Passage-Based Questions - SAT Critical Reading

Adapted from "The Writing of Essays" in Certain Personal Matters by H.G. Wells (1901)

The art of the essayist is so simple, so entirely free from canons of criticism, and withal so delightful, that one must needs wonder why all men are not essayists. Perhaps people do not know how easy it is. Or perhaps beginners are misled. Rightly taught it may be learnt in a brief ten minutes or so, what art there is in it. And all the rest is as easy as wandering among woodlands on a bright morning in the spring.

Then sit you down if you would join us, taking paper, pens, and ink; and mark this, your pen is a matter of vital moment. For every pen writes its own sort of essay, and pencils also after their kind. The ink perhaps may have its influence too, and the paper; but paramount is the pen. This, indeed, is the fundamental secret of essay-writing. Wed any man to his proper pen, and the delights of composition and the birth of an essay are assured. Only many of us wander through the earth and never meet with her—futile and lonely men.

And, of all pens, your quill for essays that are literature. There is a subtle informality, a delightful easiness, perhaps even a faint immorality essentially literary, about the quill. The quill is rich in suggestion and quotation. There are quills that would quote you Montaigne and Horace in the hands of a trades-union delegate. And those quirky, idle noises this pen makes are delightful, and would break your easy fluency with wit. All the classical essayists wrote with a quill, and Addison used the most expensive kind the Government purchased. And the beginning of the inferior essay was the dawn of the cheap steel pen.

The phrase "mark this" as Wells uses it in the first sentence of the second paragraph most likely means __________.

Adapted from "The Writing of Essays" in Certain Personal Matters by H.G. Wells (1901)

The art of the essayist is so simple, so entirely free from canons of criticism, and withal so delightful, that one must needs wonder why all men are not essayists. Perhaps people do not know how easy it is. Or perhaps beginners are misled. Rightly taught it may be learnt in a brief ten minutes or so, what art there is in it. And all the rest is as easy as wandering among woodlands on a bright morning in the spring.

Then sit you down if you would join us, taking paper, pens, and ink; and mark this, your pen is a matter of vital moment. For every pen writes its own sort of essay, and pencils also after their kind. The ink perhaps may have its influence too, and the paper; but paramount is the pen. This, indeed, is the fundamental secret of essay-writing. Wed any man to his proper pen, and the delights of composition and the birth of an essay are assured. Only many of us wander through the earth and never meet with her—futile and lonely men.

And, of all pens, your quill for essays that are literature. There is a subtle informality, a delightful easiness, perhaps even a faint immorality essentially literary, about the quill. The quill is rich in suggestion and quotation. There are quills that would quote you Montaigne and Horace in the hands of a trades-union delegate. And those quirky, idle noises this pen makes are delightful, and would break your easy fluency with wit. All the classical essayists wrote with a quill, and Addison used the most expensive kind the Government purchased. And the beginning of the inferior essay was the dawn of the cheap steel pen.

Wells describes as "futile and lonely men" those people who __________.

Adapted from The Extermination of the American Bison by William T. Hornaday (1889)

We come now to a history which I would gladly leave unwritten. Its record is a disgrace to the American people in general, and the Territorial, State, and General Government in particular. It will cause succeeding generations to regard us as being possessed of the leading characteristics of the beast of prey—cruelty and greed. We will be likened to the blood-thirsty tiger of the Indian jungle, who slaughters a dozen bullocks at once when he knows he can eat only one.

The men who killed buffaloes for their tongues and those who shot them from the railway trains for sport were murderers. In no way does civilized man so quickly revert to his former state as when he is alone with the beasts of the field. Give him a gun and something which he may kill without getting himself in trouble, and, presto! He is instantly a killer again, finding exquisite delight in bloodshed, slaughter, and death, if not for gain, then solely for the joy and happiness of it. There is no kind of warfare against game animals too unfair, too disreputable, or too mean for white men to engage in if they can only do so with safety to their own precious carcasses. They will shoot buffalo and antelope from running railway trains, drive deer into water with hounds and cut their throats in cold blood, kill does with fawns a week old, kill fawns by the score for their spotted skins, slaughter deer, moose, and caribou in the snow at a pitiful disadvantage, just as the wolves do; exterminate the wild ducks on the whole Atlantic seaboard with punt guns for the metropolitan markets; kill off the Rocky Mountain goats for hides worth only 50 cents apiece, destroy wagon loads of trout with dynamite, and so on to the end of the chapter.

Perhaps the most gigantic task ever undertaken on this continent in the line of game-slaughter was the extermination of the bison in the great pasture region by the hide-hunters. Probably the brilliant rapidity and success with which that lofty undertaking was accomplished was a matter of surprise even to those who participated in it. The story of the slaughter is by no means a long one.

