Adapted fromAn Enquiry Concerning Human Understandingby David Hume(1748)Everyone will readily allow that there is a considerable difference between the perceptions of the mind, when a man feels the pain of excessive heat, or the pleasure of moderate warmth, and when he afterwards recalls to his memory this sensation, or anticipates it by his imagination. These faculties may mimic or copy the perceptions of the senses, but they never can entirely reach the force and vivacity of the original sentiment. The utmost we say of them, even when they operate with greatest vigor, is, that they represent their object in so lively a manner that we couldalmostsay we feel or see it. But, except the mind be disordered by disease or madness, they never can arrive at such a pitch of vivacity as to render these perceptions altogether undistinguishable. All the colors of poetry, however splendid, can never paint natural objects in such a manner as to make the description be taken for a real landscape. The most lively thought is still inferior to the dullest sensation.We may observe a like distinction to run through all the other perceptions of the mind. A man in a fit of anger is actuated in a very different manner from one who only thinks of that emotion. If you tell me that any person is in love I easily understand your meaning, and form a just conception of his situation, but never can mistake that conception for the real disorders and agitations of the passion. When we reflect on our past sentiments and affections, our thought is a faithful mirror and copies its objects truly, but the colors which it employs are faint and dull in comparison of those in which our original perceptions were clothed. It requires no nice discernment or metaphysical head to mark the distinction between them.Here, therefore, we may divide all the perceptions of the mind into two classes or species, which are distinguished by their different degrees of force and vivacity. The less forcible and lively are commonly denominated andquot;thoughtsandquot; or andquot;ideas.andquot; The other species want a name in our language, and in most others; I suppose because it was not requisite for any but philosophical purposes to rank them under a general term or appellation. Let us, therefore, use a little freedom, and call them andquot;impressions,andquot; employing that word in a sense somewhat different from the usual. By the term andquot;impression,andquot; then, I mean all our more lively perceptions, when we hear, or see, or feel, or love, or hate, or desire, or will. And impressions are distinguished from ideas, which are the less lively perceptions, of which we are conscious when we reflect on any of those sensations or movements above mentioned.Q. What is the main idea of the first paragraph?a)Thinking about pain eases its effects.b)Sensory experiences are stronger than our memories of them.c)Imagination is a copy of memory.d)Recollections are more distinct than occurrences in reality.Correct answer is option 'B'. Can you explain this answer?

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Adapted from An Enquiry Concerning Human Understanding by David Hume (1748)

Everyone will readily allow that there is a considerable difference between the perceptions of the mind, when a man feels the pain of excessive heat, or the pleasure of moderate warmth, and when he afterwards recalls to his memory this sensation, or anticipates it by his imagination. These faculties may mimic or copy the perceptions of the senses, but they never can entirely reach the force and vivacity of the original sentiment. The utmost we say of them, even when they operate with greatest vigor, is, that they represent their object in so lively a manner that we could almost say we feel or see it. But, except the mind be disordered by disease or madness, they never can arrive at such a pitch of vivacity as to render these perceptions altogether undistinguishable. All the colors of poetry, however splendid, can never paint natural objects in such a manner as to make the description be taken for a real landscape. The most lively thought is still inferior to the dullest sensation.

We may observe a like distinction to run through all the other perceptions of the mind. A man in a fit of anger is actuated in a very different manner from one who only thinks of that emotion. If you tell me that any person is in love I easily understand your meaning, and form a just conception of his situation, but never can mistake that conception for the real disorders and agitations of the passion. When we reflect on our past sentiments and affections, our thought is a faithful mirror and copies its objects truly, but the colors which it employs are faint and dull in comparison of those in which our original perceptions were clothed. It requires no nice discernment or metaphysical head to mark the distinction between them.

Here, therefore, we may divide all the perceptions of the mind into two classes or species, which are distinguished by their different degrees of force and vivacity. The less forcible and lively are commonly denominated "thoughts" or "ideas." The other species want a name in our language, and in most others; I suppose because it was not requisite for any but philosophical purposes to rank them under a general term or appellation. Let us, therefore, use a little freedom, and call them "impressions," employing that word in a sense somewhat different from the usual. By the term "impression," then, I mean all our more lively perceptions, when we hear, or see, or feel, or love, or hate, or desire, or will. And impressions are distinguished from ideas, which are the less lively perceptions, of which we are conscious when we reflect on any of those sensations or movements above mentioned.

Q. What is the main idea of the first paragraph?

a)
Thinking about pain eases its effects.
b)
Sensory experiences are stronger than our memories of them.
c)
Imagination is a copy of memory.
d)
Recollections are more distinct than occurrences in reality.

Correct answer is option 'B'. Can you explain this answer?

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Adapted fromAn Enquiry Concerning Human Understandingby David Hume(174...

The main point of the first paragraph is that our memories and imagination can never fully recreate our experiences or the things we feel during our experiences. Pain, for instance, can be recalled but cannot be fully recollected. Therefore, our sensory experiences are more powerful, or stronger, than our recollections of them.

