VINEET PANDEY’S SAHITYA CLASSEs

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ENGLISH PAPER-2 (ANSWER KEY WITH ILLUSTRATED EXPLANATION)

1. Which narrative poem by Lord Tennyson presents the story of a fisherman turned merchant-sailor who, after a shipwreck, is marooned on a desert island? 1. ―Crossing the Bar‖ 2. ―Tithonus‖ 3. ―Enoch ―Arden‖ 4. ―Maud‖

Ans. (3). Enoch Arden is a narrative poem published in 1864 by Alfred, Lord Tennyson, during his tenure as England's poet laureate. The story on which it was based was provided to Tennyson by Thomas Woolner. The hero of the poem, fisherman turned merchant sailor Enoch Arden, leaves his wife Annie and three children to go to sea with his old captain, who offers him work after he had lost his job due to an accident; in a manner that reflects the hero's masculine view of personal toil and hardship to support his family, Enoch Arden left his family to better serve them as a husband and father. However during his voyage, Enoch Arden is shipwrecked on a desert island with two companions; both eventually die, leaving Arden alone there. This part of the story is reminiscent of Robinson Crusoe.

2. In ―Memorial Verses‖ Mathew Arnold pays tribute to three great poets. Who are they? 1. Goethe, Shakespeare, Wordsworth 2. Goethe, Shakespeare, Milton 3. Shakespeare, Milton, Wordsworth 4. Goethe, Wordsworth, Byron Ans. (4) The poem is written by Matthew Arnold. a Victorian poet. Arnold published the poem in 1850, the year in which Wordsworth died. The poem talks about three preceded literary figures - Goethe, Byron and Wordsworth and their relevance in the poet's contemporary society. Goethe is described by the poet as a sage of the age who

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 1 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs was aware of the ailments and problems of the European people. Arnold praises Byron not for his works but for his unusual spirit and his struggle. The poet uplifts the position of Wordsworth and after his departure, he would be missed by Europeans. The poet emphasizes that Wordsworth possesses "healing powers" and no one after him would teach people how to actually feel things.

3. Who among the following English playwrights wrote screenplays on novels such as Marcel Proust‘s In Search of Lost Time, John Fowles‘s French Lieutenant‘s Woman, and Margaret Atwood‘s Handmaid‘s Tales? 1. John Arden 2. Edward Bond 3. Harold Pinter 4. David Hare

Ans . (3)

4. The year in which English literary history between 1649 and 1660 are known as ……… 1. The Neoclassical Period 2. The Commonwealth Period 3. The Suart Period 4. THE Jacobean Period Ans . (2) The Commonwealth was the period from 1649 to 1660 when England and Wales, later along with Ireland and Scotland,[1] was ruled as a republic following the end of the Second English Civil War and the trial and execution of Charles I. The republic's existence was declared through "An Act declaring England to be a Commonwealth",[2] adopted by the Rump Parliament on 19 May 1649. Power in the early Commonwealth was vested primarily in the Parliament and a Council of State. During the period, fighting continued, particularly in Ireland and Scotland, between the parliamentary forces and those opposed to them, as part of what is now referred to as the Third English Civil War. 5. In Rk Narayan‘s Swami and friends, which game offers Swami the best kind of emotional release from the strains and pressures of disagreeable circumstance? 1. Cricket 2. Football 3. Tennis 4. Hockey Ans . (1) 6. William Blake expressed the importance of te particular when he said that ―To Generalize is to be ------. To particularize is the alone Distinction of Merit‖. Fill in the blank. 1. AN Idiot 2. A poet 3. A dreamer 4. A skunk

Ans . (1) ―To Generalize is to be an Idiot; To Particularize is the Alone Distinction of Merit.‖ -William Blake

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 2 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs 7. Which of the following was not a dialect of Old English?

1. Irish

2. Northambrian

3. Mercian

4. Kentish

Ans. (1) ld English developed from a set of Anglo-Frisian or Ingvaeonic dialects originally spoken by Germanic tribes traditionally known as the Angles, Saxons and Jutes. As the Anglo- Saxons became dominant in England, their language replaced the languages of Roman Britain: Common Brittonic, a Celtic language, and Latin, brought to Britain by Roman invasion. Old English had four main dialects, associated with particular Anglo-Saxon kingdoms: Mercian, Northumbrian, Kentish and West Saxon. It was West Saxon that formed the basis for the literary standard of the later Old English period,[3] although the dominant forms of Middle and Modern English would develop mainly from Mercian. The speech of eastern and northern parts of England was subject to strong Old Norse influence due to Scandinavian rule and settlement beginning in the 9th century.

8. Anthony Burgess‘s last novel, published in 1993, is called A Dead Man in Deptford. Who is the central character to whom the title refers?

1. Sir Walter Raleigh

2. Sir Philip Sidney

3. Christopher Marlowe

4. Earl of Southampton Ans (3) A Dead Man in Deptford is a 1993 novel by Anthony Burgess, the last to be published during his lifetime. It depicts the life and character of Christopher Marlowe, a renowned playwright of the Elizabethan era. Reckless but brilliant Cambridge scholar Kit Marlowe is conscripted by Francis Walsingham to be a spy for Queen Elizabeth. It is love at first sight for Kit and Walsingham's young cousin Thomas, and Kit is soon sent to the English college at Rheims to ferret out recusantsconspiring against the Queen and her Church of England. Walsingham and his agents have enabled a conspiracy, later known as the Babington Plot, as a means to effect the execution of Elizabeth's rival, Mary, Queen of Scots. Kit is instrumental in the arrest of the conspirators, but horrified by their execution. Marlowe is portrayed as a secretive, solitary and eventually isolated person. Burgess explores his sexual addiction and passion for the theatre. 9. Choose the correct chronological order: 1. William Caxton, prints the first English book—William Shakespeare‘s first folio—john Milton‘s Aeopagitica—― Tottel‘s Miscellany‖ (song and sonnets) 2. ―Tottle‘s Misllany‖ (Songs and Sonnets)—William Shakespeare‘s first folio—William Caxton prints the first English book- John Milton‘s Areopagitica

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 3 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs 3. William Caxton prints the first English book—― Tottle‘s Miscllany‖ (songs and sonnets)— William Shakespeare‘s first folio—john milton‘s Areopagitica 4. William Shakespeare‘s first folio-John milton‘s Areopagitica- William Caxton prints the first book- ―Tottle‘ Miscllany‖ (songs and sonnets) Ans (3) William Caxton was the first Englishman to learn to use a printing press. The Recuyell of the Historyes of Troye was his first printed book, and the first book printed anywhere in English. It was produced in 1473 on the Continent, in either Bruges or Ghent. The text is a recuyell (compilation) of stories about the Trojan Wars by Raoul Lefèvre, originally written in French. The translation was also by Caxton. Songes and Sonettes, usually called Tottel's Miscellany, was the first printed anthology of English poetry. First published by Richard Tottel in 1557 in London, it ran to many editions in the sixteenth century.

The First Folio is the first collected edition of William Shakespeare's plays, collated and published in 1623, seven years after his death. Folio editions were large and expensive books that were seen as prestige items.

Shakespeare wrote around 37 plays, 36 of which are contained in the First Folio. Most of these plays were performed in the Globe, an open-air playhouse in London built on the south bank of the Thames in 1599. As none of Shakespeare's original manuscripts survive (except, possibly, Sir Thomas More, which Shakespeare is believed to have revised a part of) we only know his work from printed editions.

Areopagitica; A speech of Mr. John Milton for the Liberty of Unlicenc‘d Printing, to the Parlament of England is a 1644 prose polemic by the English poet, scholar, and polemical author John Milton opposing licensing and censorship.[1] Areopagitica is among history's most influential and impassioned philosophical defences of the principle of a right to freedom of speech and expression. Many of its expressed principles have formed the basis for modern justifications.

