Wednesday 30 April 2014

Derrida

Derrida  

“There is nothing outside the text”
is a key statement emanating from
(A) Feminism
(B) New Historicism
(C) Deconstruction
(D) Structuralism
Ans:(C) Deconstruction
Presence and Absence
The metaphysical tradition (or philosophy) can be characterised by two basic desires or trends, admittedly manifested in various different forms.  there is a consistent desire to reconstruct the transcendental realm, which is otherwise radically absent.  The lost origin of our finite or fallen state drives us to continuously reconstruct our beginnings.  Second, the ideal of presence turns up everywhere.  All aspects of experience and/or existence are relegated to a moment called the present.   But the ideal of presence always implies more than one moment:
1.      Presence, we assume, describes an original state, a state that must have come first.  As I gaze out into the world I can say the world is present to my observing eye.  If that is the case, then my observing consciousness must be present to my own self-reflection.  It thus follows that meaning, in its most pure sense, as conscious thought, must be present to me as I gaze out onto the world.  Presence is, therefore, the main predicate for a text’s meaning (its sense or its reference), despite the fact that this meaning is always absent and in need of reconstruction through reading or interpretation.
2.       For this reason, a second moment of presence invades consciousness as absence--the disappearance of the world behind the veils of language, consciousness going astray, the reign of death, non-sense.  In this way gaps, absences and deficiencies of all imaginable kinds are subordinate to a principle of presence.  Is it possible to imagine an absence without reference to the principle of presence?  It would be a radical absence, something always and from the beginning absent, missing, lost to experience.  If there was such an absence, how could we glimpse it?
3.         We glimpse it between repetitions as their repeatability.  If the present moment can be repeated (i.e. remembered) then, preceding the present moment, is the possibility of its being repeated in memory (i.e., memory itself as repeatability).  So memory precedes and exceeds the present moment, which we will have remembered.  Memory, as traditional accounts make clear, gets associated with death and the memorialising of the dead, or mourning, in a way that gets us back, always and from the beginning, to the second moment (absence).
Derrida’s much-cited statement, “there is nothing outside the text,” suggests an absence that has never been, nor could ever be, present.  This is what we must try to think with regard to the sign, and with the notion of text:
          1) The sign is irreducibly secondary.  It always refers to something else.  Sometimes the something else that a sign refers to is actually itself (e.g., this sign here) but this doesn’t mean that the sign’s meaning (its reference to itself by virtue of its sense—sign = signifying unit) is primary.  What is primary is the signifying aspect of it.  The sign comes before its referent (sign) in so far as this sign means this sign.  And that, of course, is secondary.  It also illustrates that signs are necessarily always divided.  Their principle is the repeatability that allows them to apparently jump out of themselves to refer back.  However, in the repetition the sign is irremediably changed.  It is no longer the sign it was.  Disconcertingly, this kind of punning cannot be dismissed as a kind of sophistic rhetorical game.  Or rather, it can be dismissed.  But the principle of your ability to dismiss it (your ability to ignore basic rhetorical processes and pass over them in silence) is in fact the same principle that allows meaning to arise in the first place, cancelling out the rhetorical dimension, the secondary text (vehicle or coat).
          2) So the sign is at the beginning.  We never arrive at a meaning independently of some aspect of text, through which we must pass before cancelling it out as unwanted rhetoric (vehicle or coat).  Therefore there is no beginning.

Which of the following statements
best describes the term
‘deconstruction’ ?
(A) It seeks to expose the problematic
nature of ‘centered’ discourses.
(B) It advocates ‘subjective’ or
‘free’ interpretation.
(C) It emphasizes the importance
of historical context.
(D) It is a method of critical
analysis.
Ans; (A) It seeks to expose the problematic nature of ‘centered’ discourses.
Derrida uses the term différance to denote neither a word nor a concept but rather the gap that is the difference between signifiers and the movement that is the deferral of the hypothetical signified. Presence is never present but always deferred. Différance, therefore, is the condition of possibility for experiencing the absence of the presence of the signified. Différance is the freeplay of signifiers that creates a trace of the other which is n(ever) absent. The experience that there is too much, more than one can say, is not due, argues Derrida, to the empirical impossibility of knowing language in its totality. Language excludes totalization because it is a field of play (play of signifiers in differential relations), of différance that permits the lack that creates the movement of supplementarity--the move to supplement a lack on the part of the signifying (and thus a lack "perceived" in the elusive/illusive signified). As Murfin notes in commenting on Derrida’s critique of Rousseau’s privileging of speech over writing, “writing is a supplement to speech that is at the same time necessary. Barbara Johnson, sounding like Derrida, puts it this way: ‘Recourse to writing . . . is necessary to recapture a presence whose lack has not been preceded by any fullness’ (Derrida, Dissemination xii). Thus, Derrida shows that one strand of Rousseau’s discourse made writing seem a secondary, even treacherous supplement, while another made it seem necessary to communication”
Which of the following statements is
not applicable to Derrida’s rejection
of the notion of the ‘Metaphysics of
Presence’ ?
(A) The desire for immediate
access to meaning privileges
presence over absence.
(B) All presences are necessarily
metaphysical and, therefore,
are to be rejected.
(C) A fleeting meaning of the text
is created through the play of
‘difference’ and ‘differance’.
(D) Metaphysics involves installing
hierarchies and orders of
subordination in the various
dualisms that it encounters.
Ans;

Which of the following is not true of
post-structuralism ?
(A) It seeks to undermine the idea
that meaning pre-exists its
linguistic expression.
(B) There can be no meaning
which is not formulated and no
language formulation reaches
anywhere beyond language.
(C) There is no a-textual ‘origin’ of
a text.
(D) Every sign refers to every other
sign adequately.
Given below are two statements, one
labelled as Assertion (A) and the
other labelled as Reason (R).
Assertion (A) : Deconstructive
reading is apolitical.
Reason (R) : Because it focuses
exclusively on language. It
primarily holds that all texts or
linguistic structures contain
within them a principle of
destabilisation and hence it is
difficult to pin down meaning.
Such a reading, therefore, is
unable to assign historical
agency.
In this context above statements,
identify which one of the following is
correct ?
(A) (A) is correct but (R) is wrong.
(B) Both (A) and (R) are correct.
(C) (A) is wrong but (R) is correct.
(D) Both (A) and (R) are wrong.
Ans:(B) Both (A) and (R) are correct.[confusion]



44. Which of the following is the correct chronological sequence ?

(A) A Poison Tree – The Deserted Village – The Blessed Damozel – Ozymandias

(B) The Deserted Village – A Poison Tree – Ozymandias – The Blessed Damozel

(C) The Blessed Damozel – A Poison Tree – The Deserted Village – Ozymandias

(D) The Deserted Village – The Blessed Damozel – Ozymandias – A Poison Tree
Ans-The Deserted Village is a poem by Oliver Goldsmith published in 1770.-"A Poison Tree" is a poem written by William Blake, published in 1794 --Ozymandias, sonnet by Percy Bysshe Shelley, published in 1818."The Blessed Damozel" is perhaps the best known poem by Dante Gabriel Rossetti, which was first published in 1850



48. Match the following texts with their respective themes :

I. Areopagitica (Milton)                                  i. Fashion, courtship, seduction

II. Leviathan (Hobbes)                                    ii. The liberty for unlicensed printing

III. Alexander’s Feast (Dryden)                     iii. Absolute sovereignty

IV. The Way of the World (Congreve)            iv. The power of music

Codes :

I           II         III        IV

(A)          i               ii              iii             iv

(B)          ii              iii             iv             i

(C)          iii             iv             i               ii

(D)          iv             iii             i               ii

Ans-I. Areopagitica (Milton)  --  ii. The liberty for unlicensed printing
      II. Leviathan (Hobbes)  --- iii. Absolute sovereignty
      III. Alexander’s Feast (Dryden)  ---iv. The power of music
      IV. The Way of the World (Congreve)  -   i. Fashion, courtship, seduction

target


net literature puzzals



Verse that has no set theme – no regular meter, rhyme or stanzaic pattern is
(I) open form
(II) flexible form
(III) free verse
(IV) blank verse
The correct combination for the statement, according to the code, is
(A) I, II and III are correct
(B) III and IV are correct
(C) II, III and IV are correct
(D) I and III are correct
The Crystal Palace, a key exhibit of the Great Exhibition, was designed by
(A) Charles Darwin
(B) Edward Moxon
(C) Joseph Paxton
(D) Richard Owen

< Note: Crystal Palace, famous exhibition hall was designed by Sir Joseph Paxton for the Great Exhibition of 1851 in London, England. Because of its great size and its innovative use of glass and iron in prefabricated units, it was a milestone in the development of modern architecture. >
 A monosyllabic rhyme on the final stressed syllable of two lines of verse is called
(A) Moonshine
(B) Feminine rhyme
(C) Masculine rhyme
(D) Eye rhyme
7. Match the following :
1. The Sage of Concord  5. Emily Dickinson
2. The Nun of Amherst    6. R.W. Emerson
3. Mark Twain                7. T.S. Eliot
4. Old Possum                8. Samuel L. Clemens
(A) 1–6; 2–5; 3–8; 4–7
(B) 1–5; 2–6; 3–7; 4–8
(C) 1–8; 2–7; 3–6; 4–5
(D) 1–7; 2–8; 3–5; 4–6
Ans-The Sage of Concord---. R.W. Emerson
The Nun of Amherst-----Emily Dickinson
Mark Twain   -----   8. Samuel L. Clemens
Old Possum  ---. T.S. Eliot---  Old Possum's Book of Practical Cats is a collection of whimsical poems by T. S. Eliot

10. Which award is not given to Indian-English writers?
A. Booker Prize
B. Sahitya Akademi Award
C. Gyanpeeth
D. Whitbread Prize
ANS-D. Whitbread Prize


24. Match the following pairs of books and authors :

Books                                                                          Authors

I. Condition of the Working Class in England            i. John Ruskin

II. London Labour and the London Poor                   ii. Henry Mayhew

III. Past and Present                                                   iii. Thomas Carlyle

IV. The Unto This Last                                              iv. Friedrich Engels

Codes :

I           II         III        IV

(A)       iv         i           ii          iii

(B)       iv         ii          iii         i

(C)       ii          iv         i           ii

(D)       iii         ii          iv         iv

Ans-(B)       iv         ii          iii         i
the Condition of the Working-Class in England in 1844, by Frederick Engels,London Labour and the London Poor is a work of Victorian journalism by Henry Mayhew.Past and Present is a book by Thomas Carlyle. It was published in April 1843 in England and the following month in the United States. "Unto This Last" is an essay on economy by John Ruskin, first published in December 1860 in the monthly journal Cornhill Magazine in four articles.


