01683--burlesque

Burlesque is a kind of parody that ridicules some serious literary work either by treating its solemn subject in an undignified style, or by applying its elevated style to a trivial subject, as in Pope's mock-epic poem 'The Rape of the Lock' (1712-14). Often used in the theatre, burlesque appears in Shakespeare's A Midsummer Night's Dream. 

01655--bathos

Bathos is a lapse into the ridiculous by a poet aiming at elevated expression. Whereas anticlimax can be a deliberate poetic effect, bathos is an unintended failure. Pope named this stylistic blemish from the Greek word for 'depth', in his Peri Bathous, or the Art of Sinking in Poetry (1727).

01644--Augustan Age

Augustan Age is the greatest period of Roman literature, adorned by the poets Virgil, Ovid, Horace, and Propertius. It is named after the reign (27 BCE-14 CE) of the emperor Augustus, but many literary historians prefer to date the literary period from the death of Julius Caesar in 44 CE, thus including the early works of Virgil and Horace. In English literary history, the term is usually applied to the period from the accession of Queen Anne (1702) to the deaths of Pope and Swift (1744-5), although John Diyden, whose major translation of Virgil's works appeared in 1697, may also be regarded as part of the English phenomenon known as Augustanism. The Augustans, led by Pope and Swift, wrote in conscious emulation of the Romans, adopted their literary forms (notably the epistle and the satire), and aimed to create a similarly sophisticated urban literary milieu: a characteristic preference in Augustan literature, encouraged by the periodicals of Addison and Steele. 

01613--antonomasia

Antonomasia is a figure of speech that replaces a proper name with an epithet (the Bard for Shakespeare), official address (His Holiness for a pope), or other indirect description; or one that applies a famous proper name to a person alleged to share some quality associated with it, e.g. a Casanova, a little Hitler. 

01525--Write a note on types of the fallacy of non sequitur.

If we rely on experiences as evidence for our inferences and explanations, we must sift through those that offer themselves so as to focus on ones that are relevant to the conclusions that we seek to draw. Inferences that rely on irrelevant “evidence” fail, being guilty of the fallacy of non sequitur.

I

There’s another kind of logic, usually called informal logic, commonly covered in books or courses about critical thinking.   Although it’s less technical and less demanding, it is no less important than the formal matters of logical inference.  Informal logic concerns the standards that need to be satisfied in order for us to get formal reasoning underway. 

II

If we rely on experiences (or anything else, for that matter) as evidence for our inferences and explanations, we must sift through those that offer themselves and focus on the ones that are relevant to our enterprise.   Evidential relevance is a prerequisite for useful inference drawing. Unless our purported evidence is relevant to the inferences we are trying to draw, we are not even in the ballpark, much less in the game.

III

Inferences that rely on irrelevant “evidence” commit non sequitur in one form or another. Here are descriptions and examples of seven forms that such bad reasoning can take: 

A. Ad vericundium. This fallacy amounts to an appeal to an improper authority (often due to some equivocation over the notion of authority itself).  Example: “Don’t question the President. He is the highest authority in the land.” 

B. Post hoc ergo propter hoc. This fallacy amounts to the inference that because one thing follows another in time, the later of the two must have been caused by its predecessor.   Example: Keeping Mark Twain’s story in mind, any wino with good teeth will serve.

C. Ad populum. This fallacy amounts to inferring that a point of view or opinion must be true on the grounds that it is widely held.  Example: “Fifty million Frenchmen can’t be wrong!” “Join the swing to Dodge!”

D. Ad baculum. This fallacy amounts to inferring that a point of view or opinion is true (or false) on the grounds that the one who holds it has (or lacks) the power to impose it on others.  Positive Example: “You do exactly what I said, young man, or else!”   Negative Example: “And exactly how many tanks does the pope have?” 

E. Ad misericordiam. This fallacy amounts to inferring that a point of view or opinion must be true on the grounds that those who hold it deserve (or are, at least, natural targets for) our sympathy.  Example (a defense lawyer at the sentencing hearing after a conviction for matricide): “Please be lenient with my client. He is, after all, a motherless child.”

F. Ad hominem. This fallacy amounts to inferring that a point of view or opinion must be true (or false) because of the character and/or the position of those who hold it.  Positive Example: Teresa must have been right about her visions coming directly from God. She was a good and virtuous person.  Negative Example: Bill Clinton’s improper liaisons prove the illegitimacy of his political policies. 

G. Accident and converse accident (hasty generalization). These fallacies amount to inferring that a member of a group has certain characteristics on the grounds that they are common to the members of the group or that all the members of a group must have certain characteristics on the grounds that some of its members do.  

Example: Any case of stereotyping will do for the accident fallacy: “White men can’t jump.” Any case of jumping to conclusions will do for the converse accident fallacy. Where, after all, do the stereotypes come from?

IV

We should not be misled by the fact that such fallacies are common, by the fact that some of them “sound OK” to careless ears, or by the fact that contrived examples of them can be amusing. They are always dangerous. They never settle an issue.

00253--Edmaund Burke

Edmaund Burke

On a superficial view we may seem to differ very widely from each other in our reasonings, and no less in our pleasures; but, notwithstanding this difference, which I think to be rather apparent than real, it is probable that the standard both of reason and taste is the same in all human creatures.

[A Philosophical Inquiry In to the Origin of Our Ideas of the Sublime and Beautiful, Edmund Burke]

With Edmund Burke there is a shift from an ontological, mimetic and objective approach to literature to an epistemological, pragmatic and subjective approach.  Ontology means in Greek ‘the study of being’.  Ontology concerns itself with determining the essence of things whether that essence being natural or supernatural.  Mimetic theories are those that are concerned with the relationship between the poem and the universe.  Mimetic theories are ontological in their approach because they are interested in what the poem is.  For them poem is an imitation.  Aristotle’s goal to define precisely the proper nature and essence of a well constructed plot makes it an ontological concern. 

The Platonic-Aristotelian debate over mimesis is really a debate over the ontological status of a work of art. They both are asking ‘what’s a poem’.  According to Aristotle a poem possesses its own substance and integrity’.  For, Plato poem is just a shadow.  The debate is again over the ontological status of a poem.  Although the neo-classical theory is partly pragmatic because it is concerned with the response of the audience, it still works within a philosophical framework that is essentially ontological; the theorists are still trying to figure out what a poem is.

The rules of decorum laid down by Horace, Dryden and Pope are less concerned with audience’ response than with what a poem should.  Even Longinus who does define the sublime partly in terms of its effect, is actually concerned with the actual, physical, metaphorical and linguistic qualities of a sublime poem.  Neo-classical theorists are interested in audience response but the audience’s response functions as only one criterion of what makes a work of art great.  They are still more interested in the thingness of a poem.  When contrast ontology with epistemology (study of knowing).  Epistemology is concerned not with the thingness of things but with how we know and proceed with that thingness.

Pragmatic theories in their purest form are epistemological because we are interested in how the audience knows, receives and perceives what they are looking at.  Epistemological theorists seek to explore not just whether or not a poem pleases.  They want more than that.  They want to study the mental processes by which that pleasure is perceived and known. 

For the true epistemological pragmatist beauty does not so much define a quality that inheres in a given poem or painting.  As it describes a certain kind of mental response that are created within the mind of the person who experiences that poem otr painting.  Being only interested in the painting is ontological, whereas the interest in the mental response to that painting is epistemological.  For an epistemologist beauty does not reside in the painting but beauty is in the very way one percieves that painting.  Beauty resides in the mind.

At the core of all epistemology and any theory that is epistemological we have got to make a distinction between subject and object.  In Burke and German philosophy a subject is a conscious self that percieves.  An object is an unconscious thing that doesnot percieve but is rather percieved.  When epistemologists define their response to art as purely subjective what they mean is that the experience of art has nothing to do with the poetic object but exists wholly in the mind of the subject.  This philososophicsl use ofb the word ‘subjective’ shouldn’t be confused with its modern use to signify a person’s relativistic belief.  Philosophically speaking if we speak of an aesthetic response we mean an epistemological, pragmatic and subjective response.   Aestheticians want to set up standards for these subjective responses. 