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Adapted fromAn Enquiry Concerning Human Understandingby David Hume(1748)Everyone will readily allow that there is a considerable difference between the perceptions of the mind, when a man feels the pain of excessive heat, or the pleasure of moderate warmth, and when he afterwards recalls to his memory this sensation, or anticipates it by his imagination. These faculties may mimic or copy the perceptions of the senses, but they never can entirely reach the force and vivacity of the original sentiment. The utmost we say of them, even when they operate with greatest vigor, is, that they represent their object in so lively a manner that we couldalmostsay we feel or see it. But, except the mind be disordered by disease or madness, they never can arrive at such a pitch of vivacity as to render these perceptions altogether undistinguishable. All the colors of poetry, however splendid, can never paint natural objects in such a manner as to make the description be taken for a real landscape. The most lively thought is still inferior to the dullest sensation.We may observe a like distinction to run through all the other perceptions of the mind. A man in a fit of anger is actuated in a very different manner from one who only thinks of that emotion. If you tell me that any person is in love I easily understand your meaning, and form a just conception of his situation, but never can mistake that conception for the real disorders and agitations of the passion. When we reflect on our past sentiments and affections, our thought is a faithful mirror and copies its objects truly, but the colors which it employs are faint and dull in comparison of those in which our original perceptions were clothed. It requires no nice discernment or metaphysical head to mark the distinction between them.Here, therefore, we may divide all the perceptions of the mind into two classes or species, which are distinguished by their different degrees of force and vivacity. The less forcible and lively are commonly denominated "thoughts" or "ideas." The other species want a name in our language, and in most others; I suppose because it was not requisite for any but philosophical purposes to rank them under a general term or appellation. Let us, therefore, use a little freedom, and call them "impressions," employing that word in a sense somewhat different from the usual. By the term "impression," then, I mean all our more lively perceptions, when we hear, or see, or feel, or love, or hate, or desire, or will. And impressions are distinguished from ideas, which are the less lively perceptions, of which we are conscious when we reflect on any of those sensations or movements above mentioned.Q. One of the main points made in the last paragraph is that__________.

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Directions: Read the passages and choose the best answer to each question.PassageHUMANITIES: William Faulkner: Great Southern AuthorBorn in Mississippi in 1897, William Faulkneris touted as the master of such revolutionary literarydevices as stream of consciousness, multiple narra-tions, and time-shifts within a narrative. During a(5) career that spanned more than three decades, Faulknerproduced literary works filled with emotional turmoiland unflinching honesty. His unique interpretation ofhistory is highlighted in the symbolism and imageryof his writing. It has also been argued that Faulkner’s(10) works are some of the best representations of SouthernGothic literature ever written.It is clear that Faulkner’s Deep South roots greatlyinfluenced his writing. He was a prolific writer whoseworks both parallel and depart from popular myths of(15) southern culture. Faulkner’s remarkable understandingof race relations and his clever satire of Southern characters stemmed from his memories of growing up inrural Mississippi. He set many of his short stories andnovels in the fictional Yoknapatawpha County, based(20) on what Faulkner referred to as “my own little postagestamp of native soil,” Lafayette County, Mississippi.It was there, immersed in traditional southern lore, thatWilliam Faulkner began to write of the great political,social, and economic transformation taking place in the(25) Deep South, depicting traditional society in timelesshuman dramas.Faulkner came from an old and relatively promi-nent Southern family. He grew up surrounded bytraditional folklore, family stories, accounts from the(30) Civil War, and lectures about being a Southern gentle-man. In his works, Faulkner examined how traditionalvalues and beliefs affected Southern society after theCivil War. Faulkner particularly abhorred the rampantracism and abuse that African Americans suffered in(35) the South. Although Faulkner’s novels do not shy awayfrom describing the brutality and anguish that life canbring, his works are filled with profound compassionand humor. Faulkner refused to avoid painful or contro-versial issues and he was intrigued with understanding(40) human freedom. His work explores, condemns, andanalyzes obstructions to human freedom and happi-ness by examining racism, shame, fear, false pride,and abstract ideals. Much of Faulkner’s exploration isdone using brilliant symbolism and exquisite dialogue.(45) For example, his novel The Sound and the Fury,published in 1929, dealt with the painful demise ofa distinguished southern family and demonstrated arich variety of literary styles, relying most heavily onstream-of-consciousness writing, in which a character’s(50) thoughts are conveyed in a manner roughly akin to theway the human mind actually works.Faulkner’s mastery of unique literary styles wasformally recognized when, much to his surprise, hewas awarded the Nobel Prize for literature in 1949.(55) Always his own harshest critic, William Faulkner con-sidered many of his books failures because they did notlive up to his high expectations. However, it is clear thatFaulkner’s experimental literary techniques simultane-ously perplexed and challenged his readers, who were(60) more often than not inspired by his insightful analysisof the human spirit. Faulkner continued to explorethe interconnections between his characters and theircounterparts in the real world until his death in 1962.In the months before his death, Faulkner updated(65) his will, leaving the bulk of his manuscripts to theFaulkner Foundation at the University of Virginia,where he had been appointed its first Writer-in-Residence. While the original documents are protected,electronic versions of the collection are freely available(70) to scholars of great Southern literature and others inter-ested in gaining additional insight into the life’s workof a truly revolutionary American author.Q.Which of the following best states the main purpose of the passage?

