GED Set 2

How Are Robots Different from Humans? [Helena is talking to Domain, the general manager of Rossum's Universal Robots factory.] DOMAIN: Well, any one who's looked into anatomy will have seen at once that man is too complicated, and that a good engineer could make him more simply. So young Rossum began to overhaul anatomy and tried to see what could be left out or simplified. In short-- but this isn't boring you,Miss Glory? HELENA: No; on the contrary, it's awfully interesting. DOMAIN: So young Rossum said to himself: A man is something that, for instance, feels happy, plays the fiddle, likes going for walks, and, in fact, wants to do a whole lot of things that are really unnecessary. HELENA: Oh! DOMAIN:Wait a bit. That are unnecessary when he's wanted, let us say, to weave or to count. Do you play the fiddle? HELENA: No. DOMAIN: That's a pity. But a working machine must not want to play the fiddle,must not feel happy,must not do a whole lot of other things. A petrol motor must not have tassels or ornaments, Miss Glory. And to manufacture artificial workers is the same thing as to manufacture motors. The process must be of the simplest, and the product of the best from a practical point of view.What sort of worker do you think is the best from a practical point of view? HELENA: The best? Perhaps the one who is most honest and hard-working. DOMAIN: No, the cheapest. The one whose needs are the smallest. Young Rossum invented a worker with the minimum amount of requirements. He had to simplify him. He rejected everything that did not contribute directly to the progress of work. In this way he rejected everything that made man more expensive. In fact, he rejected man and made the Robot. My dear Miss Glory, the Robots are not people. Mechanically they are more perfect than we are, they have an enormously developed intelligence, but they have no soul. Have you ever seen what a Robot looks like inside? HELENA: Good gracious, no! DOMAIN: Very neat, very simple. Really a beautiful piece of work. Not much in it, but everything in flawless order. The product of an engineer is technically at a higher pitch of perfection than a product of nature. HELENA: Man is supposed to be the product of nature. DOMAIN: So much the worse. --Karel C apek, from R.U.R. (1923, translated by P. Selver) Rossum created robots because

How Are Robots Different from Humans? [Helena is talking to Domain, the general manager of Rossum's Universal Robots factory.] DOMAIN: Well, any one who's looked into anatomy will have seen at once that man is too complicated, and that a good engineer could make him more simply. So young Rossum began to overhaul anatomy and tried to see what could be left out or simplified. In short-- but this isn't boring you,Miss Glory? HELENA: No; on the contrary, it's awfully interesting. DOMAIN: So young Rossum said to himself: A man is something that, for instance, feels happy, plays the fiddle, likes going for walks, and, in fact, wants to do a whole lot of things that are really unnecessary. HELENA: Oh! DOMAIN:Wait a bit. That are unnecessary when he's wanted, let us say, to weave or to count. Do you play the fiddle? HELENA: No. DOMAIN: That's a pity. But a working machine must not want to play the fiddle,must not feel happy,must not do a whole lot of other things. A petrol motor must not have tassels or ornaments, Miss Glory. And to manufacture artificial workers is the same thing as to manufacture motors. The process must be of the simplest, and the product of the best from a practical point of view.What sort of worker do you think is the best from a practical point of view? HELENA: The best? Perhaps the one who is most honest and hard-working. DOMAIN: No, the cheapest. The one whose needs are the smallest. Young Rossum invented a worker with the minimum amount of requirements. He had to simplify him. He rejected everything that did not contribute directly to the progress of work. In this way he rejected everything that made man more expensive. In fact, he rejected man and made the Robot. My dear Miss Glory, the Robots are not people. Mechanically they are more perfect than we are, they have an enormously developed intelligence, but they have no soul. Have you ever seen what a Robot looks like inside? HELENA: Good gracious, no! DOMAIN: Very neat, very simple. Really a beautiful piece of work. Not much in it, but everything in flawless order. The product of an engineer is technically at a higher pitch of perfection than a product of nature. HELENA: Man is supposed to be the product of nature. DOMAIN: So much the worse. --Karel C apek, from R.U.R. (1923, translated by P. Selver) Which of the following best expresses Rossum's view of nature?

