Adapted from andldquo;Authority: The Unavoidableandrdquo; in Whatandrsquo;s Wrong with the World by G.K. Chesterton (1912)The important point here is only that you cannot get rid of authority in education. It is not so much that parental authority ought to be preserved. The more, important truth, is that such authority cannot be destroyed. Mr. Bernard Shaw once said that he had hated the idea of forming a childs mind. In that case, Mr. Bernard Shaw had better hang himself, for he hates something inseparable from human life. I only mentioned [earlier in the book] the drawing out of the childandrsquo;s abilities in order to point out that even this mental trick does not avoid the idea of parental or scholastic authority. The educators drawing out is just as arbitrary and coercive as the instructorandrsquo;s action, for he draws out what he chooses. He decides what in the child shall be developed and what shall not be developed.The only result of all this pompous distinction between the andldquo;educatorandrdquo; and the andldquo;instructorandrdquo; is who the instructor pokes where he likes and the educator pulls where he likes. Exactly the same intellectual violence is done to the creature whom is poked and pulled. We must all except the responsibility of this intellectual violence, whether from poking or from pulling.Education is violent; because it is creative. It is such because it is human. It is as reckless as playing on the fiddle, as dogmatic as drawing a picture, as brutal as building a house. In short, it is what all human action is, it is an interference with life and growth. After that it is a trifling and even a jocular question whether we say of this tremendous tormentor, the artist Man, that he puts things into us like a pharmacist or draws things out of us.Choose the answer that best corrects the bolded portion of the passage. If the bolded portion is correct as written, choose andquot;NO CHANGE.andquot;a)Education is violent because it is creative.b)Education is violent: because it is creative.c)Education is violent; it is creative.d)NO CHANGECorrect answer is option 'A'. Can you explain this answer?

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Adapted from “Authority: The Unavoidable” in What’s Wrong with the World by G.K. Chesterton (1912)

The important point here is only that you cannot get rid of authority in education. It is not so much that parental authority ought to be preserved. The more, important truth, is that such authority cannot be destroyed. Mr. Bernard Shaw once said that he had hated the idea of forming a child's mind. In that case, Mr. Bernard Shaw had better hang himself, for he hates something inseparable from human life. I only mentioned [earlier in the book] the drawing out of the child’s abilities in order to point out that even this mental trick does not avoid the idea of parental or scholastic authority. The educator's drawing out is just as arbitrary and coercive as the instructor’s action, for he draws out what he chooses. He decides what in the child shall be developed and what shall not be developed.

The only result of all this pompous distinction between the “educator” and the “instructor” is who the instructor pokes where he likes and the educator pulls where he likes. Exactly the same intellectual violence is done to the creature whom is poked and pulled. We must all except the responsibility of this intellectual violence, whether from poking or from pulling.

Education is violent; because it is creative. It is such because it is human. It is as reckless as playing on the fiddle, as dogmatic as drawing a picture, as brutal as building a house. In short, it is what all human action is, it is an interference with life and growth. After that it is a trifling and even a jocular question whether we say of this tremendous tormentor, the artist Man, that he puts things into us like a pharmacist or draws things out of us.

Choose the answer that best corrects the bolded portion of the passage. If the bolded portion is correct as written, choose "NO CHANGE."

a)
Education is violent because it is creative.
b)
Education is violent: because it is creative.
c)
Education is violent; it is creative.
d)
NO CHANGE

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

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Adapted from “Authority: The Unavoidable” in What’s ...

The conjunction "because" does not here require any punctuation. It makes no sense to use a colon or a semi-colon. Likewise, do not be tempted to drop it completely (as in the option that merely has "it is creative" after the semi-colon). It has an important meaning and should be retained. Clearly, the next sentence is in parallel to this, using "because." This gives us a hint regarding the sentence we are considering.

