Adapted from Walden by Henry Thoreau (1854)

Still we live meanly, like ants; it is error upon error, and clout upon clout, and our best virtue has for its occasion a superfluous and evitable wretchedness. Our life is frittered away by detail. An honest man has hardly need to count more than his ten fingers, or in extreme cases he may add his ten toes, and lump the rest. Simplicity, simplicity, simplicity! I say, let your affairs be as two or three, and not a hundred or a thousand; instead of a million count half a dozen, and keep your accounts on your thumbnail. In the midst of this chopping sea of civilized life, such are the clouds and storms and quicksands and thousand-and-one items to be allowed for, that a man has to live, if he would not founder and go to the bottom and not make his port at all, by dead reckoning, and he must be a great calculator indeed who succeeds. Simplify, simplify. Instead of three meals a day, if it be necessary eat but one; instead of a hundred dishes, five; and reduce other things in proportion.

Our life is like a German Confederacy, made up of petty states, with its boundary forever fluctuating, so that even a German cannot tell you how it is bounded at any moment. The nation itself, with all its so-called internal improvements, which, by the way are all external and superficial, is just such an unwieldy and overgrown establishment, cluttered with furniture and tripped up by its own traps, ruined by luxury and heedless expense, by want of calculation and a worthy aim, as the million households in the land; and the only cure for it, as for them, is in a rigid economy, a stern and more than Spartan simplicity of life and elevation of purpose. It lives too fast. Men think that it is essential that the Nation have commerce, and export ice, and talk through a telegraph, and ride thirty miles an hour, without a doubt, whether they do or not, but whether we should live like baboons or like men is a little uncertain. If we do not get out sleepers, and forge rails, and devote days and nights to the work, but go to tinkering upon our lives to improve them, who will build railroads? And if railroads are not built, how shall we get to heaven in season? But if we stay at home and mind our business, who will want railroads? We do not ride on the railroad; it rides upon us. Did you ever think what those sleepers are that underlie the railroad? Each one is a man, an Irishman, or a Yankee man. The rails are laid on them, and they are covered with sand, and the cars run smoothly over them. They are sound sleepers, I assure you.

In this passage, the author is most concerned with which theme?

Adapted from Common Sense by Thomas Paine (1776)

Society in every state is a blessing, but government even in its best state is but a necessary evil, in its worst state an intolerable one; for when we suffer, or are exposed to the same miseries heightened by reflecting that we furnish the means by which we suffer. Government, like dress, is the badge of lost innocence; the palaces of kings are built on the ruins of the bowers of paradise. For were the impulses of conscience clear, uniform, and irresistibly obeyed, man would need no other lawgiver; but that not being the case, he finds it necessary to surrender up a part of his property to furnish means for the protection of the rest; and this he is induced to do by the same prudence that in every other case advises him out of two evils to choose the least. WHEREFORE, security being the true design and end of government, it unanswerably follows that whatever FORM thereof appears most likely to ensure it to us, with the least expense and greatest benefit, is preferable to all others.

In order to gain a clear and just idea of the design and end of government, let us suppose a small number of persons settled in some sequestered part of the Earth, unconnected with the rest; they will then represent the first peopling of any country, or of the world. In this state of natural liberty, society will be their first thought. A thousand motives will excite them thereto, the strength of one man is so unequal to his wants, and his mind so unfitted for perpetual solitude, that he is soon obliged to seek assistance and relief of another, who in his turn requires the same. Four or five united would be able to raise a tolerable dwelling in the midst of a wilderness, but ONE man might labor out the common period of life without accomplishing any thing; when he had felled his timber he could not remove it, nor erect it after it was removed; hunger in the mean time would urge him from his work, and every different want call him a different way.

Which of the following best represents the argument the author in the process of making at the end of the second paragraph?

Adapted from “Introduced Species That Have Become Pests” in Our Vanishing Wild Life, Its Extermination and Protection by William Temple Hornaday (1913)

The man who successfully transplants or "introduces" into a new habitat any persistent species of living thing assumes a very grave responsibility. Every introduced species is doubtful gravel until panned out. The enormous losses that have been inflicted upon the world through the perpetuation of follies with wild vertebrates and insects would, if added together, be enough to purchase a principality. The most aggravating feature of these follies in transplantation is that never yet have they been made severely punishable. We are just as careless and easygoing on this point as we were about the government of the Yellowstone Park in the days when Howell and other poachers destroyed our first national bison herd, and when caught red-handed—as Howell was, skinning seven Park bison cows—could not be punished for it, because there was no penalty prescribed by any law. Today, there is a way in which any revengeful person could inflict enormous damage on the entire South, at no cost to himself, involve those states in enormous losses and the expenditure of vast sums of money, yet go absolutely unpunished!

