Literal Comprehension - HSPT Reading

"American Students and Foreign Languages" by Matthew Minerd (2013)

American students often find it difficult to understand the need for learning a foreign language. In part, this lack of understanding seems to occur because of the insulated nature of American geography. Unlike Europe, America is a massive country, comprised of states that all speak the same language. When an American travels from state to state, he or she is not confronted with a completely different language group as is the case when, for example, a Frenchman travels from his native land to the neighboring country of Italy or to England. Although America does have Canada to its north and Mexico to its south, still it does not have the great internal variety of languages as one finds in the small European continent; therefore, students often do not have the experience of the practical importance of knowing other languages.

Of course, America has always been called the “melting pot,” for many peoples have arrived on these shores bringing their own distinctive cultures and languages. Still, this very expression—“melting pot”—shows that these immigrant cultures do not forever retain their own particular manners and languages. With time, these varied cultures become part of the American culture as a whole. While they do influence and change the culture, they likewise become assimilated into it. Their spoken language becomes English. Even if they retain their mother tongue, they generally speak it privately. This is done as a matter of personal heritage, not as part of the day-to-day life in the culture.

Additionally, America’s global dominance likewise allows Americans to avoid learning other languages. Since America has such influence over the rest of the world, it is generally in the interests of other peoples to learn English in order to be part of the economic, political, and military world in which America operates; therefore, even at international meetings that are filled with people from many nationalities and language groups, English-speakers are at an advantage because they can talk with almost anyone. The work and learning of other peoples thus allows the Americans to convince themselves that there is no need to learn another language.

Lastly, American education has come to emphasize mathematics and science to such a great degree that things such as language can often seem unimportant. The main goals of education are said to be the training of students for the technology workforce. If this is presented as the main goal of school, few children will understand why any of the non-science subjects are included in the curriculum. If a subject does not help in learning math and science, it will appear to be irrelevant. In particular, foreign languages do not seem to add to the teaching of math and science, which can be done very easily and effectively in English alone.

Of course, many other reasons could be considered, and a more detailed discussion would undertake such a lengthy investigation. Still, the factors discussed above do provide some sense as to why American students find it difficult to understand the importance of learning a foreign language.

Based on what is said in the third paragraph, why are other countries encouraged to learn English?

"The Pets of the Elderly" by Matthew Minerd (2013)

Many younger people think that it is a bit strange to see elderly widows and widowers fussing greatly over their pet dogs and cats. While it is perhaps amusing to see a mature adult babying an animal, this aspect of life often is of crucial importance for the health and happiness of these aging persons. Although they have lost their spouses and often have a dwindling number of friends, these people often have a social network outside of the house that can be deceptively large and active. All of this activity can hide the great loneliness that these people experience when they return home**.** Often having been the shared refuge with the loving presence of a spouse, the widow’s house or apartment can become a lonely isolation cell, no matter how active he or she might be. Pets often are a solution to this loneliness, becoming dear companions in a life that would otherwise be very devoid of personal contact every morning and night. They offer great joy and consolation to these elderly people. It is therefore understandable that their owners often give them such large amounts of attention.

Which of the following sentences explicitly describes how pets are important in the lives of elderly widows and widowers?

Adapted from Scientific American Supplement No. 1082 Vol. XLII (September 26th, 1896)

The rowboat Fox, of the port of New York, manned by George Harbo, thirty-one years of age, captain of a merchantman, and Frank Samuelson, twenty-six years of age, left New York for Havre on the sixth of June. Ten days later the boat was met by the German transatlantic steamer Fürst Bismarck proceeding from Cherbourg to New York. On the eighth, ninth and tenth of July, the Fox was cast by a tempest upon the reefs of Newfoundland. The two men jumped into the sea, and thanks to the watertight compartments provided with air chambers fore and aft, it was possible for them to right the boat; but the unfortunates lost their provisions and their supply of drinking water. On the fifteenth they met the Norwegian three-masted vessel Cito, which supplied them with food and water. The captains of the vessels met with signed the log book and testified that the boat had neither sail nor rudder. The Fox reached the Scilly Islands on the first of August, having at this date been on the ocean fifty-five days. It arrived at Havre on the seventh of August.

