Comprehension
Answer these questions based on the passages.
All men by nature, desire to know. An indication of this is the delight we take in our senses: for even apart from their usefulness they are loved for themselves; and above all others, the sense of sight. For not only with a view to action, but even when we are not going to do anything, we prefer seeing (one might say) to everything else. The reason is that this, most of all the senses, makes us know and brings to light many differences between things. By nature, animals are born with the faculty of sensation, and from sensation, memory is produced in some of them, though not in others. And therefore, the former are more intelligent and apt at learning than those which cannot remember; those which are incapable of hearing sounds are intelligent though they cannot be taught, e.g. the bee and any other race of animals that may be like it; and those which, besides memory, have this sense of hearing can be taught. The animals other than man live by appearances and memories, and have but little of connected experience; but the human race lives also by art and reasonings. Now from memory, experience is produced in men; for the several memories of the same thing produce finally the capacity for a single experience. And experience seems pretty much like science and art, but really, science and art come to men through experience; for 'experience made art', as Polus says, "but inexperience luck.' Now art arises, when from many notions gained by experience, one universal judgement about a class of objects is produced. For to have a judgement that when Callias was ill of this disease that did him good, and similarly, in the case of Socrates and in many individual cases, is a matter of experience; but to judge that it has done good to all persons of a certain constitution, marked off in one class, when they were ill of this disease, e.g. to phlegmatic or bilious people when burning with fevers - this is a matter of art.
With a view to action, experience seems in no respect inferior to art, and men of experience succeed even better than those who have theory without experience. (The reason is that experience is knowledge of individuals, art of universals, and actions and productions are all concerned with the individual; for the physician does not cure man, except in an incidental way, but Callias or Socrates or some other, called by some such individual name, who happens to be a man. II. then, a man has the theory without the experience, and recognizes the universal but does not know the individual included in this, he will often fail to cure; for it is the individual 8 that is to be cured.) But yet we think that knowledge and understanding belong to art rather than to experience, and we suppose artists to be wiser than men of experience (which implies that wisdom depends in all cases rather on knowledge); and this because the former know the cause, but the latter do not. For men of experience know that the thing is so, but do not know why, while the others know the 'why' and the cause. Hence we think also that the master workers in each craft are more honourable and know in a truer sense and are wiser than the manual workers, because they know the causes ofthe things that are done (we think the manual workers are like certain lifeless things which act indeed, but act without knowing what they do, as fire bums, but while the lifeless things perform each of their functions by a natural tendency, the labourers perform them through habit); thus we view them as being wiser not in virtue of being able to act, but of having the theory for themselves and knowing the causes. And in general, it is a sign ofthe man who knows and ofthe man who does not know, that the former can teach, and therefore, we think art is more truly knowledge than experience is; for artists can teach, and men of mere experience cannot.
Again, we do not regard any of the senses as Wisdom; yet surely these give the most authoritative knowledge of particulars. But they do not tell us the 'why' of anything, e.g. why fire is hot; they only say that it is hot. At first, he who invented any art whatever, that went beyond the common perceptions of man was naturally admired by men, not only because there was something useful in the inventions, but because he was thought wiser and superior to the rest. But as more arts were invented, and some were directed to the necessities of life, others to recreation, the inventors of the latter were naturally always regarded as wiser than the inventors of the former, because their branches of knowledge did not aim at utility.
Hence, when all such inventions were already established, the sciences which do not aim at giving pleasure or at the necessities of life were discovered, and first in the places where men first began to have leisure. This why the mathematical arts were founded in Egypt; for there the priestly caste was allowed to be at leisure. We have said in the Ethics what the difference is between art and science and the other kindred faculties; but the point of our present discussion is this, that all men suppose what is called Wisdom to deal with the first causes and the principles of things; so that, as has been said before, the man of experience is thought to be wiser than the possessors of any sense-perception what ever, the artist wiser than the men of experience, the masterworker than the mechanic, and the theoretical kinds of knowledge to be more of the nature of Wisdom than the productive.
Clearly then, wisdom is knowledge about certain principles and causes.
All men by nature, desire to know. An indication of this is the delight we take in our senses: for even apart from their usefulness they are loved for themselves; and above all others, the sense of sight. For not only with a view to action, but even when we are not going to do anything, we prefer seeing (one might say) to everything else. The reason is that this, most of all the senses, makes us know and brings to light many differences between things. By nature, animals are born with the faculty of sensation, and from sensation, memory is produced in some of them, though not in others. And therefore, the former are more intelligent and apt at learning than those which cannot remember; those which are incapable of hearing sounds are intelligent though they cannot be taught, e.g. the bee and any other race of animals that may be like it; and those which, besides memory, have this sense of hearing can be taught. The animals other than man live by appearances and memories, and have but little of connected experience; but the human race lives also by art and reasonings. Now from memory, experience is produced in men; for the several memories of the same thing produce finally the capacity for a single experience. And experience seems pretty much like science and art, but really, science and art come to men through experience; for 'experience made art', as Polus says, "but inexperience luck.' Now art arises, when from many notions gained by experience, one universal judgement about a class of objects is produced. For to have a judgement that when Callias was ill of this disease that did him good, and similarly, in the case of Socrates and in many individual cases, is a matter of experience; but to judge that it has done good to all persons of a certain constitution, marked off in one class, when they were ill of this disease, e.g. to phlegmatic or bilious people when burning with fevers - this is a matter of art.