10. What does the phrase ut picture poesis from Horace‘s Art of Poetry means?

1. ―as in painting so is in poetry‖ 2. ―poetry beggers pictorial description‖ 3. ―as in poetry so is in painting‖ 4. ―picture above all poetry‖

Ans (1) Ut pictura poesis is a Latin phrase literally meaning "as is painting so is poetry." The statement (often repeated) occurs most famously in Horace's Ars Poetica, near the end, immediately after the "other" most famous quotation from Horace's treatise on poetics, "bonus dormitat Homerus," or "even Homer nods" (an indication that even the most skilled poet can compose inferior verse)

11. Who among the following is the author of Account of the Augustan Age in England (1759)

1. John Gay 2. William Hazlitt 3. Oliver Goldsmith 4. Samuel Johnson

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 4 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs Ans. (3) The eighteenth century in English literature has been called the Augustan Age, the Neoclassical Age, and the Age of Reason. The term 'the Augustan Age' comes from the self- conscious imitation of the original Augustan writers, Virgil and Horace, by many of the writers of the period. Specifically, the Augustan Age was the period after the Restoration era to the death of Alexander Pope (~1690 - 1744). The major writers of the age were Pope and John Dryden in poetry, and Jonathan Swift and Joseph Addison in prose. Dryden forms the link between Restoration and Augustan literature; although he wrote ribald comedies in the Restoration vein, his verse satires were highly admired by the generation of poets who followed him, and his writings on literature were very much in a neoclassical spirit. But more than any other it is the name of Alexander Pope which is associated with the epoch known as the Augustan Age, despite the fact that other writers such as Jonathan Swift and Daniel Defoe had a more lasting influence. This is partly a result of the politics of naming inherent in literary history: many of the early forms of prose narrative common at this time did not fit into a literary era which defined itself as neoclassic. The literature of this period which conformed to Pope's aesthetic principles (and could thus qualify as being 'Augustan') is distinguished by its striving for harmony and precision, its urbanity, and its imitation of classical models such as Homer, Cicero, Virgil, and Horace, for example in the work of the minor poet Matthew Prior. In verse, the tight heroic couplet was common, and in prose essay and satire were the predominant forms. Any facile definition of this period would be misleading, however; as important as it was, the neoclassicist impulse was only one strain in the literature of the first half of the eighteenth century. But its representatives were the defining voices in literary circles, and as a result it is often some aspect of 'neoclassicism' which is used to describe the era.

12. In how many parts did, Cervantes published his novel, Don Quixote?

1. Three 2. Five 3. Two 4. Twelve

Ans (3) The Ingenious Nobleman Sir Quixote of La Mancha (El Ingenioso Hidalgo Don Quijote de la Mancha, pronounced [el iŋxeˈnjoso iˈðalɣo ðoŋ kiˈxote ðe la ˈmantʃa]), or just Don Quixote (/ˌdɒn kiːˈhoʊti/, US: /-teɪ/;[1] Spanish: [don kiˈxote] ( listen)), is a Spanish novel by Miguel de Cervantes. Published in two volumes, in 1605 and 1615, Don Quixote is considered the most influential work of literature from the Spanish Golden Age and the entire Spanish literary canon. As a founding work of modern Western literature and one of the earliest canonical novels, it regularly appears high on lists of the greatest works of fiction ever published, such as the Bokklubben World Library collection that cites Don Quixote as the authors' choice for the "best literary work ever written". 13. Lytton Strachey‘s Eminent Victorians carries biographical sketches of writers and public figures. Identify the list below that correctly mentions those eminent Victorians. 1. Cardinal Manning, Florence Nightingale, Thomas Arnold and Gerald Gordon 2. A. E.W. Mason, sir Arthur Quiller Couch, Mathew Arnold, Robert Bridges. 3. E.F. Benson, cardinal Manning, Lord Alfred Tennyson, Beatrice Webb 4. George Harding, general Gordon, Robert browning, Mrs. Humphrey Ward Ans. (1) SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 5 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs 14. One of the following statements about the Eponymous saint of Dryden‘s ―song for St. Cecilia‘s Day‖ is incorrect. Identify that statement. 1. St. Cecilia was a Roman lady, an early Christian Martyr 2. St. Cecilia was an Armenian devotee of the Christian faith 3. St. Cecilia festival is celebrated on 22nd November in England. 4. St. Cecilia was a patroness of music who was fabled to have invented the organ. Ans. (2) ―A Song for St. Cecilia's Day‖, composed in 1687, is the first of two great odes written by poet laureate John Dryden and set to music for the annual St. Cecilia's Day celebration held every November 22 from 1683 to 1703 and sponsored by the London Musical Society. St. Cecilia, an early Christian martyr and patron saint of music, was honoured at these public celebrations with concerts and religious ceremonies featuring every year an original commemorative ode commissioned by the Society. Italian composer G. B. Draghi wrote the first musical arrangement for ―A Song for St. Cecilia's Day‖ in 1687. In the 1730s, G. F. Handel created superlative new musical scores for both of the St. Cecilia odes of Dryden. 15. Which of the statements on the Michael Robert‘s Faber Book of Modern Verse (1936) is not true? 1. His anthology canonized modern poetry and poets for quite some decades 2. The collection begins with the poems of Robert Bridges 3. Robert omitted the Georgian poets in his anthology 4. Yeats, Eliot and Pound find a place in the Faber book of 1936 Ans. (2) The Faber Book of Modern Verse was a poetry anthology, edited in its first edition by Michael Roberts, and published in 1936 by Faber and Faber. There was a second edition (1951) edited by Anne Ridler, and a third edition (1965) edited by Donald Hall. The selection was of poems in English printed after 1910, which meant that work by Gerard Manley Hopkins could be included. A later edition was edited by Peter Porter. 16. Who among the following proposed that the first Gulf War had never taken place, it was simply a hyper-real, media-generated spectacle? 1. Richard Rorty 2. Jean-Francoise Lyotard 3. Jean Baudrillard 4. Emberto Eco Ans (3 ) Jean Baudillard thought that Operation Desert Storm should not be considered a war. Rather, despite containing the material features of one, it was at once real, and a simulation. Baudillard‘s logic is that the term ―war‖ was used to legitimize a performance, and it is critical to apply his logic to the War on Terror. Critics of Baudrillard‘s 1991 book, The Gulf War Did Not Take Place, often note the provocative title. Obviously, a war took place, and the title is not meant to be taken literally. Baudillard is subverting the logic of Desert Storm through black humour and parody, with particular consideration to the argument that a ―smart war‖ was being waged through technologically precise bombings and missile attacks. He saw a complete break in the reality of the conflict as it was actually taking place, and the narrative power of its media presence.

17. Sir Thomas Brown‘s Urn Burial was prompted by______

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 6 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs 1. The discovery of ancient burial-urn near Norwich 2. The contemporary researches on burial rites in Norway 3. The death of St. Francis of Assissi and his burial 4. The publication of the engish Book of Common Prayer Ans . (1) Hydriotaphia, Urn Burial, or, a Discourse of the Sepulchral Urns lately found in Norfolk is a work by Sir Thomas Browne, published in 1658 as the first part of a two-part work that concludes with The Garden of Cyrus. Its nominal subject was the discovery of a Roman[1] urn burial in Norfolk. The discovery of these remains prompts Browne to deliver, first, a description of the antiquities found, and then a survey of most of the burial and funerary customs, ancient and current, of which his era was aware. The most famous part of the work is the apotheosis of the fifth chapter, where Browne declaims – But man is a Noble Animal, splendid in ashes, and pompous in the grave, solemnizing Nativities and Deaths with equal lustre, nor omitting Ceremonies of bravery, in the infamy of his nature. Life is a pure flame, and we live by an invisible Sun within us. 18. Identify from among the following list those that cannot be called War Fiction 1. A Modern Instance 2. Catch-22 3. The Age of Innocence 4. The Naked and the Dead Ans. (3) 19. Who among the following writers was not the one identified with The Movement of the 1950s England? 1. Roy Fuller 2. Kingsley Amis 3. Philip Larkin 4. Donald Davis Ans. (1) The Movement was a term coined in 1954 by J. D. Scott, literary editor of The Spectator, to describe a group of writers including Philip Larkin, Kingsley Amis, Donald Davie, D. J. Enright, John Wain, Elizabeth Jennings, Thom Gunn and Robert Conquest. The Movement was essentially English in character as poets from other parts of the United Kingdom of Great Britain and Northern Ireland were not involved. 20. Which of the following novels does not belong to Nuruddin Farah‘s Blood In the Sun Trilogy? 1. Maps 2. Knots 3. Gifts 4. Secrets born 24 November 1945) is) ( نورالدين فارح :Ans. (2) Nuruddin Farah (Somali: Nuuradiin Faarax, Arabic a Somali novelist. He has also written plays both for stage and radio, as well as short stories and essays.