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Directions: Read the passages and choose the best answer to each question.PassageHUMANITIES: William Faulkner: Great Southern AuthorBorn in Mississippi in 1897, William Faulkneris touted as the master of such revolutionary literarydevices as stream of consciousness, multiple narra-tions, and time-shifts within a narrative. During a(5) career that spanned more than three decades, Faulknerproduced literary works filled with emotional turmoiland unflinching honesty. His unique interpretation ofhistory is highlighted in the symbolism and imageryof his writing. It has also been argued that Faulkner’s(10) works are some of the best representations of SouthernGothic literature ever written.It is clear that Faulkner’s Deep South roots greatlyinfluenced his writing. He was a prolific writer whoseworks both parallel and depart from popular myths of(15) southern culture. Faulkner’s remarkable understandingof race relations and his clever satire of Southern characters stemmed from his memories of growing up inrural Mississippi. He set many of his short stories andnovels in the fictional Yoknapatawpha County, based(20) on what Faulkner referred to as “my own little postagestamp of native soil,” Lafayette County, Mississippi.It was there, immersed in traditional southern lore, thatWilliam Faulkner began to write of the great political,social, and economic transformation taking place in the(25) Deep South, depicting traditional society in timelesshuman dramas.Faulkner came from an old and relatively promi-nent Southern family. He grew up surrounded bytraditional folklore, family stories, accounts from the(30) Civil War, and lectures about being a Southern gentle-man. In his works, Faulkner examined how traditionalvalues and beliefs affected Southern society after theCivil War. Faulkner particularly abhorred the rampantracism and abuse that African Americans suffered in(35) the South. Although Faulkner’s novels do not shy awayfrom describing the brutality and anguish that life canbring, his works are filled with profound compassionand humor. Faulkner refused to avoid painful or contro-versial issues and he was intrigued with understanding(40) human freedom. His work explores, condemns, andanalyzes obstructions to human freedom and happi-ness by examining racism, shame, fear, false pride,and abstract ideals. Much of Faulkner’s exploration isdone using brilliant symbolism and exquisite dialogue.(45) For example, his novel The Sound and the Fury,published in 1929, dealt with the painful demise ofa distinguished southern family and demonstrated arich variety of literary styles, relying most heavily onstream-of-consciousness writing, in which a character’s(50) thoughts are conveyed in a manner roughly akin to theway the human mind actually works.Faulkner’s mastery of unique literary styles wasformally recognized when, much to his surprise, hewas awarded the Nobel Prize for literature in 1949.(55) Always his own harshest critic, William Faulkner con-sidered many of his books failures because they did notlive up to his high expectations. However, it is clear thatFaulkner’s experimental literary techniques simultane-ously perplexed and challenged his readers, who were(60) more often than not inspired by his insightful analysisof the human spirit. Faulkner continued to explorethe interconnections between his characters and theircounterparts in the real world until his death in 1962.In the months before his death, Faulkner updated(65) his will, leaving the bulk of his manuscripts to theFaulkner Foundation at the University of Virginia,where he had been appointed its first Writer-in-Residence. While the original documents are protected,electronic versions of the collection are freely available(70) to scholars of great Southern literature and others inter-ested in gaining additional insight into the life’s workof a truly revolutionary American author.Q.The main emphasis of the fourth paragraph (lines 52–63) is to