32. Which of the following author– theme is correctly matched?

(A) The Battle of the Books     Tribute to “The rude forefathers of the hamlet”.

(B) The Rape of the Lock        Quarrel between ancient and modern authors.

(C) Gray’s “Elegy”                   Accumulation of wealth and the consequent loss of      human lives and values.

(D) The Deserted Village        Quarrel between two families caused by Lord Petre.

ANS- The Battle of the Books - quarrel between ancient and modern authors, The Rape of the Lock - quarrel between two families caused by Lord Petre, Gray's elegy is a tribute to the rude forefathers of the hamlet.The Deserted Village -Accumulation of wealth and the consequent loss of  human lives and values.

37. When one says that “someone is no more” or that “someone has breathed his/ her last”, the speaker is resorting to

(A) Euphuism

(B) Euphony

(C) Understatement

(D) Euphemism
Ans-(D) Euphemism-the substitution of a mild, indirect, or vague expression for one thought to be offensive, harsh, or blunt.2.the expression so substituted: “To pass away” is a euphemism for “to die.”

40. Which of the following is a better definition of an image in literary writing ?

(A) A reflection

(B) A speaking picture

(C) A refraction

(D) A reflected picture
Ans-(B) A speaking picture

target


net literature puzzals



Verse that has no set theme – no regular meter, rhyme or stanzaic pattern is
(I) open form
(II) flexible form
(III) free verse
(IV) blank verse
The correct combination for the statement, according to the code, is
(A) I, II and III are correct
(B) III and IV are correct
(C) II, III and IV are correct
(D) I and III are correct
The Crystal Palace, a key exhibit of the Great Exhibition, was designed by
(A) Charles Darwin
(B) Edward Moxon
(C) Joseph Paxton
(D) Richard Owen

< Note: Crystal Palace, famous exhibition hall was designed by Sir Joseph Paxton for the Great Exhibition of 1851 in London, England. Because of its great size and its innovative use of glass and iron in prefabricated units, it was a milestone in the development of modern architecture. >
 A monosyllabic rhyme on the final stressed syllable of two lines of verse is called
(A) Moonshine
(B) Feminine rhyme
(C) Masculine rhyme
(D) Eye rhyme
7. Match the following :
1. The Sage of Concord  5. Emily Dickinson
2. The Nun of Amherst    6. R.W. Emerson
3. Mark Twain                7. T.S. Eliot
4. Old Possum                8. Samuel L. Clemens
(A) 1–6; 2–5; 3–8; 4–7
(B) 1–5; 2–6; 3–7; 4–8
(C) 1–8; 2–7; 3–6; 4–5
(D) 1–7; 2–8; 3–5; 4–6
Ans-The Sage of Concord---. R.W. Emerson
The Nun of Amherst-----Emily Dickinson
Mark Twain   -----   8. Samuel L. Clemens
Old Possum  ---. T.S. Eliot---  Old Possum's Book of Practical Cats is a collection of whimsical poems by T. S. Eliot

10. Which award is not given to Indian-English writers?
A. Booker Prize
B. Sahitya Akademi Award
C. Gyanpeeth
D. Whitbread Prize
ANS-D. Whitbread Prize


24. Match the following pairs of books and authors :

Books                                                                          Authors

I. Condition of the Working Class in England            i. John Ruskin

II. London Labour and the London Poor                   ii. Henry Mayhew

III. Past and Present                                                   iii. Thomas Carlyle

IV. The Unto This Last                                              iv. Friedrich Engels

Codes :

I           II         III        IV

(A)       iv         i           ii          iii

(B)       iv         ii          iii         i

(C)       ii          iv         i           ii

(D)       iii         ii          iv         iv

Ans-(B)       iv         ii          iii         i
the Condition of the Working-Class in England in 1844, by Frederick Engels,London Labour and the London Poor is a work of Victorian journalism by Henry Mayhew.Past and Present is a book by Thomas Carlyle. It was published in April 1843 in England and the following month in the United States. "Unto This Last" is an essay on economy by John Ruskin, first published in December 1860 in the monthly journal Cornhill Magazine in four articles.


32. Which of the following author– theme is correctly matched?

(A) The Battle of the Books     Tribute to “The rude forefathers of the hamlet”.

(B) The Rape of the Lock        Quarrel between ancient and modern authors.

(C) Gray’s “Elegy”                   Accumulation of wealth and the consequent loss of      human lives and values.

(D) The Deserted Village        Quarrel between two families caused by Lord Petre.

ANS- The Battle of the Books - quarrel between ancient and modern authors, The Rape of the Lock - quarrel between two families caused by Lord Petre, Gray's elegy is a tribute to the rude forefathers of the hamlet.The Deserted Village -Accumulation of wealth and the consequent loss of  human lives and values.

37. When one says that “someone is no more” or that “someone has breathed his/ her last”, the speaker is resorting to

(A) Euphuism

(B) Euphony

(C) Understatement

(D) Euphemism
Ans-(D) Euphemism-the substitution of a mild, indirect, or vague expression for one thought to be offensive, harsh, or blunt.2.the expression so substituted: “To pass away” is a euphemism for “to die.”

40. Which of the following is a better definition of an image in literary writing ?

(A) A reflection

(B) A speaking picture

(C) A refraction

(D) A reflected picture
Ans-(B) A speaking picture

target


net literature puzzals



Verse that has no set theme – no regular meter, rhyme or stanzaic pattern is
(I) open form
(II) flexible form
(III) free verse
(IV) blank verse
The correct combination for the statement, according to the code, is
(A) I, II and III are correct
(B) III and IV are correct
(C) II, III and IV are correct
(D) I and III are correct
The Crystal Palace, a key exhibit of the Great Exhibition, was designed by
(A) Charles Darwin
(B) Edward Moxon
(C) Joseph Paxton
(D) Richard Owen

< Note: Crystal Palace, famous exhibition hall was designed by Sir Joseph Paxton for the Great Exhibition of 1851 in London, England. Because of its great size and its innovative use of glass and iron in prefabricated units, it was a milestone in the development of modern architecture. >
 A monosyllabic rhyme on the final stressed syllable of two lines of verse is called
(A) Moonshine
(B) Feminine rhyme
(C) Masculine rhyme
(D) Eye rhyme
7. Match the following :
1. The Sage of Concord  5. Emily Dickinson
2. The Nun of Amherst    6. R.W. Emerson
3. Mark Twain                7. T.S. Eliot
4. Old Possum                8. Samuel L. Clemens
(A) 1–6; 2–5; 3–8; 4–7
(B) 1–5; 2–6; 3–7; 4–8
(C) 1–8; 2–7; 3–6; 4–5
(D) 1–7; 2–8; 3–5; 4–6
Ans-The Sage of Concord---. R.W. Emerson
The Nun of Amherst-----Emily Dickinson
Mark Twain   -----   8. Samuel L. Clemens
Old Possum  ---. T.S. Eliot---  Old Possum's Book of Practical Cats is a collection of whimsical poems by T. S. Eliot

10. Which award is not given to Indian-English writers?
A. Booker Prize
B. Sahitya Akademi Award
C. Gyanpeeth
D. Whitbread Prize
ANS-D. Whitbread Prize


24. Match the following pairs of books and authors :

Books                                                                          Authors

I. Condition of the Working Class in England            i. John Ruskin

II. London Labour and the London Poor                   ii. Henry Mayhew

III. Past and Present                                                   iii. Thomas Carlyle

IV. The Unto This Last                                              iv. Friedrich Engels

Codes :

I           II         III        IV

(A)       iv         i           ii          iii

(B)       iv         ii          iii         i

(C)       ii          iv         i           ii

(D)       iii         ii          iv         iv

Ans-(B)       iv         ii          iii         i
the Condition of the Working-Class in England in 1844, by Frederick Engels,London Labour and the London Poor is a work of Victorian journalism by Henry Mayhew.Past and Present is a book by Thomas Carlyle. It was published in April 1843 in England and the following month in the United States. "Unto This Last" is an essay on economy by John Ruskin, first published in December 1860 in the monthly journal Cornhill Magazine in four articles.


32. Which of the following author– theme is correctly matched?

(A) The Battle of the Books     Tribute to “The rude forefathers of the hamlet”.

(B) The Rape of the Lock        Quarrel between ancient and modern authors.

(C) Gray’s “Elegy”                   Accumulation of wealth and the consequent loss of      human lives and values.

(D) The Deserted Village        Quarrel between two families caused by Lord Petre.

ANS- The Battle of the Books - quarrel between ancient and modern authors, The Rape of the Lock - quarrel between two families caused by Lord Petre, Gray's elegy is a tribute to the rude forefathers of the hamlet.The Deserted Village -Accumulation of wealth and the consequent loss of  human lives and values.

37. When one says that “someone is no more” or that “someone has breathed his/ her last”, the speaker is resorting to

(A) Euphuism

(B) Euphony

(C) Understatement

(D) Euphemism
Ans-(D) Euphemism-the substitution of a mild, indirect, or vague expression for one thought to be offensive, harsh, or blunt.2.the expression so substituted: “To pass away” is a euphemism for “to die.”

