Humanities Passages - SAT Critical Reading
Card 0 of 4260
Adapted from Walden by Henry Thoreau (1854)
Still we live meanly, like ants; it is error upon error, and clout upon clout, and our best virtue has for its occasion a superfluous and evitable wretchedness. Our life is frittered away by detail. An honest man has hardly need to count more than his ten fingers, or in extreme cases he may add his ten toes, and lump the rest. Simplicity, simplicity, simplicity! I say, let your affairs be as two or three, and not a hundred or a thousand; instead of a million count half a dozen, and keep your accounts on your thumbnail. In the midst of this chopping sea of civilized life, such are the clouds and storms and quicksands and thousand-and-one items to be allowed for, that a man has to live, if he would not founder and go to the bottom and not make his port at all, by dead reckoning, and he must be a great calculator indeed who succeeds. Simplify, simplify. Instead of three meals a day, if it be necessary eat but one; instead of a hundred dishes, five; and reduce other things in proportion.
Our life is like a German Confederacy, made up of petty states, with its boundary forever fluctuating, so that even a German cannot tell you how it is bounded at any moment. The nation itself, with all its so-called internal improvements, which, by the way are all external and superficial, is just such an unwieldy and overgrown establishment, cluttered with furniture and tripped up by its own traps, ruined by luxury and heedless expense, by want of calculation and a worthy aim, as the million households in the land; and the only cure for it, as for them, is in a rigid economy, a stern and more than Spartan simplicity of life and elevation of purpose. It lives too fast. Men think that it is essential that the Nation have commerce, and export ice, and talk through a telegraph, and ride thirty miles an hour, without a doubt, whether they do or not, but whether we should live like baboons or like men is a little uncertain. If we do not get out sleepers, and forge rails, and devote days and nights to the work, but go to tinkering upon our lives to improve them, who will build railroads? And if railroads are not built, how shall we get to heaven in season? But if we stay at home and mind our business, who will want railroads? We do not ride on the railroad; it rides upon us. Did you ever think what those sleepers are that underlie the railroad? Each one is a man, an Irishman, or a Yankee man. The rails are laid on them, and they are covered with sand, and the cars run smoothly over them. They are sound sleepers, I assure you.
The underlined sentence functions as in context.
Adapted from Walden by Henry Thoreau (1854)
Still we live meanly, like ants; it is error upon error, and clout upon clout, and our best virtue has for its occasion a superfluous and evitable wretchedness. Our life is frittered away by detail. An honest man has hardly need to count more than his ten fingers, or in extreme cases he may add his ten toes, and lump the rest. Simplicity, simplicity, simplicity! I say, let your affairs be as two or three, and not a hundred or a thousand; instead of a million count half a dozen, and keep your accounts on your thumbnail. In the midst of this chopping sea of civilized life, such are the clouds and storms and quicksands and thousand-and-one items to be allowed for, that a man has to live, if he would not founder and go to the bottom and not make his port at all, by dead reckoning, and he must be a great calculator indeed who succeeds. Simplify, simplify. Instead of three meals a day, if it be necessary eat but one; instead of a hundred dishes, five; and reduce other things in proportion.
Our life is like a German Confederacy, made up of petty states, with its boundary forever fluctuating, so that even a German cannot tell you how it is bounded at any moment. The nation itself, with all its so-called internal improvements, which, by the way are all external and superficial, is just such an unwieldy and overgrown establishment, cluttered with furniture and tripped up by its own traps, ruined by luxury and heedless expense, by want of calculation and a worthy aim, as the million households in the land; and the only cure for it, as for them, is in a rigid economy, a stern and more than Spartan simplicity of life and elevation of purpose. It lives too fast. Men think that it is essential that the Nation have commerce, and export ice, and talk through a telegraph, and ride thirty miles an hour, without a doubt, whether they do or not, but whether we should live like baboons or like men is a little uncertain. If we do not get out sleepers, and forge rails, and devote days and nights to the work, but go to tinkering upon our lives to improve them, who will build railroads? And if railroads are not built, how shall we get to heaven in season? But if we stay at home and mind our business, who will want railroads? We do not ride on the railroad; it rides upon us. Did you ever think what those sleepers are that underlie the railroad? Each one is a man, an Irishman, or a Yankee man. The rails are laid on them, and they are covered with sand, and the cars run smoothly over them. They are sound sleepers, I assure you.
The underlined sentence functions as in context.
The underlined sentence is, “Instead of three meals a day, if it be necessary eat but one; instead of a hundred dishes, five; and reduce other things in proportion.” Its position as the last line of the first paragraph may make it seem like “a transition into the ideas discussed in the next paragraph,” but as the second paragraph begins on an entirely new point, this isn’t the best answer. It is related to the author’s discussion of simplicity, so we can’t say that it is “an authorial aside only loosely related to the passage’s main topic.” No critics are mentioned in the passage, so we can’t claim it to be “a counterpoint to a critic’s rebuttal.” While it is emphasizing the author’s point, it’s not using figurative language to do so, so “a use of figurative language to emphasize the author’s point” can’t be correct either. This leaves us with one answer choice, the correct one: the sentence is functioning as “a concrete example of how the reader can simplify.” This is especially visible in that it directly follows the author’s exhortation of “Simplify, simplify.”
The underlined sentence is, “Instead of three meals a day, if it be necessary eat but one; instead of a hundred dishes, five; and reduce other things in proportion.” Its position as the last line of the first paragraph may make it seem like “a transition into the ideas discussed in the next paragraph,” but as the second paragraph begins on an entirely new point, this isn’t the best answer. It is related to the author’s discussion of simplicity, so we can’t say that it is “an authorial aside only loosely related to the passage’s main topic.” No critics are mentioned in the passage, so we can’t claim it to be “a counterpoint to a critic’s rebuttal.” While it is emphasizing the author’s point, it’s not using figurative language to do so, so “a use of figurative language to emphasize the author’s point” can’t be correct either. This leaves us with one answer choice, the correct one: the sentence is functioning as “a concrete example of how the reader can simplify.” This is especially visible in that it directly follows the author’s exhortation of “Simplify, simplify.”
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Adapted from Cowboy Songs and Other Frontier Ballads by John A. Lomax (1910)
The big ranches of the West are now being cut up into small farms. The nester has come, and come to stay. Gone is the buffalo and the free grass of the open plain—even the stinging lizard, the horned frog, the centipede, the prairie dog, the rattlesnake, are fast disappearing. Save in some of the secluded valleys of southern New Mexico, the old-time round-up is no more; the trails to Kansas and to Montana have become grass-grown or lost in fields of waving grain; the maverick steer, the regal longhorn, has been supplanted by his unpoetic but more beefy and profitable Polled Angus, Durham, and Hereford cousins from across the seas. The changing and romantic West of the early days lives mainly in story and in song. The last figure to vanish is the cowboy, the animating spirit of the vanishing era. He sits his horse easily as he rides through a wide valley, enclosed by mountains, clad in the hazy purple of coming night,—with his face turned steadily down the long, long road, "the road that the sun goes down." Dauntless, reckless, without the unearthly purity of Sir Galahad though as gentle to a woman as King Arthur, he is truly a knight of the twentieth century. A vagrant puff of wind shakes a corner of the crimson handkerchief knotted loosely at his throat; the thud of his pony's feet mingling with the jingle of his spurs is borne back; and as the careless, gracious, lovable figure disappears over the divide, the breeze brings to the ears, faint and far yet cheery still, the refrain of a cowboy song.
Why does the author start the passage by listing disappearing species of the plains?
Adapted from Cowboy Songs and Other Frontier Ballads by John A. Lomax (1910)
The big ranches of the West are now being cut up into small farms. The nester has come, and come to stay. Gone is the buffalo and the free grass of the open plain—even the stinging lizard, the horned frog, the centipede, the prairie dog, the rattlesnake, are fast disappearing. Save in some of the secluded valleys of southern New Mexico, the old-time round-up is no more; the trails to Kansas and to Montana have become grass-grown or lost in fields of waving grain; the maverick steer, the regal longhorn, has been supplanted by his unpoetic but more beefy and profitable Polled Angus, Durham, and Hereford cousins from across the seas. The changing and romantic West of the early days lives mainly in story and in song. The last figure to vanish is the cowboy, the animating spirit of the vanishing era. He sits his horse easily as he rides through a wide valley, enclosed by mountains, clad in the hazy purple of coming night,—with his face turned steadily down the long, long road, "the road that the sun goes down." Dauntless, reckless, without the unearthly purity of Sir Galahad though as gentle to a woman as King Arthur, he is truly a knight of the twentieth century. A vagrant puff of wind shakes a corner of the crimson handkerchief knotted loosely at his throat; the thud of his pony's feet mingling with the jingle of his spurs is borne back; and as the careless, gracious, lovable figure disappears over the divide, the breeze brings to the ears, faint and far yet cheery still, the refrain of a cowboy song.
Why does the author start the passage by listing disappearing species of the plains?
The author starts the paragraph by describing how the entire western landscape, including the variety of animals that live there, is changing. He then shifts to talking about cowboys with this transition: “The last figure to vanish is the cowboy, the animating spirit of the vanishing era.” In this way, the author puts the cowboy into context by comparing him to other classic—and disappearing—figures of the American West.
The author starts the paragraph by describing how the entire western landscape, including the variety of animals that live there, is changing. He then shifts to talking about cowboys with this transition: “The last figure to vanish is the cowboy, the animating spirit of the vanishing era.” In this way, the author puts the cowboy into context by comparing him to other classic—and disappearing—figures of the American West.
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Adapted from Cowboy Songs and Other Frontier Ballads by John A. Lomax (1910)
The big ranches of the West are now being cut up into small farms. The nester has come, and come to stay. Gone is the buffalo and the free grass of the open plain—even the stinging lizard, the horned frog, the centipede, the prairie dog, the rattlesnake, are fast disappearing. Save in some of the secluded valleys of southern New Mexico, the old-time round-up is no more; the trails to Kansas and to Montana have become grass-grown or lost in fields of waving grain; the maverick steer, the regal longhorn, has been supplanted by his unpoetic but more beefy and profitable Polled Angus, Durham, and Hereford cousins from across the seas. The changing and romantic West of the early days lives mainly in story and in song. The last figure to vanish is the cowboy, the animating spirit of the vanishing era. He sits his horse easily as he rides through a wide valley, enclosed by mountains, clad in the hazy purple of coming night,—with his face turned steadily down the long, long road, "the road that the sun goes down." Dauntless, reckless, without the unearthly purity of Sir Galahad though as gentle to a woman as King Arthur, he is truly a knight of the twentieth century. A vagrant puff of wind shakes a corner of the crimson handkerchief knotted loosely at his throat; the thud of his pony's feet mingling with the jingle of his spurs is borne back; and as the careless, gracious, lovable figure disappears over the divide, the breeze brings to the ears, faint and far yet cheery still, the refrain of a cowboy song.
