Francesco Petrarch composed over 300 poems to a woman
with whom he never had a relationship. But his innovation on the Italian sonnet
form—usually referred to as the Petrarchan sonnet—immortalized both the poet
and this mysterious woman.
Although Italian writers had written sonnets before
Petrarch, he improved the 14-line poem’s structure and wrote in the vernacular
of the day, more closely reflecting the way people actually spoke. Petrarch’s
success established the sonnet as a major poetic form. Petrarch influenced
poets throughout Europe, including Elizabethan poets like Spenser and
Shakespeare.
From Law Student
to Clergyman
Petrarch was born in Arezzo, Italy, where his father
practiced law. Petrarch’s father insisted that his sons study law, so the poet
and his younger brother complied until their father died in 1326. By then,
Petrarch had developed an interest in classical studies and, as he described
it, “an unquenchable thirst for literature.” After his father’s death, Petrarch
abandoned the study of law and became a Catholic clergyman. Living in Avignon,
France, then the seat of the exiled papal court, Petrarch held a variety of church
positions that provided him with a modest income as well as free time to devote
to literature, classical studies, and extensive traveling.
The Love of His Life
On Good Friday in 1327, when he was 22 years old,
Petrarch saw a woman in the Church of Saint Clare in Avignon and immediately
fell in love with her. For the rest of his life, he wrote and revised sonnets
about his unrequited love for a woman he identified only as Laura. Like
Petrarch’s son and many of his friends, Laura died in the plague that
devastated much of Europe in the mid14th century. Petrarch recorded the date of
her death—April 6, 1348—in a copy of a work by Virgil, a classical Roman poet
whom he revered. After Laura’s death, Petrarch continued to write sonnets
reminiscing about her, including “Sonnet 292.” The Canzoniere, his masterpiece,
is a collection of 366 poems, most of them sonnets that focus on Laura and the
themes of unrequited love, desperate love, eternal love, and tragic love.
Poet Laureate of Rome
By the time Petrarch was in his mid-30s, his poetry
was widely admired in Italy and France. He received invitations from both the
University of Paris and the Senate in Rome to be poet laureate. In 1341, he
became Rome’s first poet laureate since ancient times.
archaism is
the use of words or constructions that have passed out of the language before
the time of writing; or a particular example of such an obsolete word or
expression. A common feature of much English poetry from Spenser to Hardy, it
rarely appears in prose or in modern verse.
Amoebean
verses is a poetic form in which two characters chant alternate
lines, couplets, or stanzas, in competition or debate with one another. This
form is found in the pastoral poetry of Theocritus and Virgil, and was
imitated by Spenser in his Shepheardes Calender (1579); it is similar to the
debat, and sometimes resembles stichomythia.
The Spenserian stanza (named for Edmund Spenser, who
invented it for his romance The FaerieQueene) consists of nine iambic lines rhyming in the pattern ababbcbcc. Each of the first eight lines
contains five feet, and the ninth contains six. The rhyming pattern helps to create
unity, and the six-foot line, called an alexandrine,
slows down the stanza and so
gives dignity and allows for reflection on the ideas in the stanza. Byron used
the Spenserian stanza in Childe Harold’s Pilgrimage.
Write a short note on
Prothalamion by Edmund Spenser.
Prothalamion is a spousal verse,
composed on the occasion of the wedding of Lady Elizabeth and Lady Katherine
Somerset to Henry Gilford and William Peter.
Though it does not reach the poetic excellence and richness of Epithalamion
it is undeniably a fine lyric exhibiting the same mastery of rhythmical and
musical effect and marked by a more evocative refrain.
David Daiches claims for the poem
a tapestry quality, an almost heraldic tone.
It falls short of Epithalamion in personal intensity in concentration of
effect and in unity of design. The
glaring weaknesses of the poem that mar its unity, are the intrusion of the
personal reminiscences, expression of his frustration, his tribute to Leicester
and Essex, and his nostalgic love of London, his most kindly nurse.
At the linguistic level the
defects are the use of vague clichés like fair, gentle and fine, and the
tedious wordplay in the description of the whiteness of the swans in the lines
40-45. However, it is an exquisite lyric
presenting a stylised picture with sensuous and mythological imagery.
A short note
[Summary] on Epithalamion by Edmund Spenser.
According to
Mutter Epithalamion is one of the
greatest formal lyrics in English.
Legouis praises it as a great ode without a rival. It exceeds in richness and splendour all
compositions of the same kind. It is the
most gorgeous jewel in the treasure-house of the Renaissance. J.W. Mackail assigns to it the first place
not only among spenser’s lyrics but also among all English odes. It celebrates the marriage of Spenser with
Elizabeth Boyle. Audio Books
The ode adopts
the Italian Canzone. It has twenty three
stanzas of usually seventeen lines which are of unequal length and intricate
rhyme pattern, each stanza ending in a fourteen syllable line which forms a
varied refrain. The last seven lines are
tornata, an envoi, that expresses the poet’s desire to offer the poem as a gift
in lieu of the ornaments that have not reached her because of some accident. It bears the influence of Sappho,
Theocritus’s Epithalamium of Helen, Catallus’s The Wedding of Manlius and Vinia
and the epithalamia of the French Pleiade, Ronsard and Du Bellay. Its novelty lies in the narrator being the
poet who is also the bridegroom.