40. Which of the following is a better definition of an image in literary writing ?

(A) A reflection

(B) A speaking picture

(C) A refraction

(D) A reflected picture
Ans-(B) A speaking picture

target


net literature puzzals



Verse that has no set theme – no regular meter, rhyme or stanzaic pattern is
(I) open form
(II) flexible form
(III) free verse
(IV) blank verse
The correct combination for the statement, according to the code, is
(A) I, II and III are correct
(B) III and IV are correct
(C) II, III and IV are correct
(D) I and III are correct
The Crystal Palace, a key exhibit of the Great Exhibition, was designed by
(A) Charles Darwin
(B) Edward Moxon
(C) Joseph Paxton
(D) Richard Owen

< Note: Crystal Palace, famous exhibition hall was designed by Sir Joseph Paxton for the Great Exhibition of 1851 in London, England. Because of its great size and its innovative use of glass and iron in prefabricated units, it was a milestone in the development of modern architecture. >
 A monosyllabic rhyme on the final stressed syllable of two lines of verse is called
(A) Moonshine
(B) Feminine rhyme
(C) Masculine rhyme
(D) Eye rhyme
7. Match the following :
1. The Sage of Concord  5. Emily Dickinson
2. The Nun of Amherst    6. R.W. Emerson
3. Mark Twain                7. T.S. Eliot
4. Old Possum                8. Samuel L. Clemens
(A) 1–6; 2–5; 3–8; 4–7
(B) 1–5; 2–6; 3–7; 4–8
(C) 1–8; 2–7; 3–6; 4–5
(D) 1–7; 2–8; 3–5; 4–6
Ans-The Sage of Concord---. R.W. Emerson
The Nun of Amherst-----Emily Dickinson
Mark Twain   -----   8. Samuel L. Clemens
Old Possum  ---. T.S. Eliot---  Old Possum's Book of Practical Cats is a collection of whimsical poems by T. S. Eliot

10. Which award is not given to Indian-English writers?
A. Booker Prize
B. Sahitya Akademi Award
C. Gyanpeeth
D. Whitbread Prize
ANS-D. Whitbread Prize


24. Match the following pairs of books and authors :

Books                                                                          Authors

I. Condition of the Working Class in England            i. John Ruskin

II. London Labour and the London Poor                   ii. Henry Mayhew

III. Past and Present                                                   iii. Thomas Carlyle

IV. The Unto This Last                                              iv. Friedrich Engels

Codes :

I           II         III        IV

(A)       iv         i           ii          iii

(B)       iv         ii          iii         i

(C)       ii          iv         i           ii

(D)       iii         ii          iv         iv

Ans-(B)       iv         ii          iii         i
the Condition of the Working-Class in England in 1844, by Frederick Engels,London Labour and the London Poor is a work of Victorian journalism by Henry Mayhew.Past and Present is a book by Thomas Carlyle. It was published in April 1843 in England and the following month in the United States. "Unto This Last" is an essay on economy by John Ruskin, first published in December 1860 in the monthly journal Cornhill Magazine in four articles.


32. Which of the following author– theme is correctly matched?

(A) The Battle of the Books     Tribute to “The rude forefathers of the hamlet”.

(B) The Rape of the Lock        Quarrel between ancient and modern authors.

(C) Gray’s “Elegy”                   Accumulation of wealth and the consequent loss of      human lives and values.

(D) The Deserted Village        Quarrel between two families caused by Lord Petre.

ANS- The Battle of the Books - quarrel between ancient and modern authors, The Rape of the Lock - quarrel between two families caused by Lord Petre, Gray's elegy is a tribute to the rude forefathers of the hamlet.The Deserted Village -Accumulation of wealth and the consequent loss of  human lives and values.

37. When one says that “someone is no more” or that “someone has breathed his/ her last”, the speaker is resorting to

(A) Euphuism

(B) Euphony

(C) Understatement

(D) Euphemism
Ans-(D) Euphemism-the substitution of a mild, indirect, or vague expression for one thought to be offensive, harsh, or blunt.2.the expression so substituted: “To pass away” is a euphemism for “to die.”

40. Which of the following is a better definition of an image in literary writing ?

(A) A reflection

(B) A speaking picture

(C) A refraction

(D) A reflected picture
Ans-(B) A speaking picture

target


net literature puzzals



Verse that has no set theme – no regular meter, rhyme or stanzaic pattern is
(I) open form
(II) flexible form
(III) free verse
(IV) blank verse
The correct combination for the statement, according to the code, is
(A) I, II and III are correct
(B) III and IV are correct
(C) II, III and IV are correct
(D) I and III are correct
The Crystal Palace, a key exhibit of the Great Exhibition, was designed by
(A) Charles Darwin
(B) Edward Moxon
(C) Joseph Paxton
(D) Richard Owen

< Note: Crystal Palace, famous exhibition hall was designed by Sir Joseph Paxton for the Great Exhibition of 1851 in London, England. Because of its great size and its innovative use of glass and iron in prefabricated units, it was a milestone in the development of modern architecture. >
 A monosyllabic rhyme on the final stressed syllable of two lines of verse is called
(A) Moonshine
(B) Feminine rhyme
(C) Masculine rhyme
(D) Eye rhyme
7. Match the following :
1. The Sage of Concord  5. Emily Dickinson
2. The Nun of Amherst    6. R.W. Emerson
3. Mark Twain                7. T.S. Eliot
4. Old Possum                8. Samuel L. Clemens
(A) 1–6; 2–5; 3–8; 4–7
(B) 1–5; 2–6; 3–7; 4–8
(C) 1–8; 2–7; 3–6; 4–5
(D) 1–7; 2–8; 3–5; 4–6
Ans-The Sage of Concord---. R.W. Emerson
The Nun of Amherst-----Emily Dickinson
Mark Twain   -----   8. Samuel L. Clemens
Old Possum  ---. T.S. Eliot---  Old Possum's Book of Practical Cats is a collection of whimsical poems by T. S. Eliot

10. Which award is not given to Indian-English writers?
A. Booker Prize
B. Sahitya Akademi Award
C. Gyanpeeth
D. Whitbread Prize
ANS-D. Whitbread Prize


24. Match the following pairs of books and authors :

Books                                                                          Authors

I. Condition of the Working Class in England            i. John Ruskin

II. London Labour and the London Poor                   ii. Henry Mayhew

III. Past and Present                                                   iii. Thomas Carlyle

IV. The Unto This Last                                              iv. Friedrich Engels

Codes :

I           II         III        IV

(A)       iv         i           ii          iii

(B)       iv         ii          iii         i

(C)       ii          iv         i           ii

(D)       iii         ii          iv         iv

Ans-(B)       iv         ii          iii         i
the Condition of the Working-Class in England in 1844, by Frederick Engels,London Labour and the London Poor is a work of Victorian journalism by Henry Mayhew.Past and Present is a book by Thomas Carlyle. It was published in April 1843 in England and the following month in the United States. "Unto This Last" is an essay on economy by John Ruskin, first published in December 1860 in the monthly journal Cornhill Magazine in four articles.


32. Which of the following author– theme is correctly matched?

(A) The Battle of the Books     Tribute to “The rude forefathers of the hamlet”.

(B) The Rape of the Lock        Quarrel between ancient and modern authors.

(C) Gray’s “Elegy”                   Accumulation of wealth and the consequent loss of      human lives and values.

(D) The Deserted Village        Quarrel between two families caused by Lord Petre.

ANS- The Battle of the Books - quarrel between ancient and modern authors, The Rape of the Lock - quarrel between two families caused by Lord Petre, Gray's elegy is a tribute to the rude forefathers of the hamlet.The Deserted Village -Accumulation of wealth and the consequent loss of  human lives and values.

37. When one says that “someone is no more” or that “someone has breathed his/ her last”, the speaker is resorting to

(A) Euphuism

(B) Euphony

(C) Understatement

(D) Euphemism
Ans-(D) Euphemism-the substitution of a mild, indirect, or vague expression for one thought to be offensive, harsh, or blunt.2.the expression so substituted: “To pass away” is a euphemism for “to die.”

40. Which of the following is a better definition of an image in literary writing ?

(A) A reflection

(B) A speaking picture

(C) A refraction

(D) A reflected picture
Ans-(B) A speaking picture

44. Which of the following is the correct chronological sequence ?

(A) A Poison Tree – The Deserted Village – The Blessed Damozel – Ozymandias

(B) The Deserted Village – A Poison Tree – Ozymandias – The Blessed Damozel

(C) The Blessed Damozel – A Poison Tree – The Deserted Village – Ozymandias

(D) The Deserted Village – The Blessed Damozel – Ozymandias – A Poison Tree
Ans-The Deserted Village is a poem by Oliver Goldsmith published in 1770.-"A Poison Tree" is a poem written by William Blake, published in 1794 --Ozymandias, sonnet by Percy Bysshe Shelley, published in 1818."The Blessed Damozel" is perhaps the best known poem by Dante Gabriel Rossetti, which was first published in 1850



48. Match the following texts with their respective themes :

I. Areopagitica (Milton)                                  i. Fashion, courtship, seduction

II. Leviathan (Hobbes)                                    ii. The liberty for unlicensed printing

III. Alexander’s Feast (Dryden)                     iii. Absolute sovereignty

IV. The Way of the World (Congreve)            iv. The power of music

Codes :

I           II         III        IV

(A)          i               ii              iii             iv

(B)          ii              iii             iv             i

(C)          iii             iv             i               ii

(D)          iv             iii             i               ii

Ans-I. Areopagitica (Milton)  --  ii. The liberty for unlicensed printing
     II. Leviathan (Hobbes)  --- iii. Absolute sovereignty
     III. Alexander’s Feast (Dryden)  ---iv. The power of music
     IV. The Way of the World (Congreve)  -   i. Fashion, courtship, seduction

Monday 28 April 2014

DRYDEN and his SATIRE


DRYDEN and his SATIRE

 The English satirist who used the sharp edge of praise to attack his victims was
(A) Ben Jonson
(B) John Donne
(C) John Dryden
(D) Samuel Butler
As poet laureate, Dryden could not stand aside, and in November 1681 he came to the support of the king(Whig) with his Absalom and Achitophel, Adopting as his framework the Old Testament story of King David (Charles II), his favourite son Absalom (Monmouth), and the false Achitophel (Shaftesbury), who persuaded Absalom to revolt against his father. As anti-Whig propaganda,  as pro-Tory propaganda it is equally remarkable for its serene and persuasive affirmation. When a London grand jury refused to indict Shaftesbury for treason, his fellow Whigs voted him a medal. In response Dryden published early in 1682 The Medall, a work full of unsparing invective against the Whigs, prefaced by a vigorous and plainspoken prose “Epistle to the Whigs.” In the same year,  in Mac Flecknoe Shadwell’s abilities as a literary artist and critic are ridiculed so ludicrously and with such good-humoured contempt that his reputation has suffered ever since. The basis of the satire, which represents Shadwell as a literary dunce, is the disagreement between him and Dryden over the quality of Ben Jonson’s wit. Dryden thinks Jonson deficient in this quality, while Shadwell regards the Elizabethan playwright with uncritical reverence. This hilarious comic lampoon was both the first English mock-heroic poem and the immediate ancestor of Alexander Pope’s The Dunciad.