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 7 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs Since leaving Somalia in the 1970s he has lived and taught in numerous countries, including the United States, England, Germany, Italy, Sweden, Sudan, India, Uganda, Nigeria and South Africa. Blood in the Sun trilogy

 — (1986). Maps. London: Pan. Reprints: Arcade, 1999.  — (1993). Gifts. London: Serif. Reprints: Arcade, 1999; Kwela Books, 2001.  — (1998). Secrets. New York: Arcade.

21. In the following series, which one has all the poets correctly matched with their poems? 1. Ezekiel, ―Poets, Lover, Birdwatcher‖; Ramanujan, ―Small Scale reflections on a Great House‖; Dutt, ―Sunset at Puri‖; Mahapatra, ―Our Casuarina Tree‖. 2. Ezekiel, ―Sunset at Puri‖; Ramanujan, ―Small-scale Reflections on a Great House‖. Dutt, ― Our Casuarina Tree‖; Mahapatra, ―Poet, Lover, Birdwatcher‖ 3. Ezekiel, ―Poet, Birtdwatcher‖; Ramanujan, ―Sunset at Puri‖; Dutt, ―Our Casuarina Tree‖; Mahapatra, ―Small-scale Reflections on a Great House‖. 4. Ezekiel, ―Poet, Lover, Birdwatcher‖; Ramanujan, ―Small-scale Reflections on a Great House‖; Dutt, ―Our Casuarina Tree‖; Mahapara, ―Sunset at Puri‖ Ans. (4) = ―Poet, Lover, Birdwatcher‖, included in the volume The Exact Name (1965) is one of the best and most beautiful of Ezekiel’s poems. The poem which shows how Ezekiel has travelled a long way since the romantic idealism of A Time to Change (1952), tells us the secrets of poetic creation.

= Small-Scale Reflections On A Great House by A K Ramanujan (1971). = Our Casuarina Tree is a poem published in 1881 by Toru Dutt, an Indian poet. It is a perfect example of craftsmanship.In this poem Toru Dutt celebrates the majesty of the Casuarina Tree and remembers her happy childhood days spent under it and revives her memories with her beloved siblings. It still remains one of the more popular poems[1] in modern Indian literature. 22. From among the following, identify the incorrect observation regarding Ferdinand de Saussure‘s seminal distinction between langue and parole. 1. Parole the particular language system, the elements of which, we learn as children, and which is codified in our grammars and dictionaries, whereas langue is the language-occasion (what A says to B) 2. A language consists in the interrelationship between langue and parole 3. Saussure made this crucial distinction in a study called A Course in General Linguistics (1916) 4. Langue is the particular language-system, the elements of which we learn as children, and which is codified in our grammars and dictionaries, whereas parole is the language-ocassion (what A says to B) Ans . (1) Langue (French, meaning "language") and parole (meaning "speaking") are linguistic terms distinguished by Ferdinand de Saussure in his Course in General Linguistics. Langueencompasses the abstract, systematic rules and conventions of a signifying system; it is independent of, and pre-exists, individual users. Langue involves the principles of language, without which no meaningful utterance, "parole", would be possible. Parole refers to the concrete instances of the use of langue. This is the individual, personal phenomenon of language as a series of speech acts made by a linguistic subject.[1] Saussure did not concern himself overly with parole; however, the structure of langue is revealed through the study of parole. The distinction is similar to that made about language by Wilhelm von Humboldt, between energeia (active doing) and ergon (the product of that doing)[2], as well as the distinction between language and speech made by Jan Baudouin de Courtenay.[3] Saussure drew an analogy to chess SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 8 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs to explain the concept of langue and parole. He compared langue to the rules of chess—the norms for playing the game—and compared the moves that an individual chooses to make—the individual's preferences in playing the game—to the parole. 23. John Haywood wrote a farcical interlude called The Four P‘s 1. A Palmer, a peddler, a pothecary, a packer 2. Printer, a pedlar, a pothecary, a palmer 3. A pedlar, parson, pamler, a pothycary 4. A palmer, a pardoner, a pothycary , a peddler Ans. (4). A Play of Four "P"s

Another interlude* involves a debate--more a competition in fact-- between four men whose trades begin with the letter "P."

Two are churchmen--a Pardoner and a Palmer--one is a medieval pharmacist (an aPothecary), and the last is a Pedlar. The first three are arguing which of them should "take the best place," or be considered the most important. The Pedlar suggests a competition to decide: each is to tell an elaborate lie; the best liar shall "most prevail."

Click on the three pictures (and the old spelling "pedler") to learn about their trades and the lies they tell.

 Pardoner*  [a]Pothecary*  Palmer*  Pedlar*

24. In the mechanical drill method of second language acquisition : 1. The learner has the freedom to choose from many responses 2. The learner‘s response is totally controlled 3. Comprehension of the item by the learner is not required 4. Comprehension of the item by the learner is obligatory

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 9 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs Ans. (3) DRILLING I. CONCEPT A. Definition Drilling is a technique that has been used in foreign language classrooms for many years. It was a key feature of audio-lingual method approaches to language teaching, which placed emphasis on repeating structural patterns through oral practice. Drilling means listening to a model, provided by the teacher, or a tape or another student and repeating what is heard. Drilling is a technique that is still used by many teachers when introducing new language items to their students. Harmer states that drilling is mechanical ways if getting students to demonstrate and practice their ability to use specific language items in a controlled manner. From those theories above, it can be concluded that drilling is a technique that has been used in foreign language classrooms which emphasis on repeating structural pattern through oral practice to demonstrate students‘ ability in using specific language items in a controlled manner. 25. Thou wilt not wake Till I thy fate shall overtake; Till age, or grief, or sickness must Marry my body to that dust It so much loves; and fill the room My heart heart keeps empty in thy Tomb. Stay for me there; I will not fail To meet thee in that hollow Vale. And think not much of my delay; I am already on the way. Which of the following readings do you find appropriate to the sprit to the lines above? (1) In that interspace between the lines, the ending of one and the beginning of another, there is a silent internal language, the poem‘s language-within language, tacitly signaled through the deployment of rhymed space (2) Ageing and drying are of course helplessly passive; but here love makes them as though they were now also willing things in the husband eager to join his dead wife. Through simple intimate tones of their share earthly life- stay for me, wait for me, I will not fail- he not only imagines her but imagines her thing of him (3) The lyrical voice here can feel the poem speaking back to hi- in the cold lineal stare of ‗there was nothing in my belief‘-even as his dead wife did not. It is as though the poem itself then demands his response, in order to be able to move from one line to another. To attempt that movement in keeping the poem‘s space alive, the lyric voice asserts, ―I will not fail/to meet there in that hollow Vale‖. (4) My whole nature was so penetrated with grief and humiliation of such considerations, that, even now, famous and caressed and happy me alone in this world. Even that I am a man, and now I wander desolately back to that time of our lives when my wife and I shared moments of bills. Ans. (1/2)

26. Match the following with the novels : (a). Arthur Seaton (i) Top Girls (b). Marlene (ii) The Golden Notebook (c) Anna Wulf (iii) The Swimming Pool Library (d) Beckwith (iv) Saturday Night and Sunday Morning

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 1 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 0 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs

Code : (a) (b) (c) (d)

(1) (ii) (iii) (i) (iv) (2) (iv) (i) (ii) (iii) (3) (iii) (iv) (ii) (i) (4) (ii) (iv) (iii) (i) Ans. (2)

27. The very last passage of a novel is give below. Identify the novel : ―Welcome, O life, I go to encounter for the millionth time the reality of experience and to forge in the smithy of my soul the uncreated conscience of my race. April 27. Old father, old artificer, stand me now and ever in good stead‖. (1)TO the Lighthouse (2) A Portrait of the Artist as a Young Man (3) Maurice (4) Almayer‘s Folly

Ans. (2) A Portrait of the Artist as a Young Man is the first novel by Irish writer James Joyce. A Künstlerroman in a modernist style, it traces the religious and intellectual awakening of young Stephen Dedalus, a fictional alter ego of Joyce and an allusion to Daedalus, the consummate craftsman of Greek mythology. Stephen questions and rebels against the Catholic and Irish conventions under which he has grown, culminating in his self-exile from Ireland to Europe. The work uses techniques that Joyce developed more fully in Ulysses(1922) and Finnegans Wake (1939). 28. Francis Bacon‘s New Atlantis is about a utopian state called______. 1. Asgard 2. Avalon 3. Bensalem 4. Baltia Ans . (c ) New Atlantis is an incomplete utopian novel by Sir Francis Bacon, published in 1627. In this work, Bacon portrayed a vision of the future of human discovery and knowledge, expressing his aspirations and ideals for humankind. The novel depicts the creation of a utopian land where "generosity and enlightenment, dignity and splendour, piety and public spirit" are the commonly held qualities of the inhabitants of the mythical Bensalem. The plan and organisation of his ideal college, Salomon's House (or Solomon's House), envisioned the modern research university in both applied and pure sciences.

