Passage
The traditional tea ceremony evolved from multiple strands of Japanese culture. Variously referred to as "chanoyu," "sado," or "chado," meaning "the way of tea," the ceremony is a highly codified and choreographed performance in which tea-typically a ground green variety known as "matcha"-is prepared and presented to guests by a host. The tea ceremony is practiced to promote the harmony of nature and humanity as well as to discipline the mind and calm the heart of those who seek enlightenment.During the ninth century, a Buddhist monk named Eichu brought green tea to Japan from China, where it had already been cultivated for more than 1,000 years and used by monks to facilitate meditation. Earlier in the century, the Chinese master Lu Yu had composed a treatise on the cultivation and preparation of tea called Cha Jing, or The Classic of Tea. This treatise was heavily influenced by Buddhist ideas, which then impacted the development of the Japanese tea ceremony. Toward the end of the twelfth century, another Japanese monk, Myoan Eisai, traveled to China to study philosophy and religion, returning with the seeds of green tea plants. Eisai went on to build the first Zen Buddhist temple in his native land and was the first of his nation to cultivate tea purely for religious purposes.A tea culture, or "teaism," in Japan was initially popular with the ruling class, and the samurai adopted it as a status symbol. Indeed, the tea ceremony was in its origins closely entwined with the political elite of the country; by the fifteenth century, however, it had begun to spread to all classes. Murata Shuko, known as "the father of the tea ceremony," had been largely responsible for moving the tea ceremony away from the political to become more "transformative" or spiritual in nature. For instance, he greatly enhanced the simplicity of its presentation, making tea ceremonies less formal and more intimate. Gatherings now took place in smaller tearooms or secluded teahouses rather than luxurious salons.It was the famous tea master Sen no Rikyu who later elevated the tea ceremony to a virtual art form and codified its performance. This meant that every action and gesture on the part of the preparer-using the kettle, gazing at the teacup, measuring the tea powder into a cup-constituted a procedure to be performed in a prescribed manner. Even the actions of the guests evolved to become scripted in a precise ritual. Rikyu's teachings fostered the development of the way of tea based on four cardinal principles-harmony, respect, purity, and tranquility-which were meant to be incorporated into the daily life of the tea practitioner.Chiefly through the efforts of Shuko and Rikyu, the tea ceremony took on a distinctive artistic character and became known as wabi-cha. The term "wabi," or often "wabi-sabi," refers to the quintessential Japanese aesthetic founded upon the three Buddhist marks of existence: impermanence, suffering, and emptiness. Unlike the standard concept of beauty in the West that favors symmetry, proportion, and static perfection, wabi-sabi embraces the imperfect and celebrates the transient. It exalts the rustic and the humble as exemplified by the pottery used in the tea ceremony, which is typically crude, ordinary looking, and even asymmetrical. Moreover, it is thought that a chip or crack, and even the general wear and tear of repeated use, renders such objects more interesting and, hence, more aesthetically pleasing. Outdoors, such beauty is found in the fleeting color of autumn leaves and the patina that forms on roof tiles after exposure to the elements. The simplicity, humility, and naturalism epitomized by wabi-sabi thus became the hallmarks of the way of tea.
-Paragraph 3 describes Saint Augustine as rejecting astrological predictions because of "a slave and a noble who had been born under the same stars." Augustine's reasoning in this rejection was that:

Question

Passage
The traditional tea ceremony evolved from multiple strands of Japanese culture.  Variously referred to as "chanoyu," "sado," or "chado," meaning "the way of tea," the ceremony is a highly codified and choreographed performance in which tea-typically a ground green variety known as "matcha"-is prepared and presented to guests by a host.  The tea ceremony is practiced to promote the harmony of nature and humanity as well as to discipline the mind and calm the heart of those who seek enlightenment.During the ninth century, a Buddhist monk named Eichu brought green tea to Japan from China, where it had already been cultivated for more than 1,000 years and used by monks to facilitate meditation.  Earlier in the century, the Chinese master Lu Yu had composed a treatise on the cultivation and preparation of tea called Cha Jing, or The Classic of Tea.  This treatise was heavily influenced by Buddhist ideas, which then impacted the development of the Japanese tea ceremony.  Toward the end of the twelfth century, another Japanese monk, Myoan Eisai, traveled to China to study philosophy and religion, returning with the seeds of green tea plants.  Eisai went on to build the first Zen Buddhist temple in his native land and was the first of his nation to cultivate tea purely for religious purposes.A tea culture, or "teaism," in Japan was initially popular with the ruling class, and the samurai adopted it as a status symbol.  Indeed, the tea ceremony was in its origins closely entwined with the political elite of the country; by the fifteenth century, however, it had begun to spread to all classes.  Murata Shuko, known as "the father of the tea ceremony," had been largely responsible for moving the tea ceremony away from the political to become more "transformative" or spiritual in nature.  For instance, he greatly enhanced the simplicity of its presentation, making tea ceremonies less formal and more intimate.  Gatherings now took place in smaller tearooms or secluded teahouses rather than luxurious salons.It was the famous tea master Sen no Rikyu who later elevated the tea ceremony to a virtual art form and codified its performance.  This meant that every action and gesture on the part of the preparer-using the kettle, gazing at the teacup, measuring the tea powder into a cup-constituted a procedure to be performed in a prescribed manner.  Even the actions of the guests evolved to become scripted in a precise ritual.  Rikyu's teachings fostered the development of the way of tea based on four cardinal principles-harmony, respect, purity, and tranquility-which were meant to be incorporated into the daily life of the tea practitioner.Chiefly through the efforts of Shuko and Rikyu, the tea ceremony took on a distinctive artistic character and became known as wabi-cha.  The term "wabi," or often "wabi-sabi," refers to the quintessential Japanese aesthetic founded upon the three Buddhist marks of existence: impermanence, suffering, and emptiness.  Unlike the standard concept of beauty in the West that favors symmetry, proportion, and static perfection, wabi-sabi embraces the imperfect and celebrates the transient.  It exalts the rustic and the humble as exemplified by the pottery used in the tea ceremony, which is typically crude, ordinary looking, and even asymmetrical.  Moreover, it is thought that a chip or crack, and even the general wear and tear of repeated use, renders such objects more interesting and, hence, more aesthetically pleasing.  Outdoors, such beauty is found in the fleeting color of autumn leaves and the patina that forms on roof tiles after exposure to the elements.  The simplicity, humility, and naturalism epitomized by wabi-sabi thus became the hallmarks of the way of tea.
-Paragraph 3 describes Saint Augustine as rejecting astrological predictions because of "a slave and a noble who had been born under the same stars."  Augustine's reasoning in this rejection was that:

Quizplus · Accepted Answer

Paragraph 3 states that "Saint Augustine rejected astrological predictions in the fourth century after learning of a slave and a noble who had been born under the same stars," and describes Augustine's conclusion as "based on an inference from observed fact." The observed fact was that the two people had very different destinies (ie, one was a slave and the other was a noble), even though the position of the stars was the same when they were born. Because Augustine's rejection of astrological predictions was based on this difference in destiny, it is clear that he believed the two individuals' destinies should have been the same if such predictions were accurate. Therefore, Augustine's reasoning was that being born under the same stars should have led to identical destinies. (Choice B) In Paragraph 3, Augustine is introduced as a "[s]aint," suggesting that he was a religious person who believed in the spiritual aspect of the heavens. However, although Augustine rejected predictions about destiny according to astrology (ie, based on physical stars), the passage makes no mention of whether he believed that a child's destiny was instead determined by the spiritual heavens. (Choice C) According to Paragraph 3, "Saint Augustine rejected astrological predictions in the fourth century after learning of a slave and a noble who had been born under the same stars." Therefore, Augustine rejected the idea that the stars have a bearing on a person's destiny, rather than concluding that the patterns of the stars were too complex for destiny to be interpreted reliably. (Choice D) Paragraph 3 states that Augustine "rejected astrological predictions…based on an inference from observed fact." However, the passage does not discuss Augustine's views regarding either how to make accurate predictions or the physical causes of phenomena.

Passage The Traditional Tea Ceremony Evolved from Multiple Strands of Japanese