The poem unfolds
a canvas where mythological and Christian elements, literary reminiscence and
natural description blend harmoniously
to intensify the expression of the poet’s personal emotions. It radiates an aura of a pageant about
it. Its chief features are the invocation
of the Muse, the procession, feasting, the decoration of the bride, the praise
of her beauty, the bride’s arrival at the church, the marriage ceremony, the
preparation of the bridal chamber and prayer for their fruitful union.
Spenser’s
Platonic conception that the outward beauty is a reflection of the inner virtue
and purity, manifests itself in the description of the bride who is adorn’d
with beauty’s grace and virtue’s store.
The beauty of her body like a palace fair leads the mind with many a
stately stair to honour’s seat, to the seat of perfect virtue. Spenser’s celebration of ideal beauty, and
the Petrarchan deification of the lady
are conventional. Though the poem is
personal, it universalies the experience of love. The narration of events covering one day,
from morning to midnight imposes on the poem a unity in respect of the
subject-matter and of its emotional content.
As Mutter observes, the wealth of imagery is allied to the often
remarked musical quality of the poem to produce a total effect of strength and
controlled luxuriance which earns for it Coleridge’s praise of truly sublime.
Muiopotmos
or The Fate of the Butterfly /Edmund Spenser/poetry
The Fate of the Butterflie is a
mock-heroic poem or epyllion of 440 lines.
Spenser used allegory, mythology, fable,and symbol as an indirect means
of expressing his thoughts and feelings in order to avoid a brush with
authorities and aristocrats. His Mother Hubberd’s Tale embodies a
political satire in the guise of the fable of The Fox and the Ape.
Muiopotmos narrates the fable of the
fight between the Butterfly Clarion and the Spider Archanol. It is supposed to allude to the animosity
between Essex and Raliegh or between Sidney and Oxford. The first stanza of the prescribed
piece portrays the butterfly as being endowed with a delicate aesthetic
sensitivity. He tastes every flower and
every herb in the garden without upsetting their order or disfiguring
them.
The second stanza shows the butterfly
as an Epicurean with a refined sensibility.
He seems to believe in the dictum that variety is the spice of
life. Spenser’s humour comes out in the
aphoristic utterance; for all change is
sweete.
The Countess of Pembroke's Arcadia INTRODUCTION and CRITICISM
The Countess of Pembroke's Arcadia, also known simply as the Arcadia, is a pastoral romance written by Sir Philip Sidney towards the end of the 16th century. It has an important place in the history of English literature as it is the first pastoral romance in English just as Spenser's The Shepherd's Calendar is the first verse pastoral romance. Arcadia includes a number of lyrics and eclogues after the classical style though it is written mainly in prose.
ARCADIA is the name of a mountainous district in the Peloponese, the domain of Pan, the god of shepherds. The poem was written solely for the amusement of Sydney's sister, the Countess of Pembroke. There was no intention of making money or literary fame from this creation. Sydney started writing ARCADIA in 1580. Not only did he not publish it but he also expressed his wish to destroy it while on his deathbed. However it was published in 1586 posthumously, and it brought him great fame.
Everything in ARCADIA is on the ideal plane. Both the story and setting are far removed from reality. David Daiches remarks, "Ideal love, ideal friendship, and the ideal ruler are, directly and indirectly, discussed, suggested and embodied." According to Daiches the style of Arcadia is "highly conceited, full of elaborate analogies, balanced parenthetical asides, pathetic fallacies, symmetrically answering clauses, and other devices of an immature prose entering suddenly into the world of conscious literary device." One of Sidney's constant devices is to take a word and toss it till its meaning is fully extracted with all its aesthetic beauty. Sidney's reference to the cool wine which seems "to laugh for joy" as it nears a lady's lips is an example of the pathetic fallacy. There are other examples like the water drops that slip down the bodies of dainty seem to weep for sorrow. When the princesses put on their clothes, the clothes are described as 'gold'.
Milton’s ‘Lycidas’ is one of the greatest pastoral elegies in English
literature. Pastoralism in literature is an attitude in which the
writer looks at life from the view point of a shepherd. In classical
literature this has been successfully handled by Theocritus of Sicily,
and after him by Virgil and Bion. In English literature it was
popularised by Sir Philip Sydney and Edmund Spenser, but the
scintillating star in the firmament of pastoralism is certainly John
Milton.
Pastoral elegy has its own conventions handed down from generation to
generation. Let us see how far Milton has observed them in ‘Lycidas’.