Burke’s Enquiry

In his work, A Philosophical Inquiry Into the Origin of Our Ideas of the Sublime and Beautiful, Burke lays the groud work for understanding how we percieve both art and greater world around us.  For Burke the ground work and means of all perception is the senses.  Burke can be called an empiricist- knowledge comes through senses or experience.  He believes that all of us have equal access to sense perception.  The senses are the great originals of all our ideas.  Therefore it is possible to arrive at a universal principle of judgement, -eventhough judgement is subjective- because it all happens via the senses and we all have access to the senses.  Therefore we can set down universal standards of judgement.  Universal-subjective seems to be a paradox but Burke believes that fixed laws are possible in aesthetics, literary criticism and the like.    

From universal sense experience to universal principle of taste

According to Burke all people percieves external objects in the same way.  We all recognise that sugar issweet and tobacco is bitter.  We find more natural pleasure in sweet that in the bitter.  Habits can make you prefer tobacco to sugar.  But habits can never abolish our knowledge that tobacco is not sweet and sugar is not bitter.  The senses are the base.  The power of imagination and judgement are based on senses.  Senses are at the botttom, radiating out of senses are imagination and judgement.  Imagination is also called sensibility.

According to Burke imagination or sensibility takes the raw material offered it by sense perception and then recombines that material in a new way.  Although the imagination can be quite inventive it cannot produce anything new.  It can only vary what is given it by the senses.  So whatever affects our imagination powerfully, whatever brings us pleasure or pain must have similar effect on all men.  Though it is a huge assumption it is central to Bruke and the epistemological aesthetic project.  If so we all should take pleasure and pain in the same things.  Therefore though we perceive things separately somehow we all perceive them the same. 

Both imagination and judgment are based on senses.  Imagination is linked primarily to immediate perceptions and has about it an almost child like quality.  Imagination is direct, intuitive and child like.  Judgment is a higher critical faculty that is closely linked to reason.  Judgment is gained through an increasing understanding brought about by a long close study of the object of sensation.  Still the judgment rest in the senses and therefore judgment also share common nature.  Based on judgment and imagination there is ‘taste’ or ‘aesthetic taste’.  Since taste is based on imagination and judgment which are based on the senses taste too must be common to all men.  But there are exceptions according to Burke.  If our imagination or judgment is bad or deficient it will affect our taste.  For Burke there are some people whose natures are blunt and cold.  These people are deficient in imagination or sensibility.  Sometimes these people have weakened their imaginative facilities through hedonism or avarice.   If our imagination is blunted we will end up suffering from a lack of taste.  That is to be distinguished from people that are deficient in judgment.  If one is deficient in judgment one will have bad taste.  Lack of taste or no taste is the result of deficiency in imagination.

Taste according to Burke differs from person to person not in kind but in degree.  The principles of taste operate the same in all men, but the end result may not be the same.  Some men due to a keener sensibility (imagination) or greater knowledge and discernment have a fuller or more refined sense of taste.  Burke is at the same time democratic and highly elitist.

Imagination tends toward synthesis whereas judgment tends toward analysis.  Imagination brings things together; it discovers and even creates unity in the midst of differences. Judgment is more analytical.  It discerns subtle distinction in what appears to be uniform.  Although burke asserts that sensibility is essential to taste Burke finally gives preferences to judgment as the true foundation of taste. 

The sublime and the beautiful

  Burke defines the sublime and the beautiful in totally epistemological terms.  For Burke beautiful and sublimity are not qualities of the object rather they are faculties of perception that can be categorised.  The sublime and the beautiful is something that happens in the observer, not in the painting or the poem.  Burke defines sublime as that which inspires in us feeling of terror (1992, p340).  Sublimity is defined by the impact that has on us by the way we percieve it subjectively and epistemologically.  Dark, gloomy and massive objects invoking us an overwhelming feeling of power and infinity.  Terror produces within us a mental, emotional response that Burke calls astonishment.  The sublime has this effect on us.  In that moment everything is suspended and our mind is totally filled by an object or thought.  For Burke, the sublime  is not only experienced through our eye and our ear it is also experienced through the senses of taste, smell and touch.  There are such things as sublime sounds or sublime taste.  We can percieve the sublime through all the fiv of our senses.

Indeed such sublimity is a mental experience, it manifests itself in our body by causing our hands to clench and our musceles to construct.  To be sublime there cannot be actual terror; if we were really in danger that is not the sublime but that is just terror.  On the other hand the beautiful is that which inspires in us sentiments of tenderness and affection.  So whereas the sublime is more masculine and is closely allied to pain the beautiful is more feminineand is linked to pleasure and love.  Beauty like sublimity can be percieved by all the senses.

The cause of a wrong taste is a defect of judgment. And this may arise from a natural weakness of understanding; (in whatever the strength of that faculty may consist), or, which is much more commonly the case, it may arise from a want of a proper and well-directed exercise, which a:lone can make it strong and ready. Besides, that ignorance, inattention, prejudice, rashness, levity, obstinacy, in short, all those passions, and all those vices, which pervert the judgment in other matters, prejudice it no less in this its more refined and elegant province. These causes produce different opinions upon everything which is an object of the understanding, without inducing us to suppose that there are no settled principles of reason.

[A Philosophical Inquiry In to the Origin of Our Ideas of the Sublime and Beautiful, Edmund Burke]

00243--Discuss the satiric effect of the use of irony and mock heroism in the poem Mac Flecknoe by John Dryden.[English literature free notes]

            It was Neo-classical period in English literature and Dryden, along with another brilliant satirist Alexander Pope, was the poet who dominated the literary scene.  Satire was the most popular form of poetry and both Dryden and pope were great masters of this poetic genre.

            Mac Flecknoe is the product of a literary and personal rivalry.  The poem was Dryden's reply to Thomas Shadwell's poem The Medal of John Bayes which in turn was a criticism of Dryden's earlier poem  The Medal.  Shadwell's poem was an unfair and indecent attack.  This provoked Dryden and he brought out Mac Flecknoe that silenced his adversary.

            Dryden's satirical genius is fully revealed in the poem.  It is a satire on Thomas Shadwell who was once a friend of Dryden.

            Dryden uses allusions, parodies and quotations profusely to ridicule the great hero of the poem.

            Irony is the most potent weapon Dryden wields in his literary warfare.  Shadwell's enormous stupidity is highlighted throughout the poem.  The man's corpulence, his mountain belly and his addiction to opium are referred to.  Apart from this attack on his adversaries personal attributes, Dryden uses, most of the poem to criticise the 'poetic talents' of his rival.

            Mac Flecknoe is designed to be a mock heroic poem.  So the interest is always focussed on this aspect.

            Dryden begins the poem in a mock serious manner with a general platitude on the brevity of life.  Flecknoe is compared to Augustus Caesar.  Both began their reign when young, both ruled long.  This is a mock heroic jibe in which Flecknoe's is pictured as the Augustus of the vast empire of Dulness.

            Flecknoe calls himself John the Baptist.  His humble role is only to prepare the way to the great Shadwell, the Jesus who is to redeem nonsense from total extinction.

            Criticising the musical pretentions of Shadwell, Dryden calls him the new Arion the legendary musician of Lesbos whose music charms even dolphins.

            The coronation of Shadwell as the King of Dulness is graphically described in detail.  Here Dryden makes very effective use of the mock heroic.  Shdwaell sits like Ascanius the son of Aeneas, the 'second hope of Rome'.  A thick fog of Dulness played around his head instead of a halo.  He was made to swear like Hannibal.  In his  left hand he held a mug of a ale instead of the royal orb.  In his right was Love's kingdom as his sceptre or royal authority and power.  In ancient time Romulus saw twelve vultures and founded Rome.  Similarly twelve owls flew past Shadwell.  Father-Flecknoe makes a long speech advising the prince never to write good poetry but to take inspiration from his father alone and perpetuate the glory of the vast empire of Dullness.