The period of systematic slaughter of the bison naturally begins with the first organized efforts in that direction, in a business-like, wholesale way. Although the species had been steadily driven westward for a hundred years by the advancing settlements, and had during all that time been hunted for the meat and robes it yielded, its extermination did not begin in earnest until 1820, or thereabouts. As before stated, various persons had previous to that time made buffalo killing a business in order to sell their skins, but such instances were very exceptional. By that time the bison was totally extinct in all the region lying east of the Mississippi River except a portion of Wisconsin, where it survived until about 1830. In 1820 the first organized buffalo hunting expedition on a grand scale was made from the Red River settlement, Manitoba, in which five hundred and forty carts proceeded to the range. Previous to that time the buffaloes were found near enough to the settlements around Fort Garry that every settler could hunt independently; but as the herds were driven farther and farther away, it required an organized effort and a long journey to reach them.

The American Fur Company established trading posts along the Missouri River, one at the mouth of the Teton River and another at the mouth of the Yellowstone. In 1826 a post was established at the eastern base of the Rocky Mountains, at the head of the Arkansas River, and in 1832 another was located in a corresponding situation at the head of the South Fork of the Platte, close to where Denver now stands. Both the latter were on what was then the western border of the buffalo range. Elsewhere throughout the buffalo country there were numerous other posts, always situated as near as possible to the best hunting ground, and at the same time where they would be most accessible to the hunters, both white and Native American.

Which of these is the best antonym of the phrase “in earnest” underlined in the fourth paragraph?

The following passage is taken from Rilke's Letters to a Young Poet. In this excerpt, Rilke gives advice to a poet who is starting his writing career.

Read as little as possible of literary criticism. Such things are either partisan opinions, which have become petrified and meaningless, hardened and empty of life, or else they are clever word-games, in which one view wins, and tomorrow the opposite view. Works of art are of an infinite solitude, and no means of approach is so useless as criticism. Only love can touch and hold them and be fair to them. Always trust yourself and your own feeling, as opposed to argumentation, discussions, or introductions of that sort; if it turns out that you are wrong, then the natural growth of your inner life will eventually guide you to other insights. Allow your judgments their own silent, undisturbed development, which, like all progress, must come from deep within and cannot be forced or hastened. To let each impression and each embryo of a feeling come to completion, entirely in itself, in the dark, in the unsayable, the unconscious, beyond the reach of one's own understanding, and with deep humility and patience to wait for the hour when a new clarity is born: this alone is what it means to live as an artist: in understanding as in creating.

In this there is no measuring with time, a year doesn’t matter, and ten years are nothing. Being an artist means: not numbering and counting, but ripening like a tree, which doesn’t force its sap, and stands confidently in the storms of spring, not afraid that afterward summer may not come. It does come. But it comes only to those who are patient, who are there as if eternity lay before them, so unconcernedly silent and vast. I learn it every day of my life, learn it with pain I am grateful for: patience is everything.

Rilke's attitude in the letter to the young poet can best be described as one of __________.

"The Sociology of Deviance" by Joseph Ritchie (2014)

Sociologically, deviance is defined as behaviors or actions that violate informal or formal social sanctions. A formal social sanction is one set by a proper authority, such as a state or federal legislature. Formal laws and sanctions are often enforced and propagated by an official body or organization, such as police departments and court houses. Informal sanctions are known as "folkways" and "mores." Informal sanctions are not proposed as law and are enforced by informal means such as exclusion, avoidance, or negative sentiments. Deviance and the enforcement of social norms, both formal and informal, play important roles in the construction of society and its values.

Sociologist Emile Durkheim hypothesized that deviance is an important and necessary part of the organization of society. He stated that deviance performs the following functions: it affirms cultural norms, defines moral boundaries, strengthens society’s bonds through its enforcement, and advances social revolution. This is considered to be a structural-functionalist theory because it outlines deviance’s function in the structure and construction of society.

Robert Merton outlined deviance as the product of the interactions between an individual’s cultural goals and the means to obtain these goals as produced by society or institutions. Cultural goals can be described as financial success, acquisition of academic degrees, or the pursuit of "the American Dream." Institutionalized means are best described as society’s proposed paths to achieve cultural goals. Merton hypothesized that the acceptance or rejection of cultural goals and institutionalized means of achievement defined an individual’s level of deviance. Conformists accept cultural norms and institutionalized means while retreatists reject both norms and means. An innovator will accept cultural goals but reject the institutionalized means to obtain them. A ritualist will embrace the rules set forth by society but will lose sight of and reject cultural norms. Lastly, rebellious individuals will create a counter-culture that not only rejects a society's goals and means, but also creates new cultural norms and means to achieve these goals.

Deviance plays a role in society that has been studied by various sociologists. Some feel that it is a necessary element utilized in the structure and function of society, while others feel that it defines an individual’s outlook on societal norms and means of achievement. Deviance can be described as behavior that goes against the grain of conduct deemed acceptable by society. The phenomena that exist in its composition and purpose will continue to be studied by researchers in an effort to better understand society and culture.

According to Merton, which of the following are examples of cultural goals?

Adapted from "The Writing of Essays" in Certain Personal Matters by H.G. Wells (1901)

The art of the essayist is so simple, so entirely free from canons of criticism, and withal so delightful, that one must needs wonder why all men are not essayists. Perhaps people do not know how easy it is. Or perhaps beginners are misled. Rightly taught it may be learnt in a brief ten minutes or so, what art there is in it. And all the rest is as easy as wandering among woodlands on a bright morning in the spring.