Cost what it might, the men were bent upon reaching this port in order to gain the reward promised by Mr. Fox, of the Police Gazette. Thanks to the wind and a favorable current, they made one hundred and twenty-five miles in twenty-four hours. One slept three hours while the other rowed. Their skins and faces were tumefied by the wind, salt water, and sun; the skin of their hands was renewed three times; their legs were weakened; and they were worn out.

How did the Norwegian vessel that the two men met most significantly help them?

Adapted from Seven Discourses Delivered in the Royal Academy By the President by Joshua Reynolds (1778)

All the objects which are exhibited to our view by nature, upon close examination will be found to have their blemishes and defects. The most beautiful forms have something about them like weakness, minuteness, or imperfection. But it is not every eye that perceives these blemishes. It must be an eye long used to the contemplation and comparison of these forms—and which, by a long habit of observing what any set of objects of the same kind have in common, that alone can acquire the power of discerning what each wants in particular. This long laborious comparison should be the first study of the painter who aims at the greatest style. By this means, he acquires a just idea of beautiful forms; he corrects nature by herself, her imperfect state by her more perfect. His eye being enabled to distinguish the accidental deficiencies, excrescences, and deformities of things from their general figures, he makes out an abstract idea of their forms more perfect than any one original—and what may seem a paradox, he learns to design naturally by drawing his figures unlike to any one object. This idea of the perfect state of nature, which the artist calls the ideal beauty, is the great leading principle by which works of genius are conducted. By this, Phidias acquired his fame. He wrought upon a sober principle what has so much excited the enthusiasm of the world—and by this method you, who have courage to tread the same path, may acquire equal reputation.

The phrase "the great leading principle" refers to __________.

Adapted from "On the Death of Marie Antoinette" by Edmund Burke (1793)

It is now sixteen or seventeen years since I saw the Queen of France, then the Dauphiness, at Versailles; and surely never lighted on this orb, which she hardly seemed to touch, a more delightful vision. I saw her just above the horizon, decorating and cheering the elevated sphere she had just begun to move in, glittering like the morning star full of life and splendor and joy.

Oh, what a revolution! And what a heart must I have, to contemplate without emotion that elevation and that fall! Little did I dream, when she added titles of veneration to those of enthusiastic, distant, respectful love, that she should ever be obliged to carry the sharp antidote against disgrace concealed in that bosom; little did I dream that I should have lived to see such disasters fallen upon her, in a nation of gallant men and of cavaliers! I thought ten thousand swords must have leaped from their scabbards, to avenge even a look that threatened her with insult.

But the age of chivalry is gone; that of sophistry, economists, and calculators has succeeded, and the glory of Europe is extinguished forever. Never, never more, shall we behold that generous loyalty to rank and sex, that proud submission, that dignified obedience, that subordination of the heart, which kept alive, even in servitude itself, the spirit of an exalted freedom! The unsought grace of life, the cheap defense of nations, the nurse of manly sentiment and heroic enterprise is gone. It is gone, that sensibility of principle, that chastity of honor, which felt a stain like a wound, which inspired courage whilst it mitigated ferocity, which ennobled whatever it touched, and under which vice itself lost half its evil, by losing all its grossness.

The author’s tone in this passage is primarily __________.

"Commentaries" by Matthew Minerd (2013)

The idea of a commentary is not anywhere as simple as most people think. To the popular imagination, the commentator makes a few observations based on a text, not going far beyond its contents. This standard opinion completely misses the various types of commentaries that can be written. Indeed, even the notion of “literal commentary” is itself so variegated that it is incorrect to imagine that such “literal” work is merely a slavish repetition of an original text.