29. The 1950s saw the rise of backlash against modernism and against New Romanticism that became known as The Movement. Which of the following little magazines came to be associated with The Movement? 1. Departure 2. New Verse 3. London Mercury 4. New Poems The right combination according to the code is:

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 1 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 1 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs

(1) (a) and (b) (2) (c & d) (3) (A &d) (4) (B & d) Ans. (4) The Movement poets were considered anti-romantic, but Larkin and Hughes featured romantic elements. To these poets, good poetry meant simple, sensuous content and traditional, conventional and dignified form. The Movement's importance is its worldview that took into account Britain‘s reduced dominance in world politics. The group's objective was to prove the importance of English poetryover the new modernist poetry. The members of the Movement were not anti-modernists; they were opposed to modernism, which was reflected in the Englishness of their poetry. The Movement sparked the divisions among different types of British poetry. Their poems were nostalgic for the earlier Britain and filled with pastoral images of the decaying way of life as Britain moved farther from the rural and more towards the urban

30. The error of interpreting a literary work by referring to evidence outside of itself, such as th disegn and purpose of the author is called______. 1. Affective Fallacy 2. Intentional Fallacy 3. Authorial Fallacy 4. Synecdochic Fallacy Ans. (2) Intentional fallacy, term used in 20th-century literary criticism to describe the problem inherent in trying to judge a work of art by assuming the intent or purpose of the artist who created it. Introduced by W.K. Wimsatt, Jr., and Monroe C. Beardsley in The Verbal Icon (1954), the approach was a reaction to the popular belief that to know what the author intended—what he had in mind at the time of writing—was to know the correct interpretation of the work. Although a seductive topic for conjecture and frequently a valid appraisal of a work of art, the intentional fallacy forces the literary critic to assume the role of cultural historian or that of a psychologist who must define the growth of a particular artist‘s vision in terms of his mental and physical state at the time of his creative act. Affective fallacy is a term from literary criticism used to refer to the supposed error of judging or evaluating a text on the basis of its emotional effects on a reader. The term was coined by W.K. Wimsatt and Monroe Beardsley in 1946 as a principle of New Criticism which is often paired with their study of The Intentional Fallacy.

31. A. R. Ammons parodied a famous poem in his ― Swoggled‖ I‘d rather Be Suckled by An Outworn pagan Than Get my horn Weathered in An SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 1 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 2 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs Old triton. Which poet, which poem? (1) John Keats, ―On First Looking into Chapman‘s House‖ (2) John Milton, ―On His Blindness‖ (3) William Wordsworth, ―The World is Too Much With Us‖ (4) Elizabeth B. Browning, ―How do I Love Thee,,,,?

Ans. (3) "The World Is Too Much with Us" is a sonnet by the English Romantic poet William Wordsworth. In it, Wordsworth criticises the world of the First Industrial Revolution for being absorbed in materialism and distancing itself from nature. Composed circa 1802, the poem was first published in Poems, in Two Volumes (1807). Like most Italian sonnets, its 14 lines are written in iambic pentameter.

32. Fanny Burney‘s Evelina carries the subtitle: 1. Or a Naïve Lady‘s Entrance into the World 2. Or a Young Lady‘s Entrance into the World 3. Or a Young Lady‘s Exit from the World 4. Or a Bold Lady‘s Entrance into the Hell Ans. (2) Evelina, or the History of a Young Lady's Entrance into the World is a novel written by English author Fanny Burney and first published in 1778. Although published anonymously, its authorship was revealed by the poet George Huddesford in what Burney called a "vile poem"

33. What does Philip Sidney call poet-heaters in his Defence of Poesie? 1. Misogynists 2. Misanthropes 3. misnomers 4. mysomousoi Ans. (4) An Apology for Poetry (or, The Defence of Poesy) is a work of literary criticism by Elizabethan poet Philip Sidney. It was written in approximately 1579, and first published in 1595, after his death. It is generally believed that he was at least partly motivated by Stephen Gosson, a former playwright who dedicated his attack on the English stage, The School of Abuse, to Sidney in 1579, but Sidney primarily addresses more general objections to poetry, such as those of Plato. In his essay, Sidney integrates a number of classical and Italian precepts on fiction. The essence of his defense is that poetry, by combining the liveliness of history with the ethical focus of philosophy, is more effective than either history or philosophy in rousing its readers to virtue. The work also offers important comments on Edmund Spenser and the Elizabethan stage. The word ―mysomousoi‖ used by Sidney for the poet-hater. This is a Greek word which parodied Erasmus‘s Praise of Folly‖.

34. Who among the following, raises the following painful question of longing and belonging ? ―Where shall I turn, divided to the vein? I who have cursed The druken officer of Bristish rule, how choose Between this Africa and the English tongue I love‖?

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 1 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 3 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs 1. Derek Walcott 2. Louise Bennett 3. Kaau Brathwaite 4. Wole Soyanka

Ans. (1). The lines have been borrowed from Derek Walcott‘s ―A Far From America‖. Again brutish necessity wipes its hands

Upon the napkin of a dirty cause, again

A waste of our compassion, as with Spain,

The gorilla wrestles with the superman.

I who am poisoned with the blood of both,

Where shall I turn, divided to the vein?

I who have cursed

The drunken officer of British rule, how choose

35. In the 1940s, a critic and a philosopher produced tow influential and controversial papers called ―The Intetional Fallacy‖ and ―The Affective Fallacy‖.

1. Cleanth Books

2. Munroe C. Beardsley

3. William K. Wimsalt Jr.

4. R.P. Blackmur

Ans (3).

36. Philip Larkin‘s ―Sad Steps‖ notices ―The way the moon dashes through clouds that blow loosely as cannon-smoke to stand apart…..‖

The poem alludes to:

1. Coleridge‘s ―Dejection: An Ode‖ SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 1 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 4 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs 2. The moonlit scenes in A Midsummer Night‘s Dream

3. Philip Sidney‘s Astrophel and Stella

4. T. S. Eliot‘s ―Morning at the Window‖

Ans (3). Philip Larkin's "Sad Steps" is a carefully crafted lyric which invokes several different voices, and holds them in balance with each other.

The title of Philip Larkin‘s Sad Steps is a reference to Sonnet XXXI from the sonnet sequence Astrophil and Stella by the Elizabethan poet Sir Philip Sidney. Sonnet XXXI is more usually known by its first line: ―With what sad steps, O moon, thou climb‘st the skies!‖ Thus before the reader gets to the first line there is already the echo of another voice behind the poem, if they have recognized the reference. And Astrophil and Stella is a sequence of sonnets and songs written by Sir Philip Sidney(1554–1586). It tells the story of Astrophil (or Astrophel), whose name means star-lover, and his hopeless passion for Stella, whose name means star. 37. Match the following opening lines with their respective titles: (a) ―I learn upon a coppice gate‖ ( i) ―Thirteen Blackbirtds‖ (b) ―A sudden blow : the great wings beating still…‖(ii) ―Sympathy‖ (c) ―Among twenty snowy mountains‖ (iii) ―The Darkling Thrush‖ (d) ―I know what the caged bird feels, alas….‖ (iv) ―Leda and Swan‖ Code: (a) (b) (c) (d) 1. (iv) (iii) (ii) (i) 2. (iii) (iv) (i) (ii) 3. (ii) (i) (iii) (iv) 4. (i) (ii) (iv) (iii) Ans (2)