Then sit you down if you would join us, taking paper, pens, and ink; and mark this, your pen is a matter of vital moment. For every pen writes its own sort of essay, and pencils also after their kind. The ink perhaps may have its influence too, and the paper; but paramount is the pen. This, indeed, is the fundamental secret of essay-writing. Wed any man to his proper pen, and the delights of composition and the birth of an essay are assured. Only many of us wander through the earth and never meet with her—futile and lonely men.

And, of all pens, your quill for essays that are literature. There is a subtle informality, a delightful easiness, perhaps even a faint immorality essentially literary, about the quill. The quill is rich in suggestion and quotation. There are quills that would quote you Montaigne and Horace in the hands of a trades-union delegate. And those quirky, idle noises this pen makes are delightful, and would break your easy fluency with wit. All the classical essayists wrote with a quill, and Addison used the most expensive kind the Government purchased. And the beginning of the inferior essay was the dawn of the cheap steel pen.

Wells suggests that the choice of writing instrument is important because __________.

The following passage is adapted from “The Yellow Wallpaper” by Charlotte Perkins Gilman, published 1892.

It is very seldom that mere ordinary people like John and myself secure ancestral halls for the summer.

A colonial mansion, a hereditary estate, I would say a haunted house, and reach the height of romantic felicity—but that would be asking too much of fate!

Still I will proudly declare that there is something queer about it.

Else, why should it be let so cheaply? And why have stood so long untenanted?

John laughs at me, of course, but one expects that in marriage.

John is practical in the extreme. He has no patience with faith, an intense horror of superstition, and he scoffs openly at any talk of things not to be felt and seen and put down in figures.

John is a physician, and PERHAPS—(I would not say it to a living soul, of course, but this is dead paper and a great relief to my mind)—PERHAPS that is one reason I do not get well faster.

You see he does not believe I am sick!

And what can one do?

If a physician of high standing, and one's own husband, assures friends and relatives that there is really nothing the matter with one but temporary nervous depression—a slight hysterical tendency—what is one to do?

My brother is also a physician, and also of high standing, and he says the same thing.

So I take phosphates or phosphites—whichever it is, and tonics, and journeys, and air, and exercise, and am absolutely forbidden to "work" until I am well again.

Personally, I disagree with their ideas.

Personally, I believe that congenial work, with excitement and change, would do me good.

But what is one to do?

I did write for a while in spite of them; but it DOES exhaust me a good deal—having to be so sly about it, or else meet with heavy opposition.

I sometimes fancy that in my condition if I had less opposition and more society and stimulus—but John says the very worst thing I can do is to think about my condition, and I confess it always makes me feel bad.

What is the narrator’s profession?

"The Cell Cycle" by Joseph Ritchie (2014)

The process by which cells divide and multiply is known as the cell cycle. This cycle consists of two main phases: interphase and mitosis. Each phase consists of a series of clearly defined and observable steps. At the conclusion of the cycle, each parent cell produces two genetically identical daughter cells that may also replicate by proceeding through the cell cycle.

Roughly ninety percent of the cell cycle is spent in interphase. Interphase is comprised of three main steps: the first gap phase, the synthesis phase (also called "S phase"), and the second gap phase. The initial gap phase is a period of cellular preparation in which the cell increases in size and readies itself for DNA synthesis. In the synthesis phase, or S phase, DNA replication occurs, so that when the cell divides, each daughter cell will have the DNA necessary to function properly. In the second gap phase, the cell grows in size and prepares for cellular division in the mitotic phase. At the end of each gap phase, the cell has to pass a regulatory checkpoint to ensure that nothing is going wrong. If anything has gone wrong, the checkpoints stop the cell from proceeding through the cell cycle any further.

The next part of the cell cycle is mitosis. Mitosis is a form of cell division and is broken down into five distinct phases. During prophase, the genetic material contained in the cell’s chromatin condenses into distinct chromosomes. Prometaphase is marked by the breakdown of the cell’s nuclear envelope and the formation of centrosomes at the poles of the cell. During metaphase, the cell’s chromosomes are moved to the center of the cell. A checkpoint ensures that the chromosomes are properly aligned on the center and halts the cell cycle if any errors have occurred. In anaphase, chromosomes break apart at their center, or centromere, and sister chromatids move to opposite ends of the cell. Lastly, telophase and cytokinesis occur as nuclear membranes form to physically divide the cell into two new daughter cells. Chromosomes also unwind into loose chromatin during this part of mitosis. Cytokinesis is defined as the division of the each cell’s cytoplasm and organelles. At the conclusion of the cell cycle, two genetically identical daughter cells have formed.

The cell cycle operates by a series of checkpoints and external cues. This system of checks enables the cell to enter a state of dormancy known as the gap zero phase when conditions or other factors inhibit the cell cycle. Conversely, unregulated and uncontrolled cellular division can occur under certain circumstances. A cell in a state of uncontrolled division is known to be cancerous. Lastly, cells have the ability to mediate their own death by way of apoptosis if certain genetic or physical abnormalities exist. The cell cycle is a complex process that enables cells to replicate and proliferate under a stringent set of checks and balances that produce healthy and viable daughter cells that are each able to perform the process in the future.