The next paragraph will most likely contain .
Adapted from Cowboy Songs and Other Frontier Ballads by John A. Lomax (1910)
The big ranches of the West are now being cut up into small farms. The nester has come, and come to stay. Gone is the buffalo and the free grass of the open plain—even the stinging lizard, the horned frog, the centipede, the prairie dog, the rattlesnake, are fast disappearing. Save in some of the secluded valleys of southern New Mexico, the old-time round-up is no more; the trails to Kansas and to Montana have become grass-grown or lost in fields of waving grain; the maverick steer, the regal longhorn, has been supplanted by his unpoetic but more beefy and profitable Polled Angus, Durham, and Hereford cousins from across the seas. The changing and romantic West of the early days lives mainly in story and in song. The last figure to vanish is the cowboy, the animating spirit of the vanishing era. He sits his horse easily as he rides through a wide valley, enclosed by mountains, clad in the hazy purple of coming night,—with his face turned steadily down the long, long road, "the road that the sun goes down." Dauntless, reckless, without the unearthly purity of Sir Galahad though as gentle to a woman as King Arthur, he is truly a knight of the twentieth century. A vagrant puff of wind shakes a corner of the crimson handkerchief knotted loosely at his throat; the thud of his pony's feet mingling with the jingle of his spurs is borne back; and as the careless, gracious, lovable figure disappears over the divide, the breeze brings to the ears, faint and far yet cheery still, the refrain of a cowboy song.
The next paragraph will most likely contain .
This paragraph is an introduction of the American cowboy, so it is unlikely that the next will be the same. More likely, the next paragraph will expound on what this one mentioned at the end: the cowboy song. Also, earlier in the paragraph the author mentions that “The changing and romantic West of the early days lives mainly in story and in song.” If he wants to tell us more about the West, it would make sense that he discuss the songs to do so.
This paragraph is an introduction of the American cowboy, so it is unlikely that the next will be the same. More likely, the next paragraph will expound on what this one mentioned at the end: the cowboy song. Also, earlier in the paragraph the author mentions that “The changing and romantic West of the early days lives mainly in story and in song.” If he wants to tell us more about the West, it would make sense that he discuss the songs to do so.
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"Not Just Brains Can Be Smart: Why You Should Educate Your Body Too" by Megan Simon (2013)
Several years ago, a communications professor of mine was discussing the unequal opportunities that are available to African American students in America. Many students, she said, were told by society that the only way they could succeed and go on to a higher education was if they excelled at athletics. Discouraged from the hope of excelling in an intellectual field, they resorted to “selling their bodies.”
This comment, although obviously well-meant and addressed towards an unacceptable situation of racial inequality, disturbed me in a way that I was not able to articulate at the time. Reflecting upon it, however, it becomes obvious why I find this type of attitude deeply concerning. I am a dancer. The primary instrument in my field is the human body. I use my body everyday to gain creative, academic, and professional success. Am I selling myself?
Let’s say that I am. But now think about other professions, like literature or mathematics. Novelists, what do they do? They sell their words. Mathematicians? They sell their reasoning. And this exchange is socially acceptable. We strive to sell our brains, to place them on the open market. When it comes to the body, on the other hand, things become dirty, cheap—comparable to prostitution.
Academia does the best that it can to separate the mind from the body, to keep pure intellectualism free from the superficiality of the physical body. So proud are we of our human ability to think and reflect that we value the abstract world of reason more than corporeal one around us. We think that by doing so we remove physical limitations and supersede physical prejudices. But limitations and prejudices exist just as much in the realm of the mind as that of the body.
How is dance affected by this fierce devotion to the mind/body dichotomy? It has been forced to fight its way into academic institutions, even more so than the other arts. Visual arts and music are clearly products of the creative mind, but dance is tainted by its association with the body. Before gaining academic legitimacy, it has had to prove that it can be notated, theorized, and philosophized.
While I recognize the great value in these more mind-based approaches to dance, it worries me that so few people recognize the existence of a physical intelligence. Dancers know that movement communicates in a way that is not possible to articulate with words and logic. They know that they can train their bodies to be aware and communicate more effectively, that they can discover new approaches to movement and physical being, and that they can create a bodily discourse. I believe that everyone realizes the power of this communication on some level, but it is so often relegated to the role of interesting afterthought—If you are bored by the actual content of the presidential debates, here’s how to analyze the candidates’ gestures! We have an attitude that if we can’t come up with a consensus of how to describe it in words, it must not be worth studying. And with this attitude, we exclude so much of the world from the ivory tower.
I understand what that communications professor was trying to say. No one should think that their mind is not worthy of higher education. No one should be excluded from that type of intellectual endeavor. But focusing on training the body, whether it be athletics or dance or even everyday, physical communication, should not be seen as a less desirable alternative. The mind and the body could not exist without one another. It is past time that we threw away this arbitrary separation and embraced the entire human experience.
The purpose of the third paragraph is .
"Not Just Brains Can Be Smart: Why You Should Educate Your Body Too" by Megan Simon (2013)
Several years ago, a communications professor of mine was discussing the unequal opportunities that are available to African American students in America. Many students, she said, were told by society that the only way they could succeed and go on to a higher education was if they excelled at athletics. Discouraged from the hope of excelling in an intellectual field, they resorted to “selling their bodies.”
This comment, although obviously well-meant and addressed towards an unacceptable situation of racial inequality, disturbed me in a way that I was not able to articulate at the time. Reflecting upon it, however, it becomes obvious why I find this type of attitude deeply concerning. I am a dancer. The primary instrument in my field is the human body. I use my body everyday to gain creative, academic, and professional success. Am I selling myself?
Let’s say that I am. But now think about other professions, like literature or mathematics. Novelists, what do they do? They sell their words. Mathematicians? They sell their reasoning. And this exchange is socially acceptable. We strive to sell our brains, to place them on the open market. When it comes to the body, on the other hand, things become dirty, cheap—comparable to prostitution.
Academia does the best that it can to separate the mind from the body, to keep pure intellectualism free from the superficiality of the physical body. So proud are we of our human ability to think and reflect that we value the abstract world of reason more than corporeal one around us. We think that by doing so we remove physical limitations and supersede physical prejudices. But limitations and prejudices exist just as much in the realm of the mind as that of the body.
How is dance affected by this fierce devotion to the mind/body dichotomy? It has been forced to fight its way into academic institutions, even more so than the other arts. Visual arts and music are clearly products of the creative mind, but dance is tainted by its association with the body. Before gaining academic legitimacy, it has had to prove that it can be notated, theorized, and philosophized.
While I recognize the great value in these more mind-based approaches to dance, it worries me that so few people recognize the existence of a physical intelligence. Dancers know that movement communicates in a way that is not possible to articulate with words and logic. They know that they can train their bodies to be aware and communicate more effectively, that they can discover new approaches to movement and physical being, and that they can create a bodily discourse. I believe that everyone realizes the power of this communication on some level, but it is so often relegated to the role of interesting afterthought—If you are bored by the actual content of the presidential debates, here’s how to analyze the candidates’ gestures! We have an attitude that if we can’t come up with a consensus of how to describe it in words, it must not be worth studying. And with this attitude, we exclude so much of the world from the ivory tower.
I understand what that communications professor was trying to say. No one should think that their mind is not worthy of higher education. No one should be excluded from that type of intellectual endeavor. But focusing on training the body, whether it be athletics or dance or even everyday, physical communication, should not be seen as a less desirable alternative. The mind and the body could not exist without one another. It is past time that we threw away this arbitrary separation and embraced the entire human experience.
The purpose of the third paragraph is .
This paragraph compares dancers with other professions and discusses social norms. The most specific answer, however, is that it compares the ideas of selling one’s body vs. brain. The comparison of professions is part of this wider purpose.
This paragraph compares dancers with other professions and discusses social norms. The most specific answer, however, is that it compares the ideas of selling one’s body vs. brain. The comparison of professions is part of this wider purpose.
Compare your answer with the correct one above
Adapted from “Advice to Youth” by Mark Twain (1882)
Being told I would be expected to talk here, I inquired what sort of talk I ought to make. They said it should be something suitable to youth--something didactic, instructive, or something in the nature of good advice. Very well. I have a few things in my mind which I have often longed to say for the instruction of the young; for it is in one’s tender early years that such things will best take root and be most enduring and most valuable. First, then I will say to you my young friends--and I say it beseechingly, urgently-- Always obey your parents, when they are present. This is the best policy in the long run, because if you don’t, they will make you. Most parents think they know better than you do, and you can generally make more by humoring that superstition than you can by acting on your own better judgment.
Be respectful to your superiors, if you have any, also to strangers, and sometimes to others. If a person offends you and you are in doubt as to whether it was intentional or not, do not resort to extreme measures; simply watch your chance and hit him with a brick. That will be sufficient. If you shall find that he had not intended any offense, come out frankly and confess yourself in the wrong when you struck him; acknowledge it like a man and say you didn’t mean to.
Go to bed early, get up early--this is wise. Some authorities say get up with the sun; some say get up with one thing, others with another. But a lark is really the best thing to get up with. It gives you a splendid reputation with everybody to know that you get up with the lark; and if you get the right kind of lark, and work at him right, you can easily train him to get up at half past nine, every time--it’s no trick at all.