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"Not Just Brains Can Be Smart: Why You Should Educate Your Body Too" by Megan Simon (2013)Severalyears ago, a communications professor of mine was discussing the unequal opportunities that are available to African American students in America. Many students, she said, were told by society that the only way they could succeed and go on to a higher education was if they excelled at athletics. Discouraged from the hope of excelling in an intellectual field, they resorted to “selling their bodies.”This comment, although obviously well-meant and addressed towards an unacceptable situation of racial inequality, disturbed me in a way that I was not able to articulate at the time. Reflecting upon it, however, it becomes obvious why I find this type of attitude deeply concerning. I am a dancer. The primary instrument in my field is the human body. I use my body everyday to gain creative, academic, and professional success. Am I selling myself?Let’s say that I am. But now think about other professions, like literature or mathematics. Novelists, what do they do? They sell their words. Mathematicians? They sell their reasoning. And this exchange is socially acceptable. We strive to sell our brains, to place them on the open market. When it comes to the body, on the other hand, things become dirty, cheap—comparable to prostitution.Academia does the best that it can to separate the mind from the body, to keep pure intellectualism free from the superficiality of the physical body.So proud are we of our human ability to think and reflect that we value the abstract world of reason more than corporeal one around us. We think that by doing so we remove physical limitations and supersede physical prejudices. But limitations and prejudices exist just as much in the realm of the mind as that of the body.How is dance affected by this fierce devotion to the mind/body dichotomy? It has been forced to fight its way into academic institutions, even more so than the other arts. Visual arts and music are clearly products of the creative mind, but dance is taintedby its association with the body. Before gaining academic legitimacy, it has had to prove that it can be notated, theorized, and philosophized.While I recognize the great value in these more mind-based approaches to dance, it worries me that so few people recognize the existence of a physical intelligence. Dancers know that movement communicates in a way that is not possible to articulate with words and logic.They know that they can train their bodies to be aware and communicate more effectively, that they can discover new approaches to movement and physical being, and that they can create a bodily discourse. I believe that everyone realizes the power of this communication on some level, but it is so often relegated to the role of interesting afterthought—If you are bored by the actual content of the presidential debates, here’s how to analyze the candidates’ gestures!We have an attitude that if we can’t come up with a consensus of how to describe it in words, it must not be worth studying. And with this attitude, we exclude so much of the world from the ivory tower.I understand what that communications professor was trying to say. No one should think that their mind is not worthy of higher education. No one should be excluded from that type of intellectual endeavor. But focusing on training the body, whether it be athletics or dance or even everyday, physical communication, should not be seen as a less desirable alternative. The mind and the body could not exist without one another. It is past time that we threw away this arbitrary separation and embraced the entire human experience.Q. The author’s purpose in writing this article is best described as which of the following?

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Directions:Read the passages and choose the best answer to each question.PassageHUMANITIES: Colorful Reflections on Fairfield PorterMy first encounter with the international artistand art critic Fairfield Porter was actually through thepoetry of his wife, Anne (Channing) Porter. Whileboth grew to become quite celebrated in their crafts,(5) Fairfield’s story is unique.Born into an affluent, artistic family in 1907, theboy who was to one day become a renowned artistand respected art critic showed a comparative lack ofartistic ability when seen next to his siblings. While(10) his older brother Eliot took to photography, FairfieldPorter, despite being remarkably intelligent, appearedto be lacking any natural artistic talents. It seemedthat, although a member of a family full of artists, histrue skill lay in the critiquing of others’ artistry. This(15) was evidenced in his second year at Harvard by Fair-field’s decision to pursue art history as his major field ofstudy. After studying at Harvard under Arthur Pope andthen traveling briefly through Europe, Fairfield cameback to the United States to further his education at(20) the Art Students League in New York City. There hebecame acquainted with the famed photographer AlfredStieglitz—the work of whom is said to have positivelyinfluenced Fairfield’s paintings to some degree.Between the years 1931 and 1932, Fairfield spent(25) the majority of his time in Italy learning to appreci-ate and critique the works of the great Renaissancepainters. His training came from both direct studyunder world-famous art historian Bernard Berenson,and from countless hours spent in museums and(30) galleries observing the greatest pieces of Italian art.Following his marriage to Anne upon his returnfrom Italy, Fairfield spent the better part of the next twodecades developing his skills as a painter while caringfor his autistic son. During this period his meetings with(35) the French Intimist painter Willem De Kooning wouldprove to have a profound effect on his later works.Porter was the first to publicly acclaim the work ofKooning.In fact, what made Porter so famous was his knack(40) for responding directly to an artist’s work. He foundfault with the common “talk based” criticism that spoketo art only in reference to its past or to some vague the-oretical framework; such criticism attempted to shapethe future of art and was far too biased for Porter.(45) His time as an art critic for such publications as ArtNews and The Nation ended, however, in 1961 whenhe decided to pursue a full-time painting career.The other side of his fame, his uncommonapproach to painting, is just as important to the(50) understanding of Fairfield Porter’s contributions to theworld of art. His personal philosophy comes from ablending of two views; art should be personal, emo-tional, and representative of its subject, while at thesame time be boldly colorful, expressive, and gener-(55) ally abstract. Drawing on his vast knowledge of arthistory, especially the styles of French Intimism, Porterfused these two feelings to create a powerful, emotivecollection of paintings about families, individuals, andthe home, as well as moving nature scenes such as(60) The Door to the Woods (1971) and Maine - Toward theHarbor (1967).When he died in 1975, on a morning walk alongthe ocean, he left the world as one of the most respectedart critics in the past century. On top of that, his work(65) as a painter is still viewed within the art communityas amazingly distinctive and especially representativeof his life. It is sad to say that now, however, somethirty years after his death, he is still virtually unknownoutside of art circles. This remarkably insightful, artic-(70) ulate, creative individual needs to be discovered by thecommon man and revered for his continuing influenceon the artists of today. The words of this intellectualwere some of the best and most honest critiques of artever spoken.Q.Porter’s painting style can be described by 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?