Which of the following lists the steps of mitosis in the order in which they occur?

"The Cell Cycle" by Joseph Ritchie (2014)

The process by which cells divide and multiply is known as the cell cycle. This cycle consists of two main phases: interphase and mitosis. Each phase consists of a series of clearly defined and observable steps. At the conclusion of the cycle, each parent cell produces two genetically identical daughter cells that may also replicate by proceeding through the cell cycle.

Roughly ninety percent of the cell cycle is spent in interphase. Interphase is comprised of three main steps: the first gap phase, the synthesis phase (also called "S phase"), and the second gap phase. The initial gap phase is a period of cellular preparation in which the cell increases in size and readies itself for DNA synthesis. In the synthesis phase, or S phase, DNA replication occurs, so that when the cell divides, each daughter cell will have the DNA necessary to function properly. In the second gap phase, the cell grows in size and prepares for cellular division in the mitotic phase. At the end of each gap phase, the cell has to pass a regulatory checkpoint to ensure that nothing is going wrong. If anything has gone wrong, the checkpoints stop the cell from proceeding through the cell cycle any further.

The next part of the cell cycle is mitosis. Mitosis is a form of cell division and is broken down into five distinct phases. During prophase, the genetic material contained in the cell’s chromatin condenses into distinct chromosomes. Prometaphase is marked by the breakdown of the cell’s nuclear envelope and the formation of centrosomes at the poles of the cell. During metaphase, the cell’s chromosomes are moved to the center of the cell. A checkpoint ensures that the chromosomes are properly aligned on the center and halts the cell cycle if any errors have occurred. In anaphase, chromosomes break apart at their center, or centromere, and sister chromatids move to opposite ends of the cell. Lastly, telophase and cytokinesis occur as nuclear membranes form to physically divide the cell into two new daughter cells. Chromosomes also unwind into loose chromatin during this part of mitosis. Cytokinesis is defined as the division of the each cell’s cytoplasm and organelles. At the conclusion of the cell cycle, two genetically identical daughter cells have formed.

The cell cycle operates by a series of checkpoints and external cues. This system of checks enables the cell to enter a state of dormancy known as the gap zero phase when conditions or other factors inhibit the cell cycle. Conversely, unregulated and uncontrolled cellular division can occur under certain circumstances. A cell in a state of uncontrolled division is known to be cancerous. Lastly, cells have the ability to mediate their own death by way of apoptosis if certain genetic or physical abnormalities exist. The cell cycle is a complex process that enables cells to replicate and proliferate under a stringent set of checks and balances that produce healthy and viable daughter cells that are each able to perform the process in the future.

Where does DNA synthesis and replication occur in the cell cycle?

Adapted from Middlemarch: A Study of Provincial Life by George Eliot (1874)

Dorothea trembled while she read this letter; then she fell on her knees, buried her face, and sobbed. She could not pray; under the rush of solemn emotion in which thoughts became vague and images floated uncertainly, she could but cast herself, with a childlike sense of reclining, in the lap of a divine consciousness which sustained her own. She remained in that attitude till it was time to dress for dinner.

How could it occur to her to examine the letter, to look at it critically as a profession of love? Her whole soul was possessed by the fact that a fuller life was opening before her: she was a neophyte about to enter on a higher grade of initiation. She was going to have room for the energies which stirred uneasily under the dimness and pressure of her own ignorance and the petty peremptoriness of the world’s habits.

Now she would be able to devote herself to large yet definite duties; now she would be allowed to live continually in the light of a mind that she could reverence. This hope was not unmixed with the glow of proud delight—the joyous maiden surprise that she was chosen by the man whom her admiration had chosen. All Dorothea’s passion was transfused through a mind struggling towards an ideal life; the radiance of her transfigured girlhood fell on the first object that came within its level. The impetus with which inclination became resolution was heightened by those little events of the day which had roused her discontent with the actual conditions of her life.

Given the context of the entire passage, the “initiation” that Dorothea will undergo signifies __________.

Excerpted from The Picture of Dorian Gray by Oscar Wilde (1890)

Hallward got up from the seat and walked up and down the garden. After some time he came back. "Harry," he said, "Dorian Gray is to me simply a motive in art. You might see nothing in him. I see everything in him. He is never more present in my work than when no image of him is there. He is a suggestion, as I have said, of a new manner. I find him in the curves of certain lines, in the loveliness and subtleties of certain colours. That is all."

"Then why won't you exhibit his portrait?" asked Lord Henry.

"Because, without intending it, I have put into it some expression of all this curious artistic idolatry, of which, of course, I have never cared to speak to him. He knows nothing about it. He shall never know anything about it. But the world might guess it, and I will not bare my soul to their shallow prying eyes. My heart shall never be put under their microscope. There is too much of myself in the thing, Harry—too much of myself!"

"Poets are not so scrupulous as you are. They know how useful passion is for publication. Nowadays a broken heart will run to many editions."