            Dryden concludes his mock heroic poem with a Biblical allusion.  In the Bible Elijah the prophet is called up to Heaven in a whirl wind.  His mantle falls on Elisha who inherits the prophetic power.  Dryden makes Flecknoe falls down through a trap door cutting short his declamation.  A subterranean wind blows up carrying the drugged robe of the father upwards.  It falls on the shoulders of Shadwell who gets twice the portion of the father's poetic talents.

            Thus Dryden has used the Bible and the ancient history most effectively to make Mac Flecknoe a superb mock heroic satire.

00226--Why is 18th century called the Age of Reason? [English Literature free notes]

Eighteenth century witnessed a resolute attempt in the direction of moral regeneration.  The writers of this period, notably, Pope, Dr. Johnson, etc. followed the rules and models of the classical writers.  Hence it is also called neo-classical age.  They gave supreme importance to the intellectual aspects rather than the emotional sides of man.  The prevailing principles of the time were rationalism and utility.  Actually it was a reaction against the moral degeneration of Restoration era.  Elegance and correctness were the dominant mania of the time.  This supremacy of logic and reason made the age The Age of Reason.

00223--Though specifically directed against Thomas Shadwell, the significance of 'Mac Flecknoe' consists in its being a strong denunciation of bad writers and writing. Discuss.[John Dryden] [English Literature free notes]

      John Dryden's Mac Flecknoe is one of the finest satires in the English language.   It was Neo-classical period in English literature and Dryden, along with another brilliant satirist Alexander Pope, was the poet who dominated the literary scene.  Satire was the most popular form of poetry and both Dryden and Pope were great masters of this poetic genre. 

            Mac Flecknoe is the product of a literary and personal rivalry.  The poem was Drden's reply to Thomas Shadwell's poem: The Medal of John Bayes  which in turn was a criticism of Dryden's earlier poem, The Medal.  Shadwell's poem was an unfair and indecent attack.  This provoked Dryden and he brought in Mac Flecknoe that silenced his adversary.

            Dryden's satirical genius is fully revealed in the poem.  It is a satire on Thomas Shadwell who was once a friend of Dryden.   The poem is primarily Dryden's reply to Shadwell.  Thus it is personal in nature.  But Dryden deliberately makes him a model of poetasters and a symbol of bad writing.  There are many references to good poets of the time.  Jonson, Flectcher, Etherage and Dekker from many of whom Shadwell, is accused of having stolen material.  Shadwell has limited some of them.  But according to Drydon, it does no good to the prince of dullness. 

            Shadwell's plays are criticised.  He invents his own humours for his plays.  Shadwell's poetic genius is such that he cannot compose a good play or write good poetry.  It is full of venom but can't compose even a good satire.  So Dryden advises him.

                        Thy Genius calls thee not to purchase fame

                        In keen iambics, but mild Anagram

                       Leave writing plays, and choose for thy command

                        Some peaceful Province in Acrostic land

This is piece of sound advice not only to Shadwell but all bad poets.

            This is that boasted bias of thy mind

            By which one way to dullness 'tis inclined

            Which makes thy writings lean on one side still.

           

 Shadwell can write neither tragedy or comedy.  Dryden ridicules,

            Thy tragic muse gives smiles, thy comic sleep.

            Thus Dryden's poem Mac Flecknoe becomes a satire not only on Shadwell but on all bad writers and bad writings as well.

00200--Consider 'Mac Flecknoe' as a satire. [John Dryden, Poetry] [English Literature free notes]

.

John Dryden's MacFlecknoe is one of the finest satires in the English language. It was Neo-classical period in English literature and Dryden, along with another brilliant satirist Alexander Pope, was the power who dominated the literary scene.  Satire was the most popular form of poetry and both Dryden and pope were great masters of this poetic genre.

Mac Flecknoe is the product of a literary and personal rivalry.  The poem was Dryden's reply to Thomas Shadwell's poem.  The Medal of John Bayes which in turn was a criticism of Dryden's earlier poem.  The Medal. Shadwell's poem was an unfair and indecent attack.  This provoked Dryden and he brought out mac Flecknoe that silenced his adversary.

            Dryden's satirical genius is fully revealed in the poem.  It is a satire on Thomas Shadwell.  Who was once a friend of Dryden.

            Mac Flecknoe is ready to vacate his tile as the world's worst poet.  A worthy successor has to be chosen.  The choice falls on Shadwell. The coronation takes place in Barbican, London suburb notorious for its low and vulgar life.  The events are presented in an absurd ridiculous manner.

            Dryden uses allusions, paradies and quotations profusely to ridicule the great hero of the poem.

            The gross stupidity of Shadwell is highlighted from the beginning of all the sons of Flecknoe, he Shadwell is dullest and therefore by nature the fittest to succeed his father.  His stupidity is of such comprehensive nature that the rest to some faint meaning make pretense.  But Shadwell never deviates into sense.  Shadwell is described as a giant of a man, but a pygmy intellectually.  Thus Nature designed him to be the great monarch of dullness.  Flecknoe himself was the king of the kingdom of dullness.  He says he was only a John the Baptist preparing the way to the great Jesus Christ. 

            Irony is the most potent weapon Dryden wields in his literary warfare.  Shadwell's enormous stupidity is highlighted throughout the poem.  The man's corpulence, his mountain belly and his addiction to opium are referred to.  Apart from this attack on his adversaries personal attributes, Dryden uses, most of the poem to criticise the 'poetic talents' of his rival.

            Mac Flecknoe is designed to be a mock heroic poem.  So the interest is always focused on this aspect.

            Mock-heroic poetry employs a satirical devise in which the great ad the silly are brought together and compared.  This way the absurd nonsensical effect is largely increased.  For this purpose Dryden has chosen events and characters from the Bible and ancient history.  Shadwell is selected and put n the throne of stupidity in a coronation which is described in detail.  It is as if the audience is witnessing the coronation of a great king who is destined to rule a vast empire.  The poem ends drawing a parallel to the Biblical story of the mantle of Elijah falling on the shoulders of Elisha giving him a double portion of his sire's prophetic spirit.

00199--UGC-NET, English Literature Objective Type Question Answers 76 to 145 [English Literature free notes]

1.   Match the right authors
 1    The chambers and the stables weren wide
And well we weren easd at the best.
30 And shortly, when the sun was to rest,
So had I spoken with them every one
That I was of their fellowship anon,
And mad forward early for to rise
To take our way there as I you devise.
2    Rather had I, a Jew, be hated thus,
Than pitied in a Christian poverty.
For I can see no fruits in all their faith,
But malice, falsehood, and excessive pride,
Which methinks fits not their profession.
Haply some hapless man hath conscience,
And for his conscience lives in beggary.

3    Right in the midst the goddess' self did stand
Upon an altar of some costly mass,
Whose substance was uneath [difficult] to understand:
For neither precious stone, nor dureful brass,
Nor shining gold, nor mouldering clay it was;
But much more rare and precious to esteem,
Pure in aspect, and like to crystal glass,
Yet glass was not, if one did rightly deem,
But being fair and brickie [brittle], likest glass did
seem.

4    And this, alas, is more than we would do.
Oh stay, three lives in one flea spare,
Where we almost, nay more than married are.
This flea is you and I, and this
Our marriage bed, and marriage temple is;
Though parents grudge, and you, we'are met,
And cloistered in these living walls of jet.
Though use make you apt to kill me,
Let not to this, self murder added be,
And sacrilege, three sins in killing three.
a,  Spenser
b,  Chaucer
c,  Donne
d,  Marlowe
A  1-d, 2-c, 3-a, 4-b
B  1-c, 2-d, 3-a, 4-b
C  1-b, 2-d, 3-a 4-c
D 1-a, 2-c, 3-b 4-d
Answer:…………………..