38. Identify the titles that were published in the 1920s. 1. Look, Stranger! 2. The Tower 3. The Waste Land 4. The Road to Wigan Pier Code‖ 1. (a) and (c) 2. (b) and (c) 3. (b) and (d) 4. (c ) and (d) Ans (2). The Waste Land is a long poem by T. S. Eliot,[A] widely regarded as one of the most important poems of the 20th century and a central work of modernist poetry.[2][3] Published in 1922, the 434-line[B] poem first appeared in the United Kingdom in the October issue of The Criterion and in the United States in the November issue of The Dial. It was published in book

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 1 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 5 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs form in December 1922. Among its famous phrases are "April is the cruellest month", "I will show you fear in a handful of dust", and the mantra in the Sanskrit language "Shantih shantih shantih" The Tower is a book of poems by W. B. Yeats, published in 1928. The Tower was Yeats's first major collection as Nobel Laureate after receiving the Nobel Prize in 1923. It is considered to be one of the poet's most influential volumes and was well received by the public.[1] The title, which the book shares with the second poem, refers to Ballylee Castle, a Norman tower which Yeats purchased and restored in 1917.[2] Yeats Gaelicized the name to Thoor Ballyllee,[3] and it has retained the title to this day. Yeats often summered at Thoor Ballylee with his family until 1928.[4] The book includes several of Yeats' most famous poems, including "Sailing to Byzantium," "Leda and the Swan," and "Among School Children." 39. The novel is dedicated to ―To the railroad of bones‖ and has as its epigraph the line, ―I am the woman they give dead women‘s clothes to ―from Christine Gelineau‘s ―Inheritance‖. Identify the novel 1. African Pscho by Alain Mabanckou 2. The Chibok Firls by Helon Habila 3. The Underground Railroad by Colson Whitehead 4. The Book of Night Women by Marlon James Ans. (3). The Underground Railroad, published in 2016, is the sixth novel by American author Colson Whitehead. The alternate history novel tells the story of Cora and Caesar, two slaves in the southeastern United States during the 1800s who make a bid for freedom from their Georgia plantations by following the Underground Railroad, which the novel depicts as primarily a rail transport system in addition to a series of safe houses and secret routes.[1] The Underground Railroad was a critical and commercial success, hitting the best seller lists and winning several notable prizes. It won the 2017 Pulitzer Prize for Fiction,[2] the 2016 National Book Award for Fiction,[1][3] the Arthur C. Clarke Award[4] and the 2017 Andrew Carnegie Medal for Excellence.[5] It was longlisted for The 2017 Man Booker Prize. 40. An English poet could not help the excitement that an historical event caused in his life-time: Bliss was it in that down to be alive, But to be young was very heaven. Which poet? What ―dawn‖? 1. W.H. Auden; the Spanish War 2. Lord Tennyson; the jubilee of Queen Victoria‘s reign 3. William Wordsworth; the French Revolution 4. William Blake; the industrial Revolution Ans. (C ). Before the French Revolution descended into the Reign of Terror it was possible to believe that this was the Dawn of a New Age of Reason. New crafts and industries were emerging, the industrial revolution was SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 1 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 6 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs underway (in Great Britain), science was leaping forward. And now the old order, the Ancien Régime, was being overturned. Poets sang its praises, the chattering classes chattered, while the establishment quaked with fear. Anything was possible. A bit like the 1960s, flower-power and all that, but a hundred times bigger, man. Or the Flappers - but hey, who remembers them?

Hence, bliss to alive in that dawn. As for being young, hopefully that is obvious? (If that isn't obvious, it will be when you get older!)

The poem's title is quite explicit:

The French Revolution as It Appeared to Enthusiasts at Its Commencement

41. Which novel by John Banville tells the story of a group of travelers who arrive on a small island and stumble upon house of Prof. Kreutznaer whose relationship to a painting entitled ―The Golden World‖ by a fictional Dutch artist named vaublin plays a central role?

1. Ghost

2. The sea

3. The Ark

4. Eclipse

Ans. (1) Ghosts is a novel by Irish writer John Banville. Published in 1993, it was his first novel since The Book of Evidence (1989), which was shortlisted for the Booker Prize. The second in what Banville described as a "triptych", to make "an investigation of the way in which the imagination works."[1] This novel features many of the same characters and relates to events of the previous novel.

Summary The novel is somewhat unconventional and non-linear in its construction. It begins with a group of travelers disembarking on a small island in the Irish Sea after their ship runs aground. There they stumble upon a house inhabited by Professor Kreutznaer,[2] his assistant Licht, and an unnamed character who figures centrally in the novel and who is referred to only as "Little God." It is later revealed that Little God can be identified with Freddie Montgomery, the narrator of The Book of Evidence. Much of the latter half of the book focuses on Montgomery's account of his experiences after having been released from prison, his reflections on the crime (the murder of a young woman) he committed, and his continuing struggle with the ghosts of his past and the nature of his perceptions. Kreutznaer's relationship to a painting entitled The Golden World by a fictional Dutch artist named Vaublin plays a central role in the novel. The fictional painting is based to a large extent on The Embarkation for Cythera by Watteau. The narrator mentions "Cythera" several times and, to a certain degree, the characters are modelled on those in the painting. It is revealed that Kreutznaer and one of the travellers—a man named Felix— are acquainted with one another, and that Felix had been involved in art forgery. The novel ends with the travellers re-embarking and leaving the island, with many of the central issues and tensions left unresolved.

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 1 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 7 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs 42. Identify the two plays, usually paired for their critique of the politics of language and acts of police interrogation.

1. Earthly Powers, The Wanting Seed

2. Chicken Soup with Barley, Roots

3. Left-handed Liberty, The Hero Rises

4. One for the Road, Mountain Language

Ans. (3) John Arden (26 October 1930 – 28 March 2012) was an English Marxist playwright who at his death was lauded as "one of the most significant British playwrights of the late 1950s and early 60s". Arden is the nearest Britain has produced to a Berthold Brecht (even considering Edward Bond and Howard Barker) and the range of his talent was enormous. He thought on a large canvas so that even when his plays are produced in small intimate theatres they gave the impression of size and space, belonging as much to the outdoors as Pinter to the indoors. Arden had the same virtues and failings as Brecht, writing out of a passionate desire to educate and make his audiences think, while sacrificing style and his own artistic integrity where he saw a possibility of increasing the weight of his message.

Born in Barnsley and educated at King's College, Cambridge, and Edinburgh School of Art, where he studied architecture – which he practiced only briefly but which remained a hobby throughout his life – there was always something of the 18th century aristocrat about Arden, in the precision of his everyday language, the breadth of his interests and opinions and the arrogance which enabled him to do what he wanted against advice and opposition. I doubt if he ever believed himself to be wrong, either about work or the decisions he took on other matters. One could not tell from his voice whether he was the son of a duke or a miner.

He first attracted attention with a prize-winning radio play The Life of Man and with his second stage play Live Like Pigs (1957) which depicted the squalor of the underside of society so realistically that it invoked an outcry. This was followed by his masterpiece, Serjeant Musgrave's Dance, whose protagonist is a soldier returning from the Crimean War preaching pacifism and revolution. It is extremely violent, with much action, great eloquence and a flamboyance found in no other British dramatist: it would have greatly appealed to Artaud, who was almost unknown in Britain at the time, fitting very well into his concept of "total theatre".

Arden found his inspiration in the yeoman class of rural Britain from which army recruitment had largely come, a class accustomed to suffering and injustice, capable of great endurance and courage, but with a burning anger as well as a stoicism in its belly; the anger has been there for generations; indeed it may go back to Norman times.

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 1 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 8 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs Arden's work was not only based on a mythology – the British equivalent of Rousseau's noble savage – but became its own mythology, so that one always sees echoes of long-buried wrongs in his plays, which have an epic character and an antrean feeling of horror. Arden attacks both the minds and the nerve-endings of his audiences. Like Brecht, he used songs, ballads and interruptions to get his message over, and from the time of his collaborations in the theatre with his wife Margaretta D'Arcy, there was greater use of such diversions, often improvisations of less than professional competence, bad music and toleration of silliness.