With a view to action, experience seems in no respect inferior to art, and men of experience succeed even better than those who have theory without experience. (The reason is that experience is knowledge of individuals, art of universals, and actions and productions are all concerned with the individual; for the physician does not cure man, except in an incidental way, but Callias or Socrates or some other, called by some such individual name, who happens to be a man. II. then, a man has the theory without the experience, and recognizes the universal but does not know the individual included in this, he will often fail to cure; for it is the individual 8 that is to be cured.) But yet we think that knowledge and understanding belong to art rather than to experience, and we suppose artists to be wiser than men of experience (which implies that wisdom depends in all cases rather on knowledge); and this because the former know the cause, but the latter do not. For men of experience know that the thing is so, but do not know why, while the others know the 'why' and the cause. Hence we think also that the master workers in each craft are more honourable and know in a truer sense and are wiser than the manual workers, because they know the causes ofthe things that are done (we think the manual workers are like certain lifeless things which act indeed, but act without knowing what they do, as fire bums, but while the lifeless things perform each of their functions by a natural tendency, the labourers perform them through habit); thus we view them as being wiser not in virtue of being able to act, but of having the theory for themselves and knowing the causes. And in general, it is a sign ofthe man who knows and ofthe man who does not know, that the former can teach, and therefore, we think art is more truly knowledge than experience is; for artists can teach, and men of mere experience cannot.
Again, we do not regard any of the senses as Wisdom; yet surely these give the most authoritative knowledge of particulars. But they do not tell us the 'why' of anything, e.g. why fire is hot; they only say that it is hot. At first, he who invented any art whatever, that went beyond the common perceptions of man was naturally admired by men, not only because there was something useful in the inventions, but because he was thought wiser and superior to the rest. But as more arts were invented, and some were directed to the necessities of life, others to recreation, the inventors of the latter were naturally always regarded as wiser than the inventors of the former, because their branches of knowledge did not aim at utility.
Hence, when all such inventions were already established, the sciences which do not aim at giving pleasure or at the necessities of life were discovered, and first in the places where men first began to have leisure. This why the mathematical arts were founded in Egypt; for there the priestly caste was allowed to be at leisure. We have said in the Ethics what the difference is between art and science and the other kindred faculties; but the point of our present discussion is this, that all men suppose what is called Wisdom to deal with the first causes and the principles of things; so that, as has been said before, the man of experience is thought to be wiser than the possessors of any sense-perception what ever, the artist wiser than the men of experience, the masterworker than the mechanic, and the theoretical kinds of knowledge to be more of the nature of Wisdom than the productive.
Clearly then, wisdom is knowledge about certain principles and causes.
Question: 1
What is the relationship between sensation and memory?
What is the relationship between sensation and memory?
Updated On: Oct 7, 2024
- Human beings are intelligent as they can reason, whereas animals do not have the capacity of reasoning.
- Human beings have sensation and memory both.
- All animals have sensation but some animals do not have memory.
- When sensation is remembered, it becomes a memory experience and this leads to connected experience, which in turn' gives rise to reasoning.
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The Correct Option is D
Solution and Explanation
The correct option is (D): When sensation is remembered, it becomes a memory experience and this leads to connected experience, which in turn' gives rise to reasoning.
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Question: 2
What is the difference between art and experience?
What is the difference between art and experience?
Updated On: Oct 7, 2024
- Art does not give the cause and effect of things, whereas experience gives the cause and effect of things.
- Experience and art give rise to one another and they are complementary and supplementary to each other.
- Art explains the cause of things together with its effects, whereas experience gives us just the effect of things, not the cause.
- Both experience and art are views of a contradictory time and space and this is where the difference between the two lies.
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The Correct Option is C
Solution and Explanation
The correct option is (C): Art explains the cause of things together with its effects, whereas experience gives us just the effect of things, not the cause.
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Question: 3
Why, according to the author, were the mathematical arts founded in Egypt?
Why, according to the author, were the mathematical arts founded in Egypt?
Updated On: Oct 7, 2024
- Because the sciences which do not cater to necessities or pleasures develop only after the previous two have been invented and only then, men have time for themselves. So was the case in Egypt where the priestly caste had ample leisure time.