2.  “My great religion is the belief in the blood, the flesh as being wiser than intellect”.
Whose words?
a)    Thomas Hardy
b)    Charlotte Bronte
c)    Emily Bronte
d)    D.H Lawrence
Answer:…………………..

3.  “Urania, I shall need
Thy guidance, or a greater Man, if such
Descend to earth or dwell in highest heaven!
For I must tread on shadowy ground, must sink
Deep—and, aloft ascending, breathe in worlds
To which the heaven of heavens is but a veil”
The above passage is an instance of epic style invocation. Identify the work and its author.
a)    Illiad by Homer
b)    Paradise Lost Book 3, Milton
c)    Paradise Lost Book 1, Milton
d)    Recluse, by Wordsworth
Answer:…………………..

4.  “Amidst thy bowers the tyrant’s hand is seen,
And desolation saddens all thy green:
One only master grasps the whole domain,
And half a tillage stints thy smiling plains”
The above lines are from The Deserted Village, written by Oliver Goldsmith. What social movement is referred to in these lines?
a)    The Enclosure
b)    The Chartist movement
c)    Green Revolution
d)    Glorious Revolution
Answer:…………………..

5.  “Let us swear an oath, and keep it with an equal mind,
In the hollow Lotos-land to live and lie reclined
On the hills like Gods together, careless of mankind.”
Identify the poem?
a)    Tennyson’s Lotos Eaters
b)    Browning’s My Last Dutchess
c)    Tennyson’s Lady of Shallot
d)    Browning’s Porphyria's Lover"
Answer:…………………..
6.  The following are characteristic features of a poetic genre. Identify the genre.
A single person, who is patently not the poet, utters the speech that makes up the whole of the poem, in a specific situation at a critical moment […].
This person addresses and interacts with one or more other people; but we know of the auditors' presence, and what they say and do, only from clues in the discourse of the single speaker.
The main principle controlling the poet's choice and formulation of what the lyric speaker says is to reveal to the reader, in a way that enhances its interest, the speaker's temperament and character.
a)    Sonnet
b)    Epic
c)    Ode
d)    Dramatic Monologue
Answer:…………………..
7.  “Grow old along with me!
The best is yet to be,
The last of life, for which the first was made:
Our times are in his hand
Who saith, "A whole I planned,
Youth shows but half; trust God: see all, nor be afraid!"
Identify the author and work.
a)    Tennyson, Lotos eaters
b)    Browning, Rabbi Ben Ezra
c)    Browning, My Last Dutchess
d)    Browning, Andrea del Sarto
Answer:…………………..
8.  “If music be the food of love, play on;
Give me excess of it; that, surfeiting,
The appetite may sicken, and so die. —
That strain again; it had a dying fall:
O, it came oer my ear, like the sweet sound
That breathes upon a bank of violets,
Stealing, and giving odour! Enough! No more.
'Tis not so sweet now as it was before.”
Which of Shakespearen character says so. Identify the play.
a)    Hamlet, in Hamlet
b)    Lady Macbeth in Macbeth
c)    Orsino in Twelfth Night
d)    Hermione in the Winter’s Tale
Answer:…………………..
9.  He scarce had ceas't when the superiour Fiend
Was moving toward the shoar; his ponderous shield
Ethereal temper, massy, large and round, [ 285 ]
Behind him cast; the broad circumference
Hung on his shoulders like the Moon, whose Orb
Through Optic Glass the Tuscan Artist views
At Ev'ning from the top of Fesole,
Or in Valdarno, to descry new Lands, [ 290 ]
Rivers or Mountains in her spotty Globe.
His Spear, to equal which the tallest Pine
Hewn on Norwegian hills, to be the Mast
Of some great Ammiral, were but a wand,
He walkt with to support uneasie steps [ 295 ]
Over the burning Marle, not like those steps
On Heavens Azure, and the torrid Clime
Smote on him sore besides, vaulted with Fire;
The fragment is taken from a work by
A,  Edmund Spenser
B,  John Milton
C,  William Shakespeare
D,  Geoffrey Chaucer
 Answer:…………………..

10.  "It is virtue, yea virtue, gentlemen, that maketh gentlemen; that maketh the poor rich, the base-born noble, the subject a sovereign, the deformed beautiful, the sick whole, the weak strong, the most miserable most happy. There are two principal and peculiar gifts in the nature of man, knowledge and reason; the one commandeth, and the other obeyeth: these things neither the whirling wheel of fortune can change, neither the deceitful cavillings of worldlings separate, neither sickness abate, neither age abolish”.
The above passage is an example of a mannered style of English prose fashionable in the Elizabethan times. Identify the style.
a.    Bombast
b.    Parallelism
c.    Euphuism
d.    Baroque
Answer:…………………..

11.  “The people who believe most that our greatness and welfare are proved by our being very rich, and who most give their lives and thoughts to becoming rich, are just the very people whom we call the Philistines. Culture says: “Consider these people, then, their way of life, their habits, their manners, the very tones of their voice; look at them attentively; observe the literature they read, the things which give them pleasure, the words which come forth out of their mouths, the thoughts which make the furniture of their minds; would any amount of wealth be worth having with the condition that one was to become just like these people by having it?”
The above passage appears in……
a.    Notes Towards the Definition of Culture
b.    Culture and Society
c.    Popular Culture
d.    Culture and Anarchy
Answer:…………………..

12.  1 The existence of a variety of structures of language generated by specific configurations of power, all seeking precedence and the imposition of particular rules and hierarchies.
2 An overarching explanation of a state of affairs, like those offered  by Marxism, the enlightenment or Christianity
3 Possessing no overall design or universal plan, resistant to totalisation or universalisation.
4 A self-certifying or absolute structure or foundation which lies beyond the operation of language
a, anti-teleological
b, plurality of power/discourse formation
c, metaphysics of presence
d, metanarrative
A  1-c, 2-b, 3-d, 4-a
B  1-b, 2-d, 3-a, 4-c
C  1-d, 2-a, 3-c 4-b
D 1-a, 2-c, 3-b 4-d
Answer:…………………..

13.   1  The way in which linguistic structures or discourses maintain a radical difference from one another
2  The collapse of signification as a set of discernible and discrete units of meaning
3  An identity, consciousness or ego which is deferred,displaced, fragmented or marginalised within a structure.
4  Self conscious incorporation of the process of production, construction or composition
a, reflexivity
b, implosion of meaning
c, incommensurable
d decentring of the subject

A  1-b, 2-c, 3-d, 4-a
B  1-b, 2-d, 3-a, 4-c
C  1-d, 2-a, 3-c 4-b
D  1-c, 2-b, 3-d 4-a
Answer:…………………..

14.  1 It is well known that certain periods of highest development
of art stand in no direct connection with the general development
of society, nor with the material basis and the skeleton
structure of its organization. Witness the example of the
Greeks as compared with the modem nations or even
Shakespeare. As regards certain forms of art, as, e.g., the
epos, it is admitted that they can never be produced in the
world-epoch-making form as soon as art as such comes into
existence; in other words, that in the domain of art certain
important forms of it are possible only at a low stage of its
, development. If that be true of the mutual relations of different
forms of art within the domain of art itself, it is far less
surprising that the same is true of the relation of art as a
whole to the general development of society. The difficulty
lies only in the general formulation of these contradictions.
No sooner are they specified than they are explained. Let us
take for instance the relation of Greek art and of that of
Shakespeare's time to our own

2 The production of ideas, of conceptions, of consciousness, is
at first directly interwoven with the material activity and the
material intercourse of men, the language of real life. The mental intercourse of men, appear at this stage as the direct efflux of their material behaviour. The same applies to mental production as expressed in the language
of the politics, laws, morality, religion, metaphysics of a people. Men are the producers of their conceptions, ideas, etc.-real, active men, as they are conditioned by a definite development of their productive forces and of the intercourse corresponding to these, up to its furthest forms. Consciousness
can never be anything else than conscious existence, and the existence of men is their actual life process

3 ..............All the powers of old Europe have entered into a holy alliance
to exorcise this spectre: Pope and Czar,  Mettemichand Guizot, French Radicals and German police-spies. Where is the party in opposition that has not been decried as communistic by its opponents in power? Communism is already acknowledged by all European powers to be itself a power. It is high time that Communists should openly, in the face of the whole world, publish their views, their aims their tendencies, and meet this nursery tale of the spectre of Communism with a manifesto of the party itself. To this end, Communists of various nationalities have assembled in London, and sketched the following manifesto to be published in the English, French, German, Italian, Flemish and Danish languages.