Some literal commentaries truly are “literal,” that is, based on the letters and words of the text. Such philological studies investigate the language structures and meanings of a text. The interpretation of the text proceeds based on these linguistic investigations. Often, this process will note the types of rhetoric being used, the dialects utilized, and any odd language structures that might imply something with regard to the text’s meaning. All of these methods remain very concerned with the “letter of the text” in a very direct manner.

Indeed, even the Medieval commentaries on Aristotle’s works could be considered “literal,” though they do differ from such linguistic approaches. Men like Thomas Aquinas would very carefully read Aristotle’s text, giving what was called a divisio textus for every section of the text in question. This “division of the text” sought to provide a succinct but correct outline of the text in question so that its literal meaning might be more easily noticed. Certainly, the commentary that followed this divisio textus did express some aspects of Aquinas’ own thought. However, he (like other literal commentators of this type) would attempt to remain as close to the literal meaning of the text as possible, always using the divisio textus as a guide for understanding the structure of the original author’s thought.

What was the purpose of the so-called divisio textus mentioned in the third paragraph above?

"The Meaning of 'Liberal Arts Education'" by Matthew Minerd (2013)

Many people use the expression “liberal arts education” but do not know much at all about the original meaning of such an education. It is often thought that a “true liberal education” is one that gives the student knowledge that is not pursued for “utilitarian values”—that is, knowledge that is not merely “for the sake of getting a job.” Sometimes, the expression “liberal education” is used to describe an education that is not a mere repetition of old beliefs, but is open-minded and “liberal” in this way.

To understand the original meaning of the expression “liberal arts” it is necessary to consider each part of the expression as it was used in its ancient and medieval senses. The word “liberal” was used to describe these “arts” insofar as they were not the “servile arts,” that is, “arts” in the sense of “artisan work.” In this regard, “liberal arts” were not a matter of “getting a job.” The word “art” still had a meaning that was related to “artisanship.” However, these “arts” were “liberal” because they were the “arts of reasoning,” that is, “the arts of the mind.” They were meant to be tools that prepared someone for more in-depth studies. Thus, they were not envisioned as “knowledge for the sake of knowledge.” Instead, they were the initial tools that enabled the young student to reason properly. This more ancient sense of the “liberal arts” is often missed or, at least, partially overlooked in contemporary discussions about them.

According to the reasoning of the passage, which sentence directly explains the older meaning of “art” in the expression “liberal arts”?

Adapted from The Wind in the Willows by Kenneth Grahame (1908)

The Mole had been working very hard all the morning, spring cleaning his little home. First with brooms, then with dusters, then on ladders and steps and chairs, with a brush and a pail of whitewash, 'till he had dust in his throat and eyes, and splashes of whitewash all over his black fur, and an aching back and weary arms. Spring was moving in the air above and in the earth below and around him, penetrating even his dark and lowly little house with its spirit of divine discontent and longing. It was small wonder, then, that he suddenly flung down his brush on the floor, said "Bother!" and "O blow!" and also "Hang spring cleaning!" and bolted out of the house without even waiting to put on his coat. Something up above was calling him imperiously, and he made for the steep little tunnel which answered in his case to the gaveled carriage-drive owned by animals whose residences are nearer to the sun and air. So he scraped and scratched and scrabbled and scrooged and then he scrooged again and scrabbled and scratched and scraped, working busily with his little paws and muttering to himself, "Up we go! Up we go!" 'till at last, pop! His snout came out into the sunlight, and he found himself rolling in the warm grass of a great meadow.

"This is fine!" he said to himself. "This is better than whitewashing!" The sunshine struck hot on his fur, soft breezes caressed his heated brow, and after the seclusion of the cellarage he had lived in so long, the carol of happy birds fell on his dulled hearing almost like a shout. Jumping off all his four legs at once, in the joy of living and the delight of spring without its cleaning, he pursued his way across the meadow 'till he reached the hedge on the further side.

