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Adapted from Jude The Obscure by Thomas Hardy (1895)
He sounded the clacker till his arm ached, and at length his heart grew sympathetic with the birds' thwarted desires. They seemed, like himself, to be living in a world which did not want them. Why should he frighten them away? They took upon more and more the aspect of gentle friends and pensioners—the only friends he could claim as being in the least degree interested in him, for his aunt had often told him that she was not. He ceased his rattling, and they alighted anew.
"Poor little dears!" said Jude, aloud. "You shall have some dinner—you shall. There is enough for us all. Farmer Troutham can afford to let you have some. Eat, then my dear little birdies, and make a good meal!"
They stayed and ate, inky spots on the nut-brown soil, and Jude enjoyed their appetite. A magic thread of fellow-feeling united his own life with theirs. Puny and sorry as those lives were, they much resembled his own.
His clacker he had by this time thrown away from him, as being a mean and sordid instrument, offensive both to the birds and to himself as their friend. All at once he became conscious of a smart blow upon his buttocks, followed by a loud clack, which announced to his surprised senses that the clacker had been the instrument of offense used. The birds and Jude started up simultaneously, and the dazed eyes of the latter beheld the farmer in person, the great Troutham himself, his red face glaring down upon Jude's cowering frame, the clacker swinging in his hand.
"So it's 'Eat my dear birdies,' is it, young man? 'Eat, dear birdies,' indeed! I'll tickle your breeches, and see if you say, 'Eat, dear birdies,' again in a hurry! And you've been idling at the schoolmaster's too, instead of coming here, ha'n't ye, hey? That's how you earn your sixpence a day for keeping the rooks off my corn!"
What is the primary purpose of the clacker mentioned in the passage?
The reader knows from the first lines that the clacker is a noisemaker designed to scare the birds away, as the passage says, “\[Jude\] sounded the clacker till his arm ached, and at length his heart grew sympathetic with the birds' thwarted desires.” There is no other reasonable use for the clacker, as it appears in the passage.
Compare your answer with the correct one above
I wish to speak a word for Nature, for absolute freedom and wildness, as contrasted with a freedom and culture merely civil,—to regard man as an inhabitant, or a part and parcel of Nature, rather than a member of society. I wish to make an extreme statement, if so I may make an emphatic one, for there are enough champions of civilization: the minister and the school-committee, and every one of you will take care of that.
I have met with but one or two persons in the course of my life who understood the art of Walking, that is, of taking walks,—who had a genius, so to speak, for sauntering: which word is beautifully derived from "idle people who roved about the country, in the Middle Ages, and asked charity, under pretense of going à la Sainte Terre," to the Holy Land, till the children exclaimed, "There goes a Sainte-Terrer," a Saunterer,—a Holy-Lander. They who never go to the Holy Land in their walks, as they pretend, are indeed mere idlers and vagabonds; but they who do go there are saunterers in the good sense, such as I mean. Some, however, would derive the word from sans terre, without land or a home, which, therefore, in the good sense, will mean, having no particular home, but equally at home everywhere. For this is the secret of successful sauntering. He who sits still in a house all the time may be the greatest vagrant of all; but the saunterer, in the good sense, is no more vagrant than the meandering river, which is all the while sedulously seeking the shortest course to the sea. But I prefer the first, which, indeed, is the most probable derivation. For every walk is a sort of crusade, preached by some Peter the Hermit in us, to go forth and reconquer this Holy Land from the hands of the Infidels.
It is true, we are but faint-hearted crusaders, even the walkers, nowadays, who undertake no persevering, never-ending enterprises. Our expeditions are but tours, and come round again at evening to the old hearth-side from which we set out. Half the walk is but retracing our steps. We should go forth on the shortest walk, perchance, in the spirit of undying adventure, never to return,—prepared to send back our embalmed hearts only as relics to our desolate kingdoms. If you are ready to leave father and mother, and brother and sister, and wife and child and friends, and never see them again,—if you have paid your debts, and made your will, and settled all your affairs, and are a free man, then you are ready for a walk.
To come down to my own experience, my companion and I, for I sometimes have a companion, take pleasure in fancying ourselves knights of a new, or rather an old, order,—not Equestrians or Chevaliers, not Ritters or riders, but Walkers, a still more ancient and honorable class, I trust. The chivalric and heroic spirit which once belonged to the Rider seems now to reside in, or perchance to have subsided into, the Walker,—not the Knight, but Walker Errant. He is a sort of fourth estate, outside of Church and State and People.