In his longest poem, the beast fable The Hind and the Panther (1687), he argued the case for his adopted church against the Church of England and the sects. His earlier Religio Laici (1682) had argued in eloquent couplets for the consolations of Anglicanism and against unbelievers, Protestant dissenters, and Roman Catholics. 

Philip Larkin: “The Whitsun Weddings”

Philip Larkin: “The Whitsun Weddings”



Although Philip Larkin turned down the office of Britain’s poet laureate following the death of John Betjeman in 1984 (it ended up going to Ted Hughes), Larkin had already inherited Betjeman’s cultural place in Britain and was one of the country’s most popular poets. Three of his poems, including “The Whitsun Weddings,” appear in The Nation’s Favourite Poems (BBC, 1996), an anthology of the 100 most popular poems in the UK; only T.S. Eliot and W.B. Yeats have more.

Larkin was Britain’s poet laureate of disappointment. His cynicism was softened only by his skepticism, which only rarely admitted any expression of new possibility, as in his late poem “The Trees”: “Last year is dead, they seem to say, / Begin afresh, afresh, afresh.” (For Larkin, there’s as much emphasis on the word “seem” as “afresh.”) But Larkin was more famous for his satiric stanzas. It’s a good bet that those who know anything of poetry in Britain—as well as many who don’t—know by heart the opening stanza of “This Be the Verse”:
They fuck you up, your mum and dad.
They may not mean to, but they do.
They fill you with the faults they had
And add some extra just for you.

Larkin’s popularity seemed to grow from this disabused temperament, which captures the feelings of those who think they do not like poetry, as well as those who think they do. It was Larkin, after all, who ended his poem “A Study of Reading Habits” with the lines “Get stewed: / Books are a load of crap.”

Yet for all his meanness, there is also irreverent wit and a melancholy mitigated by his resolve to look at life as it is. Readers came to trust him; his poems have a sense of psychological scale, candor, and a thorough ease with metrical forms that place Larkin firmly in a British poetic tradition. If his vision is elegiac, one of gradual diminishment, it is also one of rich and nuanced emotional response. Larkin is a great poet of middle age, whose instinct for social satire amplifies his sense of poignancy. Betjeman describes Larkin’s work as “tenderly observant”; that he could also be bracing and acerbic implies his complexity. (Robert Pinsky’s description of the poems as “sour, majestic refusals” captures it well.) In its harmony of change and loss played against the melody of the poem’s wedding narrative, “The Whitsun Weddings” (1958) shows this contradiction to great effect. The poem may be Larkin’s best.

Whitsun, or Whit Sunday, is the seventh Sunday after Easter (Pentecost), deep into spring, when people often marry. During the ’50s, it was also an opportune weekend to wed because of financial advantages afforded by the British tax code and, as a long weekend, a good one for holiday traveling. This may explain why Larkin saw so many wedding parties during an actual train ride in 1955, which gave him the germ of the poem.
That Whitsun, I was late getting away:
Not till about
One-twenty on the sunlit Saturday
Did my three-quarters-empty train pull out,
All windows down, all cushions hot, all sense
Of being in a hurry gone. We ran
Behind the backs of houses, crossed a street
Of blinding windscreens, smelt the fish-dock; thence
The river's level drifting breadth began,
Where sky and Lincolnshire and water meet.

The opening, so characteristic of Larkin, is conversational yet rhythmically firm, announcing the anecdotal mode and quickly establishing the sensation of the city’s hurrying bustle dropping away with the train’s departure. In the “river’s level drifting breadth,” Larkin creates an image of continuity between sky and city and water that the train itself mimics; it is the central image of the poem, the form of an unfolding movement that connects distinct locations and points of time.
All afternoon, through the tall heat that slept
For miles inland,
A slow and stopping curve southwards we kept.
Wide farms went by, short-shadowed cattle, and
Canals with floatings of industrial froth;
A hothouse flashed uniquely: hedges dipped
And rose: and now and then a smell of grass
Displaced the reek of buttoned carriage-cloth
Until the next town, new and nondescript,
Approached with acres of dismantled cars.

Larkin manages the easy naturalness of his voice so flawlessly that one hardly notices the poem’s rhyming stanza structure (ABABCDECDE), a kind of shortened sonnet (the quatrain is Shakespearean, the sestet Petrarchan). Keats invented this stanza for his summer odes, and Larkin’s formal allusion evokes the summer season, its redolent promise and pastoral sweetness. Just as Keats never loses sense, in the summer odes, that abundance comes from the process of mutation, of organic breakdown, in Larkin there is never any sweetness without much sour. The fantasy of the pastoral landscape, its farms and hedges, gains grittier reality with the “floatings of industrial froth,” like the plumpness of Keats’ sensual imagery and musical phrasing in “To Autumn” turned rancid: the smell of grass competes with the stale smell of the cloth seats inside the train carriage. Such pungent realism goes a long way in setting the stage for the plausible yet fantastic coincidence of coming upon a sequence of wedding parties:
At first, I didn't notice what a noise
The weddings made
Each station that we stopped at: sun destroys
The interest of what's happening in the shade,
And down the long cool platforms whoops and skirls
I took for porters larking with the mails,
And went on reading. Once we started, though,
We passed them, grinning and pomaded, girls
In parodies of fashion, heels and veils,
All posed irresolutely, watching us go

I find “what’s happening in the shade” a little strange, I have to say. Larkin’s initial confusion that the girls are actually men —that is, “porters larking with the mails”—becomes somewhat charged in the crossed wires of homonym. To what degree one can read the “larking” as the Larkin only a Freudian would dare imply, yet to anyone listening to the sounds the poem makes, Larkin’s pun on his own name appears like a signature hidden in a painted shrub. But I marvel at Larkin’s suave mastery with the modulations of verse movement, the way the run and pause driving each line generates rhythmic tension.

Verse movement is like the muscular contraction in the athletic body of the poem; one place to pay attention to it is at the ends of lines. Larkin’s sentence runs over the boundary where the line ends in the first three lines, then again in the fifth and eighth, pausing in between to create a complex rhythm. (Larkin, an enthusiast for New Orleans and swing-era jazz, has a hot feel for rhythm; all his poems swing, and swing hardest at the ends of lines.)

As each line unfolds, Larkin also controls the release of information: one line adds to the image of another without becoming overloaded by too much detail. The technique is classical: clarity, concision, and balance of image, action, and statement. But the style is all his own. The image of the grinning and pomaded girls “in parodies of fashion” is classic Larkin, demonstrating his flair for making vivid and distinct even those shared characteristics that turn individual figures into “types.” One finds it again in the fourth stanza, in “mothers loud and fat,” “an uncle shouting smut,” and in the perms, gloves, and fake jewelry to which people seem grotesquely reduced:
As if out on the end of an event
Waving goodbye
To something that survived it. Struck, I leant
More promptly out next time, more curiously,
And saw it all again in different terms:
The fathers with broad belts under their suits
And seamy foreheads; mothers loud and fat;
An uncle shouting smut; and then the perms,
The nylon gloves and jewelry-substitutes,
The lemons, mauves, and olive-ochers that

Marked off the girls unreally from the rest.

This fourth stanza introduces a new formal event to the poem. Where previously the syntax of the poem stopped or paused at the end of each stanza, here it runs over the stanza boundary quite violently, in the middle of a phrase, in order to complete the syntax in the first line of the next one (the fifth). No accident, the poem repeats the move twice, in the same position, in subsequent stanzas; the effect establishes an expectation of overrunning (the speaker is in a moving train, after all):
Yes, from cafes
And banquet-halls up yards, and bunting-dressed
Coach-party annexes, the wedding-days
Were coming to an end. All down the line
Fresh couples climbed aboard: the rest stood round;
The last confetti and advice were thrown,
And, as we moved, each face seemed to define
Just what it saw departing: children frowned
At something dull; fathers had never known

Success so huge and wholly farcical;
The women shared
The secret like a happy funeral;
While girls, gripping their handbags tighter, stared
At a religious wounding. Free at last,
And loaded with the sum of all they saw,
We hurried towards London, shuffling gouts of steam.
Now fields were building-plots, and poplars cast
Long shadows over major roads, and for
Some fifty minutes, that in time would seem

Just long enough to settle hats and say
I nearly died,
A dozen marriages got under way.

Larkin’s genius for abstracting from experience is heightened in this poem, in which his talents so brilliantly serve the narrative of a simple discovery: that each unique wedding party is in truth like all the other wedding parties gathering that day, a perception only the poet realizes, because he is in the privileged position of witnessing each one. He is the single consciousness of the poem; just as sky and Lincolnshire and water meet along the visual line of the river, so all the Whitsun weddings meet along the train-line and the line of consciousness that belongs to the poet, a paradoxical still point moving through time and space.

To even a casual reader of the social satire at which Larkin excels, the frowning children, the proud fathers, the sentimental girls are all genuinely funny, but their depiction also displays their humanity, common with the poet’s own: “Free at last, / And loaded with the sum of all they saw, / We hurried towards London.” What they have seen, the poet too has seen; and as “they” become “we” in the collective hurrying, they join him, and so are joined to him.

