00190--UGC-NET, English Literature Objective Type Question Answers 61 to 75

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61)      “…the error of evaluating a poem by its effects—especially its emotional effects—upon the reader” is:

A.      Affective Fallacy

B.      Intentional Fallacy

C.      Both A and B

D.     Pathetic Fallacy

Answer: …………………………………………

62)      Match A with B

                        A                                             B

a. Robert Penn Warren                   1. Ode to the Confederate Dead

b. Allen Tate                                     2. Understanding Poetry

c. John Crowe Ransom              3. Literary Criticism: A Short History

d. W.K. Wimsatt                                       4. The New Criticism

A.      a-4, b-3, c-1, d-2

B.      a-2, b-4, c-3, d-1

C.      a-2, b-1, c-4, d-3

D.     a-1, d-4, c-2, d-3

Answer: ……………………………………………

63)      Marlowe’s all four great tragedies share two features in common.  Which are they?

1.      Magic Realism

2.      Theme of overreaching

3.      Blank Verse

4.      Romantic presentation

A.      Only 1, 2 and 3

B.      Only 3 and 4

C.      Only 2, 3 and 4

D.     Only 2 and 3

Answer: ………………………………………..

64) Who said that the writer should be “outside the whale”, because otherwise, the state or society could swallow the writer up, as the whale had swallowed Jonah.

A.      Andrew Marvell

B.      S.T.Coleridge

C.      T.S.Eliot

D.     George Orwell

Answer: ……………………………..

65) “I have used similitude.” Who said this about his which work?

A.      Thomas Hobbes about ‘Leviathan’.

B.      Bunyan about ‘The Pilgrim’s Progress’

C.      Milton about ‘Paradise Lost’

D.     Alexander Pope about ‘The Dunciad’

Answer: …………………………………

66)   Which of the following is wrong?

A.      Jonathan Swift—A Modest Proposal—Pamphlet—1728

B.      Samuel Johnson—The Vanity of Human Wishes—Imitation of Juvenal’s 10^th satire

C.      Robinson Crusoe—Friday—Colonialism

D.     Henry Feilding—Tom Jones—Story of a foundling

Answer: ……………………………………….

67) The two gentlemen in the Two Gentlemen of Verona are
(a) Douglas and Calvin
(b) Valentine and Protons
(c) Henry Bailey and Davenant
(d) Lovelace and Herrick
Answer: …………………………….
68) Who popularized the inductive method for arriving at a conclusion through his Novum Organum?
(a) Ben Jonson
(b) Francis Bacon
(c) Addison and Steele
(d) Dr. Johnson
Answer: …………………….
69)  Thomas Hardy’s life and career are obliquely depicted in:
A. The Return of the Native
B. Jude the Obscure
C. Tess of the d’ Urbervilles
D. The Mayor of Casterbridge
Answer: …………………………….
70) Which of the following statements is/are wrong based on the novel “Heart of Darkness”?
1. Kurtz pretends to be mad.
2. The novel opens on the mouth of the Thames.
3. Marlow is the hero-narrator of the tale
4. Chinu Achebe denounced this novel as “bloody racist”.

A. Only 1
B. Only 2
C. Only 3 and4
D. Only 4
Answer: ………………….

71)       “The humblest craftsman over near the Aemilian school will model fingernails and imitate waving hair in bronze; but the total work will be unhappy because he does not know how to represent it as a unified whole. I should no more wish to be like him, if I desired to compose something, than to be praised for my dark hair and eyes and yet go through life with my nose turned awry. You who write, take a subject equal to your powers, and consider at length how much your shoulders can bear. Neither proper words nor lucid order will be lacking to the writer who chooses a subject within his powers. The excellence and charm of the arrangement, I believe, consists in the ability to say only what needs to be said at the time, deferring or omitting many points for the moment. The author of the long-promised poem must accept and reject as he proceeds.”

Horace here:

A.      Gives advice

B.      Criticises

C.      Evaluates

D.     Inspires

Answer: ……………………..

72)      “The ancient poets animated all sensible objects with gods or geniuses, calling them by the names and adorning them with the properties of woods, rivers, mountains, lakes, cities, nations, and whatever their enlarged and numerous senses could perceive.

“And particularly they studied the genius of each city and country, placing it under its mental deity.

