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ACT Reading
"Interpreting the Copernican Revolution" by Matthew Minerd (2014):
The expressions of one discipline can often alter the way that other subjects understand themselves. Among such cases are numbered the investigations of Nicolaus Copernicus. Copernicus is best known for his views concerning heliocentrism, a view which eventually obliterated many aspects of the ancient/medieval worldview, at least from the standpoint of physical science. It had always been the natural view of mankind that the earth stood at the center of the universe, a fixed point in reference to the rest of the visible bodies. The sun, stars, and planets all rotated around the earth.
With time, this viewpoint became one of the major reference points for modern life. It provided a provocative image that was used—and often abused—by many people for various purposes. For those who wished to weaken the control of religion on mankind, it was said that the heliocentric outlook proved man’s insignificance. In contrast with earlier geocentrism, heliocentrism was said to show that man is not the center of the universe. He is merely one small being in the midst of a large cosmos. However, others wished to use the “Copernican Revolution” in a very different manner. These thinkers wanted to show that there was another “recentering” that had to happen. Once upon a time, we talked about the world. Now, however, it was necessary to talk of man as the central reference point. Just as the solar system was “centered” on the sun, so too should the sciences be centered on the human person.
However, both of these approaches are fraught with problems. Those who wished to undermine the religious mindset rather misunderstood the former outlook on the solar system. The earlier geocentric mindset did not believe that the earth was the most important body in the heavens. Instead, many ancient and medieval thinkers believed that the highest “sphere” above the earth was the most important being in the physical universe. Likewise, the so-called “Copernican Revolution” in physics was different from the one applied to the human person. Copernicus’ revolution showed that the human point of view was not the center, whereas the later forms of “Copernican revolution” wished to show just the opposite.
Of course, there are many complexities in the history of such important changes in scientific outlook. Nevertheless, it is fascinating to see the wide-reaching effects of such discoveries, even when they have numerous, ambiguous effects.
1. What can we say, in general, about the interpretations that have been offered for the effects of Copernicus’ discoveries?
The expressions of one discipline can often alter the way that other subjects understand themselves. Among such cases are numbered the investigations of Nicolaus Copernicus. Copernicus is best known for his views concerning heliocentrism, a view which eventually obliterated many aspects of the ancient/medieval worldview, at least from the standpoint of physical science. It had always been the natural view of mankind that the earth stood at the center of the universe, a fixed point in reference to the rest of the visible bodies. The sun, stars, and planets all rotated around the earth.
With time, this viewpoint became one of the major reference points for modern life. It provided a provocative image that was used—and often abused—by many people for various purposes. For those who wished to weaken the control of religion on mankind, it was said that the heliocentric outlook proved man’s insignificance. In contrast with earlier geocentrism, heliocentrism was said to show that man is not the center of the universe. He is merely one small being in the midst of a large cosmos. However, others wished to use the “Copernican Revolution” in a very different manner. These thinkers wanted to show that there was another “recentering” that had to happen. Once upon a time, we talked about the world. Now, however, it was necessary to talk of man as the central reference point. Just as the solar system was “centered” on the sun, so too should the sciences be centered on the human person.
However, both of these approaches are fraught with problems. Those who wished to undermine the religious mindset rather misunderstood the former outlook on the solar system. The earlier geocentric mindset did not believe that the earth was the most important body in the heavens. Instead, many ancient and medieval thinkers believed that the highest “sphere” above the earth was the most important being in the physical universe. Likewise, the so-called “Copernican Revolution” in physics was different from the one applied to the human person. Copernicus’ revolution showed that the human point of view was not the center, whereas the later forms of “Copernican revolution” wished to show just the opposite.
Of course, there are many complexities in the history of such important changes in scientific outlook. Nevertheless, it is fascinating to see the wide-reaching effects of such discoveries, even when they have numerous, ambiguous effects.
1. What can we say, in general, about the interpretations that have been offered for the effects of Copernicus’ discoveries?