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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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Adapted from “Authority: The Unavoidable” in What’s Wrong with the World by G.K. Chesterton (1912)The important point here is only that you cannot get rid of authority in education. It is not so much that parental authority ought to be preserved. The more, important truth, is that such authority cannot be destroyed. Mr. Bernard Shaw once said that he had hated the idea of forming a childs mind. In that case, Mr. Bernard Shaw had better hang himself, for he hates something inseparable from human life. I only mentioned [earlier in the book] the drawing out of the child’s abilities in order to point out that even this mental trick does not avoid the idea of parental or scholastic authority. The educators drawing out is just as arbitrary and coercive as the instructor’s action, for he draws out what he chooses. He decides what in the child shall be developed and what shall not be developed.The only result of all this pompous distinction between the “educator” and the “instructor” is who the instructor pokes where he likes and the educator pulls where he likes. Exactly the same intellectual violence is done to the creature whom is poked and pulled. We must all except the responsibility of this intellectual violence, whether from poking or from pulling.Education is violent; because it is creative. It is such because it is human. It is as reckless as playing on the fiddle, as dogmatic as drawing a picture, as brutal as building a house. In short, it is what all human action is, it is an interference with life and growth. After that it is a trifling and even a jocular question whether we say of this tremendous tormentor, the artist Man, that he puts things into us like a pharmacist or draws things out of us.Choose the answer that best corrects the bolded portion of the passage. If the bolded portion is correct as written, choose "NO CHANGE."a)Education is violent because it is creative.b)Education is violent: because it is creative.c)Education is violent; it is creative.d)NO CHANGECorrect answer is option 'A'. Can you explain this answer?