The gypsy moth is a case in point. This winged calamity was imported at Maiden, Massachusetts, near Boston, by a French entomologist, Mr. Leopold Trouvelot, in 1868 or 69. History records the fact that the man of science did not purposely set free the pest. He was endeavoring with live specimens to find a moth that would produce a cocoon of commercial value to America, and a sudden gust of wind blew out of his study, through an open window, his living and breeding specimens of the gypsy moth. The moth itself is not bad to look at, but its larvae is a great, overgrown brute with an appetite like a hog. Immediately Mr. Trouvelot sought to recover his specimens, and when he failed to find them all, like a man of real honor, he notified the State authorities of the accident. Every effort was made to recover all the specimens, but enough escaped to produce progeny that soon became a scourge to the trees of Massachusetts. The method of the big, nasty-looking mottled-brown caterpillar was very simple. It devoured the entire foliage of every tree that grew in its sphere of influence.

The gypsy moth spread with alarming rapidity and persistence. In course of time, the state authorities of Massachusetts were forced to begin a relentless war upon it, by poisonous sprays and by fire. It was awful! Up to this date (1912) the New England states and the United States Government service have expended in fighting this pest about $7,680,000!

The spread of this pest has been retarded, but the gypsy moth never will be wholly stamped out. Today it exists in Rhode Island, Connecticut, and New Hampshire, and it is due to reach New York at an early date. It is steadily spreading in three directions from Boston, its original point of departure, and when it strikes the State of New York, we, too, will begin to pay dearly for the Trouvelot experiment.

At the time the passage was written, in which of the following states was the gypsy moth NOT found?

Adapted from “Introductory Remarks” in The Interpretation of Dreams by Sigmund Freud (trans. 1913)

In attempting to discuss the interpretation of dreams, I do not believe that I have overstepped the bounds of neuropathological interest. For, when investigated psychologically, the dream proves to be the first link in a chain of abnormal psychic structures whose other links—the hysterical phobia, the obsession, and the delusion—must interest the physician for practical reasons. The dream can lay no claim to a corresponding practical significance; however, its theoretical value is very great, and one who cannot explain the origin of the content of dreams will strive in vain to understand phobias, obsessive and delusional ideas, and likewise their therapeutic importance.

While this relationship makes our subject important, it is responsible also for the deficiencies in this work. The surfaces of fracture, which will be frequently discussed, correspond to many points of contact where the problem of dream formation informs more comprehensive problems of psychopathology which cannot be discussed here. These larger issues will be elaborated upon in the future.

Peculiarities in the material I have used to elucidate the interpretation of dreams have rendered this publication difficult. The work itself will demonstrate why all dreams related in scientific literature or collected by others had to remain useless for my purpose. In choosing my examples, I had to limit myself to considering my own dreams and those of my patients who were under psychoanalytic treatment. I was restrained from utilizing material derived from my patients' dreams by the fact that during their treatment, the dream processes were subjected to an undesirable complication—the intermixture of neurotic characters. On the other hand, in discussing my own dreams, I was obliged to expose more of the intimacies of my psychic life than I should like, more so than generally falls to the task of an author who is not a poet but an investigator of nature. This was painful, but unavoidable; I had to put up with the inevitable in order to demonstrate the truth of my psychological results at all. To be sure, I disguised some of my indiscretions through omissions and substitutions, though I feel that these detract from the value of the examples in which they appear. I can only express the hope that the reader of this work, putting himself in my difficult position, will show patience, and also that anyone inclined to take offense at any of the reported dreams will concede freedom of thought at least to the dream life.

The author of this passage is most interested in __________.

Passage adapted from “Psychology and the Teaching Art” (1899) by William James

I say moreover that you make a great, a very great mistake, if you think that psychology, being the science of the mind's laws, is something from which you can deduce definite programmes and schemes and methods of instruction for immediate schoolroom use. Psychology is a science, and teaching is an art; and sciences never generate arts directly out of themselves. An intermediary inventive mind must make the application, by using its originality.