What Has Mrs. Mallard Realized? [Mrs.Mallard has locked herself in a room and is crying.] She sat with her head thrown back upon the cushion of the chair, quite motionless, except when a sob came up into her throat and shook her, as a child who has cried itself to sleep continues to sob in its dreams. She was young, with a fair, calm face, whose lines bespoke repression and even a certain strength. But now there was a dull stare in her eyes, whose gaze was fixed away off yonder on one of those patches of blue sky. It was not a glance of reflection, but rather indicated a suspension of intelligent thought. There was something coming to her and she was waiting for it, fearfully. What was it? She did not know; it was too subtle and elusive to name. But she felt it, creeping out of the sky, reaching toward her through the sounds, the scents, the color that filled the air. Now her bosom rose and fell tumultuously. She was beginning to recognize this thing that was approaching to possess her, and she was striving to beat it back with her will--as powerless as her two white slender hands would have been. When she abandoned herself a little whispered word escaped her slightly parted lips. She said it over and over under her breath: "free, free, free!" The vacant stare and the look of terror that had followed it went from her eyes. They stayed keen and bright. Her pulses beat fast, and the coursing blood warmed and relaxed every inch of her body. She did not stop to ask if it were or were not a monstrous joy that held her. A clear and exalted perception enabled her to dismiss the suggestion as trivial. She knew that she would weep again when she saw the kind, tender hands folded in death; the face that had never looked save with love upon her, fixed and gray and dead. But she saw beyond that bitter moment a long procession of years to come that would belong to her absolutely. And she opened and spread her arms out to them in welcome. There would be no one to live for during those coming years; she would live for herself. There would be no powerful will bending hers in that blind persistence with which men and women believe they have a right to impose a private will upon a fellow-creature. A kind intention or a cruel intention made the act seem no less a crime as she looked upon it in that brief moment of illumination. --Kate Chopin, from "The Story of an Hour" (1894) Why is Mrs.Mallard crying?

What Has Mrs. Mallard Realized? [Mrs.Mallard has locked herself in a room and is crying.] She sat with her head thrown back upon the cushion of the chair, quite motionless, except when a sob came up into her throat and shook her, as a child who has cried itself to sleep continues to sob in its dreams. She was young, with a fair, calm face, whose lines bespoke repression and even a certain strength. But now there was a dull stare in her eyes, whose gaze was fixed away off yonder on one of those patches of blue sky. It was not a glance of reflection, but rather indicated a suspension of intelligent thought. There was something coming to her and she was waiting for it, fearfully. What was it? She did not know; it was too subtle and elusive to name. But she felt it, creeping out of the sky, reaching toward her through the sounds, the scents, the color that filled the air. Now her bosom rose and fell tumultuously. She was beginning to recognize this thing that was approaching to possess her, and she was striving to beat it back with her will--as powerless as her two white slender hands would have been. When she abandoned herself a little whispered word escaped her slightly parted lips. She said it over and over under her breath: "free, free, free!" The vacant stare and the look of terror that had followed it went from her eyes. They stayed keen and bright. Her pulses beat fast, and the coursing blood warmed and relaxed every inch of her body. She did not stop to ask if it were or were not a monstrous joy that held her. A clear and exalted perception enabled her to dismiss the suggestion as trivial. She knew that she would weep again when she saw the kind, tender hands folded in death; the face that had never looked save with love upon her, fixed and gray and dead. But she saw beyond that bitter moment a long procession of years to come that would belong to her absolutely. And she opened and spread her arms out to them in welcome. There would be no one to live for during those coming years; she would live for herself. There would be no powerful will bending hers in that blind persistence with which men and women believe they have a right to impose a private will upon a fellow-creature. A kind intention or a cruel intention made the act seem no less a crime as she looked upon it in that brief moment of illumination. --Kate Chopin, from "The Story of an Hour" (1894) Why does Mrs.Mallard stop crying and feel joy?