“Till a system was formed, which some took advantage of, and enslaved the vulgar by attempting to realize or abstract the mental deities from their objects: thus began priesthood; choosing forms of worship from poetic tales.

“And at length they pronounced that the gods had ordered such things.

“Thus men forgot that all deities reside in the human breast.

                                    ……………….

Who speaks here?

A.      Addison

B.      Matthew Arnold

C.      William Blake

D.     Alexander Pope

Answer: ………………………………….

73)      “I had not a dispute but a disquisition with Dilke on various subjects; several things dovetailed in my mind, and at once it struck me what quality went to form a man of achievement especially in literature and which Shakespeare possessed so enormously-I mean negative capability, that is when a man is capable of being in uncertainties, mysteries, doubts, without any irritable reaching after fact and reason-Coleridge, for instance, would let go by a fine isolated verisimilitude caught from the penetralium of mystery, from being incapable of remaining content with half-knowledge.”

This is taken:

A.  from Letter to Benjamin Bailey.

A.      from Letter to George and Thomas Keats .

B.      from Letter to John Taylor .

C.      from Letter to Richard Woodhouse.

Answer: ……………………..

74)      Well, we are all condamnes. as Victor Hugo says: "les hommes sont tous condamnes a mort avec des sursis indejinis ":  we have an interval, and then our place knows us no more. Some spend this interval in listlessness, some in high passions, the wisest in art and song. For our one chance is in expanding that interval, in getting as many pulsations as possible into the given time. High passions give one this quickened sense of life, ecstasy and sorrow of love, political or religious enthusiasm. or the "enthusiasm of humanity." Only, be sure it is passion, that it does yield you this fruit of a quickened, multiplied consciousness. Of this wisdom, the poetic passion, the desire of beauty, the love of art for art's sake has most; for art comes to you professing frankly to give nothing but the highest quality to your moments as they pass, and simply for those moments' sake.

This is from:

A. Is There a Text in This Class?

B. The Contingency of Language

C. Studies in the History of the Renaissance

D. The Metaphoric and Metonymic Poles

Answer: ………………………….

75)            Or, after dark, will dubious women come

               To make their children touch a particular stone;

               Pick simples for a cancer; or on some

               Advised night see walking a dead one?

               Power of some sort will go on

               In games, in riddles, seemingly at random;

               But superstition, like belief, must die,

               And what remains when disbelief has gone?

This is taken from Philip Larkin’s 

A.      The Less Deceived

B.      An Arundel Tomb

C.      Church Going

D.     Toads

Answer: …………………………….

ANSWERS:

61-A
62-C
63-D
64-D
65-B
66-A
67-B
68-B
69-B
70-A
71-A
72-C
73-B
74-C
75-C

00189--UGC-NET, English Literature Objective Type Question Answers 51 to 60

51) Marlowe's tragedies are:
A. tragedies of noble men
B. love tragedies
C. one-man tragedies
D. revenge plays
Answer: …………………………….
52)  Who coined the phrase, "Marlowe's mighty line"?
A.  Ben Jonson
B.  Samuel Johnson
C.  R.L. Stevenson
D.  Richard Steele
Answer: ………………………………..
53)      Out of the four chief dialects that flourished in the pre-Chaucerian period, the one that became the standard English in Chaucer's time is:
A. the Northern
B. the East-Midland
C. the West-Midland
D. the Southern
Answer: ……………………..
54)      Which of the following statements is incor­rect regarding medieval literature?
A. Allegory was frequent and usual
B. The dream-vision convention was preva­lent
C. Chaucer exploited the dream-vision con­vention in The Canterbury Tales.
D. There was often an undercurrent of moral and dialectic strain.
Answer: …………………………………..
55) In Prologue and Canterbury Tales Chaucer employed the
A. Ottawa Rhyme
B. Rhyme Royal
C. Heroic Couplet
D. Both A and C
Answer: …………………………………………..
56) Chaucer has been criticized for presenting an incomplete picture of his times, because
A. he overemphasizes the rights of the lower class
B. he exaggerates the courtly benevolence
C. he writes for the court and cultivated clas­ses and neglects the suffering of the poor
D. he supports the Lolland and the Peas­ant Revolution too fervently
Answer: …………………………………………..
57) Which of the following are correctly matched?
a. Captain Singleton                1. a sailor
b. Moll Flanders                      2. a prostitute
c. Colonel Jack                           3. a valiant solider
d. Cavalier                              4. a prince
A. Only a-1 and b-2
B. Only b-2
C. Only c-3 and d-4
D. Only d-4
Answer: ………………….