"I hate them for it," cried Hallward. "An artist should create beautiful things, but should put nothing of his own life into them. We live in an age when men treat art as if it were meant to be a form of autobiography. We have lost the abstract sense of beauty. Some day I will show the world what it is; and for that reason the world shall never see my portrait of Dorian Gray."

"I think you are wrong, Basil, but I won't argue with you. It is only the intellectually lost who ever argue. Tell me, is Dorian Gray very fond of you?"

The painter considered for a few moments. "He likes me," he answered after a pause; "I know he likes me. Of course I flatter him dreadfully. I find a strange pleasure in saying things to him that I know I shall be sorry for having said. As a rule, he is charming to me, and we sit in the studio and talk of a thousand things. Now and then, however, he is horribly thoughtless, and seems to take a real delight in giving me pain. Then I feel, Harry, that I have given away my whole soul to some one who treats it as if it were a flower to put in his coat, a bit of decoration to charm his vanity, an ornament for a summer's day."

The following phrase is an example of which narrative technique: “I have given away my whole soul to some one who treats it as if it were a flower to put in his coat.”

Excerpted from The Picture of Dorian Gray by Oscar Wilde (1890)

Hallward got up from the seat and walked up and down the garden. After some time he came back. "Harry," he said, "Dorian Gray is to me simply a motive in art. You might see nothing in him. I see everything in him. He is never more present in my work than when no image of him is there. He is a suggestion, as I have said, of a new manner. I find him in the curves of certain lines, in the loveliness and subtleties of certain colours. That is all."

"Then why won't you exhibit his portrait?" asked Lord Henry.

"Because, without intending it, I have put into it some expression of all this curious artistic idolatry, of which, of course, I have never cared to speak to him. He knows nothing about it. He shall never know anything about it. But the world might guess it, and I will not bare my soul to their shallow prying eyes. My heart shall never be put under their microscope. There is too much of myself in the thing, Harry—too much of myself!"

"Poets are not so scrupulous as you are. They know how useful passion is for publication. Nowadays a broken heart will run to many editions."

"I hate them for it," cried Hallward. "An artist should create beautiful things, but should put nothing of his own life into them. We live in an age when men treat art as if it were meant to be a form of autobiography. We have lost the abstract sense of beauty. Some day I will show the world what it is; and for that reason the world shall never see my portrait of Dorian Gray."

"I think you are wrong, Basil, but I won't argue with you. It is only the intellectually lost who ever argue. Tell me, is Dorian Gray very fond of you?"

The painter considered for a few moments. "He likes me," he answered after a pause; "I know he likes me. Of course I flatter him dreadfully. I find a strange pleasure in saying things to him that I know I shall be sorry for having said. As a rule, he is charming to me, and we sit in the studio and talk of a thousand things. Now and then, however, he is horribly thoughtless, and seems to take a real delight in giving me pain. Then I feel, Harry, that I have given away my whole soul to some one who treats it as if it were a flower to put in his coat, a bit of decoration to charm his vanity, an ornament for a summer's day."

The painter is which character?

Excerpted from The Picture of Dorian Gray by Oscar Wilde (1890)

Hallward got up from the seat and walked up and down the garden. After some time he came back. "Harry," he said, "Dorian Gray is to me simply a motive in art. You might see nothing in him. I see everything in him. He is never more present in my work than when no image of him is there. He is a suggestion, as I have said, of a new manner. I find him in the curves of certain lines, in the loveliness and subtleties of certain colours. That is all."

"Then why won't you exhibit his portrait?" asked Lord Henry.

"Because, without intending it, I have put into it some expression of all this curious artistic idolatry, of which, of course, I have never cared to speak to him. He knows nothing about it. He shall never know anything about it. But the world might guess it, and I will not bare my soul to their shallow prying eyes. My heart shall never be put under their microscope. There is too much of myself in the thing, Harry—too much of myself!"

"Poets are not so scrupulous as you are. They know how useful passion is for publication. Nowadays a broken heart will run to many editions."

"I hate them for it," cried Hallward. "An artist should create beautiful things, but should put nothing of his own life into them. We live in an age when men treat art as if it were meant to be a form of autobiography. We have lost the abstract sense of beauty. Some day I will show the world what it is; and for that reason the world shall never see my portrait of Dorian Gray."

"I think you are wrong, Basil, but I won't argue with you. It is only the intellectually lost who ever argue. Tell me, is Dorian Gray very fond of you?"

The painter considered for a few moments. "He likes me," he answered after a pause; "I know he likes me. Of course I flatter him dreadfully. I find a strange pleasure in saying things to him that I know I shall be sorry for having said. As a rule, he is charming to me, and we sit in the studio and talk of a thousand things. Now and then, however, he is horribly thoughtless, and seems to take a real delight in giving me pain. Then I feel, Harry, that I have given away my whole soul to some one who treats it as if it were a flower to put in his coat, a bit of decoration to charm his vanity, an ornament for a summer's day."

Does Lord Henry want Hallward to exhibit his painting?

Adapted from "A Scandal in Bohemia" in Adventures of Sherlock Holmes by Sir Arthur Conan Doyle (1892 ed.)