Now as to the matter of lying. You want to be very careful about lying; otherwise you are nearly sure to get caught. Once caught, you can never again be in the eyes to the good and the pure, what you were before. Many a young person has injured himself permanently through a single clumsy and ill finished lie, the result of carelessness born of incomplete training. Some authorities hold that the young ought not to lie at all. That of course, is putting it rather stronger than necessary; still while I cannot go quite so far as that, I do maintain, and I believe I am right, that the young ought to be temperate in the use of this great art until practice and experience shall give them that confidence, elegance, and precision which alone can make the accomplishment graceful and profitable. Patience, diligence, painstaking attention to detail--these are requirements; these in time, will make the student perfect; upon these only, may he rely as the sure foundation for future eminence.
But I have said enough. I hope you will treasure up the instructions which I have given you, and make them a guide to your feet and a light to your understanding. Build your character thoughtfully and painstakingly upon these precepts, and by and by, when you have got it built, you will be surprised and gratified to see how nicely and sharply it resembles everybody else’s.
The third paragraph best captures the author’s .
Adapted from “Advice to Youth” by Mark Twain (1882)
Being told I would be expected to talk here, I inquired what sort of talk I ought to make. They said it should be something suitable to youth--something didactic, instructive, or something in the nature of good advice. Very well. I have a few things in my mind which I have often longed to say for the instruction of the young; for it is in one’s tender early years that such things will best take root and be most enduring and most valuable. First, then I will say to you my young friends--and I say it beseechingly, urgently-- Always obey your parents, when they are present. This is the best policy in the long run, because if you don’t, they will make you. Most parents think they know better than you do, and you can generally make more by humoring that superstition than you can by acting on your own better judgment.
Be respectful to your superiors, if you have any, also to strangers, and sometimes to others. If a person offends you and you are in doubt as to whether it was intentional or not, do not resort to extreme measures; simply watch your chance and hit him with a brick. That will be sufficient. If you shall find that he had not intended any offense, come out frankly and confess yourself in the wrong when you struck him; acknowledge it like a man and say you didn’t mean to.
Go to bed early, get up early--this is wise. Some authorities say get up with the sun; some say get up with one thing, others with another. But a lark is really the best thing to get up with. It gives you a splendid reputation with everybody to know that you get up with the lark; and if you get the right kind of lark, and work at him right, you can easily train him to get up at half past nine, every time--it’s no trick at all.
Now as to the matter of lying. You want to be very careful about lying; otherwise you are nearly sure to get caught. Once caught, you can never again be in the eyes to the good and the pure, what you were before. Many a young person has injured himself permanently through a single clumsy and ill finished lie, the result of carelessness born of incomplete training. Some authorities hold that the young ought not to lie at all. That of course, is putting it rather stronger than necessary; still while I cannot go quite so far as that, I do maintain, and I believe I am right, that the young ought to be temperate in the use of this great art until practice and experience shall give them that confidence, elegance, and precision which alone can make the accomplishment graceful and profitable. Patience, diligence, painstaking attention to detail--these are requirements; these in time, will make the student perfect; upon these only, may he rely as the sure foundation for future eminence.
But I have said enough. I hope you will treasure up the instructions which I have given you, and make them a guide to your feet and a light to your understanding. Build your character thoughtfully and painstakingly upon these precepts, and by and by, when you have got it built, you will be surprised and gratified to see how nicely and sharply it resembles everybody else’s.
The third paragraph best captures the author’s .
The third paragraph appears right in the middle of the passage and compared to the other paragraphs offers relatively little practical or serious advice. Because it offers comparably little it is unlikely that the third paragraph is being used to capture the author’s point of view. Although an animal is mentioned, the author makes no reference to his opinions on animals so that answer choice can be eliminated. Likewise, the author expresses neither his frustrations nor his misgivings. This leaves only the answer choice “emphasis on humor” which is the correct answer. The author uses the description of how to train a lark to wake up late in order that its trainer can sleep in late to humor the audience and solidify the comedic tone of the passage.
The third paragraph appears right in the middle of the passage and compared to the other paragraphs offers relatively little practical or serious advice. Because it offers comparably little it is unlikely that the third paragraph is being used to capture the author’s point of view. Although an animal is mentioned, the author makes no reference to his opinions on animals so that answer choice can be eliminated. Likewise, the author expresses neither his frustrations nor his misgivings. This leaves only the answer choice “emphasis on humor” which is the correct answer. The author uses the description of how to train a lark to wake up late in order that its trainer can sleep in late to humor the audience and solidify the comedic tone of the passage.
Compare your answer with the correct one above
Adapted from Strength and Decency by Theodore Roosevelt (1903)
There is always a tendency among very young men and among boys who are not quite young men as yet to think that to be wicked is rather smart; to think it shows that they are men. Oh, how often you see some young fellow who boasts that he is going to "see life," meaning by that that he is going to see that part of life which it is a thousand fold better should remain unseen!
I ask that every man here constitute himself his brother's keeper by setting an example to that younger brother which will prevent him from getting such a false estimate of life. Example is the most potent of all things. If any one of you in the presence of younger boys, and especially the younger people of our own family, misbehave yourself, if you use coarse and blasphemous language before them, you can be sure that these younger people will follow your example and not your precept. Remember that the preaching does not count if it is not backed up by practice. There is no good in your preaching to your boys to be brave if you run away. There is no good in your preaching to them to tell the truth if you do not. There is no good in your preaching to them to be unselfish if they see you selfish with your wife, disregardful of others. You must feel that the most effective way in which you can preach is by your practice.
In this passage the author emphasizes which aspect of “young men”?
Adapted from Strength and Decency by Theodore Roosevelt (1903)
There is always a tendency among very young men and among boys who are not quite young men as yet to think that to be wicked is rather smart; to think it shows that they are men. Oh, how often you see some young fellow who boasts that he is going to "see life," meaning by that that he is going to see that part of life which it is a thousand fold better should remain unseen!
I ask that every man here constitute himself his brother's keeper by setting an example to that younger brother which will prevent him from getting such a false estimate of life. Example is the most potent of all things. If any one of you in the presence of younger boys, and especially the younger people of our own family, misbehave yourself, if you use coarse and blasphemous language before them, you can be sure that these younger people will follow your example and not your precept. Remember that the preaching does not count if it is not backed up by practice. There is no good in your preaching to your boys to be brave if you run away. There is no good in your preaching to them to tell the truth if you do not. There is no good in your preaching to them to be unselfish if they see you selfish with your wife, disregardful of others. You must feel that the most effective way in which you can preach is by your practice.
In this passage the author emphasizes which aspect of “young men”?
In this passage the author emphasizes how susceptible young people are to the examples set by older people. The correct answer is therefore that this passage emphasizes the malleability of young people. To be malleable means to be impressionable or easily influenced by others. Apathy means not caring; discretion means judgment and prudence. The possible immorality of young people is mentioned in the first paragraph, but is not emphasized in the manner in which the malleable nature of young people is.
In this passage the author emphasizes how susceptible young people are to the examples set by older people. The correct answer is therefore that this passage emphasizes the malleability of young people. To be malleable means to be impressionable or easily influenced by others. Apathy means not caring; discretion means judgment and prudence. The possible immorality of young people is mentioned in the first paragraph, but is not emphasized in the manner in which the malleable nature of young people is.
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Adapted from "Swift" in Volume III of Lives of the Most Eminent English Poets by Samuel Johnson (1781)
In Swift's works, he has given very different specimens both of sentiment and expression. His Tale of a Tub has little resemblance to his other pieces. It exhibits a vehemence and rapidity of mind, a copiousness of images, and vivacity of diction, such as he afterwards never possessed, or never exerted. It is of a mode so distinct and peculiar, that it must be considered by itself; what is true of that, is not true of any thing else which he has written.
In his other works is found an equable tenor of easy language, which rather trickles than flows. His delight was in simplicity. That he has in his works no metaphor, as has been said, is not true; but his few metaphors seem to be received rather by necessity than choice. He studied purity; and though perhaps all his strictures are not exact, yet it is not often that solecisms can be found; and whoever depends on his authority may generally conclude himself safe. His sentences are never too much dilated or contracted; and it will not be easy to find any embarrassment in the complication of his clauses, any inconsequence in his connections, or abruptness in his transitions.
His style was well suited to his thoughts, which are never subtilized by nice disquisitions, decorated by sparkling conceits, elevated by ambitious sentences, or variegated by far-sought learning. He pays no court to the passions; he excites neither surprise nor admiration; he always understands himself, and his readers always understand him. The peruser of Swift wants little previous knowledge; it will be sufficient that he is acquainted with common words and common things; he is neither required to mount elevations nor to explore profundities; his passage is always on a level, along solid ground, without asperities, without obstruction.
Johnson praises Swift for all of the following in the second paragraph EXCEPT .
Adapted from "Swift" in Volume III of Lives of the Most Eminent English Poets by Samuel Johnson (1781)
In Swift's works, he has given very different specimens both of sentiment and expression. His Tale of a Tub has little resemblance to his other pieces. It exhibits a vehemence and rapidity of mind, a copiousness of images, and vivacity of diction, such as he afterwards never possessed, or never exerted. It is of a mode so distinct and peculiar, that it must be considered by itself; what is true of that, is not true of any thing else which he has written.
In his other works is found an equable tenor of easy language, which rather trickles than flows. His delight was in simplicity. That he has in his works no metaphor, as has been said, is not true; but his few metaphors seem to be received rather by necessity than choice. He studied purity; and though perhaps all his strictures are not exact, yet it is not often that solecisms can be found; and whoever depends on his authority may generally conclude himself safe. His sentences are never too much dilated or contracted; and it will not be easy to find any embarrassment in the complication of his clauses, any inconsequence in his connections, or abruptness in his transitions.
His style was well suited to his thoughts, which are never subtilized by nice disquisitions, decorated by sparkling conceits, elevated by ambitious sentences, or variegated by far-sought learning. He pays no court to the passions; he excites neither surprise nor admiration; he always understands himself, and his readers always understand him. The peruser of Swift wants little previous knowledge; it will be sufficient that he is acquainted with common words and common things; he is neither required to mount elevations nor to explore profundities; his passage is always on a level, along solid ground, without asperities, without obstruction.
Johnson praises Swift for all of the following in the second paragraph EXCEPT .
Johnson never mentions Swift's imagery in this paragraph, though he does mention the "copiousness of images" found in A Tale of a Tub in the first paragraph.
Johnson never mentions Swift's imagery in this paragraph, though he does mention the "copiousness of images" found in A Tale of a Tub in the first paragraph.