The science of logic never made a man reason rightly, and the science of ethics (if there be such a thing) never made a man behave rightly. The most such sciences can do is to help us to catch ourselves up and check ourselves, if we start to reason or to behave wrongly; and to criticize ourselves more articulately after we have made mistakes. A science only lays down lines within which the rules of the art must fall, laws which the follower of the art must not transgress; but what particular thing he shall positively do within those lines is left exclusively to his own genius. One genius will do his work well and succeed in one way, while another succeeds as well quite differently; yet neither will transgress the lines.

The art of teaching grew up in the schoolroom, out of inventiveness and sympathetic concrete observation. Even where (as in the case of Herbart) the advancer of the art was also a psychologist, the pedagogics and the psychology ran side by side, and the former was not derived in any sense from the latter. The two were congruent, but neither was subordinate. And so everywhere the teaching must agree with the psychology, but need not necessarily be the only kind of teaching that would so agree; for many diverse methods of teaching may equally well agree with psychological laws.

To know psychology, therefore, is absolutely no guarantee that we shall be good teachers. To advance to that result, we must have an additional endowment altogether, a happy tact and ingenuity to tell us what definite things to say and do when the pupil is before us. That ingenuity in meeting and pursuing the pupil, that tact for the concrete situation, though they are the alpha and omega of the teacher's art, are things to which psychology cannot help us in the least.

What does James imply about teaching styles in the second paragraph?

Passage adapted from “Psychology and the Teaching Art” (1899) by William James

I say moreover that you make a great, a very great mistake, if you think that psychology, being the science of the mind's laws, is something from which you can deduce definite programmes and schemes and methods of instruction for immediate schoolroom use. Psychology is a science, and teaching is an art; and sciences never generate arts directly out of themselves. An intermediary inventive mind must make the application, by using its originality.

The science of logic never made a man reason rightly, and the science of ethics (if there be such a thing) never made a man behave rightly. The most such sciences can do is to help us to catch ourselves up and check ourselves, if we start to reason or to behave wrongly; and to criticize ourselves more articulately after we have made mistakes. A science only lays down lines within which the rules of the art must fall, laws which the follower of the art must not transgress; but what particular thing he shall positively do within those lines is left exclusively to his own genius. One genius will do his work well and succeed in one way, while another succeeds as well quite differently; yet neither will transgress the lines.

The art of teaching grew up in the schoolroom, out of inventiveness and sympathetic concrete observation. Even where (as in the case of Herbart) the advancer of the art was also a psychologist, the pedagogics and the psychology ran side by side, and the former was not derived in any sense from the latter. The two were congruent, but neither was subordinate. And so everywhere the teaching must agree with the psychology, but need not necessarily be the only kind of teaching that would so agree; for many diverse methods of teaching may equally well agree with psychological laws.

To know psychology, therefore, is absolutely no guarantee that we shall be good teachers. To advance to that result, we must have an additional endowment altogether, a happy tact and ingenuity to tell us what definite things to say and do when the pupil is before us. That ingenuity in meeting and pursuing the pupil, that tact for the concrete situation, though they are the alpha and omega of the teacher's art, are things to which psychology cannot help us in the least.

According to James, what is the practical benefit of learning a particular science?

Adapted from a work by Oscar Wilde in Selected Prose of Oscar Wilde (1914)

Art begins with abstract decoration, with purely imaginative and pleasurable work dealing with what is unreal and non-existent. This is the first stage. Then Life becomes fascinated with this new wonder, and asks to be admitted into the charmed circle. Art takes Life as part of her rough material, recreates it, and refashions it in fresh forms, is absolutely indifferent to fact, invents, imagines, dreams, and keeps between herself and reality the impenetrable barrier of beautiful style, of decorative or ideal treatment. The third stage is when Life gets the upper hand, and drives Art out into the wilderness. That is the true decadence, and it is from this that we are now suffering.

Take the case of the English drama. At first in the hands of the monks Dramatic Art was abstract, decorative, and mythological. Then she enlisted Life in her service, and using some of life’s external forms, she created an entirely new race of beings, whose sorrows were more terrible than any sorrow man has ever felt, whose joys were keener than lover’s joys, who had the rage of the Titans and the calm of the gods, who had monstrous and marvelous sins, monstrous and marvelous virtues. To them she gave a language different from that of actual use, a language full of resonant music and sweet rhythm, made stately by solemn cadence, or made delicate by fanciful rhyme, jeweled with wonderful words, and enriched with lofty diction. She clothed her children in strange raiment and gave them masks, and at her bidding the antique world rose from its marble tomb. A new Cæsar stalked through the streets of risen Rome, and with purple sail and flute-led oars another Cleopatra passed up the river to Antioch. Old myth and legend and dream took shape and substance. History was entirely re-written, and there was hardly one of the dramatists who did not recognize that the object of Art is not simple truth but complex beauty. In this they were perfectly right. Art itself is really a form of exaggeration; and selection, which is the very spirit of art, is nothing more than an intensified mode of overemphasis.

