no graphic trope was too virile or uncommon for acceptance, if its meaning were patent. His own heroes often spoke what corresponds to the slang of today.
The word, indeed, needs precise definition, before we condemn all unconventional talk with vigor. Slang has been called "poetry in the rough," and it is not all coarse or vulgar. There is a prosaic as well as a poetic license. The man in the street calls a charming girl, for instance, a "daisy." Surely this is not inelegant, and such a reference will be understood a century from now. Slang, to prove adjuvant to our speech, which is growing more and more rigid and conventional, should be terse; it should make for force and clarity, without any sacrifice of beauty.
Why does the author believe there was no slang in Shakespeare’s time?
The author makes a statement that there was “hardly any such thing as slang” in Shakespeare’s day. But, we know that the author has compared the slang spoken in Chicago to the language of Elizabethan England. To remedy this apparent discrepancy, it is necessary to read on and pay attention to the phrase “no graphic trope was too virile or uncommon for acceptance.” Here, the author is stating that slang language in Elizabethan England was part of the common city-wide vernacular and not confined to smaller groups, such as the “messenger boys and clerks” of Chicago. The author clearly feels that even offensive or unusual language was widely used and understood.
Compare your answer with the correct one above
Adapted from Julius Caesar by William Shakespeare, III.ii.82-117 (1599)
\[This is a speech by Mark Antony\]
Friends, Romans, countrymen, lend me your ears!
I come to bury Caesar, not to praise him.
The evil that men do lives after them,
The good is oft interred with their bones;
So let it be with Caesar. The noble Brutus
Hath told you Caesar was ambitious;
If it were so, it was a grievous fault,
And grievously hath Caesar answer'd it.
Here, under leave of Brutus and the rest-
For Brutus is an honorable man;
So are they all, all honorable men-
Come I to speak in Caesar's funeral.
He was my friend, faithful and just to me;
But Brutus says he was ambitious,
And Brutus is an honorable man.
He hath brought many captives home to Rome,
Whose ransoms did the general coffers fill.
Did this in Caesar seem ambitious?
When that the poor have cried, Caesar hath wept;
Ambition should be made of sterner stuff:
Yet Brutus says he was ambitious,
And Brutus is an honorable man.
You all did see that on the Lupercal \[a public festival\]
I thrice presented him a kingly crown,
Which he did thrice refuse. Was this ambition?
Yet Brutus says he was ambitious,
And sure he is an honorable man.
I speak not to disprove what Brutus spoke,
But here I am to speak what I do know.
You all did love him once, not without cause;
What cause withholds you then to mourn for him?
O judgment, thou art fled to brutish beasts,
And men have lost their reason. Bear with me;
My heart is in the coffin there with Caesar,
And I must pause till it come back to me.
Why is the underlined selection not necessarily a good argument?
The first thing to do is to interpret what Mark Antony is stating here. He is saying that he presented Caesar with a crown three times at the Lupercal feast. Three times ("thrice") Caesar apparently refused to take it. Mark Antony is implying that this shows that he was not ambitious. However, it could well have been the case that he did not take the crown precisely because he wanted to seem unambitious so that he could appeal to the people. Mark Antony's argument here is charged with rhetoric, but that does not diminish its weakness. We must be aware of such uses of language so as not to be tricked. Matters just cannot be seen as being that simple.
Compare your answer with the correct one above
Adapted from “Solitary Death, make me thine own” in Underneath the Bough: A Book of Verses by Michael Field (pseudonym of Katherine Bradley and Edith Cooper) (1893)
Solitary Death, make me thine own,
And let us wander the bare fields together;
Yea, thou and I alone
Roving in unembittered unison forever.
I will not harry thy treasure-graves,
I do not ask thy still hands a lover;
My heart within me craves
To travel till we twain Time’s wilderness discover.
To sojourn with thee my soul was bred,
And I, the courtly sights of life refusing,
To the wide shadows fled,
And mused upon thee often as I fell a-musing.
Escaped from chaos, thy mother Night,
In her maiden breast a burthen that awed her,
By cavern waters white
Drew thee her first-born, her unfathered off-spring toward her.