"Hold up!" said an elderly rabbit at the gap. "Sixpence for the privilege of passing by the private road!" He was bowled over in an instant by the impatient and contemptuous Mole, who trotted along the side of the hedge chaffing the other rabbits as they peeped hurriedly from their holes to see what the row was about. "Onion-sauce! Onion-sauce!" he remarked jeeringly, and was gone before they could think of a thoroughly satisfactory reply. Then they all started grumbling at each other. "How STUPID you are! Why didn't you tell him—" "Well, why didn't YOU say—" "You might have reminded him—" and so on, in the usual way; but, of course, it was then much too late, as is always the case.

In which order does the mole use the following tools when spring cleaning his home?

Adapted from The Wind in the Willows by Kenneth Grahame (1908)

The Mole had been working very hard all the morning, spring cleaning his little home. First with brooms, then with dusters, then on ladders and steps and chairs, with a brush and a pail of whitewash, 'till he had dust in his throat and eyes, and splashes of whitewash all over his black fur, and an aching back and weary arms. Spring was moving in the air above and in the earth below and around him, penetrating even his dark and lowly little house with its spirit of divine discontent and longing. It was small wonder, then, that he suddenly flung down his brush on the floor, said "Bother!" and "O blow!" and also "Hang spring cleaning!" and bolted out of the house without even waiting to put on his coat. Something up above was calling him imperiously, and he made for the steep little tunnel which answered in his case to the gaveled carriage-drive owned by animals whose residences are nearer to the sun and air. So he scraped and scratched and scrabbled and scrooged and then he scrooged again and scrabbled and scratched and scraped, working busily with his little paws and muttering to himself, "Up we go! Up we go!" 'till at last, pop! His snout came out into the sunlight, and he found himself rolling in the warm grass of a great meadow.

"This is fine!" he said to himself. "This is better than whitewashing!" The sunshine struck hot on his fur, soft breezes caressed his heated brow, and after the seclusion of the cellarage he had lived in so long, the carol of happy birds fell on his dulled hearing almost like a shout. Jumping off all his four legs at once, in the joy of living and the delight of spring without its cleaning, he pursued his way across the meadow 'till he reached the hedge on the further side.

"Hold up!" said an elderly rabbit at the gap. "Sixpence for the privilege of passing by the private road!" He was bowled over in an instant by the impatient and contemptuous Mole, who trotted along the side of the hedge chaffing the other rabbits as they peeped hurriedly from their holes to see what the row was about. "Onion-sauce! Onion-sauce!" he remarked jeeringly, and was gone before they could think of a thoroughly satisfactory reply. Then they all started grumbling at each other. "How STUPID you are! Why didn't you tell him—" "Well, why didn't YOU say—" "You might have reminded him—" and so on, in the usual way; but, of course, it was then much too late, as is always the case.

Which of the following can we infer based on the information provided in the passage?

Adapted from The Wind in the Willows by Kenneth Grahame (1908)

The Mole had been working very hard all the morning, spring cleaning his little home. First with brooms, then with dusters, then on ladders and steps and chairs, with a brush and a pail of whitewash, 'till he had dust in his throat and eyes, and splashes of whitewash all over his black fur, and an aching back and weary arms. Spring was moving in the air above and in the earth below and around him, penetrating even his dark and lowly little house with its spirit of divine discontent and longing. It was small wonder, then, that he suddenly flung down his brush on the floor, said "Bother!" and "O blow!" and also "Hang spring cleaning!" and bolted out of the house without even waiting to put on his coat. Something up above was calling him imperiously, and he made for the steep little tunnel which answered in his case to the gaveled carriage-drive owned by animals whose residences are nearer to the sun and air. So he scraped and scratched and scrabbled and scrooged and then he scrooged again and scrabbled and scratched and scraped, working busily with his little paws and muttering to himself, "Up we go! Up we go!" 'till at last, pop! His snout came out into the sunlight, and he found himself rolling in the warm grass of a great meadow.

"This is fine!" he said to himself. "This is better than whitewashing!" The sunshine struck hot on his fur, soft breezes caressed his heated brow, and after the seclusion of the cellarage he had lived in so long, the carol of happy birds fell on his dulled hearing almost like a shout. Jumping off all his four legs at once, in the joy of living and the delight of spring without its cleaning, he pursued his way across the meadow 'till he reached the hedge on the further side.