But Life soon shattered the perfection of the form. Even in Shakespeare we can see the beginning of the end. It shows itself by the gradual breaking-up of the blank-verse in the later plays, by the predominance given to prose, and by the over-importance assigned to characterization. The passages in Shakespeare—and they are many—where the language is uncouth, vulgar, exaggerated, fantastic, obscene even, are entirely due to Life calling for an echo of her own voice, and rejecting the intervention of beautiful style, through which alone should life be suffered to find expression. Shakespeare is not by any means a flawless artist. He is too fond of going directly to Life, and borrowing Life’s natural utterance. He forgets that when Art surrenders her imaginative medium she surrenders everything.

Which of the following is the best title for this passage?

Passage adapted from Henry David Thoreau's Walden (1854_)._

The shore is irregular enough not to be monotonous. I have in my mind's eye the western, indented with deep bays, the bolder northern, and the beautifully scalloped southern shore, where successive capes overlap each other and suggest unexplored coves between. The forest has never so good a setting, nor is so distinctly beautiful, as when seen from the middle of a small lake amid hills which rise from the water's edge; for the water in which it is reflected not only makes the best foreground in such a case, but, with its winding shore, the most natural and agreeable boundary to it. There is no rawness or imperfection in its edge there, as where the axe has cleared a part, or a cultivated field abuts on it. The trees have ample room to expand on the water side, and each sends forth its most vigorous branch in that direction. There Nature has woven a natural selvage, and the eye rises by just gradations from the low shrubs of the shore to the highest trees. There are few traces of man's hand to be seen. The water laves the shore as it did a thousand years ago.

A lake is the landscape's most beautiful and expressive feature. It is earth's eye; looking into which the beholder measures the depth of his own nature. The fluviatile trees next to the shore are the slender eyelashes which fringe it, and the wooded hills and cliffs around are its overhanging brows.

Standing on the smooth sandy beach at the east end of the pond, in a calm September afternoon, when a slight haze makes the opposite shore-line indistinct, I have seen whence came the expression, "the glassy surface of a lake." When you invert your head, it looks like a thread of finest gossamer stretched across the valley, and gleaming against the distant pine woods, separating one stratum of the atmosphere from another. You would think that you could walk dry under it to the opposite hills, and that the swallows which skim over might perch on it. Indeed, they sometimes dive below the line, as it were by mistake, and are undeceived. As you look over the pond westward you are obliged to employ both your hands to defend your eyes against the reflected as well as the true sun, for they are equally bright; and if, between the two, you survey its surface critically, it is literally as smooth as glass, except where the skater insects, at equal intervals scattered over its whole extent, by their motions in the sun produce the finest imaginable sparkle on it, or, perchance, a duck plumes itself, or, as I have said, a swallow skims so low as to touch it. It may be that in the distance a fish describes an arc of three or four feet in the air, and there is one bright flash where it emerges, and another where it strikes the water; sometimes the whole silvery arc is revealed; or here and there, perhaps, is a thistle-down floating on its surface, which the fishes dart at and so dimple it again. It is like molten glass cooled but not congealed, and the few motes in it are pure and beautiful like the imperfections in glass. You may often detect a yet smoother and darker water, seperated from the rest as if by an invisible cobweb, boom of the water nymphs, resting on it. From a hilltop you can see a fish leap in almost any part; for not a pickerel or shiner picks an insect from this smooth surface but it manifestly disturbs the equilibrium of the whole lake. It is wonderful with what elaborateness this simple fact is advertised--this piscine murder will out--and from my distant perch I distinguish the circling undulations when they are half a dozen rods in diameter. You can even detect a water-bug ceaselessly progressing over the smooth surface a quarter of a mile off; for they furrow the water slightly, making a conspicuous ripple bounded by two diverging lines, but the skaters glide over it without rippling it perceptibly. When the surface is considerably agitated there are no skaters nor water-bugs on it, but apparently, in calm days, they leave their havens and adventurously glide forth from the shore by short impulses till they completely cover it. It is a soothing employment, on one of those fine days in the fall when all the warmth of the sun is fully appreciated, to sit on a stump on such a height as this, overlooking the pond, and study the dimpling circles which are incessantly inscribed on its otherwise invisible surface amid the reflected skies and trees.