4 The history of all hitherto existing society is the history of
class struggles. Freeman and slave, patrician and plebeian, lord and
serf, guildmaster and journeyman, in a word, oppressor and
oppressed, stood in constant opposition to one another, carried
on an uninterrupted, now hidden, now open fight, a
fight that each time ended, either in a revolutionary reconstitution
of society at large, or in the common ruin of the contending classes. In the earlier epochs of history, we find almost everywhere complicated arrangement of society into various orders a manifold gradation of social rank. In ancient Rome we have patricians, knights, plebeians, slaves; in the Middle Ages, feudal lords, vassals, guild-masters, journeymen, apprentices, serfs; in almost all of these classes, again, subordinate gradations.

a, Manifesto of theCommunist Party.
b, Bourgeois and Proletarians1
c,  A Contribution to the Critique of Political Economy
d, The German Ideology

A  1-c, 2-b, 3-d, 4-a
B  1-b, 2-d, 3-a, 4-c
C  1-c, 2-d, 3-a 4-b
D 1-a, 2-c, 3-b 4-d
Answer:…………………..

15.  1 J C Ransome        a, irony
2 R P Blackmur        b, tension
3 R P Warren        c, gesture
4 Allen Tate            d, texture

A  1-d, 2-c, 3-a, 4-b
B  1-b, 2-d, 3-a, 4-c
C  1-c, 2-d, 3-a 4-b
D 1-a, 2-c, 3-b, 4-d
Answer:…………………..

16.  1, satire        a, autumn
2, romance        b, spring
3, tragedy        c, winter
4, comedy        d, summer

A  1-d, 2-c, 3-a, 4-b
B  1-c, 2-d, 3-a, 4-b
C  1-c, 2-d, 3-a 4-b
D 1-a, 2-c, 3-b 4-d
Answer:…………………..

17.  1, Maud Bodkin        a, Archetypes in Literature
2, Jessie Weston        b, Archetypal Patterns in Poetry
3, Levi Strauss        c, From Ritual to Romance
4, Northrope Frye        d, Elementary Structures of kinship

A  1-d, 2-b, 3-a, 4-c
B  1-c, 2-d, 3-a, 4-b
C  1-c, 2-d, 3-a, 4-b
D 1-b, 2-c, 3-d 4-d
Answer:…………………..

18.  1 Among the following, who is/are not belonging to Formalist School?
1, Yury Tynyanove
2 Osip Brick
3 R S Crane
4 Boris Eichenbaum
A, Both 2 and 4
B, Only 2
C, Only 3
D, Both 2 and 3
Answer:…………………..

19.  Of his kind of analysis, the privileges of the subject?
Clearly, in undertaking an internal and architectonic analysis
of a work (whether it be a literary text, a philosophical
system, or a scientific work) and in delimiting psychological
and biographical references, suspicions arise concerning
the absolute nature and creative role of the subject. But
the subject should not be entirely abandoned. It should be
reconsidered, not to restore the theme of an originating
subject, but to seize its functions, its intervention in discourse,
and its system of dependencies. We should suspend
the typical questions: how does a free subject penetrate
the density of things and endow them with meaning;
how does it accomplish its design by animating the rules
of discourse from within? Rather, we should ask: under
what conditions and through what forms can an entity like
the subject appear in the order of discourse; what position
does it occupy; what functions does it exhibit; and what
rules does it follow in each type of discourse? In short, the
subject (and its substitutes) must be stripped of its creative
role and analysed as a complex and variable function of
discourse.

The passage implies...
A,  that the author is insignificant in the analysis of a work
B,  that the author is merely a part of work
C,  that the author has a role in the analysis of a work
D,  that the author is dead
Answer:…………………..

20.  If we attend to the confused cries of the newspaper critics and the susurrus of popular repetition that follows, we shall hear the names of poets in great numbers; if we seek not blue-book knowledge but the enjoyment of poetry, and ask for a poem, we shall seldom find it. I have tried to point out the importance of the relation of the poem to other poems by other authors, and suggested the conception of poetry as a living whole of all the poetry that has ever been written.... And I hinted, by an analogy, that the mind of the mature poet differs from that of the immature one not precisely in any valuation of personality, not being necessarily more interesting, on having 'more to say', but rather by being a more finely perfected medium in which special, or very varied, feelings are at liberty to enter into new combinations.

The passage is taken from a work by:

A,  Mathew Arnold

B,  William Wordsworth

C,  S T Coleridge

D,  T S Eliot

Answer:…………………..

21.  The importance of the god or hero in the myth lies in the fact that such
characters, who are conceived in human likeness and yet have more power
over nature, gradually build up the vision of an omnipotent personal community
beyond an indifferent nature. It is this community which the hero regularly enters in his apotheosis. The world of this apotheosis thus begins to pull away from the rotary cycle of the quest in which all triumph is temporary. Hence if we look at the quest-myth as a pattern of imagery, we see the hero's quest first of all in terms of its fulfilment.... the vision of innocence which sees the world in terms of total human intelligibility. It corresponds to, and is usually found
in the form of, the vision of the unfallen world or heaven in religion. We may call it the comic vision of life, in contrast to the tragic vision, which sees the quest only in the form of its ordained cycle.

The passage is an example of...

A,  formalist criticism
B,  archetypal criticism
C,  psychoanalytic criticism
D,  new criticism
Answer:…………………..

22.  1,  New Historicism            a,  Mikhail Bakhtin

2,  Dialogism                b,  Allen Sinfield               

3,  Frankfurt School            c,  Stephen Green

4,  Cultural materialism            d,  Walter Benjamin


A  1-d, 2-c, 3-a, 4-b
B  1-b, 2-d, 3-a, 4-c
C  1-c, 2-d, 3-a, 4-b
D  1-c, 2-a, 3-d, 4-b

Answer:…………………..


23.  “There is shadow under this red rock”

The line suggests...

A, the possibility of attaining salvation

B, modern man fails to see each other

C, loss of faith in the modern era

D, modern man’s life is futile

Answer:…………………..

24.  1,  Robert Graves            a,  The Shield of Achilles

2,  T S Eliot                b,  The Cool Web

3,  W H Auden            c,  October Dawn

4,  Ted Hughes            d,  Ash Wednesday

A  1-b, 2-d, 3-a, 4-c
B  1-c, 2-d, 3-a, 4-b
C  1-d, 2-c, 3-a, 4-b
D  1-c, 2-a, 3-d, 4-b

Answer:…………………..

25.   1. “My object in living is to unite
My avocation and my vocation
As my two eyes makes one sight”
In which Frostean poem do we read these lines?
a)    Mending Walls
b)    True Tramps in Mud Time
c)    A Brook in the City
d)    A Servant to Servants

Answer:…………………..

26.  “Nature is the incarnation of thought
    The world is the mind precipitated”
Which is the philosophical doctrine that holds the above belief?
a)    Transcendentalism
b)    Romanticism
c)    Naturalism
d)    Realism
Answer:…………………..

