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Passage 3 "The highest merit we ascribe to Moses, Plato, and Milton," says Emerson, "is that they set at nought books and traditions, and spoke not what men thought but what they thought. A man should learn to detect and watch that gleam of light which flashes across his mind from within, more than the luster of the firmament of bards and sages. Yet he dismisses without notice his thought because it is his. In every work of genius we recognize our own rejected thoughts; they come back to us with a certain alienated majesty." It is strange that any one who has recognized the individuality of all works of lasting influence should not also recognize the fact that his own individuality ought to be steadfastly preserved. As Emerson says in continuation, "Great works of art have no more affecting lesson for us than this. They teach us to abide by our spontaneous impressions with good- humored inflexibility, then most when the whole cry of voices is on the other side. Else tomorrow a stranger will say with masterful good sense precisely what we have thought and felt all the time, and we shall be forced to take with shame our opinion from another." Accepting the opinions of another and the tastes of another is very different from agreement in opinion and taste. Originality is independence, not rebellion. It is sincerity, not antagonism. Whatever you believe to be true and false, that proclaim to be true and false. Whatever you think admirable and beautiful, that should be your model, even if ail your friends and ail the critics storm at you as a crotchet-monger and an eccentric. Whether the public will feel its truth and beauty at once, or after long years, or never cease to regard it as paradox and ugliness, no man can foresee. Enough for you to know that you have done your best, have been true to yourself, and that the utmost power inherent in your work has been displayed. The title below that best expresses the main idea of this passage is ______.
Passage 4 The Quechua world is submerged, so to speak, in a cosmic magma that weighs heavily upon it. It possesses the rare quality of being as it were interjected into the midst of antagonistic forces, which in turn implies a whole body of social and aesthetic structures whose innermost meaning must be the administration of energy. This gives rise to the social organism known as the ayllu, the agrarian community that regulates the procurement of food. The ayllu formed the basic structure of the whole Inca empire. The central idea of this organization was a kind of closed economy, just the opposite of our economic practices, which can be described as open. The closed economy rested on the fact that the Inca controlled both the production and consumption of food. When one adds to this fact the religious ideas noted in the Quechua texts cited by the chronicler Santa Cruz Pachacuti, one comes to the conclusion that in the Andean zone the margin of life was minimal and was made possible only by the system of magic the Quechua constructed through his religion. Adversities, moreover, were numerous, for the harvest might fail at any time and bring starvation to millions. Hence the whole purpose of the Quechua administrative and ideological system was to carry on the arduous task of achieving abundance and staving off shortages. This kind of a structure presupposes a state of unremitting anxiety, which could not be resolved by action. The Quechua could not do so because his primordial response to problems was the use of magic, that is, recourse to the unconscious for the solution of external problems. Thus the struggle against the world was a struggle against the dark depths of the Quechua’s own psyche, where the solution was found. By overcoming the unconscious, the outer world was also vanquished. These considerations permit us to classify Quechua culture as absolutely static or, more accurately, as the expression of a mere state of being. Only in this way can we understand the refuge it took in the germinative center of the cosmic rnandala as revealed by Quechua art. The Quechua empire was nothing more than a mandala, for it was divided into four zones, with Cuzco in the center. Here the Quechua ensconced himself to-contemplate the decline of the world as though it were caused by an alien and autonomous force. The Quechua world ______.
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