We have felt that we almost alone hereabouts practiced this noble art; though, to tell the truth, at least, if their own assertions are to be received, most of my townsmen would fain walk sometimes, as I do, but they cannot. No wealth can buy the requisite leisure, freedom, and independence, which are the capital in this profession. It comes only by the grace of God. It requires a direct dispensation from Heaven to become a walker. You must be born into the family of the Walkers. Ambulator nascitur, non fit. Some of my townsmen, it is true, can remember and have described to me some walks which they took ten years ago, in which they were so blessed as to lose themselves for half an hour in the woods; but I know very well that they have confined themselves to the highway ever since, whatever pretensions they may make to belong to this select class. No doubt they were elevated for a moment as by the reminiscence of a previous state of existence, when even they were foresters and outlaws.
In the context of the passage, what does the underlined word "sedulously" mean?
Even if you don't know the definition of the word "sedulous," it's possible to guess the answer from the context. The phrase "all the while" implies that though the river may seem to be acting one way, it is in fact behaving in another, possibly more unexpected way. So you're looking for a word that seems to be in some way in opposition to the river's apparent "meandering." The only option that fits the bill is "diligently."
Passage adapted from "Walking," Henry David Thoreau (1862)
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Adapted from Jude the Obscure by Thomas Hardy (1895)
He sounded the clacker till his arm ached, and at length his heart grew sympathetic with the birds' thwarted desires. They seemed, like himself, to be living in a world which did not want them. Why should he frighten them away? They took upon more and more the aspect of gentle friends and pensioners—the only friends he could claim as being in the least degree interested in him, for his aunt had often told him that she was not. He ceased his rattling, and they alighted anew.
"Poor little dears!" said Jude, aloud. "You shall have some dinner—you shall. There is enough for us all. Farmer Troutham can afford to let you have some. Eat, then my dear little birdies, and make a good meal!"
They stayed and ate, inky spots on the nut-brown soil, and Jude enjoyed their appetite. A magic thread of fellow-feeling united his own life with theirs. Puny and sorry as those lives were, they much resembled his own.
His clacker he had by this time thrown away from him, as being a mean and sordid instrument, offensive both to the birds and to himself as their friend. All at once he became conscious of a smart blow upon his buttocks, followed by a loud clack, which announced to his surprised senses that the clacker had been the instrument of offense used. The birds and Jude started up simultaneously, and the dazed eyes of the latter beheld the farmer in person, the great Troutham himself, his red face glaring down upon Jude's cowering frame, the clacker swinging in his hand.
"So it's 'Eat my dear birdies,' is it, young man? 'Eat, dear birdies,' indeed! I'll tickle your breeches, and see if you say, 'Eat, dear birdies' again in a hurry! And you've been idling at the schoolmaster's too, instead of coming here, ha'n't ye, hey? That's how you earn your sixpence a day for keeping the rooks off my corn!"
In the context of the passage, what is the meaning of the underlined word “alighted”?
In the first paragraph, Jude scares the birds away from the field where they keep landing. In the sentence, “He ceased his rattling, and they alighted anew,” alighting is synonymous with landing or descending. All the words are different synonyms of “alighted,” but “descended” is the best answer. To help you, “ablaze” means on fire, and “perched” means sat on and often refers to birds sitting on things.
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Adapted from Jude The Obscure by Thomas Hardy (1895)
He sounded the clacker till his arm ached, and at length his heart grew sympathetic with the birds' thwarted desires. They seemed, like himself, to be living in a world which did not want them. Why should he frighten them away? They took upon more and more the aspect of gentle friends and pensioners—the only friends he could claim as being in the least degree interested in him, for his aunt had often told him that she was not. He ceased his rattling, and they alighted anew.
"Poor little dears!" said Jude, aloud. "You shall have some dinner—you shall. There is enough for us all. Farmer Troutham can afford to let you have some. Eat, then my dear little birdies, and make a good meal!"
They stayed and ate, inky spots on the nut-brown soil, and Jude enjoyed their appetite. A magic thread of fellow-feeling united his own life with theirs. Puny and sorry as those lives were, they much resembled his own.
His clacker he had by this time thrown away from him, as being a mean and sordid instrument, offensive both to the birds and to himself as their friend. All at once he became conscious of a smart blow upon his buttocks, followed by a loud clack, which announced to his surprised senses that the clacker had been the instrument of offense used. The birds and Jude started up simultaneously, and the dazed eyes of the latter beheld the farmer in person, the great Troutham himself, his red face glaring down upon Jude's cowering frame, the clacker swinging in his hand.
"So it's 'Eat my dear birdies,' is it, young man? 'Eat, dear birdies,' indeed! I'll tickle your breeches, and see if you say, 'Eat, dear birdies,' again in a hurry! And you've been idling at the schoolmaster's too, instead of coming here, ha'n't ye, hey? That's how you earn your sixpence a day for keeping the rooks off my corn!"