58) " Lunatics, lovers, and poets all are ruled by their overactive imaginations. " These words of Shakespeare are taken from:
A. Love's Labor Lost
B.  Hamlet
C. Henry IV
D. Midsummer Night's Dream
Answer:……………………………………
59)       An author sums up the human condition thus, "human life is everywhere a state, in which much is to be endured and little to be enjoyed." Who said this and where?
A. Alexander Pope - Essay on Man
B.  Oliver Goldsmith - The Vicar of Wakefield
C.  Albert Camus - The Stranger
D.  Dr. Johnson – Rasselas
Answer: …………………………..

60)       “Yet if the only form of tradition, of handing down, consisted in following the ways of the immediate generation before us in a blind or timid adherence to its successes, ''tradition" should positively be discouraged. We have seen many such simple currents soon lo.st in the sand; and novelty is better than repetition. Tradition is a matter of much wider significance. Ii cannot be inherited, and if you want it you must obtain it by great labor.”

A.      T.S.Eliot

B.      Alexander Pope

C.      P.B.Shelley

D.     Matthew Arnold

Answer: …………………………………………

51- C

52- A

53- B

54- C

55- C

56- C

57-A

58-D

59-D

60-A

00177--What is Matthew Arnold’s estimate of Dryden and Pope? [Robert Burns/Thomas Gray/Chaucer]

“Dryden and Pope are not classics of our poetry; they are classics of our prose.”  This is how Arnold evaluates Dryden and Pope.  He gives Thomas Gray a greater position.  He says that Gray is our poetical classics of the 18^th century.  Along with the names of Dryden and Pope, Matthew Arnold mentions the name of Robert Burns.  Burns’ English poems are simple to read.  But the real Burns is of course in his Scotch poems.  His poems deal with Scotch way of life, scotch drinks, scotch religion and Scotch manners.  A Scotch man may be familiar with such things, but for an outsider these may sound personal.  For supreme practical success more is required.  In the opinion of Arnold, Burns comes short of the high seriousness of the great classics, something is wanting in his poetry.    In his comparative study Arnold gives Chaucer a better position.  The world of Chaucer is fairer, richer and more significant than that of Burns.

00077--What are the chief features of Romantic Criticism?

                                                                           

   The chief features of romantic criticism may be summarised as follows:

1.      Romantic criticism ignores rules whether of Aristotle or Horace or of the French and emphasises that works of literature are to be judged on the basis of the impression they produce, and not with reference to any rules.  It is impressionistic and individualistic, and freedom of inquiry is its keynote.

2.      It is concerned with the fundamentals, such as the nature of poetry, and its functions, and not merely with the problems of style, diction or literary genres.  It is neither legislative nor judicial.  It is concerned mainly with the theory of poetry, and the process of poetic creation.

3.      Emphasis is laid on imagination and emotion and not on reason and good sense.  Poetic enthusiasm is no longer looked down upon, as by the Neo-classicists. 

4.      New definitions of poetry are attempted.  Poetry is no longer considered as mere imitation or invention but becomes the expression of emotion and imagination.  Inspiration and intuition rather than adherence to rules are regarded as the true bases of creation.

5.      Pleasure than instruction becomes the end or function of poetry.  If poetry instructs, it does so only through pleasure.  Poetry should transport and make people 'nobler' and 'better' through such transport.  Its appeal should be to the heart and not to the head.

6.      Imagination is emphasised both as the basis of creation and of judgement.  It is imagination which leads to the production of great works of art.  Shakespeare is great because his works are the production of imagination.  Pope is not great as he is deficient in this respect.  The critic also must primarily be gifted with imagination; only then can be appreciate the beauty of work of art. 

7.      Views of Poetic diction and versification undergo a radical change.  Simplicity is emphasised both in theme and treatment.

8.      Romantic criticism is creative.  It is as much the result of imagination as works of literature.  Critics express their views after entering imaginatively into the thoughts and feelings of the writers whose works they may be examining.

9.      The far reaching influence of Wordsworth and Coleridge.

00074--Describe general characteristics of the literary criticism of 18th century.