This was a pity because the major plays are magnificent achievements, expressionistically portrayed history that can greatly excite an audience, with dramatic speech of much poetic intensity. There can be no doubt of Arden's great talent, but he constantly diminished it with touches that came from his wife, whose dramatic talents were different and seemed to influence him away from his natural style, which is poetic, expressionistic, intellectual total theatre in a similar vein to the productions of Reinhardt, Piscator, Brecht and Barrault. His natural producer would have been Peter Brook, were Brook not so in conflict with the spoken word, always humbled by him for the effect of dramatic spectacle.

After Sergeant Musgrave, which was successful all over Europe and finally even in Britain after a bad start, came The Workhouse Donkey, one of the first attacks on that element in the Labour Party which became more interested in the trappings and patronage of power than in advancing socialism. To a certain extent it might be said to have anticipated the Poulson scandal, which revealed the extent of corruption in the North-east of England in Labour-dominated local government authorities.

His next play was one of his finest and it never had the success it deserved: audiences have always been slow to follow the reviewers where Arden was concerned. Armstrong's Last Goodnight was based on a Scottish border ballad and the historical event behind it. Premiered in Glasgow in 1964, it proved how well Arden could cope with Scottish dialect, but this was toned down for London. His hero is, once again, a rebel against authority, in this case the Scottish crown, and he ends up on the end of a rope, like Musgrave.

The following year Left Handed Liberty, commissioned by the City of London for the 750th anniversary of Magna Carta, was presented at the Mermaid Theatre: it was his most Brechtian play, similar to Galileo Galilei in its historical approach. Thereafter there was a definite decline in credibility; not that his plays became in any way uninteresting, but the sure hand of theatrical genius and never-slackening tension was less apparent.

In The Island of the Mighty (1972) he exploited his gift for myth-making, drawing on the old Irish, Welsh and Arthurian legends and connecting them for his own dramatic ends; it rampages through history with incidents borrowed from many local legends, especially The Golden Bough, with abandon but with fascinating effect. On the opening night Arden and his wife picketed the play, asking the audience not to see it, because David Jones, SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 1 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 9 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs the director, had, he claimed, distorted it. But Arden was enthusiastically present at all the rehearsals until his wife returned from Ireland shortly before the opening, and only then did he complain about Jones' direction. The reviews were mixed.

The truth is that there were two sides to Arden's character. On his own he was an intense, politically conscious, intellectual craftsman, a poet with a big vision, great command of language and an ability to create history that was not real history but a Jungian chronicle of ancestral memories that could, because art displaced fact, be much more effective in creating the kind of history that people feel rather than learn when world events overtake them and their lives become caught up in civil wars, revolutions or plagues. A potent myth-maker at his best, he betrayed his own talents increasingly from the late '60s onward, when the other side of his character became more prominent.

This other side was closely bound up with his wife, an Irishwoman with strong gypsy traits, for whom discipline, order, even the most elementary safety measures in life, were anathema. It wasundoubtedly a close and happyrelationship: but she seemed to suck the discipline from his creativity, while he took his moral and physical strength from her. She was creative on herown account – they wrote much together – but in a different direction from him, and the mix did not succeed artistically. This was evident in his least happy play, an opera of sorts, The Hero Rises Up (1968) where the subject was the relationship between Lady Hamilton and Nelson, which he directed himself, and which fell below an adequate professional level.

Politically Arden and Margaretta D'Arcy were as one. She involved him in Irish causes, especially the Civil Rights movement and republicanism, but his natural bent would have been no different. As an historical playwright he had much in common with Robert Bolt, but never achieved the latter's commercial success, and their approach was very different: Bolt simulated reality, Arden created myth.

Arden had little in common with his close contemporaries who came to prominence at the same time, John Osborne and Arnold Wesker, although for a time they were ideologically close. David Rudkin came nearer to him in atmosphere, Edward Bond in integrity of feeling – and taste for dramatic violence. Arden has sometimes been relegated, mistakenly in my view, with the absurdists; he occasionally shares their feeling for surrealism; but it goes no further than that.

At bottom John Arden was an intuitive political poet, who realised the cultural relationship between the oppressed and their oppressors and its effect on character. Had he been American he would have written of the black experience.

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 2 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 0 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs He understood the political role of the theatre as few others have done in Britain, and it was his misfortune to work in a country where a talent like his had so few outlets. It was disheartening to witness one occasion when this born educator tried to introduce art and culture to a small village, Kirbymoorside in Yorkshire. He rented a cottage for the summer, and spent much time filming everday life, especially recording how the old saw the young and young saw the old.

At the end of the summer the Ardens put on at their own expense a festival: lectures, folk singers, dancers, readings and sometimes performances of plays, classical music, discussions and frequent showings of the film. Everything was free and everyone was invited, but some, too shy to enter the cottage, about which there were many suspicions in some quarters, would only gather at the windows to watch the events or see themselves on the screen. It shook the whole village up, but when the Ardens went away life returned to its normal slow rhythms and the excitement was quickly forgotten.

After 1970 politics of a mainly radical and nonconformist-anarchist bent, allied to many causes but not party- orientated, preoccupied the Ardens, and they went to live in Galway. Their joint plays – by now Arden wrote only in collaboration with his wife – were mainly performed in small theatres, and he turned to writing for radio and lecturing. He also explored moral themes that had always interested him in two novels, Silence Among the Weapons (1982) and The Book of Bale (1988). His interest in Ireland led to a series of improvisational performance-art plays with the general title The Non-Stop Connolly Show. He also wrote plays for children and an adaptation of Goethe's Gotz von Berlintingen under the title Ironside (1963) and there are other writings, including books of essays.

In spite of his refusal to follow the career of a major national playwright, as his beginnings suggested he would, Arden always remained true to a very personal anti-establishment ethical code, and was a moralist primarily, with an understanding of the power of corruption in nearly every society, past and present. He simply distanced himself from the social position that goes with success, and if he disappointed his admirers it was unconsciously done, not because of any failure in his powers. In his outlook he came to resemble Samuel Beckett in many respects, although stylistically they are poles apart.

He was an attractive man with anintensity of manner that sometimes seemed to border on the fanatical; one could see him as a political revolutionary or a fundamentalist preacher, and perhaps he saw himself as both.His interest in religion was moral and philosophical and although nominally Church of England, it is doubtfulthat he held any firm beliefs. His major plays, up to The Island of the Mighty, assure him an important place in theatrical history.

43. Semiotics originated mainly in the works of tow theorists. They are: SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 2 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 1 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs 1. Charles Sanders Peirce

2. Mikhail Bakhtin

3. Ferdinand de Saussure

4. Valentin Voloshinov

The right combination according to the code is ______

1. (a) and (b)

2. (b) and (c)

3. (a) and (c)

4. (c) and (d)

Ans (3) Due to his theories on the structure of language, the Swiss linguist, Ferdinand de Saussure (1857-1913) is often known as the founder of modern linguistics.

In order to understand Saussure‘s linguistic theories, you have to be able to grasp the basics of his psycho- linguistic terminology and his explanation of the nature of language units.

Understanding the basic concepts of his linguistic theory is not only essential for linguistic students, but for anyone studying semiotics, or the use of various types of signs to communicate. Semiotics is also a basic element in film theory studies.

In Saussure‘s Course in General Linguistics, a book summarising his lectures at the University of Geneva from 1906 to 1911, he explained the relationship between speech and the evolution of language, investigating language as a structured system of signs.

It is important to note that Saussure perceived a linguistic unit to be a ‗double entity,‘ meaning that it is composed of two parts. He viewed the linguistic unit as a combination of:

1. a concept or meaning

2. a sound-image

Linguistic Units and Sound – Images are Mental Impressions

The first point to understand is when Saussure mentioned ‗linguistic units,‘ sound-images‘ and ‗concepts,‘ he was referring to the mental processes that create these entities. He was not referring to spoken or written words, but to the mental impressions made on our senses by a certain ‗thing.‘ It is our perception, or how we view this

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 2 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 2 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs ‗thing,‘ together with the sound system of our language that creates the two-part mental linguistic unit he referred to as a ‗sign.‘

Let‘s take for example the fairly new concept of ‗Google.‘ The sound image, or impression in our minds is of the logo representing Google, and through our language system we know how that image sounds mentally. We know the concept or meaning associated with this ‗sound impression‘ that ‗Google‘ is a large search engine on the Internet. The connections between the two elements are made mentally without uttering or writing the word ‗Google,‘ and the two parts formed are joined and become united as a mental linguistic unit. Saussure calls this two-part linguistic unit a ‗sign.‘

Understanding the Terms Sign, Signified and Signifier

The part of the sign Saussure calls the ‗concept‘ or ‗meaning‘ (mental impression/association of the ‗thing‘) he named, ‗signified.‘ The idea of what ‗Google‘ is, for example, is signified. The part he calls the ‗sound-image‘ (the mental ‗linguistic sign‘ given to the ‗thing‘) he named the ‗signifier‘ – this is the sound Google‘s logo creates in our minds.