"Hold up!" said an elderly rabbit at the gap. "Sixpence for the privilege of passing by the private road!" He was bowled over in an instant by the impatient and contemptuous Mole, who trotted along the side of the hedge chaffing the other rabbits as they peeped hurriedly from their holes to see what the row was about. "Onion-sauce! Onion-sauce!" he remarked jeeringly, and was gone before they could think of a thoroughly satisfactory reply. Then they all started grumbling at each other. "How STUPID you are! Why didn't you tell him—" "Well, why didn't YOU say—" "You might have reminded him—" and so on, in the usual way; but, of course, it was then much too late, as is always the case.

Where is the mole's home located?

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

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

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

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

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

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

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

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

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

Wells says that all of the following are possible with the quill pen EXCEPT __________.

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

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

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

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

Wells suggests that bad essays began being written when __________.

Adapted from The Fight at the Pass of Thermopylæ by Charlotte M. Yonge (1876)

The troops sent for this purpose were from different cities, and amounted to about 4,000 who were to keep the pass against two millions. The leader of them was Leonidas, who had newly become one of the two kings of Sparta, the city that above all in Greece trained its sons to be hardy soldiers, dreading death infinitely less than shame. Leonidas had already made up his mind that the expedition would probably be his death, perhaps because a prophecy had been given at the Temple at Delphi that Sparta should be saved by the death of one of her kings of the race of Hercules. He was allowed by law to take with him 300 men, and these he chose most carefully, not merely for their strength and valor, but selecting those who had sons, so that no family might be altogether destroyed. These Spartans, with their helots or slaves, made up his own share of the numbers, but all the army was under his generalship. It is even said that the 300 celebrated their own funeral rites before they set out lest they should be deprived of them by the enemy, since, as we have already seen, it was the Greek belief that the spirits of the dead found no rest till their obsequies had been performed. Such preparations did not daunt the spirits of Leonidas and his men, and his wife, Gorgo, not a woman to be faint-hearted or hold him back. Long before, when she was a very little girl, a word of hers had saved her father from listening to a traitorous message from the King of Persia; and every Spartan lady was bred up to be able to say to those she best loved that they must come home from battle "with the shield or carried upon it."

Why did Leonidas think he was going to die defending Sparta?

Adapted from The Fight at the Pass of Thermopylæ by Charlotte M. Yonge (1876)

The troops sent for this purpose were from different cities, and amounted to about 4,000 who were to keep the pass against two millions. The leader of them was Leonidas, who had newly become one of the two kings of Sparta, the city that above all in Greece trained its sons to be hardy soldiers, dreading death infinitely less than shame. Leonidas had already made up his mind that the expedition would probably be his death, perhaps because a prophecy had been given at the Temple at Delphi that Sparta should be saved by the death of one of her kings of the race of Hercules. He was allowed by law to take with him 300 men, and these he chose most carefully, not merely for their strength and valor, but selecting those who had sons, so that no family might be altogether destroyed. These Spartans, with their helots or slaves, made up his own share of the numbers, but all the army was under his generalship. It is even said that the 300 celebrated their own funeral rites before they set out lest they should be deprived of them by the enemy, since, as we have already seen, it was the Greek belief that the spirits of the dead found no rest till their obsequies had been performed. Such preparations did not daunt the spirits of Leonidas and his men, and his wife, Gorgo, not a woman to be faint-hearted or hold him back. Long before, when she was a very little girl, a word of hers had saved her father from listening to a traitorous message from the King of Persia; and every Spartan lady was bred up to be able to say to those she best loved that they must come home from battle "with the shield or carried upon it."

Why did the Spartans celebrate their funeral rites before they departed?