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View answer

Directions: Read the passages and choose the best answer to each question.PassageHUMANITIES: William Faulkner: Great Southern AuthorBorn in Mississippi in 1897, William Faulkneris touted as the master of such revolutionary literarydevices as stream of consciousness, multiple narra-tions, and time-shifts within a narrative. During a(5) career that spanned more than three decades, Faulknerproduced literary works filled with emotional turmoiland unflinching honesty. His unique interpretation ofhistory is highlighted in the symbolism and imageryof his writing. It has also been argued that Faulkner’s(10) works are some of the best representations of SouthernGothic literature ever written.It is clear that Faulkner’s Deep South roots greatlyinfluenced his writing. He was a prolific writer whoseworks both parallel and depart from popular myths of(15) southern culture. Faulkner’s remarkable understandingof race relations and his clever satire of Southern characters stemmed from his memories of growing up inrural Mississippi. He set many of his short stories andnovels in the fictional Yoknapatawpha County, based(20) on what Faulkner referred to as “my own little postagestamp of native soil,” Lafayette County, Mississippi.It was there, immersed in traditional southern lore, thatWilliam Faulkner began to write of the great political,social, and economic transformation taking place in the(25) Deep South, depicting traditional society in timelesshuman dramas.Faulkner came from an old and relatively promi-nent Southern family. He grew up surrounded bytraditional folklore, family stories, accounts from the(30) Civil War, and lectures about being a Southern gentle-man. In his works, Faulkner examined how traditionalvalues and beliefs affected Southern society after theCivil War. Faulkner particularly abhorred the rampantracism and abuse that African Americans suffered in(35) the South. Although Faulkner’s novels do not shy awayfrom describing the brutality and anguish that life canbring, his works are filled with profound compassionand humor. Faulkner refused to avoid painful or contro-versial issues and he was intrigued with understanding(40) human freedom. His work explores, condemns, andanalyzes obstructions to human freedom and happi-ness by examining racism, shame, fear, false pride,and abstract ideals. Much of Faulkner’s exploration isdone using brilliant symbolism and exquisite dialogue.(45) For example, his novel The Sound and the Fury,published in 1929, dealt with the painful demise ofa distinguished southern family and demonstrated arich variety of literary styles, relying most heavily onstream-of-consciousness writing, in which a character’s(50) thoughts are conveyed in a manner roughly akin to theway the human mind actually works.Faulkner’s mastery of unique literary styles wasformally recognized when, much to his surprise, hewas awarded the Nobel Prize for literature in 1949.(55) Always his own harshest critic, William Faulkner con-sidered many of his books failures because they did notlive up to his high expectations. However, it is clear thatFaulkner’s experimental literary techniques simultane-ously perplexed and challenged his readers, who were(60) more often than not inspired by his insightful analysisof the human spirit. Faulkner continued to explorethe interconnections between his characters and theircounterparts in the real world until his death in 1962.In the months before his death, Faulkner updated(65) his will, leaving the bulk of his manuscripts to theFaulkner Foundation at the University of Virginia,where he had been appointed its first Writer-in-Residence. While the original documents are protected,electronic versions of the collection are freely available(70) to scholars of great Southern literature and others inter-ested in gaining additional insight into the life’s workof a truly revolutionary American author.Q.The author describes Faulkner’s writing as all of the following EXCEPT

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Adapted fromAn Enquiry Concerning Human Understandingby David Hume(1748)Everyone will readily allow that there is a considerable difference between the perceptions of the mind, when a man feels the pain of excessive heat, or the pleasure of moderate warmth, and when he afterwards recalls to his memory this sensation, or anticipates it by his imagination. These faculties may mimic or copy the perceptions of the senses, but they never can entirely reach the force and vivacity of the original sentiment. The utmost we say of them, even when they operate with greatest vigor, is, that they represent their object in so lively a manner that we couldalmostsay we feel or see it. But, except the mind be disordered by disease or madness, they never can arrive at such a pitch of vivacity as to render these perceptions altogether undistinguishable. All the colors of poetry, however splendid, can never paint natural objects in such a manner as to make the description be taken for a real landscape. The most lively thought is still inferior to the dullest sensation.We may observe a like distinction to run through all the other perceptions of the mind. A man in a fit of anger is actuated in a very different manner from one who only thinks of that emotion. If you tell me that any person is in love I easily understand your meaning, and form a just conception of his situation, but never can mistake that conception for the real disorders and agitations of the passion. When we reflect on our past sentiments and affections, our thought is a faithful mirror and copies its objects truly, but the colors which it employs are faint and dull in comparison of those in which our original perceptions were clothed. It requires no nice discernment or metaphysical head to mark the distinction between them.Here, therefore, we may divide all the perceptions of the mind into two classes or species, which are distinguished by their different degrees of force and vivacity. The less forcible and lively are commonly denominated "thoughts" or "ideas." The other species want a name in our language, and in most others; I suppose because it was not requisite for any but philosophical purposes to rank them under a general term or appellation. Let us, therefore, use a little freedom, and call them "impressions," employing that word in a sense somewhat different from the usual. By the term "impression," then, I mean all our more lively perceptions, when we hear, or see, or feel, or love, or hate, or desire, or will. And impressions are distinguished from ideas, which are the less lively perceptions, of which we are conscious when we reflect on any of those sensations or movements above mentioned.Q. What is the main idea of the first paragraph?a)Thinking about pain eases its effects.b)Sensory experiences are stronger than our memories of them.c)Imagination is a copy of memory.d)Recollections are more distinct than occurrences in reality.Correct answer is option 'B'. Can you explain this answer?