2. Why is the "Copernican revolution" of the human sciences contrary to the literal sense of Copernicus' findings?
3. Which of the following would be a direct consequence of belief in geocentrism?
4. How was the underlined view about geocentrism incorrect?
5. How are two uses of the image of heliocentrism contrasted in this passage?
6. What is meant by “heliocentrism”?
7. Which of the following would likely be most interesting to those who believe the underlined sentence?
8. What can we say of the effects of Copernicus’ discoveries on the reigning medieval way of looking at the world?
9. What does the passage say was the overall effect of the scientific revolution implied in Copernicus' discoveries?
10. Which of the following could classify the type of people described in the underlined sentence?
Adapted from “Where I Lived, and What I Lived For” in Walden by Henry David Thoreau (1845)
I went to the woods because I wished to live deliberately, to front only the essential facts of life, and see if I could not learn what it had to teach, and not, when I came to die, discover that I had not lived. I did not wish to live what was not life, living is so dear; nor did I wish to practice resignation, unless it was quite necessary. I wanted to live deep and suck out all the marrow of life, to live so sturdily and Spartan-like as to put to rout all that was not life, to cut a broad swath and shave close, to drive life into a corner, and reduce it to its lowest terms, and, if it proved to be mean, why then to get the whole and genuine meanness of it, and publish its meanness to the world; or if it were sublime, to know it by experience, and be able to give a true account of it in my next excursion. For most men, it appears to me, are in a strange uncertainty about it, and have somewhat hastily concluded that it is the chief end of man here to "glorify God and enjoy him forever."
11. The underlined word “practice” most nearly means __________.
I went to the woods because I wished to live deliberately, to front only the essential facts of life, and see if I could not learn what it had to teach, and not, when I came to die, discover that I had not lived. I did not wish to live what was not life, living is so dear; nor did I wish to practice resignation, unless it was quite necessary. I wanted to live deep and suck out all the marrow of life, to live so sturdily and Spartan-like as to put to rout all that was not life, to cut a broad swath and shave close, to drive life into a corner, and reduce it to its lowest terms, and, if it proved to be mean, why then to get the whole and genuine meanness of it, and publish its meanness to the world; or if it were sublime, to know it by experience, and be able to give a true account of it in my next excursion. For most men, it appears to me, are in a strange uncertainty about it, and have somewhat hastily concluded that it is the chief end of man here to "glorify God and enjoy him forever."
11. The underlined word “practice” most nearly means __________.
12. Which of these statements would the author of this passage most likely NOT agree with?
13. In context, the reference to “Spartan-like” conveys a sense of __________.
14. The author’s description of “most men” most strongly suggests that __________.
15. The primary purpose of this passage is to __________.
16. Why does the author believe there was no slang in Shakespeare’s time?
17. The underlined word “adjuvant” in the second paragraph most nearly means __________.
18. The underlined word “virile” in the first paragraph most nearly means __________.
19. The passage as a whole suggests that a “nation of poets” __________.
20. In the passage's second line, why does the author contend that Shakespeare would be more at home in Chicago than in London?
21. The author believes that slang should primarily be used __________.
Adapted from “Letting Go,” part of A Southern Woman’s Story by Phoebe Yates Pember (1879)
Instructing him to find the doctor immediately and hastily getting on some clothing I hurried to the scene, for Fisher was an especial favorite. He was quite a young man, of about twenty years of age, who had been wounded ten months previously, very severely, high up on the leg near the hip and who by dint of hard nursing; good food and plenty of stimulant had been given a fair chance for recovery. The bones of the broken leg had slipped together, then lapped, and nature anxious as she always is to help herself had thrown a ligature across, uniting the severed parts; but after some time the side curved out, and the wounded leg was many inches shorter than its fellow. He had remained through all his trials, stout, fresh and hearty, interesting in appearance, and so gentle-mannered and uncomplaining that we all loved him. Supported on his crutches he had walked up and down his ward for the first time since he was wounded, and seemed almost restored. That same night he turned over and uttered an exclamation of pain.
Following the nurse to his bed, and turning down the covering, a small jet of blood spurted up. The sharp edge of the splintered bone must have severed an artery. I instantly put my finger on the little orifice and awaited the surgeon. He soon came--took a long look and shook his head. The explanation was easy; the artery was imbedded in the fleshy part of the thigh and could not be taken up. No earthly power could save him.
The hardest trial of my duty was laid upon me; the necessity of telling a man in the prime of life, and fullness of strength that there was no hope for him. It was done at last, and the verdict received patiently and courageously, some directions given by which his mother would be informed of his death, and then he turned his questioning eyes upon my face.