To Sherlock Holmes she is always the woman. I have seldom heard him mention her under any other name. In his eyes she eclipses and predominates the whole of her sex. It was not that he felt any emotion akin to love for Irene Adler. All emotions, and that one particularly, were abhorrent to his cold, precise, but admirably balanced mind. He was, I take it, the most perfect reasoning and observing machine that the world has seen, but as a lover he would have placed himself in a false position. He never spoke of the softer passions, save with a gibe and a sneer. They were admirable things for the observer—excellent for drawing the veil from men’s motives and actions. But for the trained reasoner to admit such intrusions into his own delicate and finely adjusted temperament was to introduce a distracting factor which might throw a doubt upon all his mental results. Grit in a sensitive instrument, or a crack in one of his own high-power lenses, would not be more disturbing than a strong emotion in a nature such as his. And yet there was but one woman to him, and that woman was the late Irene Adler, of dubious and questionable memory.

I had seen little of Holmes lately. My marriage had drifted us away from each other. My own complete happiness, and the home-centred interests which rise up around the man who first finds himself master of his own establishment, were sufficient to absorb all my attention, while Holmes, who loathed every form of society with his whole Bohemian soul, remained in our lodgings in Baker Street, buried among his old books, and alternating from week to week between drugs and ambition, the drowsiness of drugs, and the fierce energy of his own keen nature. He was still, as ever, deeply attracted by the study of crime, and occupied his immense faculties and extraordinary powers of observation in following out those clues, and clearing up those mysteries which had been abandoned as hopeless by the official police. From time to time I heard some vague account of his doings: of his summons to Odessa in the case of the Trepoff murder, of his clearing up of the singular tragedy of the Atkinson brothers at Trincomalee, and finally of the mission which he had accomplished so delicately and successfully for the reigning family of Holland. Beyond these signs of his activity, however, which I merely shared with all the readers of the daily press, I knew little of my former friend and companion.

One night—it was on the twentieth of March, 1888—I was returning from a journey to a patient (for I had now returned to civil practice), when my way led me through Baker Street. As I passed the well-remembered door, which must always be associated in my mind with my wooing, and with the dark incidents of the mystery that was solved there, I was seized with a keen desire to see Holmes again, and to know how he was employing his extraordinary powers. His rooms were brilliantly lit, and, even as I looked up, I saw his tall, spare figure pass twice in a dark silhouette against the blind. He was pacing the room swiftly, eagerly, with his head sunk upon his chest and his hands clasped behind him. To me, who knew his every mood and habit, his attitude and manner told their own story. He was at work again. He had risen out of his drug-created dreams and was hot upon the scent of some new problem. I rang the bell and was shown up to the chamber which had formerly been in part my own.

His manner was not effusive. It seldom was; but he was glad, I think, to see me. With hardly a word spoken, but with a kindly eye, he waved me to an armchair, threw across his case of cigars. Then he stood before the fire and looked me over in his singular introspective fashion.

We can infer that the narrator's profession is most likely that of a __________.

Adapted from The Destructive Male (1868) by Elizabeth Cady Stanton and Susan B. Anthony

The male element is a destructive force, stern, selfish, aggrandizing, loving war, violence, conquest, acquisition, breeding in the material and moral world alike discord, disorder, disease, and death. See what a record of blood and cruelty the pages of history reveal! Through what slavery, slaughter, and sacrifice, through what inquisitions and imprisonments, pains and persecutions, black codes and gloomy creeds, the soul of humanity has struggled for the centuries, while mercy has veiled her face and all hearts have been dead alike to love and hope!

The male element has held high carnival thus far; it has fairly run riot from the beginning, overpowering the feminine element everywhere, crushing out all the diviner qualities in human nature, until we know but little of true manhood and womanhood, of the latter comparatively nothing, for it has scarce been recognized as a power until within the last century. Society is but the reflection of man himself, not tempered by woman's thought; the hard iron rule we feel alike in the church, the state, and the home. No one need wonder at the disorganization, at the fragmentary condition of everything, when we remember that man, who represents but half a complete being, with but half an idea on every subject, has undertaken the absolute control of all sublunary matters.

People object to the demands of those whom they choose to call the strong-minded, because they say "the right of suffrage will make the women masculine." That is just the difficulty in which we are involved today. Though disfranchised, we have few women in the best sense; we have simply so many reflections, varieties, and dilutions of the masculine gender. The strong, natural characteristics of womanhood are repressed and ignored in dependence, for so long as man feeds woman she will try to please the giver and adapt herself to his condition.

The word “scarce” most nearly means __________.

"Goffman's Theory of Institutions" by Joseph Ritchie (2014)

Sociological inquiry often investigates members of society considered to be on its outer edges. These individuals often live in precarious and vulnerable situations. Traditionally, sociologists have studied these groups to gain insight into the lives of people who are forgotten victims of the blind eye of society. In 1961, Erving Goffman published the book Asylums: Essays on the Social Situation of Mental Patients and Other Inmates. This book outlined the theory of a total institution as seen in prisons and asylums. Goffman’s interests and theory helped to reveal the inner mechanics of asylums and the process of institutionalization that takes place within a total institution.