In what time period does the author say he recognizes the origin of the expression, "the glassy surface of a lake?"

Passage adapted from A Vindication of the Rights of Woman (1792) by Mary Wollstonecraft

It is of great importance to observe, that the character of every man is, in some degree, formed by his profession. A man of sense may only have a cast of countenance that wears off as you trace his individuality, whilst the weak, common man, has scarcely ever any character, but what belongs to the body; at least, all his opinions have been so steeped in the vat consecrated by authority, that the faint spirit which the grape of his own vine yields cannot be distinguished.

Society, therefore, as it becomes more enlightened, should be very careful not to establish bodies of men who must necessarily be made foolish or vicious by the very constitution of their profession.

In the infancy of society, when men were just emerging out of barbarism, chiefs and priests, touching the most powerful springs of savage conduct—hope and fear—must have had unbounded sway. An aristocracy, of course, is naturally the first form of government. But clashing interests soon losing their equipoise, a monarchy and hierarchy break out of the confusion of ambitious struggles, and the foundation of both is secured by feudal tenures. This appears to be the origin of monarchial and priestly power, and the dawn of civilization. But such combustible materials cannot long be pent up; and getting vent in foreign wars and intestine insurrections, the people acquire some power in the tumult, which obliges their rulers to gloss over their oppression with a show of right. Thus, as wars, agriculture, commerce, and literature expand the mind, despots are compelled to make covert corruption hold fast the power which was formerly snatched by open force. And this baneful lurking gangrene is most quickly spread by luxury and superstition, the sure dregs of ambition. The indolent puppet of a court first becomes a luxurious monster, or fastidious sensualist, and then makes the contagion which his unnatural state spreads, the instrument of tyranny.

What is the meaning of the underlined selection?

Passage adapted from “On a Certain Blindness in Human Beings” (1900) by William James

Some years ago, while journeying in the mountains of North Carolina, I passed by a large number of 'coves,' as they call them there, or heads of small valleys between the hills, which had been newly cleared and planted. The impression on my mind was one of unmitigated squalor. The settler had in every case cut down the more manageable trees, and left their charred stumps standing. The larger trees he had girdled and killed, in order that their foliage should not cast a shade. He had then built a log cabin, plastering its chinks with clay, and had set up a tall zigzag rail fence around the scene of his havoc, to keep the pigs and cattle out. Finally, he had irregularly planted the intervals between the stumps and trees with Indian corn, which grew among the chips; and there he dwelt with his wife and babes--an axe, a gun, a few utensils, and some pigs and chickens feeding in the woods, being the sum total of his possessions.

The forest had been destroyed; and what had 'improved' it out of existence was hideous, a sort of ulcer, without a single element of artificial grace to make up for the loss of Nature's beauty. Ugly, indeed, seemed the life of the squatter, scudding, as the sailors say, under bare poles, beginning again away back where our first ancestors started, and by hardly a single item the better off for all the achievements of the intervening generations.

“Talk about going back to nature!” I said to myself, oppressed by the dreariness, as I drove by. Talk of a country life for one's old age and for one's children! Never thus, with nothing but the bare ground and one's bare hands to fight the battle! Never, without the best spoils of culture woven in! The beauties and commodities gained by the centuries are sacred. They are our heritage and birthright. No modern person ought to be willing to live a day in such a state of rudimentariness and denudation.

Then I said to the mountaineer who was driving me, "What sort of people are they who have to make these new clearings?" "All of us," he replied. "Why, we ain't happy here, unless we are getting one of these coves under cultivation." I instantly felt that I had been losing the whole inward significance of the situation. Because to me the clearings spoke of naught but denudation, I thought that to those whose sturdy arms and obedient axes had made them they could tell no other story. But, when they looked on the hideous stumps, what they thought of was personal victory. The chips, the girdled trees, and the vile split rails spoke of honest sweat, persistent toil and final reward. The cabin was a warrant of safety for self and wife and babes. In short, the clearing, which to me was a mere ugly picture on the retina, was to them a symbol redolent with moral memories and sang a very pæan of duty, struggle, and success.

I had been as blind to the peculiar ideality of their conditions as they certainly would also have been to the ideality of mine, had they had a peep at my strange indoor academic ways of life at Cambridge.

In the third paragraph, what does the author imply about country life?