Select the most direct antonym for the underlined word "conscious."
The most direct antonym of “conscious” would be “unconscious.” A synonym of “unconscious” in this context is insensitive as Jude in the passage is becoming aware, or sensitive, to the beating the opposite would be to become “insensitive.” To help you, “comatose” means passed out, in a coma; “nonchalant” means apathetic, not caring. In order to know a word's meaning, it is often helpful to know its antonyms, or opposites, as well as its synonyms (words that share its meaning).
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Adapted from Jude the Obscure by Thomas Hardy (1895)
He sounded the clacker till his arm ached, and at length his heart grew sympathetic with the birds' thwarted desires. They seemed, like himself, to be living in a world which did not want them. Why should he frighten them away? They took upon more and more the aspect of gentle friends and pensioners—the only friends he could claim as being in the least degree interested in him, for his aunt had often told him that she was not. He ceased his rattling, and they alighted anew.
"Poor little dears!" said Jude, aloud. "You shall have some dinner—you shall. There is enough for us all. Farmer Troutham can afford to let you have some. Eat, then my dear little birdies, and make a good meal!"
They stayed and ate, inky spots on the nut-brown soil, and Jude enjoyed their appetite. A magic thread of fellow-feeling united his own life with theirs. Puny and sorry as those lives were, they much resembled his own.
His clacker he had by this time thrown away from him, as being a mean and sordid instrument, offensive both to the birds and to himself as their friend. All at once he became conscious of a smart blow upon his buttocks, followed by a loud clack, which announced to his surprised senses that the clacker had been the instrument of offense used. The birds and Jude started up simultaneously, and the dazed eyes of the latter beheld the farmer in person, the great Troutham himself, his red face glaring down upon Jude's cowering frame, the clacker swinging in his hand.
"So it's 'Eat my dear birdies,' is it, young man? 'Eat, dear birdies,' indeed! I'll tickle your breeches, and see if you say, 'Eat, dear birdies' again in a hurry! And you've been idling at the schoolmaster's too, instead of coming here, ha'n't ye, hey? That's how you earn your sixpence a day for keeping the rooks off my corn!"
As it is used in the passage, what does the underlined word "thwarted" mean?
“Thwarted” in this case, and all cases, means stopped or “foiled"; these verbs mean prevented from attaining an end. The birds were stopped or foiledin their attempts to feed on the corn. To help you, “distorted” means twisted out of shape, “completed” means finished, and “unfulfilled” means unhappy with one’s accomplishments.
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Passage adapted from Little Women by Louisa May Alcott (1868)
There were to be no ceremonious performances, everything was to be as natural and homelike as possible, so when Aunt March arrived, she was scandalized to see the bride come running to welcome and lead her in, to find the bridegroom fastening up a garland that had fallen down, and to catch a glimpse of the paternal minister marching upstairs with a grave countenance and a wine bottle under each arm.
“Upon my word, here's a state of things!” cried the old lady, taking the seat of honor prepared for her, and settling the folds of her lavender moire with a great rustle. “You oughtn't to be seen till the last minute, child.”
“I'm not a show, Aunty, and no one is coming to stare at me, to criticize my dress, or count the cost of my luncheon. I'm too happy to care what anyone says or thinks, and I'm going to have my little wedding just as I like it. John, dear, here's your hammer.” And away went Meg to help “that man” in his highly improper employment.
The "highly improper employment" refers to _______________.
Here the word "employment" is being used to mean "the way in which one is being occupied." Remember that "employment" is not always necessarily paid employment. For instance, I could be employed in eating a sandwich, just as easily as I could be employed at my job.
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Passage adapted from Little Women by Louisa May Alcott (1868)
There were to be no ceremonious performances, everything was to be as natural and homelike as possible, so when Aunt March arrived, she was scandalized to see the bride come running to welcome and lead her in, to find the bridegroom fastening up a garland that had fallen down, and to catch a glimpse of the paternal minister marching upstairs with a grave countenance and a wine bottle under each arm.
“Upon my word, here's a state of things!” cried the old lady, taking the seat of honor prepared for her, and settling the folds of her lavender moire with a great rustle. “You oughtn't to be seen till the last minute, child.”
“I'm not a show, Aunty, and no one is coming to stare at me, to criticize my dress, or count the cost of my luncheon. I'm too happy to care what anyone says or thinks, and I'm going to have my little wedding just as I like it. John, dear, here's your hammer.” And away went Meg to help “that man” in his highly improper employment.
In the context of the passage, the phrase “count the cost of my luncheon” could mean ______________.
The other items in the list, "stare at me" and "criticize my dress," are closest in meaning to passing judgment. Furthermore, Meg goes on to elaborate that "I'm too happy to care what anyone says or thinks, and I'm going to have my little wedding just as I like it." This answer choice is the only one that is parallel in meaning to these other statements.