How Does the Speaker Feel about War? War Is Kind Do not weep, maiden, for war is kind. Because your lover threw wild hands toward the sky And the affrighted steed ran on alone, Do not weep. War is kind. Hoarse, booming drums of the regiment Little souls who thirst for fight, These men were born to drill and die The unexplained glory flies above them Great is the battle-god, great, and his kingdom-- A field where a thousand corpses lie. Do not weep, babe, for war is kind. Because your father tumbled in the yellow trenches, Raged at his breast, gulped and died, Do not weep. War is kind. Swift, blazing flag of the regiment Eagle with crest of red and gold, These men were born to drill and die Point for them the virtue of slaughter Make plain to them the excellence of killing And a field where a thousand corpses lie. Mother whose heart hung humble as a button On the bright splendid shroud of your son, Do not weep. War is kind. --Stephen Crane, 1899 Which of the following words best describes the tone of the poem?

How Does the Speaker Feel about War? War Is Kind Do not weep, maiden, for war is kind. Because your lover threw wild hands toward the sky And the affrighted steed ran on alone, Do not weep. War is kind. Hoarse, booming drums of the regiment Little souls who thirst for fight, These men were born to drill and die The unexplained glory flies above them Great is the battle-god, great, and his kingdom-- A field where a thousand corpses lie. Do not weep, babe, for war is kind. Because your father tumbled in the yellow trenches, Raged at his breast, gulped and died, Do not weep. War is kind. Swift, blazing flag of the regiment Eagle with crest of red and gold, These men were born to drill and die Point for them the virtue of slaughter Make plain to them the excellence of killing And a field where a thousand corpses lie. Mother whose heart hung humble as a button On the bright splendid shroud of your son, Do not weep. War is kind. --Stephen Crane, 1899 Which of the following best conveys the theme of the poem?

How Does the Speaker Feel about War? War Is Kind Do not weep, maiden, for war is kind. Because your lover threw wild hands toward the sky And the affrighted steed ran on alone, Do not weep. War is kind. Hoarse, booming drums of the regiment Little souls who thirst for fight, These men were born to drill and die The unexplained glory flies above them Great is the battle-god, great, and his kingdom-- A field where a thousand corpses lie. Do not weep, babe, for war is kind. Because your father tumbled in the yellow trenches, Raged at his breast, gulped and died, Do not weep. War is kind. Swift, blazing flag of the regiment Eagle with crest of red and gold, These men were born to drill and die Point for them the virtue of slaughter Make plain to them the excellence of killing And a field where a thousand corpses lie. Mother whose heart hung humble as a button On the bright splendid shroud of your son, Do not weep. War is kind. --Stephen Crane, 1899 The speaker addresses three people in the poem: a maiden (line 2), a babe (a child, line 16), and a mother (line 28).What feeling in these listeners is the speaker addressing?

What Happened When He Came to America? My parents lost friends, lost family ties and patterns of mutual assistance, lost rituals and habits and favorite foods, lost any link to an ongoing social milieu, lost a good part of the sense they had of themselves. We lost a house, several towns, various landscapes.We lost documents and pictures and heirlooms, as well as most of our breakable belongings, smashed in the nine packing cases that we took with us to America. We lost connection to a thing larger than ourselves, and as a family failed to make any significant new connection in exchange, so that we were left aground on a sandbar barely big enough for our feet. I lost friends and relatives and stories and familiar comforts and a sense of continuity between home and outside and any sense that I was normal. I lost half a language through want of use and eventually, in my late teens, even lost French as the language of my internal monologue. And I lost a whole network of routes through life that I had just barely glimpsed. Hastening on toward some idea of a future, I only half-realized these losses, and when I did realize I didn't disapprove, and sometimes I actively colluded. At some point, though, I was bound to notice that there was a gulf inside me, with a blanketed form on the other side that hadn't been uncovered in decades.My project of self-invention had been successful, so much so that I had become a sort of hydroponic vegetable, growing soil-free. But I had been formed in another world; everything in me that was essential was owed to immersion in that place, and that time, that I had so effectively renounced. [ . . . . ] Like it or not, each of us is made, less by blood or genes than by a process that is largely accidental, the impact of things seen and heard and smelled and tasted and endured in those few years before our clay hardens. Offhand remarks, things glimpsed in passing, jokes and commonplaces, shop displays and climate and flickering light and textures of walls are all consumed by us and become part of our fiber, just as much as the more obvious effects of upbringing and socialization and intimacy and learning. Every human being is an archeological site. --Luc Sante, from The Factory of Facts (1998) In the first paragraph, the writer lists more than a dozen things that he and his family lost when they immigrated to America. He does this in order to