27.  “The Tears of the world are a constant quantity. For each one who begins to weep, somewhere else another stops, the same is true of laugh”.
Who says so and in which work appear these lines?
a)    Pozzo in Waiting for Godot
b)    Camus in The Myth of Sisyphus
c)    Nietzsche in Thus Spoke Zarathusthra
d)    Kazantzakis in The Report to Greco
Answer:………………….
28.   “The peculiar nakedness of Wordsworth’s poetry, its strong sense of being alone with the visible universe, with no myth or figure to meditate between ego and phenomena, is to a surprisingly large extent not so much a result of history as it is of Wordsworth’s personal faith in the reality of the body of nature”.
The above passage is taken from a classical study of Romanticism. Identify the author and work?
a)    The Romantic Imagination by Mourice Bowra
b)    The Visionary Company by Harold Bloom
c)    Natural Supernaturalilsm by M.H Abrams
d)    The Mirror and Lamp by M.H Abrams
Answer:…………………..

29.   “... the entire history of the concept of structure, before the rupture of which we are speaking, must be thought of as a series of substitutions of centre for centre, as a linked chain of determinations of the centre. Successively, and in a regulated fashion, the centre receives different forms or names. The history of metaphysics, like the history of the West, is the history of these metaphors and metonymies. Its matrix [...] is the determination of being as presence in all senses of this word. It could be shown that all the names related to fundamentals, to principles, or to the centre have always designated an invariable presence (essence, existence, substance, subject, transcendentality, consciousness, God, man, and so forth).”
 Who is the author of the above passage?
a)    Roman Jakobson
b)    Roland Barthes
c)    Jacques Derida
d)    Jacques Lacan
Answer:…………………..

30.   “History, Stephen said, is a nightmare from which I am trying to awake.”
Identify the author and work?
a)    James Joyce Portrait of the Artist as a Young Man
b)    James Joyce Ulysses
c)    Beckett, Murphy
d)    Beckett, Moloy
Answer:…………………..

31.  “Let us go then, you and I,
When the evening is spread out against the sky
Like a patient etherized upon a table.”
In which poem by Eliot appear the above lines?
a)    The Love Song of J. Alfred Prufrock
b)    The Waste Land
c)    The Hollow Men
d)    Ash-Wednesday
Answer:…………………..
32.   It is a narrative form which deals with the artist’s growth to maturity. It means the “artis’s novel”. Wordsworth’s Prelude, Dickens’ David Copperfield, etc. are examples of this narrative form. Name this narrative form.
a)    Künstlerroman
b)    Bildungsroman
c)    Autobiography
d)    Historical novel
33.   “Incredulity towards meta-narratives” is a definition of postmodernism given by:
a)    Lyotard
b)    Baudrillard
c)    Fredric Jameson
d)    Terry Eagleton
Answer:…………………..
34.  “With this same key
Shake-speare unlocked his heart' once more!
Did Shakespeare? If so, the less Shake-speare he!”
Identify the author of the above lines.
a.    Robert Browning
b.    Ben Johnson
c.    Dr. Samuel Johnson
d.    Coleridge
Answer:…………………..
35.  “An ambiguity, in ordinary speech, means something very pronounced, and as a rule witty or deceitful.... any verbal nuance, however slight, which gives room for alternative reactions to the same piece of language”.
Identify the author and Work.
a.    I.A Richards, Principles of Literary Criticism
b.    Derrida, Speech and Phenomena
c.    F.R Leavis, The Common Pursuit
d.    William Empson, Seven Types of Ambiguity
Answer:…………………..


36.  “Why can a street be completely rebuilt and still be the same? Because it does not constitute a purely material entity; it is based on certain conditions that are distinct from the materials that fit the conditions, i.e. its location with respect to other street”

The passage reminds you of.....

A,  Archetypal criticism

B,  Structuralism

C,   Postmodernism

D,  Poststructuralism

Answer:…………………..

37.  1,  Barthes            a,  History

2,  Levi Strauss        b,  Anthropology

3,  Foucault            c, Philosophy

4,  Derrida            d,  Literature

A  1-d, 2-b, 3-a, 4-c
B  1-c, 2-d, 3-a, 4-b
C  1-c, 2-d, 3-a, 4-b
D 1-b, 2-c, 3-d  4-d
Answer:…………………..

38.  Which is/are not by Foucault...
1, Order of Things
2,  Madness and Civilisation
3,  A Study of History
4,  History of Sexuality

A,  Only 1
B,  Only 3
C,  Both 1 and 2
D,  Both 3 and 4
 Answer:…………………..
39.  Literature was conceived to be primarily an "art"; that is, a set of skills which, though it requires innate talents, must be perfected by long study and practice and consists mainly in the deliberate adaptation of known and tested means to the achievement of foreseen ends upon the audience of readers. It is the craftsman's ideal demanding finish, correction, and attention to detail. Special allowances were often made for the unerring freedom of what were called natural geniuses, and also for happy strokes, available even to some less gifted poets, which occur without premeditation.

The passage refers to...

A,  formalist criticism

B,  neo-classical criticism

C,  new criticism
Answer:…………………..

40.  Match the works with their composers

1,  Above the antique mantel was displayed
As though a window gave upon the sylvan scene
The change of Philomel, by the barbarous king
So rudely forced; yet there the nightingale
Filled all the desert with inviolable voice
And still she cried, and still the world pursues...



2,  From gardens where we feel secure
Look up, and with a sigh endure
The tyrannies of love:
And, gentle, do not care to know,
Where Poland draws her Eastern bow,
What violence is done . . .


3,  Now days are dragon-ridden, the nightmare
Rides upon sleep: a drunken soldiery
Can leave the mother, murdered at her door,
To crawl in her own blood, and go scot-free . . .

4,  And I missed my chance with one of the lords
Of life
And i have something to expiate;
A pettiness

a,  W H auden- Look Stranger
b,  D H Lawrence- Snake
c,  T S Eliot- waste Land
d,  W B Yeats- The Tower

A  1-c, 2-a, 3-d, 4-b
B  1-c, 2-d, 3-a, 4-b
C  1-c, 2-d, 3-a, 4-b
D 1-b, 2-c, 3-d  4-d
Answer:…………………..
41.  Match the following
1, Lacan            a, discourse
2, Derrida            b, mirror stage
3, Foucault            c, scriptible
4, Barthes            d, logocentrism

A  1-c, 2-a, 3-d, 4-b
B  1-b, 2-d, 3-a, 4-c
C  1-c, 2-d, 3-a, 4-b
D 1-b, 2-c, 3-d  4-d
Answer:…………………..
42.  1,Culture and Anarchy            a, Walter Pater

2, The Picture of Dorian Gray            b, Johnson        
3, Studies in the History of the Renaissance    c, Mathew Arnold
4, Lives of the English Poets            d, Oscar Wilde
A  1-c, 2-d, 3-a, 4-b
B  1-b, 2-d, 3-a, 4-c
C  1-c, 2-d, 3-b, 4-a
D 1-b, 2-c, 3-d  4-d
Answer:…………………..
43.  After all, if anyone will ask me whether 'a tragedy cannot be made upon
any other grounds than those of exciting pity and terror in us, Bossu,4 the
best of modern critics, answers thus in general: That all excellent arts, and
particularly that of poetry, have been invented and brought to perfection by
men of a transcendent genius; and that, therefore, they who practise afterwards
the same arts are obliged to tread in their footsteps, and to search in
their writings the foundation of them; for it is not just that new rules should
destroy the authority of the old. But Rapin writes more particularly thus,
that no passions in a story are so proper to move our concernment as fear
and pity; and that it is from our concernment we receive our pleasure is
undoubted; when the soul becomes agitated with fear for one character, or
hope for another, then it, is' that we are pleased 'in ‘Tragedy, by the interest
which we take in their adventures.

This extract is taken from...