            Crticism in the early 18^th century does not differ substantially from Restoration criticism, except that Neo-classicism grows more severe and stringent, and there is an expansion and diffusion of the critical temper.  It accepts and consolidates the revolution that Dryden made, and advances it cautiously on many fronts.  It makes ample use of the critical tradition that it has inherited from Dryden.

1.      18^th century has inherited the 'cultural nationalism' of Dryden, i.e., a love of English literature and criticism and a contempt for French literary theories and criticism.  In this connection, George Matson says that the Augustan contempt for French neo-classical authority is much like Dryden's even in its ambiguities.  The attitude of the nineteen year old Pope when he wrote the Essay on Criticism might be Dryden's "cultural nationalism" put into verse.  In so far as the rules are French, Pope argues, they are bad; in so far as they are ancient, and judiciously interpreted by Englishmen, they are good.

2.      Criticism in the 18^th century has also inherited from Dryden; his historicism or historical sense.  No Augustan critic can match Dryden in the fitness of his historical sense; but as a result of his work there is widespread awareness in the early 18^th century that the sense of the history is a useful and necessary part of the equipment of a critic. 

It has acquired a tradition of descriptive criticism - as a result of Dryden's work, the Augustans are able to practise descriptive criticism more casually and naturally than any Restoration critic.  The olden legislative criticism, or the older method of judging a work on the basis of the genre to which it belonged, was pushed out, and descriptive and analytic criticism hence forth reigned supreme.  Analysis became a fashionable activity, and critics no longer hid their analysis of literary master pieces in some other form.  Descriptive criticism could now throw off its mask, and appear in its true colours.  A revolution of a far-reaching significance was thus brought about by Dryden.

00061--Why does Wordsworth choose the life of rustics and common men for the subject of his poetry?

                                                                                       

                                          In the preface to the 'Lyirical Ballads' Wordsworth says that the life of the rustics and common men is the fittest subject for poetry.  This concept is just contrary to the concept of Neo-classical poets who chose the life and manners and morals of the urban people, specially of the aristocratic class, to be the fittest subject for poetry.  Pope's Rape of the Lock is the best example of this class of poetry.  Against this concept, Wordsworth chose the life of humble and rustic people for the subject of his poetry.  Wordsworth was basically a poet of Nature, and he considered the humble and innocent villagers to be a part of Nature.

            He writes, Humble and rustic life was generally chosen because in that condition, "the essential passions of the heart find a better soil in which they can attain their maturity, because in that condition of life our elementary feelings co-exist in a state of greater simplicity; because the manners of rural life germinate from those elementary feelings; and from the necessary character of rural occupations the passions of men are incorporated with the beautiful and permanent forms of nature".

            On the same ground, Wordsworth also decried the fashion of writing poetry in the poetic diction patronized by the Neo-classical poets.  He not only chose the life of the rural folk for his subject, but also their language for writing his poetry.  He writes, "The language, too, of these men has been adopted because such men hourly communicate with the best objects from which the best part of language is originally derived".  But in spite of all these considerations Wordsworth remains fully conscious that his poetry may not sink to the level of triviality and meanness.

00059--Wordsworth lays down the basic tenets of his poetry in the preface to the Lyrical Ballads. Discuss.

            When the first edition of Wordworth's Lyrical Ballads was published, it was discovered that Wordsworth's poems were diametrically opposite to the standard poetical norms as preached and practiced by the Neo-classical poets like Ben Jonson, Dryden, Pope, Gray and Dr. Johnson.  There was a sort of uproar in literary circles.  Thereupon some of Wordsworth's friends advised him to publish a detailed preface to the second Edition of his Lyrical ballads explaining the basic tenets of his poetry.  Wordsworth says, "they have  advised me to prefix a systematic defence of the theory upon which the poems were written".  Here he published a detailed preface to the second edition of his Lyrical Ballads. 

            In the preface Wordsworth begins with the precept that poetry should be a 'spontaneous overflow' of powerful feelings, not a laboured exercise.  Secondly, the subject matter of poetry should be the life of the common men, because poets do not write their poetry for poets only, but for the common public to read and enjoy.  For the same reason, poetry should be written, as far as possible, in the language of the common men, and not in the highly artificial and stilted poetic diction.  There should be no difference between the language of prose and that of poetry.  These are the basic tenets of Wordsworth's theory of poetry.