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Passage adapted from "Of One Defect in Our Government" in Essays of Michael, Seigneur de Montaigne in The Complete Works of Michael de Montaigne (1580, trans. C. Cotton, ed. W. Hazlitt 1842)
My late father, a man that had no other advantages than experience and his own natural parts, was nevertheless of a very clear judgment, formerly told me that he once had thoughts of endeavoring to introduce this practice; that there might be in every city a certain place assigned to which such as stood in need of anything might repair, and have their business entered by an officer appointed for that purpose. As for example: I want a chapman to buy my pearls; I want one that has pearls to sell; such a one wants company to go to Paris; such a one seeks a servant of such a quality; such a one a master; such a one such an artificer; some inquiring for one thing, some for another, every one according to what he wants. And doubtless, these mutual advertisements would be of no contemptible advantage to the public correspondence and intelligence: for there are evermore conditions that hunt after one another, and for want of knowing one another's occasions leave men in very great necessity.
I have heard, to the great shame of the age we live in, that in our very sight two most excellent men for learning died so poor that they had scarce bread to put in their mouths: Lilius Gregorius Giraldus in Italy and Sebastianus Castalio in Germany: and I believe there are a thousand men would have invited them into their families, with very advantageous conditions, or have relieved them where they were, had they known their wants. The world is not so generally corrupted, but that I know a man that would heartily wish the estate his ancestors have left him might be employed, so long as it shall please fortune to give him leave to enjoy it, to secure rare and remarkable persons of any kind, whom misfortune sometimes persecutes to the last degree, from the dangers of necessity; and at least place them in such a condition that they must be very hard to please, if they are not contented.
My father in his domestic economy had this rule (which I know how to commend, but by no means to imitate), namely, that besides the day-book or memorial of household affairs, where the small accounts, payments, and disbursements, which do not require a secretary's hand, were entered, and which a steward always had in custody, he ordered him whom he employed to write for him, to keep a journal, and in it to set down all the remarkable occurrences, and daily memorials of the history of his house: very pleasant to look over, when time begins to wear things out of memory, and very useful sometimes to put us out of doubt when such a thing was begun, when ended; what visitors came, and when they went; our travels, absences, marriages, and deaths; the reception of good or ill news; the change of principal servants, and the like. An ancient custom, which I think it would not be amiss for every one to revive in his own house; and I find I did very foolishly in neglecting it.
What function do Lilius Gregorius Giraldus and Sebastianus Castalio serve in the passage?
Passage adapted from "Of One Defect in Our Government" in Essays of Michael, Seigneur de Montaigne in The Complete Works of Michael de Montaigne (1580, trans. C. Cotton, ed. W. Hazlitt 1842)
My late father, a man that had no other advantages than experience and his own natural parts, was nevertheless of a very clear judgment, formerly told me that he once had thoughts of endeavoring to introduce this practice; that there might be in every city a certain place assigned to which such as stood in need of anything might repair, and have their business entered by an officer appointed for that purpose. As for example: I want a chapman to buy my pearls; I want one that has pearls to sell; such a one wants company to go to Paris; such a one seeks a servant of such a quality; such a one a master; such a one such an artificer; some inquiring for one thing, some for another, every one according to what he wants. And doubtless, these mutual advertisements would be of no contemptible advantage to the public correspondence and intelligence: for there are evermore conditions that hunt after one another, and for want of knowing one another's occasions leave men in very great necessity.
I have heard, to the great shame of the age we live in, that in our very sight two most excellent men for learning died so poor that they had scarce bread to put in their mouths: Lilius Gregorius Giraldus in Italy and Sebastianus Castalio in Germany: and I believe there are a thousand men would have invited them into their families, with very advantageous conditions, or have relieved them where they were, had they known their wants. The world is not so generally corrupted, but that I know a man that would heartily wish the estate his ancestors have left him might be employed, so long as it shall please fortune to give him leave to enjoy it, to secure rare and remarkable persons of any kind, whom misfortune sometimes persecutes to the last degree, from the dangers of necessity; and at least place them in such a condition that they must be very hard to please, if they are not contented.
My father in his domestic economy had this rule (which I know how to commend, but by no means to imitate), namely, that besides the day-book or memorial of household affairs, where the small accounts, payments, and disbursements, which do not require a secretary's hand, were entered, and which a steward always had in custody, he ordered him whom he employed to write for him, to keep a journal, and in it to set down all the remarkable occurrences, and daily memorials of the history of his house: very pleasant to look over, when time begins to wear things out of memory, and very useful sometimes to put us out of doubt when such a thing was begun, when ended; what visitors came, and when they went; our travels, absences, marriages, and deaths; the reception of good or ill news; the change of principal servants, and the like. An ancient custom, which I think it would not be amiss for every one to revive in his own house; and I find I did very foolishly in neglecting it.
What function do Lilius Gregorius Giraldus and Sebastianus Castalio serve in the passage?
Lilius Gregorius Giraldus and Sebastianus Castalio are mentioned in the passage's second paragraph in this context: "I have heard, to the great shame of the age we live in, that in our very sight two most excellent men for learning died so poor that they had scarce bread to put in their mouths: Lilius Gregorius Giraldus in Italy and Sebastianus Castalio in Germany: and I believe there are a thousand men would have invited them into their families, with very advantageous conditions, or have relieved them where they were, had they known their wants." From this quotation, we can tell that these two men are mentioned to "serve as two examples of famous intellectuals who have died poor because no one knew they needed financial help and support." It's important to read carefully in order to correctly determine the relationships between the narrator and the people mentioned in the passage.
Lilius Gregorius Giraldus and Sebastianus Castalio are mentioned in the passage's second paragraph in this context: "I have heard, to the great shame of the age we live in, that in our very sight two most excellent men for learning died so poor that they had scarce bread to put in their mouths: Lilius Gregorius Giraldus in Italy and Sebastianus Castalio in Germany: and I believe there are a thousand men would have invited them into their families, with very advantageous conditions, or have relieved them where they were, had they known their wants." From this quotation, we can tell that these two men are mentioned to "serve as two examples of famous intellectuals who have died poor because no one knew they needed financial help and support." It's important to read carefully in order to correctly determine the relationships between the narrator and the people mentioned in the passage.
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Passage adapted from Maximilien Robespierre's Speech on Terror (1794)
What is the aim we want to achieve? The peaceful enjoyment of liberty and equality, the reign of that eternal justice whose laws have been engraved, not in stone and marble, but in the hearts of all men, even in the heart of the slave who forgets them or of the tyrant who denies them.
We want a state of affairs where all despicable and cruel passions are unknown and all kind and generous passions are aroused by the laws; where ambition is the desire to deserve glory and to serve the fatherland; where distinctions arise only from equality itself; where the citizen submits to the magistrate, the magistrate to the people and the people to justice; where the fatherland guarantees the well-being of each individual, and where each individual enjoys with pride the prosperity and glory of the fatherland; where all souls elevate themselves through constant communication of republican sentiments and through the need to deserve the esteem of a great people; whether the arts are the decorations of liberty that ennobles them, where commerce is the source of public wealth and not only of the monstrous opulence of a few houses.
In our country we want to substitute morality for egoism, honesty for honor, principles for customs, duties for decorum, the rate of reason for the tyranny of custom, the contempt of vice for the contempt of misfortune, pride for insolence, magnanimity for vanity, love of glory for love of money, good people for well-bred people, merit for intrigue, genius for wit, truth for pompous action, warmth of happiness for boredom of sensuality, greatness of man for pettiness of the great; a magnanimous, powerful, happy people for the polite, frivolous, despicable people— that is to say, all the virtues and all the miracles of the Republic for all the vices and all the absurdities of the monarchy.
In one word, we want to fulfill the wishes of nature, accomplish the destiny of humanity, keep the promises of philosophy, absolve Providence from the long reign of crime and tyranny.
What kind of government can realize these marvels? Only a democratic or republican government.
But what is the fundamental principle of the democratic or popular government, that is to say, the essential strength that sustains it and make it move. It is virtue: I am speaking of the public virtue which brought about so many marvels in Greece and Rome and which must bring about much more astonishing ones yet in republican France; of that virtue which is nothing more than love of fatherland and of its laws.
If the strength of popular government in peacetime is virtue, the strength of popular government in revolution is both virtue and terror; terror without virtue is disastrous, virtue without terror is powerless. Terror is nothing without prompt, severe, and inflexible justice; it is thus an emanation of virtue; but is less a particular principle than a consequence of the general principle of democracy applied to the most urgent needs of the fatherland. It is said that terror is the strength of despotic government. Does ours then resemble despotism? Yes, as the sword that shines in the hands of the heroes of liberty resemble the one with which the satellites of tyranny are armed. Let the despot govern his brutalized subjects through terror and you will be right as founders of the Republic. The government of revolution is the despotism of liberty against tyranny.
What is the function of the third paragraph ("In our country we want to substitute...") in the passage as a whole?
Passage adapted from Maximilien Robespierre's Speech on Terror (1794)
What is the aim we want to achieve? The peaceful enjoyment of liberty and equality, the reign of that eternal justice whose laws have been engraved, not in stone and marble, but in the hearts of all men, even in the heart of the slave who forgets them or of the tyrant who denies them.
We want a state of affairs where all despicable and cruel passions are unknown and all kind and generous passions are aroused by the laws; where ambition is the desire to deserve glory and to serve the fatherland; where distinctions arise only from equality itself; where the citizen submits to the magistrate, the magistrate to the people and the people to justice; where the fatherland guarantees the well-being of each individual, and where each individual enjoys with pride the prosperity and glory of the fatherland; where all souls elevate themselves through constant communication of republican sentiments and through the need to deserve the esteem of a great people; whether the arts are the decorations of liberty that ennobles them, where commerce is the source of public wealth and not only of the monstrous opulence of a few houses.
In our country we want to substitute morality for egoism, honesty for honor, principles for customs, duties for decorum, the rate of reason for the tyranny of custom, the contempt of vice for the contempt of misfortune, pride for insolence, magnanimity for vanity, love of glory for love of money, good people for well-bred people, merit for intrigue, genius for wit, truth for pompous action, warmth of happiness for boredom of sensuality, greatness of man for pettiness of the great; a magnanimous, powerful, happy people for the polite, frivolous, despicable people— that is to say, all the virtues and all the miracles of the Republic for all the vices and all the absurdities of the monarchy.