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Adapted from “Authority: The Unavoidable” in What’s Wrong with the World by G.K. Chesterton (1912)The important point here is only that you cannot get rid of authority in education. It is not so much that parental authority ought to be preserved. The more, important truth, is that such authority cannot be destroyed. Mr. Bernard Shaw once said that he had hated the idea of forming a childs mind. In that case, Mr. Bernard Shaw had better hang himself, for he hates something inseparable from human life. I only mentioned [earlier in the book] the drawing out of the child’s abilities in order to point out that even this mental trick does not avoid the idea of parental or scholastic authority. The educators drawing out is just as arbitrary and coercive as the instructor’s action, for he draws out what he chooses. He decides what in the child shall be developed and what shall not be developed.The only result of all this pompous distinction between the “educator” and the “instructor” is who the instructor pokes where he likes and the educator pulls where he likes. Exactly the same intellectual violence is done to the creature whom is poked and pulled. We must all except the responsibility of this intellectual violence, whether from poking or from pulling.Education is violent; because it is creative. It is such because it is human. It is as reckless as playing on the fiddle, as dogmatic as drawing a picture, as brutal as building a house. In short, it is what all human action is, it is an interference with life and growth. After that it is a trifling and even a jocular question whether we say of this tremendous tormentor, the artist Man, that he puts things into us like a pharmacist or draws things out of us.Choose the answer that best corrects the bolded portion of the passage. If the bolded portion is correct as written, choose "NO CHANGE."a)Education is violent because it is creative.b)Education is violent: because it is creative.c)Education is violent; it is creative.d)NO CHANGECorrect answer is option 'A'. 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 from “Authority: The Unavoidable” in What’s Wrong with the World by G.K. Chesterton (1912)The important point here is only that you cannot get rid of authority in education. It is not so much that parental authority ought to be preserved. The more, important truth, is that such authority cannot be destroyed. Mr. Bernard Shaw once said that he had hated the idea of forming a childs mind. In that case, Mr. Bernard Shaw had better hang himself, for he hates something inseparable from human life. I only mentioned [earlier in the book] the drawing out of the child’s abilities in order to point out that even this mental trick does not avoid the idea of parental or scholastic authority. The educators drawing out is just as arbitrary and coercive as the instructor’s action, for he draws out what he chooses. He decides what in the child shall be developed and what shall not be developed.The only result of all this pompous distinction between the “educator” and the “instructor” is who the instructor pokes where he likes and the educator pulls where he likes. Exactly the same intellectual violence is done to the creature whom is poked and pulled. We must all except the responsibility of this intellectual violence, whether from poking or from pulling.Education is violent; because it is creative. It is such because it is human. It is as reckless as playing on the fiddle, as dogmatic as drawing a picture, as brutal as building a house. In short, it is what all human action is, it is an interference with life and growth. After that it is a trifling and even a jocular question whether we say of this tremendous tormentor, the artist Man, that he puts things into us like a pharmacist or draws things out of us.Choose the answer that best corrects the bolded portion of the passage. If the bolded portion is correct as written, choose "NO CHANGE."a)Education is violent because it is creative.b)Education is violent: because it is creative.c)Education is violent; it is creative.d)NO CHANGECorrect answer is option 'A'. 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 from “Authority: The Unavoidable” in What’s Wrong with the World by G.K. Chesterton (1912)The important point here is only that you cannot get rid of authority in education. It is not so much that parental authority ought to be preserved. The more, important truth, is that such authority cannot be destroyed. Mr. Bernard Shaw once said that he had hated the idea of forming a childs mind. In that case, Mr. Bernard Shaw had better hang himself, for he hates something inseparable from human life. I only mentioned [earlier in the book] the drawing out of the child’s abilities in order to point out that even this mental trick does not avoid the idea of parental or scholastic authority. The educators drawing out is just as arbitrary and coercive as the instructor’s action, for he draws out what he chooses. He decides what in the child shall be developed and what shall not be developed.The only result of all this pompous distinction between the “educator” and the “instructor” is who the instructor pokes where he likes and the educator pulls where he likes. Exactly the same intellectual violence is done to the creature whom is poked and pulled. We must all except the responsibility of this intellectual violence, whether from poking or from pulling.Education is violent; because it is creative. It is such because it is human. It is as reckless as playing on the fiddle, as dogmatic as drawing a picture, as brutal as building a house. In short, it is what all human action is, it is an interference with life and growth. After that it is a trifling and even a jocular question whether we say of this tremendous tormentor, the artist Man, that he puts things into us like a pharmacist or draws things out of us.Choose the answer that best corrects the bolded portion of the passage. If the bolded portion is correct as written, choose "NO CHANGE."a)Education is violent because it is creative.b)Education is violent: because it is creative.c)Education is violent; it is creative.d)NO CHANGECorrect answer is option 'A'. Can you explain this answer?.