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“Consider the subtleness of the sea; how its most dreaded creatures glide under water, unapparent for the most part, and treacherously hidden beneath the loveliest tints of azure. Consider also the devilish brilliance and beauty of many of its most remorseless tribes, as the dainty embellished shape of many species of sharks. Consider, once more, the universal cannibalism of the sea; all whose creatures prey upon each other, carrying on eternal war since the world began.
Consider all this; and then turn to the green, gentle, and most docile earth; consider them both, the sea and the land; and do you not find a strange analogy to something in yourself? For as this appalling ocean surrounds the verdant land, so in the soul of man there lies one insular Tahiti, full of peace and joy, but encompassed by all the horrors of the half-known life. God keep thee! Push not off from that isle, thou canst never return!”
Passage adapted from Moby Dick, Herman Melville (1851)
What are the horrors of a “half-known” life?
Melville says the island is safe and joyful but the sea around it carries dangers hidden under its beautiful surface. People often only see the beauty of the sea and do not even guess what danger is beneath the surface. The danger beneath the surface is the horror.
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I wish to speak a word for Nature, for absolute freedom and wildness, as contrasted with a freedom and culture merely civil,—to regard man as an inhabitant, or a part and parcel of Nature, rather than a member of society. I wish to make an extreme statement, if so I may make an emphatic one, for there are enough champions of civilization: the minister and the school-committee, and every one of you will take care of that.
I have met with but one or two persons in the course of my life who understood the art of Walking, that is, of taking walks,—who had a genius, so to speak, for sauntering: which word is beautifully derived from "idle people who roved about the country, in the Middle Ages, and asked charity, under pretense of going à la Sainte Terre," to the Holy Land, till the children exclaimed, "There goes a Sainte-Terrer," a Saunterer,—a Holy-Lander. They who never go to the Holy Land in their walks, as they pretend, are indeed mere idlers and vagabonds; but they who do go there are saunterers in the good sense, such as I mean. Some, however, would derive the word from sans terre, without land or a home, which, therefore, in the good sense, will mean, having no particular home, but equally at home everywhere. For this is the secret of successful sauntering. He who sits still in a house all the time may be the greatest vagrant of all; but the saunterer, in the good sense, is no more vagrant than the meandering river, which is all the while sedulously seeking the shortest course to the sea. But I prefer the first, which, indeed, is the most probable derivation. For every walk is a sort of crusade, preached by some Peter the Hermit in us, to go forth and reconquer this Holy Land from the hands of the Infidels.
It is true, we are but faint-hearted crusaders, even the walkers, nowadays, who undertake no persevering, never-ending enterprises. Our expeditions are but tours, and come round again at evening to the old hearth-side from which we set out. Half the walk is but retracing our steps. We should go forth on the shortest walk, perchance, in the spirit of undying adventure, never to return,—prepared to send back our embalmed hearts only as relics to our desolate kingdoms. If you are ready to leave father and mother, and brother and sister, and wife and child and friends, and never see them again,—if you have paid your debts, and made your will, and settled all your affairs, and are a free man, then you are ready for a walk.
To come down to my own experience, my companion and I, for I sometimes have a companion, take pleasure in fancying ourselves knights of a new, or rather an old, order,—not Equestrians or Chevaliers, not Ritters or riders, but Walkers, a still more ancient and honorable class, I trust. The chivalric and heroic spirit which once belonged to the Rider seems now to reside in, or perchance to have subsided into, the Walker,—not the Knight, but Walker Errant. He is a sort of fourth estate, outside of Church and State and People.
We have felt that we almost alone hereabouts practiced this noble art; though, to tell the truth, at least, if their own assertions are to be received, most of my townsmen would fain walk sometimes, as I do, but they cannot. No wealth can buy the requisite leisure, freedom, and independence, which are the capital in this profession. It comes only by the grace of God. It requires a direct dispensation from Heaven to become a walker. You must be born into the family of the Walkers. Ambulator nascitur, non fit. Some of my townsmen, it is true, can remember and have described to me some walks which they took ten years ago, in which they were so blessed as to lose themselves for half an hour in the woods; but I know very well that they have confined themselves to the highway ever since, whatever pretensions they may make to belong to this select class. No doubt they were elevated for a moment as by the reminiscence of a previous state of existence, when even they were foresters and outlaws.
The river metaphor in the underlined section primarily serves to: __________.
The line "no more vagrant than the meandering river" tells you that the comparison is set up to prove that sauntering is not a form of vagrancy. Though the river may appear to meander, Thoreau points out that it is "all the while sedulously seeking the shortest course to the sea." That is to say, the river has an end goal.