The poem refuses any sentimentality suggested by such a formulation, however, by insisting on each individual’s separateness, not unlike the way each passenger arrives at his or her own destination, alongside the others on the train:

They watched the landscape, sitting side by side
—An Odeon went past, a cooling tower,
And someone running up to bowl—and none
Thought of the others they would never meet
Or how their lives would all contain this hour.
I thought of London spread out in the sun,
Its postal districts packed like squares of wheat:

It’s here that Larkin creates a kind of heightened platform for the drama of his statement “There we were aimed” (the opening sentence of the final stanza). It’s a dramatic moment in the speech-act of the poem:
There we were aimed. And as we raced across
Bright knots of rail
Past standing Pullmans, walls of blackened moss
Came close, and it was nearly done, this frail
Traveling coincidence; and what it held
Stood ready to be loosed with all the power
That being changed can give. We slowed again,
And as the tightened brakes took hold, there swelled
A sense of falling, like an arrow-shower
Sent out of sight, somewhere becoming rain.

The train, now “aimed” at its London destination, becomes an arrow; and whose arrow could it be, on a day of so many weddings, but Cupid’s? Cupid’s arrow, which changes indifference to desire, carries a valence greater than even the god can know: for what begins as indifference and turns to love also turns to new forms of neglect, of difficulty, of disappointment (“And as the tightened brakes took hold, there swelled / A sense of falling, like an arrow-shower / Sent out of sight, somewhere becoming rain.”). Keats’ apprehension of the swelling autumn fruits turns, in Larkin’s poem, to an experience of vertigo. Yet the power of this final image lies not in the Romantic allusion, but in how Larkin uses a cliché, a shower of arrows.

In classical mythology, Cupid never fires a shower of arrows; he takes aim and shoots one at a time. In this poem, the arrows of Eros become the arrows of Mars—the arrows of war, shot by a body of archers. (Larkin claims he discovered the idea in Laurence Olivier’s film of Henry V.) Larkin takes the dead image of the arrow-shower and revivifies it by turning it into an image of real rain. While the poem implies the inevitable disappointment of love, the arrows of rain is a visionary image of expansion and release; and it’s an irony to say so, because the transformation takes place “out of sight.” Somewhere, the poem says, an arrow-shower is becoming rain; if love is turning somewhere to disappointment, the arrows of war are changing somewhere into a source of life. Where the fact of the rain is mundane, even all too routine, the transformation is startling, even magical.

In Larkin, the heroic gesture never stands; it is always re-scaled to the domestic. Here the technology of war is re-naturalized, just as each human life on the train (itself an arrow) leaves the bow only to dissolve midair into falling rain. (The rhyme of “train” and “rain” charges the correspondence at a subconscious acoustic level.) All things return to the conditions of nature; if the process entails loss, it is paradoxically a redeeming loss, for the process of losing has in it the wonder of mutation, which is a source of poetry itself.

Influence of the Indian Philosophy is seen in the writings of T.S. Eliot


  • Influence of the Indian Philosophy is seen in the writings of T.S. Eliot


  •  The Waste Land scores of literary, cultural, and artistic allusions from a variety of sources including the Upanishads,the Greek dramatists, Baudelaire, and the Bhagavad Gita. Greek mythology, the Bible, Chaucer, Dante, Spenser, Shakespeare, and Leonardo Da Vinci. he was occupied with Sanskrit, Pali and the metaphysics of Patanjali.  Ironically, within this menagerie of literary homages, Eliot has created a vast emptiness, a world of pain, suffering, desolation and despair, as if to suggest that even in the presence of all the greatest artistic and cultural achievements of mankind, we must understand that life is transitory and material things ephemeral.The Waste Land ends with the reiteration of the Three Cardinal Virtues from the second Brahmana passage in the Brihadaranyaka Upanishad: damyata (restraint), datta (charity) and dayadhvam (compassion) and the state of mind that follows obedience to the commands is indicated by blessing Shantih shantih shantih, that Eliot himself roughly translated as "the peace that passeth understanding." But it is the Gita that evidently made a more permanent imprint on Eliot's mind. It will be found relevant not only to The Waste Land, but to The Four Quarters, Ash Wednesday or Murder in the Cathedral, The Dry Salvages, and The Family Reunion. The tolerance preached by the Gita is echoed in Eliot's use of imagery drawn from several religions. He used SANSKRIT words: artha, avatara, dharma,  kala, kama, karma, moksha, nirvana, shanti . Eliot's message is the message of the Gita, of the essential utility of all activity: a message for all time, though it is harder to understand because it must be united from the materials, tone and perspective of his poems.


shelley

To whom is Mary Shelley’s famous work Frankenstein dedicated?
(A) Lord Byron
(B) Claire Clairmont
(C) William Godwin
(D) P.B. Shelley

<Some scholars have identified Frankenstein as the source of the genre of science fiction, which seeks to define the place of man in the universe. Both the idea of a 'mad scientist' and the concept of creating a person in a laboratory originated with Frankenstein. Following Mary Shelley's lead, authors such as Edgar Allan Poe, Robert Louis Stevenson, H. G. Wells, and, more recently, Robert A. Heinlein and Ray Bradbury have created horror stories whose protagonists face problems brought about by science gone awry.>

















 The concept of “Star-equilibrium” in connection with man-woman relationship appears in
(A) Women in Love
(B) Maurice
(C) Mrs. Dalloway
(D) The Old Wives’ Tales

  On the Star-Equilibrium Relationship in D.H. Lawrence’s Novels
 By reading Lawrence's three novels, namely, Sons and Lovers, Women in Love and Lady Chatterley's Lover, this thesis aims to illustrate Lawrence's metaphysics of star-equilibrium. His protagonists get free from imbalanced love and eventually achieve the star-equilibrium relationship.For Lawrence, the industrial world is a world of decadence and destruction and the only way to save the world is to establish positive relationships between man and nature, man and man, man and woman. Balance is the principle that guides these relationships. The industrial civilization has destroyed this principle by exercising the tyranny of mind over body. Consequently, man and woman become fragments and they desire to possess, even devour each other. That's the root of human being's tragedy. The only way out is to seek a kind of harmonious and balanced sexual love between man and woman in which body and mind are united so they will be no longer fragments. In this sexual love, man and woman have their freedom and independence while they are united. It's a relationship of both attraction and repulsion, like two stars in the sky. That's the star-equilibrium relationship in Lawrence's metaphysics.The Introduction in the thesis briefly introduces Lawrence's life and the background of the star-equilibrium theory and the literature review as wll. In Chapter one, the star-equilibrium theory is explained with its premise, definition and significance through evidence given by Freudian theory and Lawrence's own philosophical works. Lawrence holds that Freud's identification theory will not lead to the achievement of the star-equilibrium because it will annihilate the "sel" which is considered as the base of star-equilibrium by Lawrence. And then, the thesis especially discusses the definition and features of the integral self, which is the premise of the star-equilibrium, and ways to achieve it. In chapters two, three, and four, Lawrence's three major novels, Sons and Lovers, Women in Love and Lady Chatterley's Lover are analyzed to show the process of his protagonists'struggle for the equilibrium relationship. In Sons and Lovers, both Paul's mother and his girlfriend want to possess Paul's mind, which certainly leads to an imbalanced relation. In Women in Love, Lawrence puts forward his star-equilibrium theory for the first time by Birkin's celebrated trope—the two lovers like two single equal stars balanced in conjunction. In this novel, the two lovers achieve the tentative love in star-equilibrium. In Lady Chatterley's Lover, Connie finds her rebirth in the Wragby wood, and her love for nature also prepares the way for the aesthetic perception of the human male, the son of nature, and then of sexual experience. Withdrawal to nature leads to their finding and fulfilling their own selves, and the two disciples of nature unite to breed a seed of happiness. At last, a conclusion is drawn that by presenting the star-equilibrium theory. Lawrence points out the way toward self-integrating and self-fulfillment for the modern people.

Elizabeth Gaskell

Elizabeth Gaskell

Elizabeth Gaskell’s novel Mary Barton is sub-titled
(A) The Two Nations
(B) A Tale of Manchester Life
(C) A Story of Provincial Life
(D) The Factory Girl

( Mary Barton sub-titled as A Tale of Manchester Life (1848) examines the schism between rich and poor in industrial Manchester, England, during the 1840s.The story is set in the English city of Manchester between 1839 and 1842)
mary Barton Essay - Mary Barton: A Tale of Manchester Life, Elizabeth Cleghorn Gaskell

Introduction
Gaskell's first novel, Mary Barton, offers a sympathetic representation of the lives of the working class during a period of rapid industrialization and economic depression. Set in the manufacturing hub of nineteenth-century England, Manchester, the work combines the characteristics of a sentimental romance with the features of a social-problem novel—a genre that was at the height of its popularity during this time.

Biographical Information

Gaskell, the daughter of a Unitarian minister, was born in London to Elizabeth and William Stevenson on September 29, 1810. Her mother died a year after Gaskell was born, and she was sent to live in rural Cheshire with an aunt. There she attended a school for girls and studied languages and the fine arts. In 1831 Gaskell traveled to Newcastle, Edinburgh, and Manchester, where she met William Gaskell, a clergyman with the Unitarian Church, who later taught literature and history at Manchester New College. They married in 1831 and had six children, two of whom died in infancy. Gaskell apparently began writing Mary Barton as a distraction from the grief she experienced when her second child, William, died of scarlet fever in 1845. Encouraged by the success of the novel, Gaskell went on to write several short stories, two novellas, and four more novels: Cranford (1851-53); Ruth (1853); North and South (1855); and Sylvia's Lovers (1863). In 1857 she produced The Life of Charlotte Brontë, her only attempt at biography; it was far less successful than her fictional work. Financially secure, Gaskell devoted considerable time to various charitable causes and to maintaining an extensive correspondence with other writers such as Brontë and George Eliot. She died in Manchester in 1865 while working on her sixth novel, the unfinished Wives and Daughters (1864-66).