According to Goffman’s observations and subsequent theories, a total institution seeks to erode the relationships of an individual with the outside world and consume their personal identities and daily activities. The end goal of a total institution is to break down and deconstruct the barriers that separate the spheres of sleep, play, and work in an individual’s life by conducting all of these aspects of life in the same location under the same authority. In these institutions, Goffman stated that there is an intentional divide between a large, managed group and a supervisor, which often results in feelings of submissiveness and reluctance to leave the institutionalized setting on the part of the “inmates.” This suggests that these restrictive environments lead to the institutionalization of an individual into the group and away from his or her previous, independent life. In these structures, an individual’s admission procedures shape and engineer the new member in what may be described as a process of programming. This programming of an individual is characterized by a “leaving off” of one’s identity and a “taking on” of one supplied by the establishment. Members of these establishments are alienated from their previous lives and encircled by the ideals and principals of the new institution. A prolonged exposure to similar institutions results in a phenomenon known as "disculturation," which is an un-training that renders an individual temporarily incapable of managing certain features of daily life outside the structures of the institutions.

Sociologists often study groups forgotten or ignored by society. Goffman’s work illuminated issues with vulnerable populations at asylums and other institutions. Ethnographic field studies have continued this tradition and in doing so have theorized the causes of many of society’s ills. Goffman’s work is just one example of sociology’s ability to delve into an understudied region of society, propose explanations of issues, and theorize possible avenues of reform.

"Programming" is best described as which of the following choices?

"The Sociology of Deviance" by Joseph Ritchie (2014)

Sociologically, deviance is defined as behaviors or actions that violate informal or formal social sanctions. A formal social sanction is one set by a proper authority, such as a state or federal legislature. Formal laws and sanctions are often enforced and propagated by an official body or organization, such as police departments and court houses. Informal sanctions are known as "folkways" and "mores." Informal sanctions are not proposed as law and are enforced by informal means such as exclusion, avoidance, or negative sentiments. Deviance and the enforcement of social norms, both formal and informal, play important roles in the construction of society and its values.

Sociologist Emile Durkheim hypothesized that deviance is an important and necessary part of the organization of society. He stated that deviance performs the following functions: it affirms cultural norms, defines moral boundaries, strengthens society’s bonds through its enforcement, and advances social revolution. This is considered to be a structural-functionalist theory because it outlines deviance’s function in the structure and construction of society.

Robert Merton outlined deviance as the product of the interactions between an individual’s cultural goals and the means to obtain these goals as produced by society or institutions. Cultural goals can be described as financial success, acquisition of academic degrees, or the pursuit of "the American Dream." Institutionalized means are best described as society’s proposed paths to achieve cultural goals. Merton hypothesized that the acceptance or rejection of cultural goals and institutionalized means of achievement defined an individual’s level of deviance. Conformists accept cultural norms and institutionalized means while retreatists reject both norms and means. An innovator will accept cultural goals but reject the institutionalized means to obtain them. A ritualist will embrace the rules set forth by society but will lose sight of and reject cultural norms. Lastly, rebellious individuals will create a counter-culture that not only rejects a society's goals and means, but also creates new cultural norms and means to achieve these goals.

Deviance plays a role in society that has been studied by various sociologists. Some feel that it is a necessary element utilized in the structure and function of society, while others feel that it defines an individual’s outlook on societal norms and means of achievement. Deviance can be described as behavior that goes against the grain of conduct deemed acceptable by society. The phenomena that exist in its composition and purpose will continue to be studied by researchers in an effort to better understand society and culture.

"Folkways"and "mores" are best described as which of the following terms?

Adapted from “Genius and Individuality” by John Stuart Mill (1859)

It will not be denied by anybody that originality is a valuable element in human affairs. There is always need of persons not only to discover new truths, and point out when what were once truths are true no longer, but also to commence new practices, and set the example of more enlightened conduct, and better taste and sense in human life. This cannot well be said by anybody who does not believe that the world has already attained perfection in all its ways and practices. It is true that this benefit is not capable of being rendered by everybody alike; there are but few persons, in comparison with the whole of mankind, whose experiments, if adopted by others, would be likely to be any improvement on established practice. But these few are the salt of the earth; without them, human life would become a stagnant pool. Not only is it they who introduce good things which did not before exist, it is they who keep the life in those which already existed. If there were nothing new to be done, would human intellect cease to be necessary? Would it cause people to forget how best to go about their business, and instead to do things like cattle, not like human beings? There is a tendency in the best beliefs and practices to degenerate into the mechanical. Persons of genius are a small minority, but in order to have them, it is necessary to preserve the soil in which they grow. Genius can only breathe freely in an atmosphere of freedom.