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Adapted fromAn Enquiry Concerning Human Understandingby David Hume(1748)Everyone will readily allow that there is a considerable difference between the perceptions of the mind, when a man feels the pain of excessive heat, or the pleasure of moderate warmth, and when he afterwards recalls to his memory this sensation, or anticipates it by his imagination. These faculties may mimic or copy the perceptions of the senses, but they never can entirely reach the force and vivacity of the original sentiment. The utmost we say of them, even when they operate with greatest vigor, is, that they represent their object in so lively a manner that we couldalmostsay we feel or see it. But, except the mind be disordered by disease or madness, they never can arrive at such a pitch of vivacity as to render these perceptions altogether undistinguishable. All the colors of poetry, however splendid, can never paint natural objects in such a manner as to make the description be taken for a real landscape. The most lively thought is still inferior to the dullest sensation.We may observe a like distinction to run through all the other perceptions of the mind. A man in a fit of anger is actuated in a very different manner from one who only thinks of that emotion. If you tell me that any person is in love I easily understand your meaning, and form a just conception of his situation, but never can mistake that conception for the real disorders and agitations of the passion. When we reflect on our past sentiments and affections, our thought is a faithful mirror and copies its objects truly, but the colors which it employs are faint and dull in comparison of those in which our original perceptions were clothed. It requires no nice discernment or metaphysical head to mark the distinction between them.Here, therefore, we may divide all the perceptions of the mind into two classes or species, which are distinguished by their different degrees of force and vivacity. The less forcible and lively are commonly denominated "thoughts" or "ideas." The other species want a name in our language, and in most others; I suppose because it was not requisite for any but philosophical purposes to rank them under a general term or appellation. Let us, therefore, use a little freedom, and call them "impressions," employing that word in a sense somewhat different from the usual. By the term "impression," then, I mean all our more lively perceptions, when we hear, or see, or feel, or love, or hate, or desire, or will. And impressions are distinguished from ideas, which are the less lively perceptions, of which we are conscious when we reflect on any of those sensations or movements above mentioned.Q. What is the main idea of the first paragraph?a)Thinking about pain eases its effects.b)Sensory experiences are stronger than our memories of them.c)Imagination is a copy of memory.d)Recollections are more distinct than occurrences in reality.Correct answer is option 'B'. Can you explain this answer? for ACT 2025 is part of ACT preparation. The Question and answers have been prepared according to the ACT exam syllabus. Information about Adapted fromAn Enquiry Concerning Human Understandingby David Hume(1748)Everyone will readily allow that there is a considerable difference between the perceptions of the mind, when a man feels the pain of excessive heat, or the pleasure of moderate warmth, and when he afterwards recalls to his memory this sensation, or anticipates it by his imagination. These faculties may mimic or copy the perceptions of the senses, but they never can entirely reach the force and vivacity of the original sentiment. The utmost we say of them, even when they operate with greatest vigor, is, that they represent their object in so lively a manner that we couldalmostsay we feel or see it. But, except the mind be disordered by disease or madness, they never can arrive at such a pitch of vivacity as to render these perceptions altogether undistinguishable. All the colors of poetry, however splendid, can never paint natural objects in such a manner as to make the description be taken for a real landscape. The most lively thought is still inferior to the dullest sensation.We may observe a like distinction to run through all the other perceptions of the mind. A man in a fit of anger is actuated in a very different manner from one who only thinks of that emotion. If you tell me that any person is in love I easily understand your meaning, and form a just conception of his situation, but never can mistake that conception for the real disorders and agitations of the passion. When we reflect on our past sentiments and affections, our thought is a faithful mirror and copies its objects truly, but the colors which it employs are faint and dull in comparison of those in which our original perceptions were clothed. It requires no nice discernment or metaphysical head to mark the distinction between them.Here, therefore, we may divide all the perceptions of the mind into two classes or species, which are distinguished by their different degrees of force and vivacity. The less forcible and lively are commonly denominated "thoughts" or "ideas." The other species want a name in our language, and in most others; I suppose because it was not requisite for any but philosophical purposes to rank them under a general term or appellation. Let us, therefore, use a little freedom, and call them "impressions," employing that word in a sense somewhat different from the usual. By the term "impression," then, I mean all our more lively perceptions, when we hear, or see, or feel, or love, or hate, or desire, or will. And impressions are distinguished from ideas, which are the less lively perceptions, of which we are conscious when we reflect on any of those sensations or movements above mentioned.Q. What is the main idea of the first paragraph?a)Thinking about pain eases its effects.b)Sensory experiences are stronger than our memories of them.c)Imagination is a copy of memory.d)Recollections are more distinct than occurrences in reality.Correct answer is option 'B'. Can you explain this answer? covers all topics & solutions for ACT 2025 Exam. Find important definitions, questions, meanings, examples, exercises and tests below for Adapted fromAn Enquiry Concerning Human Understandingby David Hume(1748)Everyone will readily allow that there is a considerable difference between the perceptions of the mind, when a man feels the pain of excessive heat, or the pleasure of moderate warmth, and when he afterwards recalls to his memory this sensation, or anticipates it by his imagination. These faculties may mimic or copy the perceptions of the senses, but they never can entirely reach the force and vivacity of the original sentiment. The utmost we say of them, even when they operate with greatest vigor, is, that they represent their object in so lively a manner that we couldalmostsay we feel or see it. But, except the mind be disordered by disease or madness, they never can arrive at such a pitch of vivacity as to render these perceptions altogether undistinguishable. All the colors of poetry, however splendid, can never paint natural objects in such a manner as to make the description be taken for a real landscape. The most lively thought is still inferior to the dullest sensation.We may observe a like distinction to run through all the other perceptions of the mind. A man in a fit of anger is actuated in a very different manner from one who only thinks of that emotion. If you tell me that any person is in love I easily understand your meaning, and form a just conception of his situation, but never can mistake that conception for the real disorders and agitations of the passion. When we reflect on our past sentiments and affections, our thought is a faithful mirror and copies its objects truly, but the colors which it employs are faint and dull in comparison of those in which our original perceptions were clothed. It requires no nice discernment or metaphysical head to mark the distinction between them.Here, therefore, we may divide all the perceptions of the mind into two classes or species, which are distinguished by their different degrees of force and vivacity. The less forcible and lively are commonly denominated "thoughts" or "ideas." The other species want a name in our language, and in most others; I suppose because it was not requisite for any but philosophical purposes to rank them under a general term or appellation. Let us, therefore, use a little freedom, and call them "impressions," employing that word in a sense somewhat different from the usual. By the term "impression," then, I mean all our more lively perceptions, when we hear, or see, or feel, or love, or hate, or desire, or will. And impressions are distinguished from ideas, which are the less lively perceptions, of which we are conscious when we reflect on any of those sensations or movements above mentioned.Q. What is the main idea of the first paragraph?a)Thinking about pain eases its effects.b)Sensory experiences are stronger than our memories of them.c)Imagination is a copy of memory.d)Recollections are more distinct than occurrences in reality.Correct answer is option 'B'. Can you explain this answer?.