What Happened When He Came to America? My parents lost friends, lost family ties and patterns of mutual assistance, lost rituals and habits and favorite foods, lost any link to an ongoing social milieu, lost a good part of the sense they had of themselves. We lost a house, several towns, various landscapes.We lost documents and pictures and heirlooms, as well as most of our breakable belongings, smashed in the nine packing cases that we took with us to America. We lost connection to a thing larger than ourselves, and as a family failed to make any significant new connection in exchange, so that we were left aground on a sandbar barely big enough for our feet. I lost friends and relatives and stories and familiar comforts and a sense of continuity between home and outside and any sense that I was normal. I lost half a language through want of use and eventually, in my late teens, even lost French as the language of my internal monologue. And I lost a whole network of routes through life that I had just barely glimpsed. Hastening on toward some idea of a future, I only half-realized these losses, and when I did realize I didn't disapprove, and sometimes I actively colluded. At some point, though, I was bound to notice that there was a gulf inside me, with a blanketed form on the other side that hadn't been uncovered in decades.My project of self-invention had been successful, so much so that I had become a sort of hydroponic vegetable, growing soil-free. But I had been formed in another world; everything in me that was essential was owed to immersion in that place, and that time, that I had so effectively renounced. [ . . . . ] Like it or not, each of us is made, less by blood or genes than by a process that is largely accidental, the impact of things seen and heard and smelled and tasted and endured in those few years before our clay hardens. Offhand remarks, things glimpsed in passing, jokes and commonplaces, shop displays and climate and flickering light and textures of walls are all consumed by us and become part of our fiber, just as much as the more obvious effects of upbringing and socialization and intimacy and learning. Every human being is an archeological site. --Luc Sante, from The Factory of Facts (1998) According to the author, our personalities are formed mostly by

What Happened When He Came to America? My parents lost friends, lost family ties and patterns of mutual assistance, lost rituals and habits and favorite foods, lost any link to an ongoing social milieu, lost a good part of the sense they had of themselves. We lost a house, several towns, various landscapes.We lost documents and pictures and heirlooms, as well as most of our breakable belongings, smashed in the nine packing cases that we took with us to America. We lost connection to a thing larger than ourselves, and as a family failed to make any significant new connection in exchange, so that we were left aground on a sandbar barely big enough for our feet. I lost friends and relatives and stories and familiar comforts and a sense of continuity between home and outside and any sense that I was normal. I lost half a language through want of use and eventually, in my late teens, even lost French as the language of my internal monologue. And I lost a whole network of routes through life that I had just barely glimpsed. Hastening on toward some idea of a future, I only half-realized these losses, and when I did realize I didn't disapprove, and sometimes I actively colluded. At some point, though, I was bound to notice that there was a gulf inside me, with a blanketed form on the other side that hadn't been uncovered in decades.My project of self-invention had been successful, so much so that I had become a sort of hydroponic vegetable, growing soil-free. But I had been formed in another world; everything in me that was essential was owed to immersion in that place, and that time, that I had so effectively renounced. [ . . . . ] Like it or not, each of us is made, less by blood or genes than by a process that is largely accidental, the impact of things seen and heard and smelled and tasted and endured in those few years before our clay hardens. Offhand remarks, things glimpsed in passing, jokes and commonplaces, shop displays and climate and flickering light and textures of walls are all consumed by us and become part of our fiber, just as much as the more obvious effects of upbringing and socialization and intimacy and learning. Every human being is an archeological site. --Luc Sante, from The Factory of Facts (1998) When the author came to America, he