As Saussure explains, the connection between all ‗signifiers‘ which are ‗sound images‘ or ‗linguistic signs‘ and what they are signifying – their signified object or concept – is arbitrary. In other words, there is not necessarily any logical connection between the two. Again, the word ‗Google‘ exemplifies this well.

There is nothing in the word ‗Google‘ that would suggest that it is a digital means of searching for information on the Internet. It is a random invented word. With the arrival of the Internet, in the waning years of Yahoo! a name, or ‗sound image‘/‘linguistic sign‘ had to be created to describe a new search engine. However, now, when you see the ‗linguistic unit‘ ‗Google‘ (the ‗sign‘), you automatically connect it to its sound image, the signifier ‗Google‘ – a ‗linguistic sign‗ which signifies a ‗large search engine on the internet.‘

. 44. Robert Burton‘s Anatomy of Melancholy was published in 1621 and expanded and altered in ______subsequent edition. 1. Tow 2. Four 3. Six 4. Five

Ans. (2) If one had to pare down one's library to the barest minimum, Robert Burton's The Anatomy of Melancholy is a volume that one could never cull. If one had to prepare for a desert-island exile and could take only a handful of books along, then The Anatomy of Melancholy is surely a volume one would insist on taking. Those that have a copy of the long hard-to-find volume(s) treasure and cling to it -- one reason why you'll rarely find a copy at your local second-hand bookstore. It is a famous book. A well-known title. But rarely seen. It has been, essentially, out of print for some time (the recent scholarly Clarendon Press edition being out of most reader's price range -- and, apparently, already itself out of print). Now The Anatomy of Melancholy has been republished in a convenient single volume by New York Review Books. A barely ballyhooed event, it should be the talk of the town, the publishing triumph of

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 2 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 3 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs the season. There are few essentials that belong on the bookshelf in every cultured English-speaking household. A collected Shakespeare. The Riverside Chaucer. Grudgingly: a King James Bible. And Burton's Anatomy of Melancholy. Certainly, other titles belong there as well, but one can debate the specific novels and the poetry that are worthy of inclusion. Not Burton's Anatomy. No question there. And, given the propensity of the title to fall out of print (as it has recently, and did previously -- for a particularly long, dark stretch between 1676 and 1800), we can only advise you to get your copy while you can.

What is this book ? Well, it is, nominally, an anatomy, an overview, a dissection, an analysis of melancholy. But melancholy is a broad term, a common affliction with many causes, symptoms, and, possibly, cures. And Burton is determined to consider each and every variation on the theme. Burton's book is encyclopedic. Burdened all his life with a "roving humour", Burton acknowledges:

I have read many books, but to little purpose, for want of good method. I have confusedly tumbled over divers authors in our libraries with small profit for want of art, order, memory, judgment. I never travelled but in map or card, in which my unconfined thoughts have freely expatiated.

Burton did, indeed, read many books. Every book ever written or published until that time, it would seem. Indeed, he appears to quote from every one of these books in The Anatomy of Melancholy -- from the earliest Greeks to his recent contemporaries. Arguably, the Anatomy is the last book that encompasses the entire learning of Western culture, the last successful effort to cram it all into one volume. It is a strikingly odd book, in that it consists almost entirely of quotes and references to the thought of others. It is a book of references woven together. But what a tapestry. Burton builds his arguments and his explanations by constantly referring to what others have said before. Acknowledging that there is nary a new thought under the sun he dispenses with feigning originality. Newton may have stood on the shoulders of giants, but they remain largely unseen; in The Anatomy of MelancholyBurton stands on the shoulders of all of learned humanity, a small speck atop a very tangible, teeming mass. There is both madness and method here. The book is overwhelming. It ranges across nearly all subjects: medicine, astronomy, philosophy, literature and all the arts, politics, nature. It runs from quote to quote to reference. Still, it is carefully constructed, partition upon section upon member upon subsection. Neat synoptical tables illustrate how each partition unfolds. All possible issues are brought up and dealt with, exhaustively -- but never exhaustingly. The style is an odd one, with run-on sentences that seem to want to break off every which way, but Burton's hand is a firm one and, amazingly, he keeps things under control. The book is presented as being by "Democritus Junior", the pseudonym Burton chose to publish the book under; it is dedicated to George Berkeley (giving some sense of Burton's own philosophical inclinations). The book begins with a Latin poem "Democritus Junior to his Book", with which he releases it into the open day. An explanatory poem gives "The Argument of the Frontispiece" (see here or, if you have the patience, here for reproductions of the frontispiece) Next: "The Author's Abstract of Melancholy". There is then a long introduction, "Democritus Junior to the Reader", and finally a warning "To the Reader who Employs his Leisure Ill". Then it is on with the melancholy show. The focus is on this perceived malady, but in essence it is also an excuse to discourse about all matters and manners in the world (and, occasionally, beyond). The first partition is devoted to the more common, generic sort of melancholy, focussing on causes and symptoms. Melancholy can, apparently, be found everywhere. Burton explores every possible reason for that sinking melancholy feeling. From God to bad nurses, bad diet to overmuch study, "Self-love, Vainglory, Praise, Honour, Immoderate Applause" to covetousness, "An heap of other Accidents" to education ("if a man

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 2 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 4 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs escape a bad nurse he may be undone by evil bringing up") -- it seems anything can cause it. The symptoms are more straightforward, though also more varied than one might expect. From "Windy Hypochondriacal Melancholy" to the female variations -- "Maids', Nuns', and Widows' Melancholy" -- Burton gives a neat little overview. The second partition suggests cures for melancholy, ranging from lifestyle-changes to medical solutions (from blood-letting to herbal alternatives). Burton himself suggested: "I write of melancholy, by being busy to avoid melancholy." (And he was very busy at it.) The last partition then is devoted to the most complex and irrational mind-ailments: love-melancholy and religious-melancholy.

The fun and the brilliance of the book lies in Burton's presentation. Melancholy is his springboard, but it is the entire human experience -- so melancholy-tinged -- that is his subject. Example after example is heaped on the reader, quote after quote after story after anecdote, all condensed to their very essence. A mad fill, an overabundance, literary profusion on the most extravagant scale. On every page there are a dozen -- at least -- examples or citations or tales or ideas, each of which any author could spin out into a full-length novel or treatise. Indeed, The Anatomy of Melancholy is the ultimate writer's resource book. Many a career could be built on it -- and several have been. Laurence Sterne carried on the Burtonian tradition, stealing extensively from The Anatomy of Melancholy for his own Tristram Shandy (a theft that was not discovered for decades, as Burton was barely remembered or read at the time). For many others the volume was also favoured reading (and, occasionally, cribbing) material, from John Keats to Samuel Beckett. The Anatomy of Melancholy is almost unreadable. Densely packed, it defies reading as it is now generally practised. And yet it is the ultimate book, a volume that one can not but return to over and over, constantly. Perusal of the rich Anatomy is addictive, each passage like a snort of crystallized literary erudition -- with a healthy dose of humour. It is a book that lasts a lifetime. It is bottomless: both a pit and a reprieve. Burton himself, in his lifelong melancholy fit, could not help but constantly add to the text. The first edition had some 350,000 words, the sixth over half a million. He was a man possessed, the text burgeoning to bursting, Burton always -- just -- in control. It is a unique, and grand achievement. Modern efforts at so-called hypertexts and hyperfiction pale beside it. On only the printed page Burton goes far beyond what most have conceived in virtual worlds.

If you only buy one book this year, let it be this one. And if you buy hundreds of books this year, let this one be on the top of the list.