"How long can I live?"
"Only as long as I keep my finger upon this artery." A pause ensued. God alone knew what thoughts hurried through that heart and brain, called so unexpectedly from all earthly hopes and ties. He broke the silence at last.
"You can let go--"
But I could not. Not if my own life had trembled in the balance. Hot tears rushed to my eyes, a surging sound to my ears, and a deathly coldness to my lips. The pang of obeying him was spared me, and for the first and last time during the trials that surrounded me for four years, I fainted away. No words can do justice to the uncomplaining nature of the Southern soldier. Whether it arose from resignation or merely passive submission, yet when shown in the aggregate in a hospital, it was sublime. Day after day, whether lying wasted by disease or burning up with fever, torn with wounds or sinking from debility, a groan was seldom heard. The wounded wards would be noisily gay with singing, laughing, fighting battles o'er and o'er again, and playfully chaffing each other by decrying the troops from different States, each man applauding his own.
22. The word “sublime” most nearly means __________.
Instructing him to find the doctor immediately and hastily getting on some clothing I hurried to the scene, for Fisher was an especial favorite. He was quite a young man, of about twenty years of age, who had been wounded ten months previously, very severely, high up on the leg near the hip and who by dint of hard nursing; good food and plenty of stimulant had been given a fair chance for recovery. The bones of the broken leg had slipped together, then lapped, and nature anxious as she always is to help herself had thrown a ligature across, uniting the severed parts; but after some time the side curved out, and the wounded leg was many inches shorter than its fellow. He had remained through all his trials, stout, fresh and hearty, interesting in appearance, and so gentle-mannered and uncomplaining that we all loved him. Supported on his crutches he had walked up and down his ward for the first time since he was wounded, and seemed almost restored. That same night he turned over and uttered an exclamation of pain.
Following the nurse to his bed, and turning down the covering, a small jet of blood spurted up. The sharp edge of the splintered bone must have severed an artery. I instantly put my finger on the little orifice and awaited the surgeon. He soon came--took a long look and shook his head. The explanation was easy; the artery was imbedded in the fleshy part of the thigh and could not be taken up. No earthly power could save him.
The hardest trial of my duty was laid upon me; the necessity of telling a man in the prime of life, and fullness of strength that there was no hope for him. It was done at last, and the verdict received patiently and courageously, some directions given by which his mother would be informed of his death, and then he turned his questioning eyes upon my face.
"How long can I live?"
"Only as long as I keep my finger upon this artery." A pause ensued. God alone knew what thoughts hurried through that heart and brain, called so unexpectedly from all earthly hopes and ties. He broke the silence at last.
"You can let go--"
But I could not. Not if my own life had trembled in the balance. Hot tears rushed to my eyes, a surging sound to my ears, and a deathly coldness to my lips. The pang of obeying him was spared me, and for the first and last time during the trials that surrounded me for four years, I fainted away. No words can do justice to the uncomplaining nature of the Southern soldier. Whether it arose from resignation or merely passive submission, yet when shown in the aggregate in a hospital, it was sublime. Day after day, whether lying wasted by disease or burning up with fever, torn with wounds or sinking from debility, a groan was seldom heard. The wounded wards would be noisily gay with singing, laughing, fighting battles o'er and o'er again, and playfully chaffing each other by decrying the troops from different States, each man applauding his own.
22. The word “sublime” most nearly means __________.
23. The description of nature as “anxious” serves to __________ nature.
24. The revelation that this incident was the only time the author fainted during the war serves to __________.
25. In this passage the author emphasizes the __________ nature of the Southern soldier.
26. The account of the death of the young Southern soldier is intended to highlight __________.
Adapted from Citizenship in a Republic (1910) by Theodore Roosevelt
It is not the critic who counts; not the man who points out how the strong man stumbles, or where the doer of deeds could have done them better. The credit belongs to the man who is actually in the arena, whose face is marred by dust and sweat and blood; who strives valiantly; who errs, who comes short again and again, because there is no effort without error and shortcoming; but who does actually strive to do the deeds; who knows great enthusiasms, the great devotions; who spends himself in a worthy cause; who at the best knows in the end the triumph of high achievement, and who at the worst, if he fails, at least fails while daring greatly, so that his place shall never be with those cold and timid souls who neither know victory nor defeat.