I insist thus emphatically on the importance of genius, and the necessity of allowing it to unfold itself freely both in thought and in practice, being well aware that no one will deny the position in theory, but knowing also that almost everyone, in reality, is totally indifferent to it. People think genius a fine thing if it enables a man to write an exciting poem, or paint a picture. But in its true sense, that of originality in thought and action, though no one says that it is not a thing to be admired, nearly all, at heart, think they can do very well without it. Unhappily this is too natural to be wondered at. Originality is the one thing which unoriginal minds cannot feel the use of. They cannot see what it is to do for them: how should they? If they could see what it would do for them, it would not be originality. The first service which originality has to render them is the opening of their eyes; once this is done, they would have a chance of being themselves original.

The underlined word “commence” in the first paragraph most nearly means __________.

Adapted from “Genius and Individuality” by John Stuart Mill (1859)

It will not be denied by anybody that originality is a valuable element in human affairs. There is always need of persons not only to discover new truths, and point out when what were once truths are true no longer, but also to commence new practices, and set the example of more enlightened conduct, and better taste and sense in human life. This cannot well be said by anybody who does not believe that the world has already attained perfection in all its ways and practices. It is true that this benefit is not capable of being rendered by everybody alike; there are but few persons, in comparison with the whole of mankind, whose experiments, if adopted by others, would be likely to be any improvement on established practice. But these few are the salt of the earth; without them, human life would become a stagnant pool. Not only is it they who introduce good things which did not before exist, it is they who keep the life in those which already existed. If there were nothing new to be done, would human intellect cease to be necessary? Would it cause people to forget how best to go about their business, and instead to do things like cattle, not like human beings? There is a tendency in the best beliefs and practices to degenerate into the mechanical. Persons of genius are a small minority, but in order to have them, it is necessary to preserve the soil in which they grow. Genius can only breathe freely in an atmosphere of freedom.

I insist thus emphatically on the importance of genius, and the necessity of allowing it to unfold itself freely both in thought and in practice, being well aware that no one will deny the position in theory, but knowing also that almost everyone, in reality, is totally indifferent to it. People think genius a fine thing if it enables a man to write an exciting poem, or paint a picture. But in its true sense, that of originality in thought and action, though no one says that it is not a thing to be admired, nearly all, at heart, think they can do very well without it. Unhappily this is too natural to be wondered at. Originality is the one thing which unoriginal minds cannot feel the use of. They cannot see what it is to do for them: how should they? If they could see what it would do for them, it would not be originality. The first service which originality has to render them is the opening of their eyes; once this is done, they would have a chance of being themselves original.

In context at the end of the first paragraph, what does the underlined word “atmosphere” mean?

Adapted from “Poe on Headley and Channing" in Vol. XVI, no. 10 of the Southern Literary Messenger by Edgar Allan Poe (October 1850)

To be serious, then; as we always wish to be if possible. Mr. Channing (whom we suppose to be a very young man, since we are precluded from supposing him a very old one,) appears to have been inoculated, at the same moment, with virus from Tennyson and from Carlyle. And here we do not wish to be misunderstood. For Tennyson, as for a man imbued with the richest and rarest poetic impulses, we have an admiration—a reverence unbounded. His “Morte D’Arthur,” his “Locksley Hall,” his “Sleeping Beauty,” his “Lady of Shalott,” his “Lotos Eaters,” his “Ænone,” and many other poems, are not surpassed, in all that gives to Poetry its distinctive value, by the compositions of any one living or dead. And his leading error—that error which renders him unpopular—a point, to be sure, of no particular importance—that very error, we say, is founded in truth—in a keen perception of the elements of poetic beauty. We allude to his quaintness—to what the world chooses to term his affectation. No true poet—no critic whose approbation is worth even a copy of the volume we now hold in our hand—will deny that he feels impressed, sometimes even to tears, by many of those very affectations which he is impelled by the prejudice of his education, or by the cant of his reason, to condemn. He should thus be led to examine the extent of the one, and to be wary of the deductions of the other. In fact, the profound intuition of Lord Bacon has supplied, in one of his immortal apothegms, the whole philosophy of the point at issue. “There is no exquisite beauty,” he truly says, “without some strangeness in its proportions.” We maintain, then, that Tennyson errs, not in his occasional quaintness, but in its continual and obtrusive excess. And, in accusing Mr. Channing of having been inoculated with virus from Tennyson, we merely mean to say that he has adopted and exaggerated that noble poet’s characteristic defect, having mistaken it for his principal merit.

Mr. Tennyson is quaint only; he is never, as some have supposed him, obscure—except, indeed, to the uneducated, whom he does not address. Mr. Carlyle, on the other hand, is obscure only; he is seldom, as some have imagined him, quaint. So far he is right; for although quaintness, employed by a man of judgment and genius, may be made auxiliary to a poem, whose true thesis is beauty, and beauty alone, it is grossly, and even ridiculously, out of place in a work of prose. But in his obscurity it is scarcely necessary to say that he is wrong. Either a man intends to be understood, or he does not. If he write a book which he intends not to be understood, we shall be very happy indeed not to understand it; but if he write a book which he means to be understood, and, in this book, be at all possible pains to prevent us from understanding it, we can only say that he is an ass—and this, to be brief, is our private opinion of Mr. Carlyle, which we now take the liberty of making public.

From a general reading of this passage, we can conclude that Poe __________.