The pastoral poet begins by invoking the Muses and goes on referring to
other figures from classical mythology. In ‘Lycidas’ we find an
invocation to the Muses from line 15 to 22. Milton concludes by
expecting a similar service from some other poet when he is dead.
Secondly, the mourning in pastoral poetry is almost universal. Nature
joins in mourning the shepherd’s death in ‘Lycidas’, private sorrow
giving place to public sorrow. Lines 37-49 in Lycidas describes the
mourning. Woods and caves once haunted by Lycidas now mourn for him.
The inquest over the death is another tradition found in Pastoral poems.
In lines 50-63, Milton charges the nymphs with negligence. But the
next moment it dawns on him that they would have been helpless. Triton,
the herald of the sea questions every wind and is assured that the air
was calm when Lycidas set sail. The conclusion drawn is that the fatal
ship that sank Lycidas was built during the eclipse and fitted out in
the midst of curses.
Then comes a description of the procession of mourners as found in all
pastoral elegies. Camus, representing Cambridge university and
leadership, leads the procession. The last among the mourners is
St.Peter mourning the loss to the church incurred by the death of
Lycidas. With a denunciation of the corrupt clergyman, St.Peter
disappears. Lines 88-111 are occupied with this description.
Post-Renaissance elegies often included an elaborate passage in which
the poet mentions appropriate flowers of various hues and significance
brought to deck the hearse. Lines 133 to 151 carry such a description.
Among the primrose, the crowetoe, the pink and the woodbine, the
amaranth alone signifies immortality with its unfading nature.
In orthodox pastoral elegies there is a closing consolation. The poet
accordingly asks the shepherds to weep no more, for Lycidas is not dead,
but has merely passed from one earth to heaven. Lines 165 to 185 offer
consolation. In Christian elegies, the reversal from grief to joy
occurs when the writer realizes that death on earth is entry into a
higher life. But Milton adds that Lycidas has become a genius of the
shore to play the guardian angel to those who wander in the dangerous
flood.
Milton has followed the conventions in pastoral poetry, but he has
mingled in it Greek mythology and Christian theology. In addition there
are two digressions from pastoral strain: a) a discussion on the true
values of life, and, b) a bitter criticism of the clergyman of the day.
He introduces St.Peter into the list of mourners which shows the
deepening puritanical fervour of the poet. In the other parts of the
poem he has merely used the images handed down from classical ages. But
when questions about the religious state of England rose in his mind,
he could not restrain himself. He puts into the mouth of St.Peter a
trade against the corrupt clergymen of his day. He prophesies that the
domination of the corrupting leaders is doomed. The note of keen
personal regret is conspicuous by its absence. Milton here laments the
loss of the church, for Edward king was intended for the church. He
would have certainly set an example of purity and devotion to the other
priests. In addition, the poet is bewailing the loss of another poet, who also knew “to build the lofty rhyme”.
‘Lycidas’ is unquestionably a pagan poem. But Milton, the austere
puritan could not help introducing Christian elements into it. Thus
with its curious mixture of pagan loveliness and Christian austerity, it
becomes the offspring of Milton’s unparalleled genius. The poem starts
with an apology for breaking the poet’s resolve not to write any poetry
until his poetic talent has matured fully. The concluding eight lines
from a sort of epilogue in which Milton speaks directly, having stepped
out of the character of the shephered. Having passed through many moods
and sung in different strains, the shepherd draws his clock around him
and leaves the spot.
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
Matthew Arnold is an admirer of Chaucer’s poetry.He remarks that Chaucer’s power of
fascination is enduring.“He will be
read far more generally than he is read now.”The only problem that we come across is the difficulty of following his
language.Chaucer’s superiority lies in
the fact that “we suddenly feel ourselves to be in another world”. His superiority is both in the substance of
his poetry and in the style of his poetry.“His view of life is large, free, simple, clear and kindly.He has shown the power to survey the world
from a central, a human point of view.”The
best example is his Prologue to the Canterbury Tales.Matthew Arnold quotes here
the words of Dryden who remarked about it; “Here is God’s plenty”.Arnold continues to remark that Chaucer is a perpetual fountain of good sense.Chaucer’s poetry has truth of substance; “Chaucer
is the father of our splendid English poetry.”By the lovely charm of his diction, the lovely charm of his movement, he
makes an epoch and founds a tradition.We
follow this tradition in Spenser, Shakespeare, Milton and Keats.“In these poets we feel the virtue.”And the virtue is irresistible.
In spite of all these merits, Arnold says that Chaucer
is not one of greatest classics.He has
not their accent.To strengthen his
argument Arnold compares Chaucer with the Italian classic Dante.Arnold says that Chaucer lacks not only the
accent of Dante but also the high seriousness.“Homer’s criticism of life has it, Shakespeare has it, Dante has it, and
Shakespeare has it.”Thus in his
critical essay “The Study of Poetry” Matthew Arnold comments not only on the merits of Chaucer’s poetry, but also on the short
comings.He glorifies Chaucer with the
remark, “With him is born our real poetry.”