Solutions for Adapted fromAn Enquiry Concerning Human Understandingby David Hume(1748)Everyone will readily allow that there is a considerable difference between the perceptions of the mind, when a man feels the pain of excessive heat, or the pleasure of moderate warmth, and when he afterwards recalls to his memory this sensation, or anticipates it by his imagination. These faculties may mimic or copy the perceptions of the senses, but they never can entirely reach the force and vivacity of the original sentiment. The utmost we say of them, even when they operate with greatest vigor, is, that they represent their object in so lively a manner that we couldalmostsay we feel or see it. But, except the mind be disordered by disease or madness, they never can arrive at such a pitch of vivacity as to render these perceptions altogether undistinguishable. All the colors of poetry, however splendid, can never paint natural objects in such a manner as to make the description be taken for a real landscape. The most lively thought is still inferior to the dullest sensation.We may observe a like distinction to run through all the other perceptions of the mind. A man in a fit of anger is actuated in a very different manner from one who only thinks of that emotion. If you tell me that any person is in love I easily understand your meaning, and form a just conception of his situation, but never can mistake that conception for the real disorders and agitations of the passion. When we reflect on our past sentiments and affections, our thought is a faithful mirror and copies its objects truly, but the colors which it employs are faint and dull in comparison of those in which our original perceptions were clothed. It requires no nice discernment or metaphysical head to mark the distinction between them.Here, therefore, we may divide all the perceptions of the mind into two classes or species, which are distinguished by their different degrees of force and vivacity. The less forcible and lively are commonly denominated "thoughts" or "ideas." The other species want a name in our language, and in most others; I suppose because it was not requisite for any but philosophical purposes to rank them under a general term or appellation. Let us, therefore, use a little freedom, and call them "impressions," employing that word in a sense somewhat different from the usual. By the term "impression," then, I mean all our more lively perceptions, when we hear, or see, or feel, or love, or hate, or desire, or will. And impressions are distinguished from ideas, which are the less lively perceptions, of which we are conscious when we reflect on any of those sensations or movements above mentioned.Q. What is the main idea of the first paragraph?a)Thinking about pain eases its effects.b)Sensory experiences are stronger than our memories of them.c)Imagination is a copy of memory.d)Recollections are more distinct than occurrences in reality.Correct answer is option 'B'. Can you explain this answer? in English & in Hindi are available as part of our courses for ACT. Download more important topics, notes, lectures and mock test series for ACT Exam by signing up for free.