27. Which of the following best captures the attitude of the author towards “critics”?
It is not the critic who counts; not the man who points out how the strong man stumbles, or where the doer of deeds could have done them better. The credit belongs to the man who is actually in the arena, whose face is marred by dust and sweat and blood; who strives valiantly; who errs, who comes short again and again, because there is no effort without error and shortcoming; but who does actually strive to do the deeds; who knows great enthusiasms, the great devotions; who spends himself in a worthy cause; who at the best knows in the end the triumph of high achievement, and who at the worst, if he fails, at least fails while daring greatly, so that his place shall never be with those cold and timid souls who neither know victory nor defeat.
27. Which of the following best captures the attitude of the author towards “critics”?
28. The word “spends” most nearly means __________.
29. The word “errs” is a reference to the importance of __________.
30. The author’s description of those “who neither know victory nor defeat” is __________.
Adapted from The Picture of Dorian Gray by Oscar Wilde (1890)
The studio was filled with the rich odour of roses, and when the light summer wind stirred amidst the trees of the garden, there came through the open door the heavy scent of the lilac, or the more delicate perfume of the pink-flowering thorn.
From the corner of the divan of Persian saddle-bags on which he was lying, smoking, as usual, innumerable cigarettes, Lord Henry Wotton could just catch the gleam of the honey-sweet and honey-colored blossoms of the laburnum, whose tremulous branches seemed hardly able to bear the burden of a beauty so flame-like as theirs.
In the center of the room, clamped to an upright easel, stood the full-length portrait of a young man of extraordinary personal beauty, and in front of it, some little distance away, was sitting the artist himself, Basil Hallward, whose sudden disappearance some years ago caused, at the time, such public excitement, and gave rise to so many strange conjectures.
As he looked at the gracious and comely form he had so skilfully mirrored in his art, a smile of pleasure passed across his face, and seemed about to linger there. But he suddenly started up, and, closing his eyes, placed his fingers upon the lids, as though he sought to imprison within his brain some curious dream from which he feared he might awake.
"It is your best work, Basil, the best thing you have ever done," said Lord Henry, languidly. "You must certainly send it next year to the Grosvenor. The Academy is too large and too vulgar. The Grosvenor is the only place."
"I don't think I will send it anywhere," he answered, tossing his head back in that odd way that used to make his friends laugh at him at Oxford. "No: I won't send it anywhere."
Lord Henry elevated his eyebrows, and looked at him in amazement through the thin blue wreaths of smoke that curled up in such fanciful whorls from his heavy cigarette. "Not send it anywhere? My dear fellow, why? Have you any reason? What odd chaps you painters are! You do anything in the world to gain a reputation. As soon as you have one, you seem to want to throw it away. It is silly of you, for there is only one thing in the world worse than being talked about, and that is not being talked about. A portrait like this would set you far above all the young men in England, and make the old men quite jealous, if old men are ever capable of any emotion."
"I know you will laugh at me," he replied, "but I really can't exhibit it. I have put too much of myself into it."
Lord Henry stretched his long legs out on the divan and shook with laughter.
"Yes, I knew you would laugh; but it is quite true, all the same."
"Too much of yourself in it! Upon my word, Basil, I didn't know you were so vain; and I really can't see any resemblance between you, with your rugged strong face and your coal-black hair, and this young Adonis, who looks as if he was made of ivory and rose-leaves. Why, my dear Basil, he is a Narcissus, and you—well, of course you have an intellectual expression, and all that. But beauty, real beauty, ends where an intellectual expression begins. Intellect is in itself an exaggeration, and destroys the harmony of any face. The moment one sits down to think, one becomes all nose, or all forehead, or something horrid. Look at the successful men in any of the learned professions. How perfectly hideous they are! Except, of course, in the church. But then in the church they don't think. A bishop keeps on saying at the age of eighty what he was told to say when he was a boy of eighteen, and consequently he always looks absolutely delightful. Your mysterious young friend, whose name you have never told me, but whose picture really fascinates me, never thinks. I feel quite sure of that. He is a brainless, beautiful thing, who should be always here in winter when we have no flowers to look at, and always here in summer when we want something to chill our intelligence. Don't flatter yourself, Basil: you are not in the least like him.”