Passage adapted from "Walking," Henry David Thoreau (1862)
Compare your answer with the correct one above
I wish to speak a word for Nature, for absolute freedom and wildness, as contrasted with a freedom and culture merely civil,—to regard man as an inhabitant, or a part and parcel of Nature, rather than a member of society. I wish to make an extreme statement, if so I may make an emphatic one, for there are enough champions of civilization: the minister and the school-committee, and every one of you will take care of that.
I have met with but one or two persons in the course of my life who understood the art of Walking, that is, of taking walks,—who had a genius, so to speak, for sauntering: which word is beautifully derived from "idle people who roved about the country, in the Middle Ages, and asked charity, under pretense of going à la Sainte Terre," to the Holy Land, till the children exclaimed, "There goes a Sainte-Terrer," a Saunterer,—a Holy-Lander. They who never go to the Holy Land in their walks, as they pretend, are indeed mere idlers and vagabonds; but they who do go there are saunterers in the good sense, such as I mean. Some, however, would derive the word from sans terre, without land or a home, which, therefore, in the good sense, will mean, having no particular home, but equally at home everywhere. For this is the secret of successful sauntering. He who sits still in a house all the time may be the greatest vagrant of all; but the saunterer, in the good sense, is no more vagrant than the meandering river, which is all the while sedulously seeking the shortest course to the sea. But I prefer the first, which, indeed, is the most probable derivation. For every walk is a sort of crusade, preached by some Peter the Hermit in us, to go forth and reconquer this Holy Land from the hands of the Infidels.
It is true, we are but faint-hearted crusaders, even the walkers, nowadays, who undertake no persevering, never-ending enterprises. Our expeditions are but tours, and come round again at evening to the old hearth-side from which we set out. Half the walk is but retracing our steps. We should go forth on the shortest walk, perchance, in the spirit of undying adventure, never to return,—prepared to send back our embalmed hearts only as relics to our desolate kingdoms. If you are ready to leave father and mother, and brother and sister, and wife and child and friends, and never see them again,—if you have paid your debts, and made your will, and settled all your affairs, and are a free man, then you are ready for a walk.
To come down to my own experience, my companion and I, for I sometimes have a companion, take pleasure in fancying ourselves knights of a new, or rather an old, order,—not Equestrians or Chevaliers, not Ritters or riders, but Walkers, a still more ancient and honorable class, I trust. The chivalric and heroic spirit which once belonged to the Rider seems now to reside in, or perchance to have subsided into, the Walker,—not the Knight, but Walker Errant. He is a sort of fourth estate, outside of Church and State and People.
We have felt that we almost alone hereabouts practiced this noble art; though, to tell the truth, at least, if their own assertions are to be received, most of my townsmen would fain walk sometimes, as I do, but they cannot. No wealth can buy the requisite leisure, freedom, and independence, which are the capital in this profession. It comes only by the grace of God. It requires a direct dispensation from Heaven to become a walker. You must be born into the family of the Walkers. Ambulator nascitur, non fit. Some of my townsmen, it is true, can remember and have described to me some walks which they took ten years ago, in which they were so blessed as to lose themselves for half an hour in the woods; but I know very well that they have confined themselves to the highway ever since, whatever pretensions they may make to belong to this select class. No doubt they were elevated for a moment as by the reminiscence of a previous state of existence, when even they were foresters and outlaws.
In the context of the passage, what does the underlined word "capital" mean?
The hint here is the beginning of the sentence: "No wealth can buy." The list of nouns that follows cannot be bought with wealth because they are, themselves, the measure of capital, or value, for the walker.
Passage adapted from "Walking," Henry David Thoreau (1862)
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Passage adapted from Thomas Bulfinch’s “Prometheus and Pandora” (1860)
The creation of the world is a problem naturally fitted to excite the liveliest interest of man, its inhabitant. The ancient pagans, not having the information on the subject which we derive from the pages of Scripture, had their own way of telling the story, which is as follows: Before earth and sea and heaven were created, all things wore one aspect, to which we give the name of Chaos—a confused and shapeless mass, nothing but dead weight, in which, however, slumbered the seeds of things. Earth, sea, and air were all mixed up together; so the earth was not solid, the sea was not fluid, and the air was not transparent. God and Nature at last interposed, and put an end to this discord, separating earth from sea, and heaven from both. The fiery part, being the lightest, sprang up, and formed the skies; the air was next in weight and place. The earth, being heavier, sank below; and the water took the lowest place, and buoyed up the earth.
Here some god—it is not known which—gave his good offices in arranging and disposing the earth. He appointed rivers and bays their places, raised mountains, scooped out valleys, distributed woods, fountains, fertile fields, and stony plains. The air being cleared, the stars began to appear, fishes took possession of the sea, birds of the air, and four-footed beasts of the land.