Here you can find the meaning of Adapted fromAn Enquiry Concerning Human Understandingby David Hume(1748)Everyone will readily allow that there is a considerable difference between the perceptions of the mind, when a man feels the pain of excessive heat, or the pleasure of moderate warmth, and when he afterwards recalls to his memory this sensation, or anticipates it by his imagination. These faculties may mimic or copy the perceptions of the senses, but they never can entirely reach the force and vivacity of the original sentiment. The utmost we say of them, even when they operate with greatest vigor, is, that they represent their object in so lively a manner that we couldalmostsay we feel or see it. But, except the mind be disordered by disease or madness, they never can arrive at such a pitch of vivacity as to render these perceptions altogether undistinguishable. All the colors of poetry, however splendid, can never paint natural objects in such a manner as to make the description be taken for a real landscape. The most lively thought is still inferior to the dullest sensation.We may observe a like distinction to run through all the other perceptions of the mind. A man in a fit of anger is actuated in a very different manner from one who only thinks of that emotion. If you tell me that any person is in love I easily understand your meaning, and form a just conception of his situation, but never can mistake that conception for the real disorders and agitations of the passion. When we reflect on our past sentiments and affections, our thought is a faithful mirror and copies its objects truly, but the colors which it employs are faint and dull in comparison of those in which our original perceptions were clothed. It requires no nice discernment or metaphysical head to mark the distinction between them.Here, therefore, we may divide all the perceptions of the mind into two classes or species, which are distinguished by their different degrees of force and vivacity. The less forcible and lively are commonly denominated "thoughts" or "ideas." The other species want a name in our language, and in most others; I suppose because it was not requisite for any but philosophical purposes to rank them under a general term or appellation. Let us, therefore, use a little freedom, and call them "impressions," employing that word in a sense somewhat different from the usual. By the term "impression," then, I mean all our more lively perceptions, when we hear, or see, or feel, or love, or hate, or desire, or will. And impressions are distinguished from ideas, which are the less lively perceptions, of which we are conscious when we reflect on any of those sensations or movements above mentioned.Q. What is the main idea of the first paragraph?a)Thinking about pain eases its effects.b)Sensory experiences are stronger than our memories of them.c)Imagination is a copy of memory.d)Recollections are more distinct than occurrences in reality.Correct answer is option 'B'. Can you explain this answer? defined & explained in the simplest way possible. Besides giving the explanation of Adapted fromAn Enquiry Concerning Human Understandingby David Hume(1748)Everyone will readily allow that there is a considerable difference between the perceptions of the mind, when a man feels the pain of excessive heat, or the pleasure of moderate warmth, and when he afterwards recalls to his memory this sensation, or anticipates it by his imagination. These faculties may mimic or copy the perceptions of the senses, but they never can entirely reach the force and vivacity of the original sentiment. The utmost we say of them, even when they operate with greatest vigor, is, that they represent their object in so lively a manner that we couldalmostsay we feel or see it. But, except the mind be disordered by disease or madness, they never can arrive at such a pitch of vivacity as to render these perceptions altogether undistinguishable. All the colors of poetry, however splendid, can never paint natural objects in such a manner as to make the description be taken for a real landscape. The most lively thought is still inferior to the dullest sensation.We may observe a like distinction to run through all the other perceptions of the mind. A man in a fit of anger is actuated in a very different manner from one who only thinks of that emotion. If you tell me that any person is in love I easily understand your meaning, and form a just conception of his situation, but never can mistake that conception for the real disorders and agitations of the passion. When we reflect on our past sentiments and affections, our thought is a faithful mirror and copies its objects truly, but the colors which it employs are faint and dull in comparison of those in which our original perceptions were clothed. It requires no nice discernment or metaphysical head to mark the distinction between them.Here, therefore, we may divide all the perceptions of the mind into two classes or species, which are distinguished by their different degrees of force and vivacity. The less forcible and lively are commonly denominated "thoughts" or "ideas." The other species want a name in our language, and in most others; I suppose because it was not requisite for any but philosophical purposes to rank them under a general term or appellation. Let us, therefore, use a little freedom, and call them "impressions," employing that word in a sense somewhat different from the usual. By the term "impression," then, I mean all our more lively perceptions, when we hear, or see, or feel, or love, or hate, or desire, or will. And impressions are distinguished from ideas, which are the less lively perceptions, of which we are conscious when we reflect on any of those sensations or movements above mentioned.Q. What is the main idea of the first paragraph?a)Thinking about pain eases its effects.b)Sensory experiences are stronger than our memories of them.c)Imagination is a copy of memory.d)Recollections are more distinct than occurrences in reality.Correct answer is option 'B'. Can you explain this answer?, a detailed solution for Adapted fromAn Enquiry Concerning Human Understandingby David Hume(1748)Everyone will readily allow that there is a considerable difference between the perceptions of the mind, when a man feels the pain of excessive heat, or the pleasure of moderate warmth, and when he afterwards recalls to his memory this sensation, or anticipates it by his imagination. These faculties may mimic or copy the perceptions of the senses, but they never can entirely reach the force and vivacity of the original sentiment. The utmost we say of them, even when they operate with greatest vigor, is, that they represent their object in so lively a manner that we couldalmostsay we feel or see it. But, except the mind be disordered by disease or madness, they never can arrive at such a pitch of vivacity as to render these perceptions altogether undistinguishable. All the colors of poetry, however splendid, can never paint natural objects in such a manner as to make the description be taken for a real landscape. The most lively thought is still inferior to the dullest sensation.We may observe a like distinction to run through all the other perceptions of the mind. A man in a fit of anger is actuated in a very different manner from one who only thinks of that emotion. If you tell me that any person is in love I easily understand your meaning, and form a just conception of his situation, but never can mistake that conception for the real disorders and agitations of the passion. When we reflect on our past sentiments and affections, our