A, Pope- Essay on Criticism

B,  Dryden- Essay on Dramatic Poesy

C,  Johnson- Preface to Shakespeare

D,  Sidney- Apology for Poetry
Answer:………………….
44.  ‘Considering that it is as subject one comes to voice, then the postmodernist
focus on the critique of identity appears at first glance to threaten and
close down the possibility that this discourse and practice will allow those
who have suffered the crippling effects of colonization and domination to
gain or regain a hearing. Even if this sense of threat and the fear it evokes
are based on a misunderstanding of the postmodernist political project, they
nevertheless shape responses. It never surprises me when black folks respond
to the critique of essentialism, ,especially when it denies the validity of identity
politics by saying, 'Yeah, It s easy to give up identity, when you got one."
Should we not be suspicious of postmodern critiques of the "subject" when
they surface at a historical moment when many subjugated people feel themselves coming to voice for the first time? Though an apt and oftentimes
appropriate comeback, it does not really intervene in the discourse in a way
that alters and transforms.’

The passage highlights...

A,  postcolonialism

B,  postmodernism

C,  racial isues

D,  cultural criticism
Answer:…………………..
45.  1,  Macbeth            a, pride

2,  Hamlet                b, ambition

3,  Othello                c, procrastination

4,  Lear                d, jealousy


A  1-d, 2-c, 3-d, 4-a
B  1-b, 2-d, 3-a, 4-c
C  1-c, 2-d, 3-a 4-b
D 1-a, 2-c, 3-b, 4-d
Answer:…………………..
46.  I will not suffer a sense of false modesty to prevent me from asserting, that
I point my Reader's attention to this mark of distinction, far less for the sake
of these particular Poems than from the general importance of the subject.
The subject is indeed important! For the human mind is capable of. Being
excited without the application of gross and violent stimulants; and he must
have a very faint perception of its beauty and dignity who does not know
this, and who does not further know, that one, being is elevated above
another, in proportion as he possesses this capability. It has therefore
appeared to me, that to endeavour, to produce or enlarge this capability is
done of the best services in which, ;at any period, a Writer can• be engaged;
but this service; excellent at all times, is especially so at the present day. For
a multitude of causes, unknown to former ,times, are now acting with a combined force to blunt the discriminating powers of the mind, and unfitting it
for all voluntary exertion to reduce it to Ii state of almost savage torpor. The
most effective of these causes rather great national events which are daily
taking place and the increasing accumulation of men in cities, where the
the uniformity of their occupations produces a craving for extraordinary incident, which the rapid communication of intelligence hourly gratifies; To this tendency of life and manners the literature and theatrical exhibitions of the
country have conformed themselves.
The passage is from
A,  The Function of Criticism by T S Eliot
B,  Biographia Literaria by Coleridge
C,  Culture and Ararchy by Arnold
D,  Preface to Lyrical ballads by Wordsworth
Answer:…………………..
47. 1, Louis McNiece        a, Lost Season
2,  Roy Fuller            b, Confessions of a Life Artist
3,  Basil Bunting            c, Homage to Cliches
4,  Thom Gunn            d, The Spoils

A  1-d, 2-c, 3-d, 4-a
B  1-b, 2-d, 3-a, 4-c
C  1-c, 2-a, 3-d, 4-b
D 1-a, 2-c, 3-b, 4-d
Answer:…………………..
48.  Among the following who is/are not from Dickens’ Hard Times?
1, Louisa       
2, Gradgrind
3, Sissy Jupe
4, Pip
A,  Only 1
B,  Only 4
C,  Both 1 and 2
D,  Both 3 and 4
Answer:…………………..
49.  Match the quotations with writers
1,  “unconscious is structured like a language”
2,  “there is nothing outside text”
3,  “life is a fatal sexually transmitted disease”
4,  “power is maintained through discursive practices”
a, Freud
b, Derrida
c, Lacan
d, Foucault
A  1-d, 2-c, 3-b, 4-a
B  1-b, 2-d, 3-a, 4-c
C  1-c, 2-a, 3-d, 4-b
D 1-c, 2-b, 3-a, 4-d
Answer:…………………..
50. 1,  Dylan Thomas        a, Country Sentiments
2,  R S Thomas            b, Lament and Triumph
3,  George Barker            c, The Stones of a Field
4,  Robert Graves            d, Fern Hill            
A  1-d, 2-c, 3-b, 4-a
B  1-b, 2-d, 3-a, 4-c
C  1-c, 2-a, 3-d, 4-b
D 1-c, 2-b, 3-a, 4-d
Answer:…………………..
51.  which critical practice provided equal weightage to history and text?
1,  Cultural Materialism
2, Rchetypal Criticism
3,  Structuralism
4,  New Historicism
A,  Only 1
B,  Only 4
C,  Both 1 and 4
D,  Both 3 and 4
Answer:…………………..
52. One important feature of Jane Austen’s style is?
(A) boisterous humour
(B) humour and pathos
(C) subtlety of irony
(D) stream of consciousness
53. The title of the poem ‘The Second Coming’ is taken from?
(A) The Bible
(B) The Irish mythology
(C) The German mythology
(D) The Greek mythology
Answer:…………………..
54. The following lines are an example……… of image.
‘The river sweats
Oil and tar’
(A) visual
(B) kinetic
(C) erotic
(D) musical
Answer:…………………..
55. Who invented the term ‘Sprung rhythm’?
(A)Hopkins
(B)Tennyson
(C)Browning
(D)Wordsworth
Answer:…………………..
56. Which of the following plays of Shakespeare has an epilogue?
(A)  The Tempest
(B) Henry IV, Pt I
(C) Hamlet
(D) Twelfth Night
Answer:…………………..
57.  Which of the following poems of Coleridge is a ballad?
(A) Work Without Hope
(B) Frost at Midnight
(C) The Rime of the Ancient
(D) Youth and Age
Answer:…………………..
58.  The second series of Essays of Elia by Charles Lamb was published in?
(A) 1823
(B) 1826
(C) 1834
(D) 1833
Answer:…………………..
59.  Identify the poet, whom Queen Victoria, regarded as the perfect poet of ‘love and loss’—
(A) Tennyson
(B) Browning
(C) Swinburne
(D) D. G. Rossetti
Answer:…………………..
60.  A verse form using stanza of eight lines, each with eleven syllables, is known as?
(A) Spenserian Stanza
(B) Ballad
(C) OttavaRima
(D) Rhyme Royal
Answer:…………………..
61.  Identify the rhetorical figure used in the following line of Tennyson “Faith un-faithful kept him falsely true.”
(A) Oxymoron
(B) Metaphor
(C) Simile
(D) Synecdoche
Answer:…………………..
62. Match the following
1, Hybridity
2,  Ahistorical
3,  Transhistorical
4,  Phonocentric
a, irrespective of historical era
b, insignificance of historical era
c, priority of speech over writing
d, mixed individual identity
A  1-d, 2-c, 3-b, 4-a
B  1-b, 2-d, 3-a, 4-c
C  1-d, 2-b, 3-a, 4-c
D 1-c, 2-b, 3-a, 4-d
Answer:…………………..
63,  Match the following
1,  With its sombre ideology of heroism and baleful destiny; thus also the work
of Eugene Genovese on black religion restores the vitality of these utterances
by reading them, not as the replication of imposed beliefs, but rather as a
process whereby the hegemonic Christianity of the slave-owners is appropriated, secretly emptied of its content and subverted to the transmission of quite different oppositional and coded messages. Moreover, the stress on the dialogical then allows us to reread or rewrite the hegemonic forms themselves; they also can be grasped as a process of the reappropriation and neutralization, the cooptation and class transformation, the cultural universalization, of forms which originally expressed the situation of "popular," subordinate, or dominated groups. So the slave religion of Christianity is transformed into the hegemonic ideological apparatus of the medieval system; while folk music and peasant dance find themselves transmuted into the forms of aristocratic or court festivity and into the cultural visions of the pastoral; and popular narrative from time immemorial romance, adventure story, melodrama, and the like-is ceaselessly drawn on to restore vitality to an enfeebled and asphyxiating "high culture."