Solutions for Adapted from “Authority: The Unavoidable” in What’s Wrong with the World by G.K. Chesterton (1912)The important point here is only that you cannot get rid of authority in education. It is not so much that parental authority ought to be preserved. The more, important truth, is that such authority cannot be destroyed. Mr. Bernard Shaw once said that he had hated the idea of forming a childs mind. In that case, Mr. Bernard Shaw had better hang himself, for he hates something inseparable from human life. I only mentioned [earlier in the book] the drawing out of the child’s abilities in order to point out that even this mental trick does not avoid the idea of parental or scholastic authority. The educators drawing out is just as arbitrary and coercive as the instructor’s action, for he draws out what he chooses. He decides what in the child shall be developed and what shall not be developed.The only result of all this pompous distinction between the “educator” and the “instructor” is who the instructor pokes where he likes and the educator pulls where he likes. Exactly the same intellectual violence is done to the creature whom is poked and pulled. We must all except the responsibility of this intellectual violence, whether from poking or from pulling.Education is violent; because it is creative. It is such because it is human. It is as reckless as playing on the fiddle, as dogmatic as drawing a picture, as brutal as building a house. In short, it is what all human action is, it is an interference with life and growth. After that it is a trifling and even a jocular question whether we say of this tremendous tormentor, the artist Man, that he puts things into us like a pharmacist or draws things out of us.Choose the answer that best corrects the bolded portion of the passage. If the bolded portion is correct as written, choose "NO CHANGE."a)Education is violent because it is creative.b)Education is violent: because it is creative.c)Education is violent; it is creative.d)NO CHANGECorrect answer is option 'A'. 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 from “Authority: The Unavoidable” in What’s Wrong with the World by G.K. Chesterton (1912)The important point here is only that you cannot get rid of authority in education. It is not so much that parental authority ought to be preserved. The more, important truth, is that such authority cannot be destroyed. Mr. Bernard Shaw once said that he had hated the idea of forming a childs mind. In that case, Mr. Bernard Shaw had better hang himself, for he hates something inseparable from human life. I only mentioned [earlier in the book] the drawing out of the child’s abilities in order to point out that even this mental trick does not avoid the idea of parental or scholastic authority. The educators drawing out is just as arbitrary and coercive as the instructor’s action, for he draws out what he chooses. He decides what in the child shall be developed and what shall not be developed.The only result of all this pompous distinction between the “educator” and the “instructor” is who the instructor pokes where he likes and the educator pulls where he likes. Exactly the same intellectual violence is done to the creature whom is poked and pulled. We must all except the responsibility of this intellectual violence, whether from poking or from pulling.Education is violent; because it is creative. It is such because it is human. It is as reckless as playing on the fiddle, as dogmatic as drawing a picture, as brutal as building a house. In short, it is what all human action is, it is an interference with life and growth. After that it is a trifling and even a jocular question whether we say of this tremendous tormentor, the artist Man, that he puts things into us like a pharmacist or draws things out of us.Choose the answer that best corrects the bolded portion of the passage. If the bolded portion is correct as written, choose "NO CHANGE."a)Education is violent because it is creative.b)Education is violent: because it is creative.c)Education is violent; it is creative.d)NO CHANGECorrect answer is option 'A'. Can you explain this answer? defined & explained in the simplest way possible. Besides giving the explanation of Adapted from “Authority: The Unavoidable” in What’s Wrong with the World by G.K. Chesterton (1912)The important point here is only that you cannot get rid of authority in education. It is not so much that parental authority ought to be preserved. The more, important truth, is that such authority cannot be destroyed. Mr. Bernard Shaw once said that he had hated the idea of forming a childs mind. In that case, Mr. Bernard Shaw had better hang himself, for he hates something inseparable from human life. I only mentioned [earlier in the book] the drawing out of the child’s abilities in order to point out that even this mental trick does not avoid the idea of parental or scholastic authority. The educators drawing out is just as arbitrary and coercive as the instructor’s action, for he draws out what he chooses. He decides what in the child shall be developed and what shall not be developed.The only result of all this pompous distinction between the “educator” and the “instructor” is who the instructor pokes where he likes and the educator pulls where he likes. Exactly the same intellectual violence is done to the creature whom is poked and pulled. We must all except the responsibility of this intellectual violence, whether from poking or from pulling.Education is violent; because it is creative. It is such because it is human. It is as reckless as playing on the fiddle, as dogmatic as drawing a picture, as brutal as building a house. In short, it is what all human action is, it is an interference with life and growth. After that it is a trifling and even a jocular question whether we say of this tremendous tormentor, the artist Man, that he puts things into us like a pharmacist or draws things out of us.Choose the answer that best corrects the bolded portion of the passage. If the bolded portion is correct as written, choose "NO CHANGE."a)Education is violent because it is creative.b)Education is violent: because it is creative.c)Education is violent; it is creative.d)NO CHANGECorrect answer is option 'A'. Can you explain this answer?, a detailed solution for Adapted from “Authority: The