Plot and Major Characters

The title character of Mary Barton is a young woman from a working-class family living in Manchester in 1839, during a time of severe economic distress and political unrest caused by Parliament's rejection of the reform-oriented Chartist petition. Mary's father John, considered by some scholars to be the novel's true main character, is driven to crime by the desperate conditions of life among the workers in the cotton mill.

The novel opens with an outing by the workers to Green Heys Fields, outside the town proper, followed by the return of the Barton family to their humble but well-kept home. The family's fortunes soon decline, however, when Mary's mother dies and her father is forced out of work. The other families of the town share a similar fate, and although the poor try to assist each other, Manchester's wealthy families, particularly the mill owners, are indifferent to the workers' suffering. John Barton is chosen to represent the local trade union in delivering the Chartist petition to London. When he returns, disheartened by the petition's failure, he becomes increasingly bitter and sullen, chewing opium to stave off hunger.

The trade union to which he belongs decides to murder Harry Carson, the son of the mill owner—in retaliation for the death by starvation of one of the worker's children—and it is Barton who draws the lot to perform the deed. Jem Wilson, another worker and one of Mary's suitors, is accused of the crime, and Mary must try to clear his name without implicating her father. Originally a vain and frivolous young girl, Mary matures during the course of the novel into a serious, socially responsible woman. She initially accepts the attentions of Harry Carson, believing marriage to the son of a rich mill owner to be her only chance of escaping poverty and helping her father. Eventually, though, she rejects Carson, who in any event never intended to marry her, and acknowledges her love for Jem. The novel concludes with the revelation of the real murderer, Jem's release, and Mr. Carson's reconciliation with the dying John Barton. Mary and Jem marry and emigrate to Canada to escape the problems of urban industrialization and to start a new life together.

Major Themes

Mary Barton was written at the end of a decade that saw Britain's first major economic depression of the industrial era, and the novel describes in realistic detail the hardships that depression caused for the members of the working class. Gaskell's aim was to alert the middle and upper classes about a situation they generally ignored—out of convenience—and to effect social and economic reform and relief for the poor. Gaskell, in the preface to the work, stated that her intention was to convey information about the state of mind of workers who were “sore and irritable against the rich, the even tenor of whose seemingly happy lives appeared to increase the anguish caused by the lottery-like nature of their own.” Mary Barton also suggests that the rich consider change only out of self-interest—especially to avoid the eruption of violence as a result of those “sore and irritable” feelings, as seen with the murder of Carson's son.

The novel offers two possible responses by the poor to the poverty and destitution they face: resignation, exemplified by Alice Wilson; or rebellion, exemplified by John Barton. Barton's failure to accept his condition makes him seek revenge on the upper class; he wants one of the mill owners to experience firsthand what the poor experience all too often—the death of a child. In fact, the suffering of children as a result of the evils of industrialization is one of the novel's most powerful themes—there are several episodes involving children who are lost, injured, or starving to death. The generosity of the poor toward their fellow sufferers is also apparent in the novel and is best illustrated by the instance in which Mary, despite her preoccupation with her own desperate situation, returns to a Italian street performer to give him the last bit of bread in the house. Similarly, the attempt by John Barton and George Wilson to help the dying Ben Davenport is contrasted with the indifference of the Carson family to their employee's condition. Vivid pictures of the squalor of the Davenport household are contrasted with detailed descriptions of the Carson's luxuriously appointed home, thus illustrating the enormous gap between rich and poor as well as the inability of the rich to understand the desperation of the workers.

Such misunderstandings, silences, and general failures of the members of the two classes to communicate with one another account for much of the suffering that is a main theme of Mary Barton. Additionally, the themes of forgiveness and redemption are apparent in the senior Carson's forgiveness of his son's killer. United by the sorrow they feel for the loss of their loved ones, Carson and Barton abandon their adversarial relationship as the latter is dying at the novel's conclusion. Finally, the theme of hope is manifest in the relocation of Jem and Mary to Canada as well as in the birth of their infant son.

Critical Reception

Early reviews of Mary Barton were very favorable, and the novel's immediate success turned the unknown Gaskell into a celebrity. The book was not only popular with readers, but also garnered praise from such literary notables as Charles Dickens and Thomas Carlyle. A. B. Hopkins suggests that this novel was superior to similar examples of the social problem genre and that it “made the social novel respectable.” Hopkins claims that it “was the first novel to combine sincerity of purpose, convincing portrayal of character, and a largely unprejudiced picture of certain aspects of industrial life.” Critics don't necessarily agree, however, on whether that picture of working-class life is realistic or not. While John Lucas considers Mary Barton an improvement over other social problem novels in terms of realism, he nonetheless believes that Gaskell sidesteps the full implications of the workers' desperate situation by having John Barton commit murder. The murder, and Carson's forgiveness of the act, allowed Gaskell to simplify the social issues raised by the novel, according to Lucas, because it “offered the way out of her problem with Barton, his so awkwardly leading her to the exposure of false hopes she dare not abandon.” As a result Gaskell can conclude the novel with her middle-class liberal belief in the possibility of reform intact. Margaret Ganz agrees, claiming that “the weakest section of the novel is that in which Mrs. Gaskell offers a possible solution for the alienation so dramatically exemplified in John Barton's struggles. The concluding sections of the novel project her conviction, already suggested in earlier chapters, that a basic humanity is the only standard for successful relations between masters and men.”

Scholars have disagreed on the possible sources for the representation of working-class life in Mary Barton; some believe Gaskell drew exclusively on her own observations of Manchester workers, while others, such as Michael Wheeler and Monica Correa Fryckstedt, have suggested that Gaskell's familiarity with earlier industrial fiction also provided inspiration for the novel. Wheeler feels that the influence of earlier literature is one of the work's strong points.

Some critics have suggested that the social problem plot of Mary Barton is weakened by the addition of the romance plot, to which it is apparently unrelated. Jack L. Culross, however, answers charges that the novel lacks unity because of the pairing of the two narrative strands, claiming that “both plots are important because their themes counterpoint each other.” Jem and Mary's migration to Canada, a new land unsullied by the problems associated with Manchester, provides, according to Culross, “a fitting ending to a novel not about industrialism, but about hope.” Patsy Stoneman also believes the domestic plot line is important in order for the novel to develop “a contrast between two ethical systems, that of the working class, based on caring and cooperation, and that of the middle class, based on ownership, authority and the law.” Marjorie Stone believes that scholarly concern with the two plots has implications for gender politics; she maintains that “those who divide the world of Mary Barton into an implicitly or explicitly male political sphere and a female private sphere, or who split the ‘social-problem’ or ‘tragic’ from the ‘romance’ or ‘domestic’ plot of the novel, endorse gender-inflected paradigms that Gaskell's own novelistic practice repeatedly subverts.” Lisa Surridge has studied Gaskell's representations of masculinity in Mary Barton and concludes that although middle-class men in the world of the novel are usually not portrayed as nurturing or represented as “real men,” Gaskell's work is unique in presenting a “pattern of working-class men caring for children,” as well as several male characters acting as nurses to the sick and injured, and proposes a new paradigm for manhood. Pearl L. Brown answers those critics who charge that Margaret Hale, the heroine in Gaskell's North and South, is a more highly evolved female character than Mary Barton. Brown suggests that the years between the publication of the two novels represented, at least in Gaskell's view, a decline rather than a period of progress in the condition of women.

Dante

dante
The Divine Comedy is divided into
three canticas, each consisting of
(A) 30 cantos
(B) 33 cantos
(C) 24 cantos
(D) 28 cantos
Ans;(B) 33 cantos
The poem is composed of 14,233 lines that are divided into three ‘canticas’ Inferno, Purgatorio, and Paradiso, each consisting of 33 cantos,The Divine Comedy (Divina Commedia) is an epic poem written by Durante degli Alighieri or Dante (1265–1321), between c. 1308 and his death in 1321. It is one of the greatest works of world literature. The The poem describes Dante’s travels representing the soul’s journey towards God, guided first by the Roman poet Virgil and then by Beatrice, the subject of his love. Dante said he first met Beatrice Portinari at age nine, and claimed to have fallen in love without ever talking with her. When Beatrice died in 1290, Dante sought refuge in literature. In many of his poems, she is depicted as semi-divine, watching over him constantly and providing spiritual instruction, setting an example of ‘courtly love’ in later French and Provençal poetry.
Divina Commedia was written in a language Dante called “Italian,” mostly based on the regional dialect of Tuscany, but with some elements of Latin and other regional dialects. He deliberately aimed to reach a readership throughout Italy including laymen, clergymen and other poets and his work helped establish the Tuscan dialect as the standardized Italian language. Dante was one of the first (with Geoffrey Chaucer and Giovanni Boccaccio) to publish in the vernacular (scholarly works were written in Latin until the Enlightenment). The work was originally entitled Comedìa and Divina was added by Giovanni Boccaccio. ‘Comedy’ in the classical sense indicates belief in an ordered universe, in which events tended toward a happy ending under the influence of God, as Dante explained in a letter to Cangrande I della Scala. The pilgrimage from Hell to Paradise is the expression of comedy, since the work begins with the pilgrim’s moral confusion and ends with the vision of God.
Dante draws on medieval Christian theology and philosophy, especially the Summa Theologica by Thomas Aquinas and early Islamic philosophy derived from Medieval Christian mysticism which shared the Neoplatonic influence of Sufism. Dante would have encountered these influences during his exile at the court of Alfonso X. In the poem, allegorically, Dante meets several great saints of the Church, including Thomas Aquinas, Bonaventure, Saint Peter, and St. John.
The poem is composed of 14,233 lines that are divided into three ‘canticas’ Inferno, Purgatorio, and Paradiso, each consisting of 33 cantos. the verse scheme used, terza rima (hendecasyllabic -lines of eleven syllables with the lines composing tercets aba, bcb, cdc, ded) The poem is written in the first person, and tells of Dante’s journey through the three realms, from the night before Good Friday to the Wednesday after Easter in the spring of 1300. The Roman poet Virgil guides him through Hell and Purgatory, and Beatrice guides him through Heaven. The structure is complex, with mathematical and numerological patterns related to the Trinity and the numerical pattern of 9 + 1 (=10): 9 circles of the Inferno + Lucifer at its bottom; 9 rings of Mount Purgatory, followed by the Garden of Eden crowning its summit; 9 celestial bodies of Paradiso, followed by the Empyrean containing the very essence of God. Hell is full of wild animals and there is no sun (sun symbolizes salvation). Dante and Virgil ascend out of the underworld towards the Mountain of Purgatory which is on an island in the Southern Hemisphere. Allegorically, the Purgatorio represents the Christian life. It has seven levels that correspond to the seven deadly sins. Dante offers illustrative examples of sin and virtue that draw on classical and biblical sources as well as on contemporary events. Love is the most important theme. While the love that flows from God is pure, it can become sinful as it flows through humanity. Human love can turn into sins like Wrath, Envy, or Pride, and weaken into Sloth, or become too strong (Lust, Gluttony, Greed). Below the level of the seven deadly sins there is an Ante-Purgatory, containing those excommunicated from the church and late-repentants who died without receiving rites, so the total comes to nine, with the addition of the Garden of Eden at the summit (10).
Purgatorio is notable for demonstrating the medieval knowledge of a spherical earth. Beatrice guides Dante through the nine celestial spheres of Heaven, following Aristotelian and Ptolemaic cosmology. While the structures of the Inferno and Purgatorio were based on different classifications of sin, Paradiso is based on the four cardinal (prudence, fortitude, justice and temperance) and the three theological virtues (faith, hope and love). The seven known planets of the solar system are interpreted in relation to earth and to Christian allegory. The Moon, contains the inconstant, whose vows to God waned as the moon and thus lack fortitude; Mercury, contains the ambitious, who were virtuous for glory and thus lacked justice; Venus the lovers, whose love was directed towards another than God and thus lacked temperance; Mars contains the men of fortitude who died in the cause of Christianity; Jupiter contains men of Justice; Saturn the temperant, and the Sun, contains the prudent, whose wisdom lighted the way for the other virtues.
The Comedy was an important source of inspiration to British poet John Milton, and to the poet and illustrator William Blake as well as other romantic writers of the 19th century. Later authors such as T. S. Eliot, Ezra Pound, Samuel Beckett, C. S. Lewis and James Joyce have drawn on it. The North-American poet Henry Wadsworth Longfellow and others such as the Irish poet Seamus Heaney, and Russian Aleksandr Serguéyevich Pushkin.