thought is a faithful mirror and copies its objects truly, but the colors which it employs are faint and dull in comparison of those in which our original perceptions were clothed. It requires no nice discernment or metaphysical head to mark the distinction between them.Here, therefore, we may divide all the perceptions of the mind into two classes or species, which are distinguished by their different degrees of force and vivacity. The less forcible and lively are commonly denominated "thoughts" or "ideas." The other species want a name in our language, and in most others; I suppose because it was not requisite for any but philosophical purposes to rank them under a general term or appellation. Let us, therefore, use a little freedom, and call them "impressions," employing that word in a sense somewhat different from the usual. By the term "impression," then, I mean all our more lively perceptions, when we hear, or see, or feel, or love, or hate, or desire, or will. And impressions are distinguished from ideas, which are the less lively perceptions, of which we are conscious when we reflect on any of those sensations or movements above mentioned.Q. What is the main idea of the first paragraph?a)Thinking about pain eases its effects.b)Sensory experiences are stronger than our memories of them.c)Imagination is a copy of memory.d)Recollections are more distinct than occurrences in reality.Correct answer is option 'B'. Can you explain this answer? has been provided alongside types of Adapted fromAn Enquiry Concerning Human Understandingby David Hume(1748)Everyone will readily allow that there is a considerable difference between the perceptions of the mind, when a man feels the pain of excessive heat, or the pleasure of moderate warmth, and when he afterwards recalls to his memory this sensation, or anticipates it by his imagination. These faculties may mimic or copy the perceptions of the senses, but they never can entirely reach the force and vivacity of the original sentiment. The utmost we say of them, even when they operate with greatest vigor, is, that they represent their object in so lively a manner that we couldalmostsay we feel or see it. But, except the mind be disordered by disease or madness, they never can arrive at such a pitch of vivacity as to render these perceptions altogether undistinguishable. All the colors of poetry, however splendid, can never paint natural objects in such a manner as to make the description be taken for a real landscape. The most lively thought is still inferior to the dullest sensation.We may observe a like distinction to run through all the other perceptions of the mind. A man in a fit of anger is actuated in a very different manner from one who only thinks of that emotion. If you tell me that any person is in love I easily understand your meaning, and form a just conception of his situation, but never can mistake that conception for the real disorders and agitations of the passion. When we reflect on our past sentiments and affections, our thought is a faithful mirror and copies its objects truly, but the colors which it employs are faint and dull in comparison of those in which our original perceptions were clothed. It requires no nice discernment or metaphysical head to mark the distinction between them.Here, therefore, we may divide all the perceptions of the mind into two classes or species, which are distinguished by their different degrees of force and vivacity. The less forcible and lively are commonly denominated "thoughts" or "ideas." The other species want a name in our language, and in most others; I suppose because it was not requisite for any but philosophical purposes to rank them under a general term or appellation. Let us, therefore, use a little freedom, and call them "impressions," employing that word in a sense somewhat different from the usual. By the term "impression," then, I mean all our more lively perceptions, when we hear, or see, or feel, or love, or hate, or desire, or will. And impressions are distinguished from ideas, which are the less lively perceptions, of which we are conscious when we reflect on any of those sensations or movements above mentioned.Q. What is the main idea of the first paragraph?a)Thinking about pain eases its effects.b)Sensory experiences are stronger than our memories of them.c)Imagination is a copy of memory.d)Recollections are more distinct than occurrences in reality.Correct answer is option 'B'. Can you explain this answer? theory, EduRev gives you an ample number of questions to practice Adapted fromAn Enquiry Concerning Human Understandingby David Hume(1748)Everyone will readily allow that there is a considerable difference between the perceptions of the mind, when a man feels the pain of excessive heat, or the pleasure of moderate warmth, and when he afterwards recalls to his memory this sensation, or anticipates it by his imagination. These faculties may mimic or copy the perceptions of the senses, but they never can entirely reach the force and vivacity of the original sentiment. The utmost we say of them, even when they operate with greatest vigor, is, that they represent their object in so lively a manner that we couldalmostsay we feel or see it. But, except the mind be disordered by disease or madness, they never can arrive at such a pitch of vivacity as to render these perceptions altogether undistinguishable. All the colors of poetry, however splendid, can never paint natural objects in such a manner as to make the description be taken for a real landscape. The most lively thought is still inferior to the dullest sensation.We may observe a like distinction to run through all the other perceptions of the mind. A man in a fit of anger is actuated in a very different manner from one who only thinks of that emotion. If you tell me that any person is in love I easily understand your meaning, and form a just conception of his situation, but never can mistake that conception for the real disorders and agitations of the passion. When we reflect on our past sentiments and affections, our thought is a faithful mirror and copies its objects truly, but the colors which it employs are faint and dull in comparison of those in which our original perceptions were clothed. It requires no nice discernment or metaphysical head to mark the distinction between them.Here, therefore, we may divide all the perceptions of the mind into two classes or species, which are distinguished by their different degrees of force and vivacity. The less forcible and lively are commonly denominated "thoughts" or "ideas." The other species want a name in our language, and in most others; I suppose because it was not requisite for any but philosophical purposes to rank them under a general term or appellation. Let us, therefore, use a little freedom, and call them "impressions," employing that word in a sense somewhat different from the usual. By the term "impression," then, I mean all our more lively perceptions, when we hear, or see, or feel, or love, or hate, or desire, or will. And impressions are distinguished from ideas, which are the less lively perceptions, of which we are conscious when we reflect on any of those sensations or movements above mentioned.Q. What is the main idea of the first paragraph?a)Thinking about pain eases its effects.b)Sensory experiences are stronger than our memories of them.c)Imagination is a copy of memory.d)Recollections are more distinct than occurrences in reality.Correct answer is option 'B'. Can you explain this answer? tests, examples and also practice ACT tests.

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