What is the meaning of the word "interposed"?
The word "interposed" most nearly means intervened, or got involved. As the passage states that God turned the existing world from chaos to order, this makes the most sense in context. The other choices, succeeded, discovered, and inquired, do not make sense in this context.
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Adapted from Jude the Obscure by Thomas Hardy (1895)
He sounded the clacker till his arm ached, and at length his heart grew sympathetic with the birds' thwarted desires. They seemed, like himself, to be living in a world which did not want them. Why should he frighten them away? They took upon more and more the aspect of gentle friends and pensioners—the only friends he could claim as being in the least degree interested in him, for his aunt had often told him that she was not. He ceased his rattling, and they alighted anew.
"Poor little dears!" said Jude, aloud. "You shall have some dinner—you shall. There is enough for us all. Farmer Troutham can afford to let you have some. Eat, then my dear little birdies, and make a good meal!"
They stayed and ate, inky spots on the nut-brown soil, and Jude enjoyed their appetite. A magic thread of fellow-feeling united his own life with theirs. Puny and sorry as those lives were, they much resembled his own.
His clacker he had by this time thrown away from him, as being a mean and sordid instrument, offensive both to the birds and to himself as their friend. All at once he became conscious of a smart blow upon his buttocks, followed by a loud clack, which announced to his surprised senses that the clacker had been the instrument of offense used. The birds and Jude started up simultaneously, and the dazed eyes of the latter beheld the farmer in person, the great Troutham himself, his red face glaring down upon Jude's cowering frame, the clacker swinging in his hand.
"So it's 'Eat my dear birdies,' is it, young man? 'Eat, dear birdies,' indeed! I'll tickle your breeches, and see if you say, 'Eat, dear birdies' again in a hurry! And you've been idling at the schoolmaster's too, instead of coming here, ha'n't ye, hey? That's how you earn your sixpence a day for keeping the rooks off my corn!"
In the context of the phrase “tickle your breeches” could most likely refers to _______________.
When Farmer Troutham says he will “tickle Jude's breeches,” he is talking about beating him, or thrashing him, to remind him of his duties. The author is portraying Troutham as a cruel man. "Breeches" refers to pants, the tickling part of the saying is obviously intended to be ironic.
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Adapted from Jude the Obscure by Thomas Hardy (1895)
He sounded the clacker till his arm ached, and at length his heart grew sympathetic with the birds' thwarted desires. They seemed, like himself, to be living in a world which did not want them. Why should he frighten them away? They took upon more and more the aspect of gentle friends and pensioners—the only friends he could claim as being in the least degree interested in him, for his aunt had often told him that she was not. He ceased his rattling, and they alighted anew.
"Poor little dears!" said Jude, aloud. "You shall have some dinner—you shall. There is enough for us all. Farmer Troutham can afford to let you have some. Eat, then my dear little birdies, and make a good meal!"
They stayed and ate, inky spots on the nut-brown soil, and Jude enjoyed their appetite. A magic thread of fellow-feeling united his own life with theirs. Puny and sorry as those lives were, they much resembled his own.
His clacker he had by this time thrown away from him, as being a mean and sordid instrument, offensive both to the birds and to himself as their friend. All at once he became conscious of a smart blow upon his buttocks, followed by a loud clack, which announced to his surprised senses that the clacker had been the instrument of offense used. The birds and Jude started up simultaneously, and the dazed eyes of the latter beheld the farmer in person, the great Troutham himself, his red face glaring down upon Jude's cowering frame, the clacker swinging in his hand.
"So it's 'Eat my dear birdies,' is it, young man? 'Eat, dear birdies,' indeed! I'll tickle your breeches, and see if you say, 'Eat, dear birdies' again in a hurry! And you've been idling at the schoolmaster's too, instead of coming here, ha'n't ye, hey? That's how you earn your sixpence a day for keeping the rooks off my corn!"
Select the statement that best summarizes the third paragraph.
The third paragraph explicitly states that Jude observes the birds and that there is a link between them in their circumstances. The best possible answer should incorporate the fact that Jude is watching the birds and the comparison made between them. While not all of the other options are directly incorrect, none summarizes as well as the correct answer. Some are directly incorrect, and some are unprovable assertions.