2,  Chlorinated fluids, for instance, have always been experienced as a sort of
liquid fire, the action of which must be carefully estimated, otherwise the
object itself would be affected, 'burnt'. The implicit legend of this tyt;e of
product rests on the idea of a violent, abrasive modification of matter: the
connotations are of a chemical or mutilating type: the product 'kills' the dirt.
Powders, on the contrary, are separating agents: their ideal role is to litfe'rate
the object from its circumstantial imperfection: dirt is 'forced out' and no
longer killed; in the Omo imagery, dirt is a diminutive enemy, stunted and
black, which takes to its heels from the fine immaculate linen at the sole
threat of the judgment of Omo. Products based on chlorine and ammonia
are without doubt the representatives of a kind of absolute fire, a saviour but
a blind one. Powders, on the contrary, are selective, they push, they drive
dirt through the texture of the object, their function is keeping public order
not making war. This distinction has ethnographic correlatives: the chemical
fluid is an extension of the washerwoman's movements when she beats the
clothes, while powders rather replace those of the housewife pressing and
rolling the washing against a sloping board.

3, To put this more scientifically, I shall say that the reproduction of labour
power requires ,not only a reproduction, of its skills but, also, at the same
time, a reproduction of its submission to the rules of the established order,
i.e. a reproduction of submission to the ruling ideology for the, workers,' and
a reproduction of the ability to manipulate the ruling ideology curtly for
the agents of exploitation and repression; so that they, too, will provide for
the domination of the ruling class. In other words, the school (but also other State institutions like the Church, or 'other apparatuses like the Army) teaches 'know-how', but in forms which ensure subjection to the ruling ideology or the mastery of its 'practice'. All the agents of production, exploitation and repression, not to speak of the 'professionals of ideology' (Marx), must in one way or another be 'steeped' in this ideology in order to perform their tasks 'conscientiously' the tasks of the exploited (the proletarians), of the exploiters (the capitalists), of the exploiters' auxiliaries (the managers), or of the high priests of the ruling ideology .

4, To judge from various recent publications; the spirit of the times is not
blowing in the direction of formalist and intrinsic criticism.• We may no
longer be hearing too much about relevance but we keep hearing a great
deal about reference, about the nonverbal "outside" to which language refers,
by which it is conditioned and upon which it acts. The stress falls not so
much on the fictional status of literature  property now perhaps somewhat
too easily taken for granted-but on the interplay between these fictions and
categories that are said to partake of reality, such as the self, man, society,
"the artist, his culture and the human community," as one critic puts it.
Hence the emphasis on hybrid texts considered to be partly literary and partly
referential, on popular fictions deliberately aimed towards social and psychological gratification, on literary autobiography as a key to the understanding of the self, and so on. We speak as if, with the problems of literary form resolved once and forever, and with the techniques of structural analysis refined to near-perfection, we could now move "beyond formalism"2 towards the questions that really interest us and reap, at last, the fruits of the ascetic concentration on techniques that prepared us for this decisive step. With
the internal law and order of literature well policed, we can now confidently
devote ourselves to the foreign affairs, the external politics of literature. Not
only do we feel able to do so, but we owe it to ourselves to take this step:
our moral conscience would not allow us to do otherwise.

a, Althusser-‘ Ideology and Ideological State Apparatus’.

b, Paul de Man- Semiology and Rhetoric’

c, Roland Barthers- Mythologies

d, Friedric Jameson- ‘Political Unconscious’

A  1-d, 2-c, 3-a, 4-b
B  1-b, 2-d, 3-a, 4-c
C  1-d, 2-b, 3-a, 4-c
D 1-c, 2-b, 3-a, 4-d
Answer:…………………..
64.  By the time a century or two of exploitation has passed there comes about a
veritable emaciation of the stock of national culture. It becomes a set of
automatic habits some traditions of dress, and a few broken-down institutions.
Little movement can be discerned in such remnants of culture; there
is no real creativity and no overflowing life. The poverty of the people,
national oppression, and the inhibition of culture are one and the same thing.
After a century of colonial domination we find a culture which is rigid in the
extreme, or rather what we find are the dregs of culture, its mineral strata.
The withering away of the reality of the nation and the death pangs of the
national culture are linked to each other in mutual dependence. This is why
it is of capital importance to follow the evolution of these relations during
the struggle for national freedom. The negation of the native's culture, the
contempt. For any manifestation of culture whether active or emotional, and
the placing outside the pale of all specialized branches of organization contribute to breed aggressive patterns of conduct in the native. But these patterns of conduct are of the reflexive type; they are poorly differentiated,
anarchic and ineffective.

The passage implies...

A, Marxism

B, New Historicism

C, Postcolonialism

D, Cultural Materialism

Answer:…………………..

65.  It is a peculiarity of our epoch that, at the moment when the phoneticization of writing the historical origin and structural possibility of philosophy as of
science, the condition of the episteme-begins to lay hold on world culture,
science, in its advancements, can no longer be satisfied with it. This inadequacy had always already begun to make its presence felt.  It appears as such, allows it a kind of takeover without our being able to translate this novelty into clear cut notions of mutation, explication, accumulation, revolution, or tradition.
By alluding to a science of writing reined ill by metaphor, metaphysics,
and theology, this exergue must not only announce that the science of writing-
grammatology shows signs of liberation all over the world, as a result
of decisive efforts. These efforts are necessarily discreet, dispersed, almost
imperceptible; that is a quality of their meaning and of the milieu within
which they produce their operation. I would like to suggest above all that,
however fecund and necessary the undertaking might be, and even if given
the most favourable hypothesis it did overcome all technical and epistemological obstacles as well as all the theological and metaphysical impediments that have limited it hitherto, such a science of writing runs the risk of never being established as such and with that name, of never being able to define the unity of its project or its object. Of not being able to either write its
discourse on method or to describe the limits of its field.

The extract reminds you of...

A,  Judith Butler

B,  Harold Bloom

C, Roland Barthes

D, Jacques Derrida
Answer:…………………..
66. Who called ‘The Waste Land ‘a music of ideas’?
(A) Allen Tate
(B) J. C. Ransom
(C) I. A. Richards
(D) F. R Leavis
Answer:…………………..
67. Which book of John Ruskin influenced Mahatma Gandhi?
(A) Sesame and Lilies
(B) The Seven Lamps of Architecture
(C) Unto This Last
(D) Fors Clavigera
Answer:…………………..
68. The twins in Lord   of the Flies are?
(A)Ralph and Jack
(B) Simon and Eric
(C) Ralph and Eric
(D) Simon and Jack
Answer:…………………..
69. Which of the following plays of Shakespeare, according to T. S.
Eliot, is ‘artistic failure’?
(A) The Tempest
(B) Hamlet
(C) Henry IV, Pt I
(D) Twelfth Night
Answer:…………………..
70. What does ‘I’ stand for in the following line?
‘To Carthage then I came’
(A) Buddha
(B) Tiresias
(C)  Smyrna Merchant
(D) Augustine


ANSWER KEY

1-C
2-D
3-D
4-A
5-A
6-D
7-B
8-C
9-B
10-C
11-D
12-B
13-D
14-C
15-A
16-B
17-D
18-C
19-C
20-D
21-B
22-D
23-C
24-A
25-B
26-A
27-A
28-B
29-C
30-B
31-A
32-A
33-A
34-A
35-D
36-B
37-A
38-B
39-B
40-A
41-B
42-A
43-C
44-C
45-A
46-D
47-C
48-B
49-D
50-A
51-C
52-B
53-A
54-C
55-A
56-A
57-C
58-D
59-D
60-C
61-A
62-C
63-A
64-C
65-D
66-A
67-C
68-A
69-B
70-D