Bible







.



 The first complete printed English Bible was produced by
(A) William Tyndale
(B) William Caxton
(C) Miles Coverdale
(D) Roger Ascham

(In 1535 AD, Myles Coverdale's Bible; The first complete Bible was printed in the English Language)

1384 AD: Wycliffe is the First Person to Produce a (Hand-Written) manuscript Copy of the Complete Bible; All 80 Books.his followers, called the Lollards, and The Wycliffe Bible was persecuted and was a product of spiritual revival; it was the Bible of the Lollards. Laws were passed against it and its translator’s bones were dug up and burned.

1455 AD: Gutenberg Invents the Printing Press; Books May Now be mass-Produced Instead of Individually Hand-Written. The First Book Ever Printed is Gutenberg's Bible, was a Latin language Bible, printed in Mainz, Germany.

1516 AD: Erasmus Produces a Greek/Latin Parallel New Testament.

1522 AD: Martin Luther's German New Testament.

1526 AD: William Tyndale's New Testament; The First New Testament printed in the English Language.The Tyndale Bible was persecuted; thousands of copies were burned and otherwise destroyed by ecclesiastical authorities; laws were passed against it; and its translator was burned at the stake.

1535 AD: Myles Coverdale's Bible; The First Complete Bible printed in the English Language (80 Books: O.T. & N.T. & Apocrypha).Myles Coverdale and John “Thomas Matthew” Rogers had remained loyal disciples the last six years of Tyndale's life, and they carried the English Bible project forward and even accelerated it. Coverdale finished translating the Old Testament, and in 1535 he printed the first complete Bible in the English language, making use of Luther's German text and the Latin as sources. Thus, the first complete English Bible was printed on October 4, 1535, and is known as the Coverdale Bible.

1537 AD: Tyndale-Matthews Bible; The Second Complete Bible printed in English. Done by John "Thomas Matthew" Rogers (80 Books).The translator of the Matthew’s Bible, John Rogers, was put to death for his faith.The Bishops Bible was translated by men who were persecuted for their faith.

1539 AD: The "Great Bible" Printed; The First English Language Bible Authorized for Public Use (80 Books).

1560 AD: The Geneva Bible Printed; The First English Language Bible to add Numbered Verses to Each Chapter (80 Books).The Geneva Bible was also a product of persecution and spiritual revival, having been produced by men who were in exile for their faith.

1568 AD: The Bishops Bible Printed; The Bible of which the King James was a Revision (80 Books).

1609 AD: The Douay Old Testament is added to the Rheims New Testament (of 1582) Making the First Complete English Catholic Bible; Translated from the Latin Vulgate (80 Books).

1611 AD: The King James Bible Printed; Originally with All 80 Books. The Apocrypha was Officially Removed in 1885 Leaving Only 66 Books.

1782 AD: Robert Aitken's Bible; The First English Language Bible (KJV) Printed in America.

1791 AD: Isaac Collins and Isaiah Thomas Respectively Produce the First Family Bible and First Illustrated Bible Printed in America. Both were King James Versions, with All 80 Books.

1808 AD: Jane Aitken's Bible (Daughter of Robert Aitken); The First Bible to be Printed by a Woman.

1833 AD: Noah Webster's Bible; After Producing his Famous Dictionary, Webster Printed his Own Revision of the King James Bible.

1841 AD: English Hexapla New Testament; an Early Textual Comparison showing the Greek and 6 Famous English Translations in Parallel Columns.

1846 AD: The Illuminated Bible; The Most Lavishly Illustrated Bible printed in America. A King James Version, with All 80 Books.

1863 AD: Robert Young's "Literal" Translation; often criticized for being so literal that it sometimes obscures the contextual English meaning.

1885 AD: The "English Revised Version" Bible; The First Major English Revision of the KJV.

1901 AD: The "American Standard Version"; The First Major American Revision of the KJV.

1952 AD: The "Revised Standard Version" (RSV); said to be a Revision of the 1901 American Standard Version, though more highly criticized.

1971 AD: The "New American Standard Bible" (NASB) is Published as a "Modern and Accurate Word for Word English Translation" of the Bible.

1973 AD: The "New International Version" (NIV) is Published as a "Modern and Accurate Phrase for Phrase English Translation" of the Bible.

1982 AD: The "New King James Version" (NKJV) is Published as a "Modern English Version Maintaining the Original Style of the King James."

1990 AD: The "New Revised Standard Version" (NRSV); further revision of 1952 RSV, (itself a revision of 1901 ASV), criticized for "gender inclusiveness".

2002 AD: The English Standard Version (ESV) is Published as a translation to bridge the gap between the accuracy of the NASB and the readability of the NIV.

Saturday 26 April 2014

IMP QUESTION FOR LITERATURE






  •  ‘Incunabula’ refers to 
  • (A) books censured by the Roman Emperor
  • (B) books published before the year 1501
  • (C) books containing an account of myths and rituals
  • (D) books wrongly attributed to an author
  • (Incunabula is a collective term denoting books printed before the year 1501. The study of incunabula is important as a source of information regarding the early development of the art of typography, and also because priceless items of incunabula include the first printed versions of many classical, medieval, and Renaissance works.)

  •  The most notable achievement in Jacobean prose was
  • (A) Bacon’s Essays
  • (B) King James’ translation of the Bible
  • (C) Robert Burton’s Anatomy of Melancholy
  • (D) None of the above

  •  The Court of Chancery is a setting in Dickens’
  • (A) Little Dorrit
  • (B) Hard Times
  • (C) Dombey and Son
  • (D) Bleak House



  •  The statement ‘I think, therefore, I am’ is by
  • (A) Schopenhauer
  • (B) Plato
  • (C) Descartes
  • (D) Sartre

  • (French philosopher, scientist, and mathematician René Descartes publishes Philosophical Essays in 1637. Descartes applies the rational inquiry of science to philosophy and argues that one can only be certain of one’s own existence. All else derives from this basic premise which Descartes states as cogito ergo sum (Latin for “I think, therefore I am”).)

  • Verse that has no set theme – no regular meter, rhyme or stanzaic pattern is
  • (I) open form
  • (II) flexible form
  • (III) free verse
  • (IV) blank verse
  • The correct combination for the statement, according to the code, is
  • (A) I, II and III are correct
  • (B) III and IV are correct
  • (C) II, III and IV are correct
  • (D) I and III are correct

  •  Which is the correct sequence of publication of Pinter’s plays ?
  • (A) The Room, One for theRoad, No Man’s Land, The Homecoming
  • (B) The Homecoming, NoMan’s Land, The Room,One for the Road
  • (C) The Room, The Homecoming, No Man’s Land, One for the Road
  • (D) One for the Road, TheRoom, The Homecoming,No Man’s Land

  • (The Room(1957),The Homecoming (1964), The Basement (1966),  No Man’s Land (1974), One for the Road (1984).) 

  •  Johnson’s Dictionary of the English Language was published in the year
  • (A) 1710
  • (B) 1755
  • (C) 1739
  • (D) 1759
  • (The Dictionary of the English Language appeared in 1755.) 

  • The literary prize, Booker of Bookers, was awarded to
  • (A) J.M. Coetzee
  • (B) Nadine Gordimer
  • (C) Martin Amis
  • (D) Salman Rushdie

  •  In Keats’ poetic career, the most productive year was
  • (A) 1816
  • (B) 1817
  • (C) 1820
  • (D) 1819

  • (Keats’s great creative outpouring came in the year of 1819, when he composed a group of five odes.) 