In one word, we want to fulfill the wishes of nature, accomplish the destiny of humanity, keep the promises of philosophy, absolve Providence from the long reign of crime and tyranny.
What kind of government can realize these marvels? Only a democratic or republican government.
But what is the fundamental principle of the democratic or popular government, that is to say, the essential strength that sustains it and make it move. It is virtue: I am speaking of the public virtue which brought about so many marvels in Greece and Rome and which must bring about much more astonishing ones yet in republican France; of that virtue which is nothing more than love of fatherland and of its laws.
If the strength of popular government in peacetime is virtue, the strength of popular government in revolution is both virtue and terror; terror without virtue is disastrous, virtue without terror is powerless. Terror is nothing without prompt, severe, and inflexible justice; it is thus an emanation of virtue; but is less a particular principle than a consequence of the general principle of democracy applied to the most urgent needs of the fatherland. It is said that terror is the strength of despotic government. Does ours then resemble despotism? Yes, as the sword that shines in the hands of the heroes of liberty resemble the one with which the satellites of tyranny are armed. Let the despot govern his brutalized subjects through terror and you will be right as founders of the Republic. The government of revolution is the despotism of liberty against tyranny.
What is the function of the third paragraph ("In our country we want to substitute...") in the passage as a whole?
The author uses this paragraph to lament the current state of affairs specifically in order to provide details about the sort of society he hopes will appear after the revolution. The author provides no historical context for revolution, nor does he provide evidence regarding the travesties of the present government. In addition, the author does not argue that all non-democratic societies experience these shortcomings.
The author uses this paragraph to lament the current state of affairs specifically in order to provide details about the sort of society he hopes will appear after the revolution. The author provides no historical context for revolution, nor does he provide evidence regarding the travesties of the present government. In addition, the author does not argue that all non-democratic societies experience these shortcomings.
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Adapted from Walden by Henry Thoreau (1854)
Still we live meanly, like ants; it is error upon error, and clout upon clout, and our best virtue has for its occasion a superfluous and evitable wretchedness. Our life is frittered away by detail. An honest man has hardly need to count more than his ten fingers, or in extreme cases he may add his ten toes, and lump the rest. Simplicity, simplicity, simplicity! I say, let your affairs be as two or three, and not a hundred or a thousand; instead of a million count half a dozen, and keep your accounts on your thumbnail. In the midst of this chopping sea of civilized life, such are the clouds and storms and quicksands and thousand-and-one items to be allowed for, that a man has to live, if he would not founder and go to the bottom and not make his port at all, by dead reckoning, and he must be a great calculator indeed who succeeds. Simplify, simplify. Instead of three meals a day, if it be necessary eat but one; instead of a hundred dishes, five; and reduce other things in proportion.
Our life is like a German Confederacy, made up of petty states, with its boundary forever fluctuating, so that even a German cannot tell you how it is bounded at any moment. The nation itself, with all its so-called internal improvements, which, by the way are all external and superficial, is just such an unwieldy and overgrown establishment, cluttered with furniture and tripped up by its own traps, ruined by luxury and heedless expense, by want of calculation and a worthy aim, as the million households in the land; and the only cure for it, as for them, is in a rigid economy, a stern and more than Spartan simplicity of life and elevation of purpose. It lives too fast. Men think that it is essential that the Nation have commerce, and export ice, and talk through a telegraph, and ride thirty miles an hour, without a doubt, whether they do or not, but whether we should live like baboons or like men is a little uncertain. If we do not get out sleepers, and forge rails, and devote days and nights to the work, but go to tinkering upon our lives to improve them, who will build railroads? And if railroads are not built, how shall we get to heaven in season? But if we stay at home and mind our business, who will want railroads? We do not ride on the railroad; it rides upon us. Did you ever think what those sleepers are that underlie the railroad? Each one is a man, an Irishman, or a Yankee man. The rails are laid on them, and they are covered with sand, and the cars run smoothly over them. They are sound sleepers, I assure you.
The author thinks that contemporary households are like a German confederacy in that .
Adapted from Walden by Henry Thoreau (1854)
Still we live meanly, like ants; it is error upon error, and clout upon clout, and our best virtue has for its occasion a superfluous and evitable wretchedness. Our life is frittered away by detail. An honest man has hardly need to count more than his ten fingers, or in extreme cases he may add his ten toes, and lump the rest. Simplicity, simplicity, simplicity! I say, let your affairs be as two or three, and not a hundred or a thousand; instead of a million count half a dozen, and keep your accounts on your thumbnail. In the midst of this chopping sea of civilized life, such are the clouds and storms and quicksands and thousand-and-one items to be allowed for, that a man has to live, if he would not founder and go to the bottom and not make his port at all, by dead reckoning, and he must be a great calculator indeed who succeeds. Simplify, simplify. Instead of three meals a day, if it be necessary eat but one; instead of a hundred dishes, five; and reduce other things in proportion.
Our life is like a German Confederacy, made up of petty states, with its boundary forever fluctuating, so that even a German cannot tell you how it is bounded at any moment. The nation itself, with all its so-called internal improvements, which, by the way are all external and superficial, is just such an unwieldy and overgrown establishment, cluttered with furniture and tripped up by its own traps, ruined by luxury and heedless expense, by want of calculation and a worthy aim, as the million households in the land; and the only cure for it, as for them, is in a rigid economy, a stern and more than Spartan simplicity of life and elevation of purpose. It lives too fast. Men think that it is essential that the Nation have commerce, and export ice, and talk through a telegraph, and ride thirty miles an hour, without a doubt, whether they do or not, but whether we should live like baboons or like men is a little uncertain. If we do not get out sleepers, and forge rails, and devote days and nights to the work, but go to tinkering upon our lives to improve them, who will build railroads? And if railroads are not built, how shall we get to heaven in season? But if we stay at home and mind our business, who will want railroads? We do not ride on the railroad; it rides upon us. Did you ever think what those sleepers are that underlie the railroad? Each one is a man, an Irishman, or a Yankee man. The rails are laid on them, and they are covered with sand, and the cars run smoothly over them. They are sound sleepers, I assure you.
The author thinks that contemporary households are like a German confederacy in that .
The author compares the households of his time to a German confederacy at the beginning of the second paragraph, where he says, “Our life is like a German Confederacy, made up of petty states, with its boundary forever fluctuating, so that even a German cannot tell you how it is bounded at any moment.” This may be enough to lead you to the correct answer, “both are poorly organized and overly complex,” but the next sentence clarifies the comparison: “The nation itself, with all its so-called internal improvements, which, by the way are all external and superficial, is just such an unwieldy and overgrown establishment, cluttered with furniture and tripped up by its own traps, ruined by luxury and heedless expense, by want of calculation and a worthy aim, as the million households in the land; and the only cure for it, as for them, is in a rigid economy, a stern and more than Spartan simplicity of life and elevation of purpose.”
The author compares the households of his time to a German confederacy at the beginning of the second paragraph, where he says, “Our life is like a German Confederacy, made up of petty states, with its boundary forever fluctuating, so that even a German cannot tell you how it is bounded at any moment.” This may be enough to lead you to the correct answer, “both are poorly organized and overly complex,” but the next sentence clarifies the comparison: “The nation itself, with all its so-called internal improvements, which, by the way are all external and superficial, is just such an unwieldy and overgrown establishment, cluttered with furniture and tripped up by its own traps, ruined by luxury and heedless expense, by want of calculation and a worthy aim, as the million households in the land; and the only cure for it, as for them, is in a rigid economy, a stern and more than Spartan simplicity of life and elevation of purpose.”
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Adapted from “Talking About Our Troubles” by Mark Rutherford (1901)
We may talk about our troubles to those persons who can give us direct help, but even in this case we ought as much as possible to come to a provisional conclusion before consultation; to be perfectly clear to ourselves within our own limits. Some people have a foolish trick of applying for aid before they have done anything whatever to aid themselves, and in fact try to talk themselves into perspicuity. The only way in which they can think is by talking, and their speech consequently is not the expression of opinion already and carefully formed, but the manufacture of it.
We may also tell our troubles to those who are suffering if we can lessen their own. It may be a very great relief to them to know that others have passed through trials equal to theirs and have survived. There are obscure, nervous diseases, hypochondriac fancies, almost uncontrollable impulses, which terrify by their apparent singularity. If we could believe that they are common, the worst of the fear would vanish.
But, as a rule, we should be very careful for our own sake not to speak much about what distresses us. Expression is apt to carry with it exaggeration, and this exaggerated form becomes henceforth that under which we represent our miseries to ourselves, so that they are thereby increased. By reserve, on the other hand, they are diminished, for we attach less importance to that which it was not worthwhile to mention. Secrecy, in fact, may be our salvation.
How does the second paragraph differ from the first and third paragraphs?
Adapted from “Talking About Our Troubles” by Mark Rutherford (1901)
We may talk about our troubles to those persons who can give us direct help, but even in this case we ought as much as possible to come to a provisional conclusion before consultation; to be perfectly clear to ourselves within our own limits. Some people have a foolish trick of applying for aid before they have done anything whatever to aid themselves, and in fact try to talk themselves into perspicuity. The only way in which they can think is by talking, and their speech consequently is not the expression of opinion already and carefully formed, but the manufacture of it.
We may also tell our troubles to those who are suffering if we can lessen their own. It may be a very great relief to them to know that others have passed through trials equal to theirs and have survived. There are obscure, nervous diseases, hypochondriac fancies, almost uncontrollable impulses, which terrify by their apparent singularity. If we could believe that they are common, the worst of the fear would vanish.
But, as a rule, we should be very careful for our own sake not to speak much about what distresses us. Expression is apt to carry with it exaggeration, and this exaggerated form becomes henceforth that under which we represent our miseries to ourselves, so that they are thereby increased. By reserve, on the other hand, they are diminished, for we attach less importance to that which it was not worthwhile to mention. Secrecy, in fact, may be our salvation.
How does the second paragraph differ from the first and third paragraphs?
