From a very early age, I knew that when I grew up, I should be a writer. I had the lonely child's habit of making up stories and holding conversations with imaginary persons, and I think from the very start my literary ambitions were mixed up with the feeling of being isolated and undervalued. I knew that I had a facility with words and a power of facing unpleasant facts, and I felt that this created a sort of private world in which I could get my own back for my failure in everyday life. I wanted to write enormous naturalistic novels with unhappy endings, full of detailed descriptions and arresting similes, and also full of purple passages in which words were used partly for the sake of their sound. I give all this background information because I do not think one can assess a writer's motives without knowing something of his early development.
His subject-matter will be determined by the age he lives in — at least this is true in tumultuous, revolutionary ages like our own — but before he ever begins to write he will have acquired an emotional attitude from which he will never completely escape. It is his job to discipline his temperament, but if he escapes from his early influences altogether, he will have killed his impulse to write. I think there are four great motives for writing, at any rate for writing prose. They are: (i) Sheer egoism: Desire to seem clever, to be talked about, to be remembered after death, to get your own back on grown-ups who snubbed you in childhood; (ii) Aesthetic enthusiasm: Desire to share an experience which one feels is valuable and ought not to be missed (iii) Historical impulse: Desire to see things as they are, to find out true facts and store them up for the use of posterity (iv) Political purpose: Desire to push the world in a certain direction, to alter other people's idea of the kind of society that they should strive after.
[Extracted with edits from George Orwell's "Why I Write"]
George Orwell's childhood experiences played a significant role in shaping his future ambitions as a writer. From the passage provided, it is clear that Orwell's loneliness during his formative years contributed to his habit of making up stories and engaging in imaginary conversations. This solitary activity not only provided him with a creative outlet but also laid the foundation for his literary ambitions. The isolation he felt as a child fueled his desire to create an internal world where he could address his feelings of being undervalued and face unpleasant facts. This tendency is explicitly mentioned in the comprehension passage:
"I had the lonely child's habit of making up stories and holding conversations with imaginary persons..."
Therefore, Orwell's loneliness directly led to his habit of making up stories, as indicated by the correct answer:
Making up stories.
George Orwell's loneliness during childhood led to his habit of making up stories. This can be inferred from the comprehension passage where Orwell reflects on his early life, stating, "I had the lonely child's habit of making up stories and holding conversations with imaginary persons." The passage elaborates on how his feelings of isolation and being undervalued contributed to his literary ambitions and storytelling. Therefore, among the options given: Estrangement with his father, Unhappy days, Making up stories, and Unpleasant incidents—the correct answer is Making up stories. This aligns with the passage where storytelling is directly attributed to his childhood loneliness.
In the comprehension provided by Orwell from "Why I Write," he discusses the importance of understanding a writer's early development and motives. He provides background information to highlight that one cannot assess the motives of writers without this context. Orwell suggests that a writer's motives are influenced by personal experiences and early emotional attitudes, which play a vital role in their subject matter and writing style. He indicates that knowing about a writer's motives is crucial to understanding their work fully. Therefore, the correct answer to why Orwell gives background information is: It is essential to know about motives of writers.
The question posed is based on understanding a passage regarding a writer's early influences and motivations. If a writer escapes from their early impulses, as described in the passage, they will lose their urge to write. This conclusion is drawn from the following points in the passage:
Thus, the correct answer is that if a writer escapes from these early impulses, which shaped their motivations, they will lose their urge to write.
The comprehension passage highlights the connection between a writer's early influences and their writing impulse. The author shares personal experiences of aspirations to become a writer stemming from loneliness and a facility with words. The writer’s subject matter is shaped by personal history and the societal context. It's emphasized that if writers completely abandon their early influences, they risk losing their writing impulse. This aligns with the statement, "if he escapes from his early influences altogether, he will have killed his impulse to write," which corresponds to the correct answer: Lose his urge to write.
The comprehension passage delves into the motivations behind writing, as expressed by the author. Among the key motivators listed are sheer egoism, aesthetic enthusiasm, historical impulse, and political purpose. Specifically focusing on aesthetic enthusiasm, the passage describes it as the writer's desire to share valuable experiences that should not be missed. However, it is crucial to notice the aspect of non-utilitarianism implicit in this motivation.
The term 'non-utilitarian' relates to activities undertaken not for practical purposes but for their intrinsic value. Aesthetic enthusiasm, as explained by the author, aligns well with this concept because the motive is not to serve a utilitarian purpose but to engage in the artistic and experiential aspects of writing for their own sake. This non-utilitarian nature makes aesthetic enthusiasm significant to writers as they pursue the art itself rather than any external benefit or practical outcome.
Therefore, the correct answer can be inferred as Non-utilitarian, as it captures the essence of engaging in writing for its artistic merits rather than practical or utilitarian goals.
To solve the question of why "aesthetic enthusiasm" is an important motive for writing according to the author's explanation, we need to understand the context provided in the text. The author outlines four primary motives for writing: sheer egoism, aesthetic enthusiasm, historical impulse, and political purpose. Focusing on "aesthetic enthusiasm," the author states it as the "desire to share an experience which one feels is valuable and ought not to be missed." This indicates that aesthetic enthusiasm is driven by the intrinsic value of the experience itself, without requiring a utilitarian purpose or practical outcome. Hence, it is non-utilitarian because it's motivated by the pure enjoyment and appreciation of the experience rather than by any practical application.
The author's perspective on writing is deeply rooted in the personal experiences and emotional development of the writer. In the comprehension passage, it is emphasized that a writer's motives can be influenced by their early life experiences and internal conflicts. The author discusses four distinct motives for writing, with 'sheer egoism' being one of them. This egoistic tendency, as described, involves the desire for recognition, remembrance, and personal vindication.
Given this context, when considering the options provided, the key takeaway is that the author acknowledges the struggle with egoism but ultimately advises against allowing it to dominate the writing process. Thus, the statement that the author strongly advocates for writers to "avoid any egoistic impression in their work" aligns with the overarching message. Writers are encouraged to discipline their temperament and not be driven by sheer egoism.
In conclusion, based on the passage, the correct choice is:
Avoid any egoistic impression in their work.
As of 2009, there are 890 World Heritage Sites that are located in 148 countries (map). 689 of these sites are cultural and include places like the Sydney Opera House in Australia and the Historic Center of Vienna in Austria. 176 are natural and feature such locations as the U.S.’s Yellowstone and Grand Canyon National Parks. 25 of the World Heritage Sites are considered mixed i.e. natural and cultural Peru’s Machu Picchu is one of these. Italy has the highest number of World Heritage Sites with 44. India has 36 (28 cultural, 7 natural and 1 mixed) World Heritage Sites. The World Heritage Committee has divided the world’s countries into five geographic zones which include (1) Africa, (2) Arab States, (3) Asia Pacific (including Australia and Oceania), (4) Europe and North America and (5) Latin America and the Caribbean.
WORLD HERITAGE SITES IN DANGER
Like many natural, historic and cultural sites around the world, many World Heritage Sites are in danger of being destroyed or lost due to war, poaching, natural disasters like earthquakes, uncontrolled urbanization, heavy tourist traffic and environmental factors like air pollution and acid rain.