Adapted from The Story of Mankind by Hendrik Van Loon (1921)

During the first twenty years of his life, young Napoleon was a professional Corsican patriot—a Corsican Sinn Feiner, who hoped to deliver his beloved country from the yoke of the bitterly hated French enemy. But the French revolution had unexpectedly recognised the claims of the Corsicans and gradually Napoleon, who had received a good training at the military school of Brienne, drifted into the service of his adopted country. Although he never learned to spell French correctly or to speak it without a broad Italian accent, he became a Frenchman. In due time he came to stand as the highest expression of all French virtues. At present he is regarded as the symbol of the Gallic genius.

Napoleon was what is called a fast worker. His career does not cover more than twenty years. In that short span of time he fought more wars and gained more victories and marched more miles and conquered more square kilometers and killed more people and brought about more reforms and generally upset Europe to a greater extent than anybody (including Alexander the Great and Genghis Khan) had ever managed to do.

He was a little fellow and during the first years of his life his health was not very good. He never impressed anybody by his good looks and he remained to the end of his days very clumsy whenever he was obliged to appear at a social function. He did not enjoy a single advantage of breeding or birth or riches. For the greater part of his youth he was desperately poor and often he had to go without a meal or was obliged to make a few extra pennies in curious ways.

He gave little promise as a literary genius. When he competed for a prize offered by the Academy of Lyons, his essay was found to be next to the last and he was number 15 out of 16 candidates. But he overcame all these difficulties through his absolute and unshakable belief in his own destiny, and in his own glorious future. Ambition was the main-spring of his life. The thought of self, the worship of that capital letter "N" with which he signed all his letters, and which recurred forever in the ornaments of his hastily constructed palaces, the absolute will to make the name Napoleon the most important thing in the world next to the name of God, these desires carried Napoleon to a pinnacle of fame which no other man has ever reached.

According to the author Napoleon was primarily inspired by __________.

Adapted from The Story of Mankind by Hendrik Van Loon (1921)

During the first twenty years of his life, young Napoleon was a professional Corsican patriot—a Corsican Sinn Feiner, who hoped to deliver his beloved country from the yoke of the bitterly hated French enemy. But the French revolution had unexpectedly recognised the claims of the Corsicans and gradually Napoleon, who had received a good training at the military school of Brienne, drifted into the service of his adopted country. Although he never learned to spell French correctly or to speak it without a broad Italian accent, he became a Frenchman. In due time he came to stand as the highest expression of all French virtues. At present he is regarded as the symbol of the Gallic genius.

Napoleon was what is called a fast worker. His career does not cover more than twenty years. In that short span of time he fought more wars and gained more victories and marched more miles and conquered more square kilometers and killed more people and brought about more reforms and generally upset Europe to a greater extent than anybody (including Alexander the Great and Genghis Khan) had ever managed to do.

He was a little fellow and during the first years of his life his health was not very good. He never impressed anybody by his good looks and he remained to the end of his days very clumsy whenever he was obliged to appear at a social function. He did not enjoy a single advantage of breeding or birth or riches. For the greater part of his youth he was desperately poor and often he had to go without a meal or was obliged to make a few extra pennies in curious ways.

He gave little promise as a literary genius. When he competed for a prize offered by the Academy of Lyons, his essay was found to be next to the last and he was number 15 out of 16 candidates. But he overcame all these difficulties through his absolute and unshakable belief in his own destiny, and in his own glorious future. Ambition was the main-spring of his life. The thought of self, the worship of that capital letter "N" with which he signed all his letters, and which recurred forever in the ornaments of his hastily constructed palaces, the absolute will to make the name Napoleon the most important thing in the world next to the name of God, these desires carried Napoleon to a pinnacle of fame which no other man has ever reached.

Which of these statements is NOT supported by this passage?

Passage adapted from John Dewey's "The Need for a Recovery of Philosophy" (1915)

Intellectual advance occurs in two ways. At times increase of knowledge is organized about old conceptions, while these are expanded, elaborated and refined, but not seriously revised, much less abandoned. At other times, the increase of knowledge demands qualitative rather than quantitative change; alteration, not addition. Men's minds grow cold to their former intellectual concerns; ideas that were burning fade; interests that were urgent seem remote. Men face in another direction; their older perplexities are unreal; considerations passed over as negligible loom up. Former problems may not have been solved, but they no longer press for solutions.