31. Which of the following best summarizes this passage?
The studio was filled with the rich odour of roses, and when the light summer wind stirred amidst the trees of the garden, there came through the open door the heavy scent of the lilac, or the more delicate perfume of the pink-flowering thorn.
From the corner of the divan of Persian saddle-bags on which he was lying, smoking, as usual, innumerable cigarettes, Lord Henry Wotton could just catch the gleam of the honey-sweet and honey-colored blossoms of the laburnum, whose tremulous branches seemed hardly able to bear the burden of a beauty so flame-like as theirs.
In the center of the room, clamped to an upright easel, stood the full-length portrait of a young man of extraordinary personal beauty, and in front of it, some little distance away, was sitting the artist himself, Basil Hallward, whose sudden disappearance some years ago caused, at the time, such public excitement, and gave rise to so many strange conjectures.
As he looked at the gracious and comely form he had so skilfully mirrored in his art, a smile of pleasure passed across his face, and seemed about to linger there. But he suddenly started up, and, closing his eyes, placed his fingers upon the lids, as though he sought to imprison within his brain some curious dream from which he feared he might awake.
"It is your best work, Basil, the best thing you have ever done," said Lord Henry, languidly. "You must certainly send it next year to the Grosvenor. The Academy is too large and too vulgar. The Grosvenor is the only place."
"I don't think I will send it anywhere," he answered, tossing his head back in that odd way that used to make his friends laugh at him at Oxford. "No: I won't send it anywhere."
Lord Henry elevated his eyebrows, and looked at him in amazement through the thin blue wreaths of smoke that curled up in such fanciful whorls from his heavy cigarette. "Not send it anywhere? My dear fellow, why? Have you any reason? What odd chaps you painters are! You do anything in the world to gain a reputation. As soon as you have one, you seem to want to throw it away. It is silly of you, for there is only one thing in the world worse than being talked about, and that is not being talked about. A portrait like this would set you far above all the young men in England, and make the old men quite jealous, if old men are ever capable of any emotion."
"I know you will laugh at me," he replied, "but I really can't exhibit it. I have put too much of myself into it."
Lord Henry stretched his long legs out on the divan and shook with laughter.
"Yes, I knew you would laugh; but it is quite true, all the same."
"Too much of yourself in it! Upon my word, Basil, I didn't know you were so vain; and I really can't see any resemblance between you, with your rugged strong face and your coal-black hair, and this young Adonis, who looks as if he was made of ivory and rose-leaves. Why, my dear Basil, he is a Narcissus, and you—well, of course you have an intellectual expression, and all that. But beauty, real beauty, ends where an intellectual expression begins. Intellect is in itself an exaggeration, and destroys the harmony of any face. The moment one sits down to think, one becomes all nose, or all forehead, or something horrid. Look at the successful men in any of the learned professions. How perfectly hideous they are! Except, of course, in the church. But then in the church they don't think. A bishop keeps on saying at the age of eighty what he was told to say when he was a boy of eighteen, and consequently he always looks absolutely delightful. Your mysterious young friend, whose name you have never told me, but whose picture really fascinates me, never thinks. I feel quite sure of that. He is a brainless, beautiful thing, who should be always here in winter when we have no flowers to look at, and always here in summer when we want something to chill our intelligence. Don't flatter yourself, Basil: you are not in the least like him.”
31. Which of the following best summarizes this passage?
32. Which of these descriptions most accurately depicts the personality of Lord Henry Wotton?
33. According to the passage, what is Lord Henry’s opinion of the church?
34. Which of the following did NOT occur at some point in the past of the story?
35. As it is inferred from the passage, what do Lord Henry and Basil think of Dorian Gray?
36. Based on the way in which they are discussed in the passage, “the Academy” and “the Grosvenor” are __________.
37. One can infer from the passage and the title of the work from which it is adapted that Dorian Gray __________.
38. What is Lord Henry trying to convey in the following sentences, underlined in the passage? “But beauty, real beauty, ends where an intellectual expression begins. Intellect is in itself an exaggeration, and destroys the harmony of any face. The moment one sits down to think, one becomes all nose, or all forehead, or something horrid. Look at the successful men in any of the learned professions. How perfectly hideous they are!”
39. Which of the following themes is NOT discussed by the characters in the passage?
40. One might accurately describe the tone of Lord Henry’s dialogue as __________.
ACT Reading
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