Unavoidable” in What’s Wrong with the World by G.K. Chesterton (1912)The important point here is only that you cannot get rid of authority in education. It is not so much that parental authority ought to be preserved. The more, important truth, is that such authority cannot be destroyed. Mr. Bernard Shaw once said that he had hated the idea of forming a childs mind. In that case, Mr. Bernard Shaw had better hang himself, for he hates something inseparable from human life. I only mentioned [earlier in the book] the drawing out of the child’s abilities in order to point out that even this mental trick does not avoid the idea of parental or scholastic authority. The educators drawing out is just as arbitrary and coercive as the instructor’s action, for he draws out what he chooses. He decides what in the child shall be developed and what shall not be developed.The only result of all this pompous distinction between the “educator” and the “instructor” is who the instructor pokes where he likes and the educator pulls where he likes. Exactly the same intellectual violence is done to the creature whom is poked and pulled. We must all except the responsibility of this intellectual violence, whether from poking or from pulling.Education is violent; because it is creative. It is such because it is human. It is as reckless as playing on the fiddle, as dogmatic as drawing a picture, as brutal as building a house. In short, it is what all human action is, it is an interference with life and growth. After that it is a trifling and even a jocular question whether we say of this tremendous tormentor, the artist Man, that he puts things into us like a pharmacist or draws things out of us.Choose the answer that best corrects the bolded portion of the passage. If the bolded portion is correct as written, choose "NO CHANGE."a)Education is violent because it is creative.b)Education is violent: because it is creative.c)Education is violent; it is creative.d)NO CHANGECorrect answer is option 'A'. Can you explain this answer? has been provided alongside types of Adapted from “Authority: The Unavoidable” in What’s Wrong with the World by G.K. Chesterton (1912)The important point here is only that you cannot get rid of authority in education. It is not so much that parental authority ought to be preserved. The more, important truth, is that such authority cannot be destroyed. Mr. Bernard Shaw once said that he had hated the idea of forming a childs mind. In that case, Mr. Bernard Shaw had better hang himself, for he hates something inseparable from human life. I only mentioned [earlier in the book] the drawing out of the child’s abilities in order to point out that even this mental trick does not avoid the idea of parental or scholastic authority. The educators drawing out is just as arbitrary and coercive as the instructor’s action, for he draws out what he chooses. He decides what in the child shall be developed and what shall not be developed.The only result of all this pompous distinction between the “educator” and the “instructor” is who the instructor pokes where he likes and the educator pulls where he likes. Exactly the same intellectual violence is done to the creature whom is poked and pulled. We must all except the responsibility of this intellectual violence, whether from poking or from pulling.Education is violent; because it is creative. It is such because it is human. It is as reckless as playing on the fiddle, as dogmatic as drawing a picture, as brutal as building a house. In short, it is what all human action is, it is an interference with life and growth. After that it is a trifling and even a jocular question whether we say of this tremendous tormentor, the artist Man, that he puts things into us like a pharmacist or draws things out of us.Choose the answer that best corrects the bolded portion of the passage. If the bolded portion is correct as written, choose "NO CHANGE."a)Education is violent because it is creative.b)Education is violent: because it is creative.c)Education is violent; it is creative.d)NO CHANGECorrect answer is option 'A'. Can you explain this answer? theory, EduRev gives you an ample number of questions to practice Adapted from “Authority: The Unavoidable” in What’s Wrong with the World by G.K. Chesterton (1912)The important point here is only that you cannot get rid of authority in education. It is not so much that parental authority ought to be preserved. The more, important truth, is that such authority cannot be destroyed. Mr. Bernard Shaw once said that he had hated the idea of forming a childs mind. In that case, Mr. Bernard Shaw had better hang himself, for he hates something inseparable from human life. I only mentioned [earlier in the book] the drawing out of the child’s abilities in order to point out that even this mental trick does not avoid the idea of parental or scholastic authority. The educators drawing out is just as arbitrary and coercive as the instructor’s action, for he draws out what he chooses. He decides what in the child shall be developed and what shall not be developed.The only result of all this pompous distinction between the “educator” and the “instructor” is who the instructor pokes where he likes and the educator pulls where he likes. Exactly the same intellectual violence is done to the creature whom is poked and pulled. We must all except the responsibility of this intellectual violence, whether from poking or from pulling.Education is violent; because it is creative. It is such because it is human. It is as reckless as playing on the fiddle, as dogmatic as drawing a picture, as brutal as building a house. In short, it is what all human action is, it is an interference with life and growth. After that it is a trifling and even a jocular question whether we say of this tremendous tormentor, the artist Man, that he puts things into us like a pharmacist or draws things out of us.Choose the answer that best corrects the bolded portion of the passage. If the bolded portion is correct as written, choose "NO CHANGE."a)Education is violent because it is creative.b)Education is violent: because it is creative.c)Education is violent; it is creative.d)NO CHANGECorrect answer is option 'A'. Can you explain this answer? tests, examples and also practice ACT tests.

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