Philosophy is no exception to the rule. But it is unusually conservative--not, necessarily, in proffering solutions, but in clinging to problems. It has been so allied with theology and theological morals as representatives of men's chief interests, that radical alteration has been shocking. Men's activities took a decidedly new turn, for example, in the seventeenth century, and it seems as if philosophy, under the lead of thinkers like Bacon and Descartes, was to execute an about-face. But, in spite of the ferment, it turned out that many of the older problems were but translated from Latin into the vernacular or into the new terminology furnished by science.

The association of philosophy with academic teaching has reinforced this intrinsic conservatism. Scholastic philosophy persisted in universities after men's thoughts outside of the walls of colleges had moved in other directions. In the last hundred years intellectual advances of science and politics have in like fashion been crystallized into material of instruction and now resist further change. I would not say that the spirit of teaching is hostile to that of liberal inquiry, but a philosophy which exists largely as something to be taught rather than wholly as something to be reflected upon is conducive to discussion of views held by others rather than to immediate response. Philosophy when taught inevitably magnifies the history of past thought, and leads professional philosophers to approach their subject-matter through its formulation in received systems. It tends, also, to emphasize points upon which men have divided into schools, for these lend themselves to retrospective definition and elaboration. Consequently, philosophical discussion is likely to be a dressing out of antithetical traditions, where criticism of one view is thought to afford proof of the truth of its opposite (as if formulation of views guaranteed logical exclusives). Direct preoccupation with contemporary difficulties is left to literature and politics.

Which of the following sentences expresses an explanation for why philosophical education has an inherently conservative bias according to Dewey?

"Cacti" by Ami Dave (2013)

Cacti are plants suited to the desert, and we must always keep this factor in mind when growing ornamental cacti in our gardens, for it helps us provide cacti with conditions that allow them to survive and thrive. For example, a cactus should never be watered over its body, as it will start to rot. This is because it is covered with a waxy coating which prevents water loss through evaporation. When one waters the cactus over its body, the waxy coating is washed away and the plant begins to rot. The amount of water that one must supply to the cactus is very much dependent upon the season and upon the climate of the place. During the summer season one should water cacti every four days, whereas in the rainy season, once every fifteen days is quite enough.

Cacti need a minimum of two and a half hours of sunlight per day; however, they should not be kept in the sun all day because they may wrinkle when exposed to too much bright sunlight. Unlike other plants, cacti produce carbon dioxide during the day and oxygen during the night, so they are ideal plants to be kept in bedrooms to freshen up the air at night.

If a cactus is to thrive and prosper, the size of the pot in which it is grown needs to be monitored carefully. The pot should always be a little smaller than the plant itself because it is only when the plant has to struggle to survive that it will thrive. If the pot is too spacious and the plant does not need to struggle, chances are that the cactus will die. Similarly, if a cactus shows no signs of growth, stop watering it. Watering should be resumed only when the plant begins to grow again.

The substrata of a cactus pot is ideally composed of pieces of broken bricks at the bottom, followed by a layer of charcoal above the bricks, and then coarse sand and pebbles above the charcoal. Leaf mould is the best manure.

Grafting cacti is very simple. A very small piece of the cactus plant should be stuck with tape to the plant that needs grafting. The smaller the piece, the easier it is to graft. To reproduce cacti, one has to simply cut off a piece of the cactus, allow it to dry for a few days, and then place it over the cacti substrate. It will automatically develop roots.

It is very easy to differentiate between cacti and other plants that look like cacti. All cacti have fine hair at the base of each thorn. The so-called “thorns” are in fact highly modified leaves which prevent loss of water through transpiration. If one ever gets pricked by cacti thorns, one should take tape, place it over the area where the thorns have penetrated the skin, and then peel it off. All of the thorns will get stuck to the tape and will be removed.

The first paragraph provides all of the following information EXCEPT __________.