On dewey plats, near twilight dingle,
She oft, to still thee from men’s sobs and curses
In thine ears a-tingle,
Pours her cool charms, her weird, reviving chaunt rehearses.
Though mortals menace thee or elude,
And from thy confines break in swift transgression.
Thou for thyself art sued
Of me, I claim thy cloudy purlieus my possession.
To a long freshwater, where the sea
Stirs the silver flux of the reeds and willows,
Come thou, and beckon me
To lie in the lull of the sand-sequestered billows:
Then take the life I have called my own
And to the liquid universe deliver;
Loosening my spirit’s zone,
Wrap round me as thy limbs the wind, the light, the river.
The use of the underlined and bolded term “Solitary” at the opening of the poem serves which of the following purposes?
Opening the poem with personified “Death” as a solitary figure adds emotional resonance and purchase to the speaker’s subsequent plea to Death for them to be companions. This way, the closing image of Death embracing the speaker completes an emotional journey; Death started the poem alone and ends in an embrace. This change can be seem as mutually beneficial and supportive, rather than the speaker simply using Death or vice-versa.
Compare your answer with the correct one above
This is the forest primeval. The murmuring pines and the hemlocks,
Bearded with moss, and in garments green, indistinct in the twilight,
Stand like Druids of eld, with voices sad and prophetic,
Stand like harpers hoar, with beards that rest on their bosoms.
Loud from its rocky caverns, the deep-voiced neighboring ocean (5)
Speaks, and in accents disconsolate answers the wail of the forest.
(1847)
What is the purpose of lines 1-2 in the passage?
Lines 1-2 introduces the poet’s lengthy, detailed personification of the forest and its trees. By saying that the pines are “murmuring” and the hemlocks are “bearded with moss, and in garments green,” the author ascribes human actions and attributes to inanimate objects. Since this personification continues to the end of the excerpt and also includes the ocean, the best choice is “To begin to personify the natural world.”
Passage adapted from Henry Wadsworth Longfellow’s “Evangeline.” (1847)
Compare your answer with the correct one above
Adapted from Julius Caesar by William Shakespeare, III.ii.82-117 (1599)
\[This is a speech by Mark Antony\]
Friends, Romans, countrymen, lend me your ears!
I come to bury Caesar, not to praise him.
The evil that men do lives after them,
The good is oft interred with their bones;
So let it be with Caesar. The noble Brutus
Hath told you Caesar was ambitious;
If it were so, it was a grievous fault,
And grievously hath Caesar answer'd it.
Here, under leave of Brutus and the rest-
For Brutus is an honorable man;
So are they all, all honorable men-
Come I to speak in Caesar's funeral.
He was my friend, faithful and just to me;
But Brutus says he was ambitious,
And Brutus is an honorable man.
He hath brought many captives home to Rome,
Whose ransoms did the general coffers fill.
Did this in Caesar seem ambitious?
When that the poor have cried, Caesar hath wept;
Ambition should be made of sterner stuff:
Yet Brutus says he was ambitious,
And Brutus is an honorable man.
You all did see that on the Lupercal \[a public festival\]
I thrice presented him a kingly crown,
Which he did thrice refuse. Was this ambition?
Yet Brutus says he was ambitious,
And sure he is an honorable man.
I speak not to disprove what Brutus spoke,
But here I am to speak what I do know.
You all did love him once, not without cause;
What cause withholds you then to mourn for him?
O judgment, thou art fled to brutish beasts,
And men have lost their reason. Bear with me;
My heart is in the coffin there with Caesar,
And I must pause till it come back to me.
What is the purpose of the underlined line, "When that the poor have cried, Caesar hath wept"?
The key to interpreting this line is found on the very next line: "Ambition should be made of sterner stuff." Mark Antony is implying that ambitious men are "stern" that is hard and unlikely to cry. However, Caesar did in fact weep with the poor. Therefore, he is using the example of crying to try to show that perhaps Brutus is not correct in making the claim that Caesar was ambitious.
Compare your answer with the correct one above