  •  Pope’s The Rape of the Lock was published in 1712 in
  • (A) three cantos
  • (B) four cantos
  • (C) five cantos
  • (D) two cantos
  • ( Pope’s most famous poem, The Rape of the Lock (first published 1712; revised edition published 1714), is a fanciful and ingenious mock-heroic work based on a true story.)

  • . Stephen Dedalus is a fictional character associated with
  •  I. A Portrait of the Artist as a Young Man
  • II. Sons and Lovers
  • III. Ulysses
  • IV. The Heart of Darkness
  • The correct combination for the above statement according to the code is
  • (A) I & II
  • (B) I, II & III
  • (C) III & IV
  • (D) I & III

  • (A Portrait of the Artist as a Young Man is a semi autobiographical novel and Ulysses is focused on the events of a single day and related them to one another in thematic patterns based on Greek mythology. Both figure Stephen Dedalus as a lead role.) 

  •  In Moby Dick Captain Ahab falls for his
  • (A) ignorance
  • (B) pride
  • (C) courage
  • (D) drunkenness

  • (Becoming an isolated madman—and some critics have compared Ahab with Shakespeare’s King Lear—Ahab battles his evil forces alone and is destroyed as a result.) 

  •  The first complete printed English Bible was produced by
  • (A) William Tyndale
  • (B) William Caxton
  • (C) Miles Coverdale
  • (D) Roger Ascham

  • (In 1535 AD, Myles Coverdale's Bible; The first complete Bible was printed in the English Language)

  • Elizabeth Gaskell’s novel Mary Barton is sub-titled
  • (A) The Two Nations
  • (B) A Tale of Manchester Life
  • (C) A Story of Provincial Life
  • (D) The Factory Girl

  • ( Mary Barton sub-titled as A Tale of Manchester Life (1848) examines the schism between rich and poor in industrial Manchester, England, during the 1840s.)

  •  Some of the Jacobean playwrights were prolific. One of them claimed to have written 200 plays. The playwright is
  • (A) John Ford
  • (B) Thomas Dekker
  • (C) Philip Massinger
  • (D) Thomas Heywood

  • (Thomas Heywood (1574?-1641), according to his own testimony, wrote more than 220 plays for the English stage. Although not always tightly constructed and sometimes resorting to cliché, His plays exhibit a remarkable talent for dramatic and fanciful situations and pleasing an audience. Heywood's best plays are A Woman Killed with Kindness (performed 1603, printed 1607), The Fair Maid of the West (1631) and The English Traveller (1633). ) 

  •  The concept of “Star-equilibrium” in connection with man-woman relationship appears in
  • (A) Women in Love
  • (B) Maurice
  • (C) Mrs. Dalloway
  • (D) The Old Wives’ Tales

  •   

  •  Jeremy Collier’s A Short View of the Immorality and Profaneness of the English Stage attacked among others.
  • (A) John Bunyan
  • (B) Thomas Rhymer
  • (C) William Congreve
  • (D) Henry Fielding

  • <Note: When the work of Congreve and his colleagues was attacked by the clergyman Jeremy Collier as licentious, Congreve replied with Amendments of Mr. Collier's False and Imperfect Citations (1698). >

  • The Crystal Palace, a key exhibit of the Great Exhibition, was designed by
  • (A) Charles Darwin
  • (B) Edward Moxon
  • (C) Joseph Paxton
  • (D) Richard Owen

  • < Note: Crystal Palace, famous exhibition hall was designed by Sir Joseph Paxton for the Great Exhibition of 1851 in London, England. Because of its great size and its innovative use of glass and iron in prefabricated units, it was a milestone in the development of modern architecture. >

  •  Influence of the Indian Philosophy is seen in the writings of
  • (A) G.B. Shaw
  • (B) Noel Coward
  • (C) Tom Stoppard
  • (D) T.S. Eliot

  •  In which of his voyages, Gulliver discovered mountain-like beings?
  • (A) The land of the Lilliputians
  • (B) The land of the Brobdingnagians
  • (C) The land of the Laputans
  • (D) The land of the Houyhnhnms

  • < Note: Brobdingnag is the nation of giants visited by Gulliver in Part II. The people are sixty feet tall and everything else in their land is sized in proportion, on a scale of one foot to one inch. Though the giants of Brobdingnag are repulsive to look at closely, they are sound in their politics in many ways. The king of that land felt “whoever could make two ears of corn or two blades of grass to grow upon a spot of ground where only one grew before, would deserve better of mankind, and do more essential service to his country than the whole race of politicians put together.” The king of Brobdingnag is not only much like Swift’s mentor, Sir William Temple, he is both a Tory mouthpiece and a humanist, and possibly Swift’s ideal of a good monarch.>

  •  Although Nobel Laureate Seamus Heaney writes in English, in voice and subject matter, his poems are
  • (A) Welsh
  • (B) Scottish
  • (C) Irish
  • (D) Polish

  • < Haney’s poetry, beginning with Death of a Naturalist (1966), is rooted in the physical, rural surroundings of his childhood in Northern Ireland. >

  • To whom is Mary Shelley’s famous work Frankenstein dedicated?
  • (A) Lord Byron
  • (B) Claire Clairmont
  • (C) William Godwin
  • (D) P.B. Shelley

  • <Some scholars have identified Frankenstein as the source of the genre of science fiction, which seeks to define the place of man in the universe. Both the idea of a 'mad scientist' and the concept of creating a person in a laboratory originated with Frankenstein. Following Mary Shelley's lead, authors such as Edgar Allan Poe, Robert Louis Stevenson, H. G. Wells, and, more recently, Robert A. Heinlein and Ray Bradbury have created horror stories whose protagonists face problems brought about by science gone awry.>

  • Which among the following poems by Philip Larkin records his impressions while traveling to London by train?
  • (A) “Aubade”
  • (B) “Church Going”
  • (C) “The Whitsun Wedding”
  • (D) “An Arundel Tomb”

  • < “At first, I didn't notice what a noise 
  • The weddings made 
  • Each station that we stopped at: sun destroys 
  • The interest of what's happening in the shade.”- “The Whitsun Wedding”>

  •  The English satirist who used the sharp edge of praise to attack his victims was
  • (A) Ben Jonson
  • (B) John Donne
  • (C) John Dryden
  • (D) Samuel Butler


  • One of the most famous movements of direct address to the reader – “Reader, I married him” – occurs in
  • (A) Henry Fielding’s Tom Jones
  • (B) Charlotte Bronte’s Jane Eyre
  • (C) Laurence Sterne’s Tristram Shandy
  • (D) George Eliot’s Middlemarch

  • < Charlotte Bronte’s Jane Eyre CHAPTER XXXVIII--CONCLUSION
  • Reader, I married him.  A quiet wedding we had:  he and I, the parson and clerk, were alone present.  When we got back from church, I went into the kitchen of the manor-house, where Mary was cooking the dinner and John cleaning the knives, and I said ->


  • Sexual jealousy is a theme in Shakespeare’s
  • (A) The Merchant of Venice
  • (B) The Tempest
  • (C) Othello
  • (D) King Lear

  • <Othello is a tragedy on the theme of Sexual jealousy by English playwright William Shakespeare. It was written in about 1604 and first performed that year for King James I at Whitehall Palace in London.  >

  • The title, The New Criticism, published in 1941, was written by
  • (A) Cleanth Brooks
  • (B) John Crowe Ransom
  • (C) Robert Penn Warren
  • (D) Allan Tate

  •  Which of the following is not a Revenge Tragedy?
  • (A) The White Devil
  • (B) The Duchess of Malfi
  • (C) Doctor Faustus
  • (D) The Spanish Tragedy

  • < The White Devil: John Webster’s great tragedy The White Devil, produced in 1612 depicts a world of extravagant passions, dark intrigue, and fratricidal violence. Despite its melodramatic themes, Webster's The White Devil is redeemed by his soaring poetic dialogue and his grasp of human psychology.

  • The Duchess of Malfi: John Webster’s great tragedy The White Devil staged about 1614 is even better than The White Devil.

  • The Spanish Tragedy:Thomas Kyd ‘s Spanish Tragedy (1589?) is best Senecan Revenge Tragedy in the use of shocking and horrifying melodramatic situations.>

  •  Who of the following playwrights rejects the Aristotelian concept of tragic play as imitation of reality?
  • (A) G.B. Shaw
  • (B) Arthur Miller
  • (C) Bertolt Brecht
  • (D) John Galsworthy

  • < Brecht's narrative style, which he called epic theater, was directed against the illusion created by traditional theater of witnessing a slice of life. Instead, Brecht encouraged spectators to watch events on stage dispassionately and to reach their own conclusions. To prevent spectators from becoming emotionally involved with a play and identifying with its characters, Brecht used a variety of techniques. Notable among them was the Verfremdungseffekt (alienation or estrangement effect), which was achieved through such devices as choosing (for German audiences) unfamiliar settings, interrupting the action with songs, and announcing the contents of each scene through posters. Brecht temporarily returned to a more traditional dramatic mode in Furcht und Elend des Dritten Reiches (1941; The Private Life of the Master Race, 1944), an attack on the fascist government of Germany under Hitler. >

  •  The label ‘Diasporic Writer’ can be applied to
  • I. Meena Alexander
  • II. Arundhati Roy
  • III. Kiran Desai
  • IV. Shashi Deshpande
  • The correct combination for the statement, according to the code, is
  • (A) I and IV are correct.
  • (B) II and III are correct.
  • (C) I, II and IV are correct.
  • (D) I and III are correct.

  • The letter ‘A’ in The Scarlet Letter stands for
  • I. Adultery
  • II. Able
  • III. Angel
  • IV. Appetite
  • The correct combination for the statement, according to the code, is
  • (A) I and II are correct.
  • (B) II and III are correct.
  • (C) I, II and IV are correct.
  • (D) I, II and III are correct.

  • < Scarlet Letter "A" represents the act of adultery that she has committed and it is to be a symbol of her sin—a badge of shame—for all to see. WIKI>

  •  A monosyllabic rhyme on the final stressed syllable of two lines of verse is called
  • (A) Moonshine
  • (B) Feminine rhyme
  • (C) Masculine rhyme
  • (D) Eye rhyme