The first and third paragraph focus on warning the reader about the dangers incurred when one shares one’s problems with another individual. The second paragraph, on the contrary, provides an example of when sharing problems might lessen the fear associated with them. It provides a counterargument to the main point that the author is trying to make.
The first and third paragraph focus on warning the reader about the dangers incurred when one shares one’s problems with another individual. The second paragraph, on the contrary, provides an example of when sharing problems might lessen the fear associated with them. It provides a counterargument to the main point that the author is trying to make.
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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.
In the first paragraph, Wells compares the ease of writing an essay to wandering through the woods because he suggests that .
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.
In the first paragraph, Wells compares the ease of writing an essay to wandering through the woods because he suggests that .
Wells honestly seems to suggest that writing an essay is an activity requiring little effort.
Wells honestly seems to suggest that writing an essay is an activity requiring little effort.
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Adapted from "Swift" in Volume III of Lives of the Most Eminent English Poets by Samuel Johnson (1781)
In Swift's works, he has given very different specimens both of sentiment and expression. His Tale of a Tub has little resemblance to his other pieces. It exhibits a vehemence and rapidity of mind, a copiousness of images, and vivacity of diction, such as he afterwards never possessed, or never exerted. It is of a mode so distinct and peculiar, that it must be considered by itself; what is true of that, is not true of any thing else which he has written.
In his other works is found an equable tenor of easy language, which rather trickles than flows. His delight was in simplicity. That he has in his works no metaphor, as has been said, is not true; but his few metaphors seem to be received rather by necessity than choice. He studied purity; and though perhaps all his strictures are not exact, yet it is not often that solecisms can be found; and whoever depends on his authority may generally conclude himself safe. His sentences are never too much dilated or contracted; and it will not be easy to find any embarrassment in the complication of his clauses, any inconsequence in his connections, or abruptness in his transitions.
His style was well suited to his thoughts, which are never subtilized by nice disquisitions, decorated by sparkling conceits, elevated by ambitious sentences, or variegated by far-sought learning. He pays no court to the passions; he excites neither surprise nor admiration; he always understands himself, and his readers always understand him. The peruser of Swift wants little previous knowledge; it will be sufficient that he is acquainted with common words and common things; he is neither required to mount elevations nor to explore profundities; his passage is always on a level, along solid ground, without asperities, without obstruction.
According to Johnson, Swift's A Tale of a Tub differs from his other works in that .
Adapted from "Swift" in Volume III of Lives of the Most Eminent English Poets by Samuel Johnson (1781)
In Swift's works, he has given very different specimens both of sentiment and expression. His Tale of a Tub has little resemblance to his other pieces. It exhibits a vehemence and rapidity of mind, a copiousness of images, and vivacity of diction, such as he afterwards never possessed, or never exerted. It is of a mode so distinct and peculiar, that it must be considered by itself; what is true of that, is not true of any thing else which he has written.
In his other works is found an equable tenor of easy language, which rather trickles than flows. His delight was in simplicity. That he has in his works no metaphor, as has been said, is not true; but his few metaphors seem to be received rather by necessity than choice. He studied purity; and though perhaps all his strictures are not exact, yet it is not often that solecisms can be found; and whoever depends on his authority may generally conclude himself safe. His sentences are never too much dilated or contracted; and it will not be easy to find any embarrassment in the complication of his clauses, any inconsequence in his connections, or abruptness in his transitions.
His style was well suited to his thoughts, which are never subtilized by nice disquisitions, decorated by sparkling conceits, elevated by ambitious sentences, or variegated by far-sought learning. He pays no court to the passions; he excites neither surprise nor admiration; he always understands himself, and his readers always understand him. The peruser of Swift wants little previous knowledge; it will be sufficient that he is acquainted with common words and common things; he is neither required to mount elevations nor to explore profundities; his passage is always on a level, along solid ground, without asperities, without obstruction.
According to Johnson, Swift's A Tale of a Tub differs from his other works in that .
Johnson says that Swift's Tale of a Tub is written in a livelier style than his other works are in the first paragraph, when he writes, "His Tale of a Tub has little resemblance to his other pieces. It exhibits a vehemence and rapidity of mind, a copiousness of images, and vivacity of diction, such as he afterwards never possessed, or never exerted. It is of a mode so distinct and peculiar, that it must be considered by itself; what is true of that, is not true of any thing else which he has written."
Johnson says that Swift's Tale of a Tub is written in a livelier style than his other works are in the first paragraph, when he writes, "His Tale of a Tub has little resemblance to his other pieces. It exhibits a vehemence and rapidity of mind, a copiousness of images, and vivacity of diction, such as he afterwards never possessed, or never exerted. It is of a mode so distinct and peculiar, that it must be considered by itself; what is true of that, is not true of any thing else which he has written."
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Adapted from Walden by Henry Thoreau (1854)
Still we live meanly, like ants; it is error upon error, and clout upon clout, and our best virtue has for its occasion a superfluous and evitable wretchedness. Our life is frittered away by detail. An honest man has hardly need to count more than his ten fingers, or in extreme cases he may add his ten toes, and lump the rest. Simplicity, simplicity, simplicity! I say, let your affairs be as two or three, and not a hundred or a thousand; instead of a million count half a dozen, and keep your accounts on your thumbnail. In the midst of this chopping sea of civilized life, such are the clouds and storms and quicksands and thousand-and-one items to be allowed for, that a man has to live, if he would not founder and go to the bottom and not make his port at all, by dead reckoning, and he must be a great calculator indeed who succeeds. Simplify, simplify. Instead of three meals a day, if it be necessary eat but one; instead of a hundred dishes, five; and reduce other things in proportion.
Our life is like a German Confederacy, made up of petty states, with its boundary forever fluctuating, so that even a German cannot tell you how it is bounded at any moment. The nation itself, with all its so-called internal improvements, which, by the way are all external and superficial, is just such an unwieldy and overgrown establishment, cluttered with furniture and tripped up by its own traps, ruined by luxury and heedless expense, by want of calculation and a worthy aim, as the million households in the land; and the only cure for it, as for them, is in a rigid economy, a stern and more than Spartan simplicity of life and elevation of purpose. It lives too fast. Men think that it is essential that the Nation have commerce, and export ice, and talk through a telegraph, and ride thirty miles an hour, without a doubt, whether they do or not, but whether we should live like baboons or like men is a little uncertain. If we do not get out sleepers, and forge rails, and devote days and nights to the work, but go to tinkering upon our lives to improve them, who will build railroads? And if railroads are not built, how shall we get to heaven in season? But if we stay at home and mind our business, who will want railroads? We do not ride on the railroad; it rides upon us. Did you ever think what those sleepers are that underlie the railroad? Each one is a man, an Irishman, or a Yankee man. The rails are laid on them, and they are covered with sand, and the cars run smoothly over them. They are sound sleepers, I assure you.
Thoreau’s discussion of “sleepers” at the end of the passage helps him .
Adapted from Walden by Henry Thoreau (1854)
Still we live meanly, like ants; it is error upon error, and clout upon clout, and our best virtue has for its occasion a superfluous and evitable wretchedness. Our life is frittered away by detail. An honest man has hardly need to count more than his ten fingers, or in extreme cases he may add his ten toes, and lump the rest. Simplicity, simplicity, simplicity! I say, let your affairs be as two or three, and not a hundred or a thousand; instead of a million count half a dozen, and keep your accounts on your thumbnail. In the midst of this chopping sea of civilized life, such are the clouds and storms and quicksands and thousand-and-one items to be allowed for, that a man has to live, if he would not founder and go to the bottom and not make his port at all, by dead reckoning, and he must be a great calculator indeed who succeeds. Simplify, simplify. Instead of three meals a day, if it be necessary eat but one; instead of a hundred dishes, five; and reduce other things in proportion.
Our life is like a German Confederacy, made up of petty states, with its boundary forever fluctuating, so that even a German cannot tell you how it is bounded at any moment. The nation itself, with all its so-called internal improvements, which, by the way are all external and superficial, is just such an unwieldy and overgrown establishment, cluttered with furniture and tripped up by its own traps, ruined by luxury and heedless expense, by want of calculation and a worthy aim, as the million households in the land; and the only cure for it, as for them, is in a rigid economy, a stern and more than Spartan simplicity of life and elevation of purpose. It lives too fast. Men think that it is essential that the Nation have commerce, and export ice, and talk through a telegraph, and ride thirty miles an hour, without a doubt, whether they do or not, but whether we should live like baboons or like men is a little uncertain. If we do not get out sleepers, and forge rails, and devote days and nights to the work, but go to tinkering upon our lives to improve them, who will build railroads? And if railroads are not built, how shall we get to heaven in season? But if we stay at home and mind our business, who will want railroads? We do not ride on the railroad; it rides upon us. Did you ever think what those sleepers are that underlie the railroad? Each one is a man, an Irishman, or a Yankee man. The rails are laid on them, and they are covered with sand, and the cars run smoothly over them. They are sound sleepers, I assure you.
Thoreau’s discussion of “sleepers” at the end of the passage helps him .
Thoreau discusses sleepers in the final lines of the passage:
“We do not ride on the railroad; it rides upon us. Did you ever think what those sleepers are that underlie the railroad? Each one is a man, an Irishman, or a Yankee man. The rails are laid on them, and they are covered with sand, and the cars run smoothly over them. They are sound sleepers, I assure you. “
The key line necessary to figuring out what Thoreau’s purpose is in discussing sleepers is the line that precedes any mention of them: “We do not ride on the railroad; it rides upon us.” With this wordplay, Thoreau is suggesting that the railway burdens us; the correct answer is thus that his discussion of “sleepers” helps him “emphasize how the railroad is a burden upon people and their resources.” While he is decidedly anti-railroad in this passage, he focuses on the building of railroads instead of the use of them, weakening the argument that the point of his mentioning “sleepers” is to “urge readers never to use railroads to travel.” Similarly, while the image of the railroad riding upon men’s sleeping bodies may seem to “underscore the dangers to workers involved in building contemporary railroads,” this is not the case either. In stating ““We do not ride on the railroad; it rides upon us,” the author makes his purpose in mentioning “sleepers” clear.