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Passage adapted from Thomas Bulfinch’s “Prometheus and Pandora” (1860)
The creation of the world is a problem naturally fitted to excite the liveliest interest of man, its inhabitant. The ancient pagans, not having the information on the subject which we derive from the pages of Scripture, had their own way of telling the story, which is as follows: Before earth and sea and heaven were created, all things wore one aspect, to which we give the name of Chaos—a confused and shapeless mass, nothing but dead weight, in which, however, slumbered the seeds of things. Earth, sea, and air were all mixed up together; so the earth was not solid, the sea was not fluid, and the air was not transparent. God and Nature at last interposed, and put an end to this discord, separating earth from sea, and heaven from both. The fiery part, being the lightest, sprang up, and formed the skies; the air was next in weight and place. The earth, being heavier, sank below; and the water took the lowest place, and buoyed up the earth.
Here some god—it is not known which—gave his good offices in arranging and disposing the earth. He appointed rivers and bays their places, raised mountains, scooped out valleys, distributed woods, fountains, fertile fields, and stony plains. The air being cleared, the stars began to appear, fishes took possession of the sea, birds of the air, and four-footed beasts of the land.
What does the author state about ancient pagans?
The author states that pagans did not have the information about scripture, which is another way of saying they were unaware, which would be because they lived in ancient times. The author does not mention science, creativity, or a willingness to break from established religion.
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Passage adapted from Thomas Bulfinch’s “Prometheus and Pandora” (1860)
The creation of the world is a problem naturally fitted to excite the liveliest interest of man, its inhabitant. The ancient pagans, not having the information on the subject which we derive from the pages of Scripture, had their own way of telling the story, which is as follows: Before earth and sea and heaven were created, all things wore one aspect, to which we give the name of Chaos—a confused and shapeless mass, nothing but dead weight, in which, however, slumbered the seeds of things. Earth, sea, and air were all mixed up together; so the earth was not solid, the sea was not fluid, and the air was not transparent. God and Nature at last interposed, and put an end to this discord, separating earth from sea, and heaven from both. The fiery part, being the lightest, sprang up, and formed the skies; the air was next in weight and place. The earth, being heavier, sank below; and the water took the lowest place, and buoyed up the earth.
Here some god—it is not known which—gave his good offices in arranging and disposing the earth. He appointed rivers and bays their places, raised mountains, scooped out valleys, distributed woods, fountains, fertile fields, and stony plains. The air being cleared, the stars began to appear, fishes took possession of the sea, birds of the air, and four-footed beasts of the land.
The passage states that inside Chaos "slumbered the seeds of things." What does this mean?
The phrase "slumbered the seeds of things" means that the mass inside the chaos held al the materials that would become the earth. Neither this phrase nor the passage not suggest that the creator is sleeping, but that the materials are dormant. It also does not literally mean seeds as in seeds for plants, but seeds as in building blocks, or raw materials.
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I wish to speak a word for Nature, for absolute freedom and wildness, as contrasted with a freedom and culture merely civil,—to regard man as an inhabitant, or a part and parcel of Nature, rather than a member of society. I wish to make an extreme statement, if so I may make an emphatic one, for there are enough champions of civilization: the minister and the school-committee, and every one of you will take care of that.
I have met with but one or two persons in the course of my life who understood the art of Walking, that is, of taking walks,—who had a genius, so to speak, for sauntering: which word is beautifully derived from "idle people who roved about the country, in the Middle Ages, and asked charity, under pretense of going à la Sainte Terre," to the Holy Land, till the children exclaimed, "There goes a Sainte-Terrer," a Saunterer,—a Holy-Lander. They who never go to the Holy Land in their walks, as they pretend, are indeed mere idlers and vagabonds; but they who do go there are saunterers in the good sense, such as I mean. Some, however, would derive the word from sans terre, without land or a home, which, therefore, in the good sense, will mean, having no particular home, but equally at home everywhere. For this is the secret of successful sauntering. He who sits still in a house all the time may be the greatest vagrant of all; but the saunterer, in the good sense, is no more vagrant than the meandering river, which is all the while sedulously seeking the shortest course to the sea. But I prefer the first, which, indeed, is the most probable derivation. For every walk is a sort of crusade, preached by some Peter the Hermit in us, to go forth and reconquer this Holy Land from the hands of the Infidels.
It is true, we are but faint-hearted crusaders, even the walkers, nowadays, who undertake no persevering, never-ending enterprises. Our expeditions are but tours, and come round again at evening to the old hearth-side from which we set out. Half the walk is but retracing our steps. We should go forth on the shortest walk, perchance, in the spirit of undying adventure, never to return,—prepared to send back our embalmed hearts only as relics to our desolate kingdoms. If you are ready to leave father and mother, and brother and sister, and wife and child and friends, and never see them again,—if you have paid your debts, and made your will, and settled all your affairs, and are a free man, then you are ready for a walk.