- Because the inventors ofluxuries were considered more important than the inventors of necessities and in Egypt, the kingly and priestly class had developed great standards in luxurious tastes and attitudes.
- Because they were men of experience and had wisdom and knowledge about certain principles and causes.
- Because Egyptians were considered to be connoisseurs of art and crafts and had superior civilization as opposed to the other ancient civilizations.
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The Correct Option is A
Solution and Explanation
The correct option is (A): Because the sciences which do not cater to necessities or pleasures develop only after the previous two have been invented and only then, men have time for themselves. So was the case in Egypt where the priestly caste had ample leisure time.
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Question: 4
Which of the following can be considered to be the central idea of the passage?
Which of the following can be considered to be the central idea of the passage?
Updated On: Oct 7, 2024
- Art is superior to experience.
- What actually is "Wisdom"?
- "Experience made art, but inexperience luck".
- Knowledge is wisdom.
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The Correct Option is A
Solution and Explanation
The correct option is (A): Art is superior to experience.
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Top Questions on Reading Comprehension
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THE FAIR ISLE METHOD: Fair Isle knitting is a traditional technique that involves using two or more colours of yarn in a single row to create intricate patterns and designs. This method requires careful tension management to ensure even stitches and prevent puckering. To begin, select your colours and cast on the desired number of stitches. As you knit, alternate between colours every few stitches, carrying the unused yarn along the back of the work. Mastering the Fair Isle technique allows you to create stunning visual effects in garments, accessories, and home textiles.
THE CONTINENTAL STYLE: The Continental knitting style, often referred to as “picking,” involves holding the yarn in the left hand while the right hand manipulates the needles. This method allows for greater speed and efficiency, particularly when working with complex patterns or multiple colours. To practice this style, start by casting on your stitches and using your left hand to tension the yarn. With each stitch, simply “pick” the yarn with your right needle, forming a quick and fluid motion. As you become comfortable with this technique, you may find that your overall knitting speed and comfort improve significantly.
THE SHORT-ROW TECHNIQUE: Short-row knitting is an advanced technique that allows for the creation of shaped garments, such as sleeves and shoulders, without the need for complex shaping. To make a sleeve using this technique, begin by casting on the required number of stitches. Work a portion of the row, then turn your work and return without completing the full row to create the “short rows” that shape the curves of the sleeve. To prevent holes at the turn, wrap the stitch before you turn your work. Repeat this process as needed to achieve the desired shaping and dimension of the sleeve. Once you have shaped the sleeve, you can then sew the side seams to connect the pieces of your garment and finally, complete the edges to ensure a clean finish. This method not only helps shape curves but also adds dimension to your piece, allowing you to enhance fit and style.- AILET BALLB (Hons.) - 2025
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The Story of Coffee
Coffee, a beloved beverage enjoyed by millions around the globe, has a rich and captivating history that spans centuries. The story of coffee begins in the ancient highlands of Ethiopia, where, according to legend, a goat herder named Kaldi discovered the stimulating effects of coffee beans. One day, Kaldi noticed his goats frolicking with unusual energy after eating red berries from a certain tree. Curious, he tried the berries himself and experienced a newfound alertness. This discovery soon spread to monasteries, where monks used it to stay awake during long hours of prayer. From Ethiopia, coffee cultivation and consumption spread to the Arabian Peninsula, particularly in Yemen, where the practice of roasting coffee beans and brewing the drink began to take shape. By the 15th century, coffee had become a popular beverage in the Islamic world, with coffee houses known as ‘qahveh khaneh’ emerging as social hubs for conversation, music, and intellectual exchange. These coffee houses became centers of culture and commerce, influencing the spread of coffee to Turkey and beyond, eventually reaching Europe. In Europe, coffee initially faced resistance from religious authorities who considered it a ‘Muslim drink’ and tried to ban it. However, its popularity persisted, and by the 17th century, coffee houses had sprung up in major European cities, becoming important gathering places for artists, writers, and thinkers. The stimulating effects of coffee were embraced during the Age of Enlightenment, where it was seen as a catalyst for intellectual discussion and innovation. The journey of coffee continued with the establishment of colonial plantations in tropical regions such as the Caribbean, Central and South America, and Southeast Asia. These plantations fuelled the global demand for coffee, transforming it from a regional specialty to a major commodity. The industrial revolution further accelerated coffee production and consumption, leading to innovations in coffee brewing methods and the development of instant coffee. In the modern era, coffee has evolved into a deeply ingrained part of daily life for people worldwide. Its cultural significance spans from the bustling cafes of Paris to the quiet coffee farms of Colombia. Today, coffee remains not only a popular beverage but also a symbol of social interaction, productivity, and enjoyment. Whether sipped slowly over a conversation with friends or grabbed hastily on the way to work, the story of coffee continues to unfold, intertwining with the histories and cultures of countless societies across the globe.- AILET BALLB (Hons.) - 2025
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