Thoreau discusses sleepers in the final lines of the passage:
“We do not ride on the railroad; it rides upon us. Did you ever think what those sleepers are that underlie the railroad? Each one is a man, an Irishman, or a Yankee man. The rails are laid on them, and they are covered with sand, and the cars run smoothly over them. They are sound sleepers, I assure you. “
The key line necessary to figuring out what Thoreau’s purpose is in discussing sleepers is the line that precedes any mention of them: “We do not ride on the railroad; it rides upon us.” With this wordplay, Thoreau is suggesting that the railway burdens us; the correct answer is thus that his discussion of “sleepers” helps him “emphasize how the railroad is a burden upon people and their resources.” While he is decidedly anti-railroad in this passage, he focuses on the building of railroads instead of the use of them, weakening the argument that the point of his mentioning “sleepers” is to “urge readers never to use railroads to travel.” Similarly, while the image of the railroad riding upon men’s sleeping bodies may seem to “underscore the dangers to workers involved in building contemporary railroads,” this is not the case either. In stating ““We do not ride on the railroad; it rides upon us,” the author makes his purpose in mentioning “sleepers” clear.
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Adapted from "Slang in America" in Vol. 141, No. 348 of The North American Review by Walt Whitman (November 1885)
View'd freely, the English language is the accretion and growth of every dialect, people, and range of time, and is both the free and compacted composition of all. From this point of view, it stands for Language in the largest sense, and is really the greatest of studies. It involves so much; is indeed a sort of universal absorber, combiner, and conqueror. The scope of its etymologies is the scope not only of man and civilization, but the history of Nature in all departments, and of the organic Universe, brought up to date; for all are comprehended in words, and their backgrounds. This is when words become vitalized, and stand for things, as they unerringly and soon come to do, in the mind that enters on their study with fitting spirit, grasp, and appreciation.
Slang, profoundly consider’d, is the lawless germinal element, below all words and sentences, and behind all poetry, and proves a certain perennial rankness and protestantism in speech. As the United States inherit by far their most precious possession—the language they talk and write—from the Old World, under and out of its feudal institutes, I will allow myself to borrow a simile even of those forms farthest removed from American Democracy. Considering Language then as some mighty potentate, into the majestic audience-hall of the monarch ever enters a personage like one of Shakespeare’s clowns, and takes position there, and plays a part even in the stateliest ceremonies. Such is Slang, or indirection, an attempt of common humanity to escape from bald literalism, and express itself illimitably, which in highest walks produces poets and poems, and doubtless in prehistoric times gave the start to, and perfected, the whole immense tangle of the old mythologies. For, curious as it may appear, it is strictly the same impulse-source, the same thing. Slang, too, is the wholesome fermentation or eructation of those processes eternally active in language, by which froth and specks are thrown up, mostly to pass away, though occasionally to settle and permanently crystallize.
Whitman attributes all of the following to the same impulses that produce slang EXCEPT .
Adapted from "Slang in America" in Vol. 141, No. 348 of The North American Review by Walt Whitman (November 1885)
View'd freely, the English language is the accretion and growth of every dialect, people, and range of time, and is both the free and compacted composition of all. From this point of view, it stands for Language in the largest sense, and is really the greatest of studies. It involves so much; is indeed a sort of universal absorber, combiner, and conqueror. The scope of its etymologies is the scope not only of man and civilization, but the history of Nature in all departments, and of the organic Universe, brought up to date; for all are comprehended in words, and their backgrounds. This is when words become vitalized, and stand for things, as they unerringly and soon come to do, in the mind that enters on their study with fitting spirit, grasp, and appreciation.
Slang, profoundly consider’d, is the lawless germinal element, below all words and sentences, and behind all poetry, and proves a certain perennial rankness and protestantism in speech. As the United States inherit by far their most precious possession—the language they talk and write—from the Old World, under and out of its feudal institutes, I will allow myself to borrow a simile even of those forms farthest removed from American Democracy. Considering Language then as some mighty potentate, into the majestic audience-hall of the monarch ever enters a personage like one of Shakespeare’s clowns, and takes position there, and plays a part even in the stateliest ceremonies. Such is Slang, or indirection, an attempt of common humanity to escape from bald literalism, and express itself illimitably, which in highest walks produces poets and poems, and doubtless in prehistoric times gave the start to, and perfected, the whole immense tangle of the old mythologies. For, curious as it may appear, it is strictly the same impulse-source, the same thing. Slang, too, is the wholesome fermentation or eructation of those processes eternally active in language, by which froth and specks are thrown up, mostly to pass away, though occasionally to settle and permanently crystallize.
Whitman attributes all of the following to the same impulses that produce slang EXCEPT .
Whitman does not include religion in his list of the things created by the impulses that have also created slang.
Whitman does not include religion in his list of the things created by the impulses that have also created slang.
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Adapted from "Swift" in Volume III of Lives of the Most Eminent English Poets by Samuel Johnson (1781)
In Swift's works, he has given very different specimens both of sentiment and expression. His Tale of a Tub has little resemblance to his other pieces. It exhibits a vehemence and rapidity of mind, a copiousness of images, and vivacity of diction, such as he afterwards never possessed, or never exerted. It is of a mode so distinct and peculiar, that it must be considered by itself; what is true of that, is not true of any thing else which he has written.
In his other works is found an equable tenor of easy language, which rather trickles than flows. His delight was in simplicity. That he has in his works no metaphor, as has been said, is not true; but his few metaphors seem to be received rather by necessity than choice. He studied purity; and though perhaps all his strictures are not exact, yet it is not often that solecisms can be found; and whoever depends on his authority may generally conclude himself safe. His sentences are never too much dilated or contracted; and it will not be easy to find any embarrassment in the complication of his clauses, any inconsequence in his connections, or abruptness in his transitions.
His style was well suited to his thoughts, which are never subtilized by nice disquisitions, decorated by sparkling conceits, elevated by ambitious sentences, or variegated by far-sought learning. He pays no court to the passions; he excites neither surprise nor admiration; he always understands himself, and his readers always understand him. The peruser of Swift wants little previous knowledge; it will be sufficient that he is acquainted with common words and common things; he is neither required to mount elevations nor to explore profundities; his passage is always on a level, along solid ground, without asperities, without obstruction.
Johnson says that A Tale of a Tub is so different from Swift's other works that .
Adapted from "Swift" in Volume III of Lives of the Most Eminent English Poets by Samuel Johnson (1781)
In Swift's works, he has given very different specimens both of sentiment and expression. His Tale of a Tub has little resemblance to his other pieces. It exhibits a vehemence and rapidity of mind, a copiousness of images, and vivacity of diction, such as he afterwards never possessed, or never exerted. It is of a mode so distinct and peculiar, that it must be considered by itself; what is true of that, is not true of any thing else which he has written.
In his other works is found an equable tenor of easy language, which rather trickles than flows. His delight was in simplicity. That he has in his works no metaphor, as has been said, is not true; but his few metaphors seem to be received rather by necessity than choice. He studied purity; and though perhaps all his strictures are not exact, yet it is not often that solecisms can be found; and whoever depends on his authority may generally conclude himself safe. His sentences are never too much dilated or contracted; and it will not be easy to find any embarrassment in the complication of his clauses, any inconsequence in his connections, or abruptness in his transitions.
His style was well suited to his thoughts, which are never subtilized by nice disquisitions, decorated by sparkling conceits, elevated by ambitious sentences, or variegated by far-sought learning. He pays no court to the passions; he excites neither surprise nor admiration; he always understands himself, and his readers always understand him. The peruser of Swift wants little previous knowledge; it will be sufficient that he is acquainted with common words and common things; he is neither required to mount elevations nor to explore profundities; his passage is always on a level, along solid ground, without asperities, without obstruction.
Johnson says that A Tale of a Tub is so different from Swift's other works that .
Johnson says that Swift's A Tale of a Tub is so different from his other works that it must be considered on its own when he writes in the first paragraph, "\[A Tale of a Tub\] is of a mode so distinct and peculiar, that it must be considered by itself; what is true of that, is not true of any thing else which he has written."
Johnson says that Swift's A Tale of a Tub is so different from his other works that it must be considered on its own when he writes in the first paragraph, "\[A Tale of a Tub\] is of a mode so distinct and peculiar, that it must be considered by itself; what is true of that, is not true of any thing else which he has written."
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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 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 .
Rilke gives his opinions on the subjects of critics and patience when writing. The letter is written in a way that he is providing the young poet with his perspectives and he explains why he believes these things. Thus, the best way to describe the letter is that it has insightful wisdom gained from his own experiences.
Rilke gives his opinions on the subjects of critics and patience when writing. The letter is written in a way that he is providing the young poet with his perspectives and he explains why he believes these things. Thus, the best way to describe the letter is that it has insightful wisdom gained from his own experiences.
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Adapted from a letter by T. Thatcher published in The Publishers Circular on September 27th, 1902
A PLEA FOR A LONG WALK
Sir—In these days of increasing rapid artificial locomotion, may I be permitted to say a word in favor of a very worthy and valuable old friend of mine, Mr. Long-Walk?
I am afraid that this good gentleman is in danger of getting neglected, if not forgotten. We live in days of water trips and land trips, excursions by sea, road, and rail—bicycles and tricycles, tram cars and motor cars, hansom cabs and ugly cabs; but in my humble opinion good honest walking exercise for health beats all other kinds of locomotion into a cocked hat. In rapid traveling all the finer nerves, senses, and vessels are "rush" and unduly excited, but in walking every particle of the human frame, and even the moral faculties, are evenly and naturally brought into exercise. It is the best discipline and physical mental tonic in the world. Limbs, body, muscles, lungs, chest, heart, digestion, breathing, are healthily brought into normal operation, while. especially in the long distance walk, the exercise of patience, perseverance, industry, energy, perception, and reflection—and, indeed, all the senses and moral faculties—are elevated and cultivated healthfully and naturally. Many never know the beauty of it because they never go far enough: exercise and hard work should never be relinquished at any age or by either sex. Heart disease, faintness, and sudden death, and even crime, are far more due to the absence of wholesome normal exercise and taste than to anything else, to enervating luxuries rather than to hill climbing.
I usually give myself a holiday on a birthday, and as I lately reached my 63rd I determined to give myself a day with my old friend Mr. Long-Walk, and decided to tramp to the city of Wells and back for my birthday holiday—a distance of about forty-two miles. Fortune favors the brave, and, thanks to a mosquito that pitched on my nose and was just commencing operations, I woke very early in the morning. It is an ill wind that blows no one any good. Mosquitoes are early birds, but I stole a march on them. But to my journey.