To come down to my own experience, my companion and I, for I sometimes have a companion, take pleasure in fancying ourselves knights of a new, or rather an old, order,—not Equestrians or Chevaliers, not Ritters or riders, but Walkers, a still more ancient and honorable class, I trust. The chivalric and heroic spirit which once belonged to the Rider seems now to reside in, or perchance to have subsided into, the Walker,—not the Knight, but Walker Errant. He is a sort of fourth estate, outside of Church and State and People.
We have felt that we almost alone hereabouts practiced this noble art; though, to tell the truth, at least, if their own assertions are to be received, most of my townsmen would fain walk sometimes, as I do, but they cannot. No wealth can buy the requisite leisure, freedom, and independence, which are the capital in this profession. It comes only by the grace of God. It requires a direct dispensation from Heaven to become a walker. You must be born into the family of the Walkers. Ambulator nascitur, non fit. Some of my townsmen, it is true, can remember and have described to me some walks which they took ten years ago, in which they were so blessed as to lose themselves for half an hour in the woods; but I know very well that they have confined themselves to the highway ever since, whatever pretensions they may make to belong to this select class. No doubt they were elevated for a moment as by the reminiscence of a previous state of existence, when even they were foresters and outlaws.
Which of the following statements is true?
The answer is at the top of paragraph four: "To come down to my own experience, my companion and I, for I sometimes have a companion..."
Passage adapted from "Walking," Henry David Thoreau (1862)
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HENRY V: And \[St. Crispin’s Day\] shall ne'er go by,
From this day to the ending of the world,
But we in it shall be remember'd;
We few, we happy few, we band of brothers;
For he today that sheds his blood with me (5)
Shall be my brother; be he ne'er so vile,
This day shall gentle his condition:
And gentlemen in England now a-bed
Shall think themselves accursed they were not here,
And hold their manhoods cheap whiles any speaks (10)
That fought with us upon St. Crispin's day.
If this passage convinces its intended audience, what event will likely occur?
The purpose of the passage is to convince a group of soldiers to fight (see Line 10: “That fought with us upon Saint Crispin's day”). The passage does so by telling the men that they will be united as brothers if they fight together: “For he today that sheds his blood with me / Shall be my brother; be he ne'er so vile” (Lines 5-6). Thus, if the passage succeeds, the men will not only fight together, they will also fight well.
Passage adapted from William Shakespeare’s Henry V (1600)
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“Consider the subtleness of the sea; how its most dreaded creatures glide under water, unapparent for the most part, and treacherously hidden beneath the loveliest tints of azure. Consider also the devilish brilliance and beauty of many of its most remorseless tribes, as the dainty embellished shape of many species of sharks. Consider, once more, the universal cannibalism of the sea; all whose creatures prey upon each other, carrying on eternal war since the world began.
Consider all this; and then turn to the green, gentle, and most docile earth; consider them both, the sea and the land; and do you not find a strange analogy to something in yourself? For as this appalling ocean surrounds the verdant land, so in the soul of man there lies one insular Tahiti, full of peace and joy, but encompassed by all the horrors of the half-known life. God keep thee! Push not off from that isle, thou canst never return!”
Passage adapted from Moby Dick, Herman Melville (1851)
What about the sea justifies its description as “subtle?”
The sea appears beautiful at the surface but all is not beautiful beneath the surface. The sea's lovely blue surface hides creatures preying on each other. The surface is vast and its beauty is illusory. A person must know about the sea’s true nature because it cannot be readily seen.
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"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."
Passage adapted from Moby Dick, Herman Melville (1851)
Why does Ahab become attracted to coffins and funerals?
Ahab finds himself increasingly uncomfortable as his cycle of depression and rage progresses. Looking at coffin warehouses and following funerals are passive reflections of his depression, but knocking off people’s hats is a step toward violent behavior. He thinks that were he dead, he could not progress to violence. Death would be a way out of the cycle.
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"As the days went by, the evolution of like into love was accelerated. White Fang \[the wolf\] himself began to grow aware of it, though in his consciousness he knew not what love was. It manifested itself to him as a void in his being—a hungry, aching, yearning void that clamoured to be filled. It was a pain and an unrest; and it received easement only by the touch of the new god’s presence. At such times love was joy to him, a wild, keen-thrilling satisfaction. But when away from his god, the pain and the unrest returned; the void in him sprang up and pressed against him with its emptiness, and the hunger gnawed and gnawed unceasingly. "
Adapted from White Fang by Jack London (1906)
Does the author imply that falling in love is the same for humans and animals?
The passage is a description of the wolf’s progressive feelings for a particular person (“his god”). The pleasure of the person’s touch and presence is the wolf’s motivation for being near this person. The text also describes the wolf’s despair when he is not near this person. It chronicles increasingly intense feelings of attachment that the wolf develops for this person and suggests that this constitutes love for the wolf.
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