I started at about 5 A.M., and proceeding via Dundry and Chow Stoke, reached Wells soon after 10 A.M. After attending the cathedral, I pursued my walk homeward by a different route,via Chewton Mendip, Farrington, Temple Cloud, Clutton, and Pensford.
To make a walk successful, mind and body should be free of burden. I never carry a stick on a long walk, but prefer to be perfectly free, giving Nature’s balancing poles—the pendulum arms—complete swing and absolute liberty. Walking exercises, together with a well-educated palate, are the greatest physicians in the world: no disease can withstand them. I returned from my forty-two miles tramp with birthday honors and reward. I had no headache on the following morning, but was up early in good form, fresh and ready for work. Forty-two miles may be too strong a dose for many, but I cannot too strongly recommend for a day’s companionship the society of my old and well-tried friend, Mr. Long-Walk.
Faithfully yours,
T. Thatcher
44 College Green, Bristol.
The tone of the author is best described as .
Adapted from a letter by T. Thatcher published in The Publishers Circular on September 27th, 1902
A PLEA FOR A LONG WALK
Sir—In these days of increasing rapid artificial locomotion, may I be permitted to say a word in favor of a very worthy and valuable old friend of mine, Mr. Long-Walk?
I am afraid that this good gentleman is in danger of getting neglected, if not forgotten. We live in days of water trips and land trips, excursions by sea, road, and rail—bicycles and tricycles, tram cars and motor cars, hansom cabs and ugly cabs; but in my humble opinion good honest walking exercise for health beats all other kinds of locomotion into a cocked hat. In rapid traveling all the finer nerves, senses, and vessels are "rush" and unduly excited, but in walking every particle of the human frame, and even the moral faculties, are evenly and naturally brought into exercise. It is the best discipline and physical mental tonic in the world. Limbs, body, muscles, lungs, chest, heart, digestion, breathing, are healthily brought into normal operation, while. especially in the long distance walk, the exercise of patience, perseverance, industry, energy, perception, and reflection—and, indeed, all the senses and moral faculties—are elevated and cultivated healthfully and naturally. Many never know the beauty of it because they never go far enough: exercise and hard work should never be relinquished at any age or by either sex. Heart disease, faintness, and sudden death, and even crime, are far more due to the absence of wholesome normal exercise and taste than to anything else, to enervating luxuries rather than to hill climbing.
I usually give myself a holiday on a birthday, and as I lately reached my 63rd I determined to give myself a day with my old friend Mr. Long-Walk, and decided to tramp to the city of Wells and back for my birthday holiday—a distance of about forty-two miles. Fortune favors the brave, and, thanks to a mosquito that pitched on my nose and was just commencing operations, I woke very early in the morning. It is an ill wind that blows no one any good. Mosquitoes are early birds, but I stole a march on them. But to my journey.
I started at about 5 A.M., and proceeding via Dundry and Chow Stoke, reached Wells soon after 10 A.M. After attending the cathedral, I pursued my walk homeward by a different route,via Chewton Mendip, Farrington, Temple Cloud, Clutton, and Pensford.
To make a walk successful, mind and body should be free of burden. I never carry a stick on a long walk, but prefer to be perfectly free, giving Nature’s balancing poles—the pendulum arms—complete swing and absolute liberty. Walking exercises, together with a well-educated palate, are the greatest physicians in the world: no disease can withstand them. I returned from my forty-two miles tramp with birthday honors and reward. I had no headache on the following morning, but was up early in good form, fresh and ready for work. Forty-two miles may be too strong a dose for many, but I cannot too strongly recommend for a day’s companionship the society of my old and well-tried friend, Mr. Long-Walk.
Faithfully yours,
T. Thatcher
44 College Green, Bristol.
The tone of the author is best described as .
The author uses plays on words and wit to create a playful tone. While the piece does have a cautionary aspect, the tone itself is lighter and playful. "Outrage" is too strong of a term to apply here, and the piece is too humorous to be called "solemn." Additionally, the author nowhere seems sarcastic.
The author uses plays on words and wit to create a playful tone. While the piece does have a cautionary aspect, the tone itself is lighter and playful. "Outrage" is too strong of a term to apply here, and the piece is too humorous to be called "solemn." Additionally, the author nowhere seems sarcastic.
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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.
The passage is best categorized as which type of literary form?
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.
The passage is best categorized as which type of literary form?
The key to this question is to note that the passage is taken from Rilke's Letters to a Young Poet. Thus, the passage is a correspondence between Rilke and a young poet in letter form or epistolary form.
The key to this question is to note that the passage is taken from Rilke's Letters to a Young Poet. Thus, the passage is a correspondence between Rilke and a young poet in letter form or epistolary form.
Compare your answer with the correct one above
Adapted from Walden by Henry Thoreau (1854)
Still we live meanly, like ants; it is error upon error, and clout upon clout, and our best virtue has for its occasion a superfluous and evitable wretchedness. Our life is frittered away by detail. An honest man has hardly need to count more than his ten fingers, or in extreme cases he may add his ten toes, and lump the rest. Simplicity, simplicity, simplicity! I say, let your affairs be as two or three, and not a hundred or a thousand; instead of a million count half a dozen, and keep your accounts on your thumbnail. In the midst of this chopping sea of civilized life, such are the clouds and storms and quicksands and thousand-and-one items to be allowed for, that a man has to live, if he would not founder and go to the bottom and not make his port at all, by dead reckoning, and he must be a great calculator indeed who succeeds. Simplify, simplify. Instead of three meals a day, if it be necessary eat but one; instead of a hundred dishes, five; and reduce other things in proportion.
Our life is like a German Confederacy, made up of petty states, with its boundary forever fluctuating, so that even a German cannot tell you how it is bounded at any moment. The nation itself, with all its so-called internal improvements, which, by the way are all external and superficial, is just such an unwieldy and overgrown establishment, cluttered with furniture and tripped up by its own traps, ruined by luxury and heedless expense, by want of calculation and a worthy aim, as the million households in the land; and the only cure for it, as for them, is in a rigid economy, a stern and more than Spartan simplicity of life and elevation of purpose. It lives too fast. Men think that it is essential that the Nation have commerce, and export ice, and talk through a telegraph, and ride thirty miles an hour, without a doubt, whether they do or not, but whether we should live like baboons or like men is a little uncertain. If we do not get out sleepers, and forge rails, and devote days and nights to the work, but go to tinkering upon our lives to improve them, who will build railroads? And if railroads are not built, how shall we get to heaven in season? But if we stay at home and mind our business, who will want railroads? We do not ride on the railroad; it rides upon us. Did you ever think what those sleepers are that underlie the railroad? Each one is a man, an Irishman, or a Yankee man. The rails are laid on them, and they are covered with sand, and the cars run smoothly over them. They are sound sleepers, I assure you.
The author’s tone is best described as .
Adapted from Walden by Henry Thoreau (1854)
Still we live meanly, like ants; it is error upon error, and clout upon clout, and our best virtue has for its occasion a superfluous and evitable wretchedness. Our life is frittered away by detail. An honest man has hardly need to count more than his ten fingers, or in extreme cases he may add his ten toes, and lump the rest. Simplicity, simplicity, simplicity! I say, let your affairs be as two or three, and not a hundred or a thousand; instead of a million count half a dozen, and keep your accounts on your thumbnail. In the midst of this chopping sea of civilized life, such are the clouds and storms and quicksands and thousand-and-one items to be allowed for, that a man has to live, if he would not founder and go to the bottom and not make his port at all, by dead reckoning, and he must be a great calculator indeed who succeeds. Simplify, simplify. Instead of three meals a day, if it be necessary eat but one; instead of a hundred dishes, five; and reduce other things in proportion.
Our life is like a German Confederacy, made up of petty states, with its boundary forever fluctuating, so that even a German cannot tell you how it is bounded at any moment. The nation itself, with all its so-called internal improvements, which, by the way are all external and superficial, is just such an unwieldy and overgrown establishment, cluttered with furniture and tripped up by its own traps, ruined by luxury and heedless expense, by want of calculation and a worthy aim, as the million households in the land; and the only cure for it, as for them, is in a rigid economy, a stern and more than Spartan simplicity of life and elevation of purpose. It lives too fast. Men think that it is essential that the Nation have commerce, and export ice, and talk through a telegraph, and ride thirty miles an hour, without a doubt, whether they do or not, but whether we should live like baboons or like men is a little uncertain. If we do not get out sleepers, and forge rails, and devote days and nights to the work, but go to tinkering upon our lives to improve them, who will build railroads? And if railroads are not built, how shall we get to heaven in season? But if we stay at home and mind our business, who will want railroads? We do not ride on the railroad; it rides upon us. Did you ever think what those sleepers are that underlie the railroad? Each one is a man, an Irishman, or a Yankee man. The rails are laid on them, and they are covered with sand, and the cars run smoothly over them. They are sound sleepers, I assure you.
The author’s tone is best described as .
Thoreau is frustrated by America’s current status and development, evinced in statements like “Men think that it is essential that the Nation have commerce, and export ice, and talk through a telegraph, and ride thirty miles an hour, without a doubt, whether they do or not; but whether we should live like baboons or like men, is a little uncertain.” This tone is also apparent in phrases like “heedless expense,” and statements like “our best virtue has for its occasion a superfluous and evitable wretchedness.” His tone is also “exhortatory,” or urging, in that he tells his readers to “simplify, simplify” and urges adopting a simpler life throughout the passage as a cure for the societal problems that frustrate him.
Thoreau is frustrated by America’s current status and development, evinced in statements like “Men think that it is essential that the Nation have commerce, and export ice, and talk through a telegraph, and ride thirty miles an hour, without a doubt, whether they do or not; but whether we should live like baboons or like men, is a little uncertain.” This tone is also apparent in phrases like “heedless expense,” and statements like “our best virtue has for its occasion a superfluous and evitable wretchedness.” His tone is also “exhortatory,” or urging, in that he tells his readers to “simplify, simplify” and urges adopting a simpler life throughout the passage as a cure for the societal problems that frustrate him.
Compare your answer with the correct one above