45. Which of the following magazines self-consciously crated an identity for Vorticists, a group of painters, sculptors and writers? 1. Blast 2. The Egoist 3. The Criterion 4. New Age

Ans. (1) Vorticism was an iconoclastic British art movement that attacked traditional British culture. It was formed and shaped, at least in part, in response to other art movements including Futurism.

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 2 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 5 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs The Vorticist journal BLAST was published only twice. BLAST: The Review of the Great English Vortex appeared in July 1914 and BLAST: War Number in July 1915. The first issue, shown here, was a vehicle for the Vorticist manifesto and a long list of things to BLAST (the mild, domesticated and provincial) or BLESS (distinctly unromantic ships, English ports, bridges and hairdressers).

BLAST was edited by Wyndham Lewis, a founder member of the Vorticist movement, who also wrote portions of the text.

Futurism and Vorticism

The Vorticists were clearly influenced by Futurism but they also insisted on their differences: while Futurists celebrated the motion and speed of the modern machine, the Vorticists focused on the pure potential of its energy. Wyndham Lewis saw the 'great English vortex' as the centre of a whirlpool or the eye of the storm. It represents, in mechanics, the greatest efficiency.

Vorticists saw this energy as the product of both modernity and the violent boredom inspired by stagnant Victorian culture still lingering in England 14 years after Queen Victoria's death.

What was BLAST’s vision?

BLAST was a battering ram meant to blow away dead ideas and worn-out notions. Its blocks of bold text laid out on the page in new ways were the exact opposite to ornate decorative Victoriana.

The manifesto and BLAST and BLESS lists include deliberate contradictions and rhetorical oppositions. Many of the things blasted are also blessed; Vorticists claim to be mercenaries (soldiers without national allegiance) without a cause; they start from opposite statements and launch their attack on both sides; they mix extreme opposites ('We only want Humour if it has fought like Tragedy; We only want Tragedy if it can clench its side- muscles like hands on its belly, and bring to the surface a laugh like a bomb‘). Such contradictions not only support the image of pure rebellious energy, but also distance them from Futurist nationalistic allegiance (and fascism).

Britain declared war on Germany on 4 August 1914 a month after the first BLAST was issued. The second and final issue announced the death of Henri Gaudier-Brzeska, one of the original Vorticists, who was killed at war in the trenches. Real war exceeded the shock and violence of the Vorticists' rhetorical war and the movement quickly faded.

Full title:

BLAST

Published:

20 June 1914, London

Publishers:

John Lane

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 2 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 6 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs Format:

Periodical / Ephemera / Illustration / Image

Creator:

Wyndham Lewis, Edward Wadsworth

46. In every cry of every Man, in every infant‘s cry of fear, in every voice, in every ban….‖ The figure of speech characterized by repetition of words or group of words at the beginning of consecutive sentences is called______. 1. apostrophe 2. anaphora 3. incremental repetition 4. alliteration

Ans. (2) Anaphora is a technique of beginning several lines with the same word or words. This creates a parallelism and a rhythm, which can intensify the meaning of the piece. In linguistics, an anaphora is also a technique of using a word, such as a pronoun, to refer to or replace another word in a sentence. Anaphora in Poems Examples (with anaphora underlined): Tired with all these, for restful death I cry, As to behold desert a beggar born, And needy nothing trimm'd in jollity, And purest faith unhappily forsworn, And gilded honour shamefully misplac'd, And maiden virtue rudely strumpeted, And right perfection wrongfully disgrac'd, And strength by limping sway disabled And art made tongue-tied by authority, And folly--doctor-like--controlling skill, And simple truth miscall'd simplicity, And captive good attending captain ill - Sonnet No. 66 by William Shakespeare

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 2 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 7 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs I remember a piece of old wood with termites running around all over it the termite men found under our front porch. I remember when one year in Tulsa by some freak of nature we were invaded by millions of grasshoppers for about three or four days. I remember, downtown, whole sidewalk areas of solid grasshoppers. I remember a shoe store with a big brown x-ray machine that showed up the bones in your feet bright green. - I Remember by Joe Brainard From the memories of the bird that chanted to me, From your memories sad brother, from the fitful risings and fallings I heard, From under that yellow half-moon late-risen and swollen as if with tears, From those beginning notes of yearning and love there in the mist, From the thousand responses of my heart never to cease, From the myriad thence-arous'd words, From the word stronger and more delicious than any, From such as now they start the scene revisiting, - Out of the Cradle Endlessly Rocking by Walt Whitman angelheaded hipsters burning for the ancient heavenly connection to the starry dynamo in the machinery of night, who poverty and tatters and hollow-eyed and high sat up smoking in the supernatural darkness of cold-water flats floating across the tops of cities contemplating jazz, who bared their brains to Heaven under the El and saw Mohammedan angels staggering on tenement roofs illuminated, who passed through universities with radiant cool eyes hallucinating Arkan- sas and Blake-light tragedy among the scholars of war, who were expelled from the academies for crazy & publishing obscene odes on the windows of the skull - Howl by Allen Ginsberg After the torchlight red on sweaty faces After the frosty silence in the gardens After the agony in stony places The shouting and the crying Prison and palace and reverberation Of thunder of spring over distant mountains He who was living is now dead We who were living are now dying With a little patience - The Waste Land by T. S. Eliot SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 2 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 8 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs Examples of Anaphora In Sentences Examples where one word refers to another (with anaphora underlined and substituted word or phrase shown in parentheses):  She dropped the glass and it broke into pieces. (the glass)  The party was over and that upset everybody. (The party was over)  The child wanted a pony but her parents didn‘t buy one for her. (pony)  If my son moves to Florida, I will do that as well. (move to Florida)  The teacher was disappointed and so were his students. (disappointed)  Fred asked Ginger to pass him the potatoes. (Fred)  I know it and she does, too. (knows it)  Sue needed the glue and asked me to finish with it. (glue)  The dog really wanted the bone but Sam threw it away. (bone)

An anaphora is a type of rhetorial device. Now that you understand anaphora, check out some more Examples of Rhetorical Devices.

47. At whose behest does the Redcrosse Knight undertake his quest in The Faerie Queene? 1. Gloriana‘s 2. Una‘s 3. Duessa‘s 4. Properine‘s Ans.(1) Faerie Queene (also known as Gloriana) - Though she never appears in the poem, the Faerie Queene is the focus of the poem; her castle is the ultimate goal or destination of many of the poem‘s characters. She represents Queen Elizabeth, among others, as discussed in the Commentary.

Introduction to The Faerie Queene The Faerie Queene, written by Edmund Spenser in the late 1500s, is an allegorical tale created to teach its readers how to live up to the six virtues Spenser explores in each book. Instead of providing an instruction booklet about how to lead a sinless life, Spenser portrays each virtue and vice through the knights' quests. The Faerie Queene is divided into six books, each one dedicated to a specific virtue: holiness, temperance, chastity, friendship, justice, and courtesy.

Summary Book I Book I, dedicated to the virtue of holiness, follows the adventure of the Redcross Knight, who represents the virtue of holiness. He encounters the deceptive Duessa, Archimago, and the House of Pride. The virginal Una, who represents Truth, initially aids the Redcross Knight in his journey; however, after his encounter with the monstrous Errour and her cannibalistic offspring, the Redcross Knight wanders away from his guiding light and proceeds into an illicit relationship with the deceptive Duessa, whose very name means 'duplicity'. SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 2 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 9 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs The Redcross Knight only learns the virtue of holiness after his fall from grace. Duessa leads him into the House of Pride, where the Knight meets Lucifera, the female representation of Satan, and her court of sin: Idleness followed by Gluttony, Lechery, Avarice, Envy, and Wrath. The Knight's ignorance causes him to consummate with Duessa, leaving him too weak to fight the giant Ogoglio. When Una and Prince Arthur come to rescue the Knight, Una reveals Duessa's true form and redeems the Redcross Knight by taking him to the House of Holiness after his triumphant battle over the monster Despair. With renewed strength, the Redcross Knight defeats the dragon that held Una's parents imprisoned. Book II Book II shifts the point of view to Sir Guyon, who represents the virtue of temperance. His major heroic act is destroying the Bower of Bliss controlled by Acrasia, an evil witch who lures men to her bower with sexual appeal but then magically transforms them into beasts. Sir Guyon devotes himself to destroying the witch and her bower. Accompanied by Knight Palmer and Prince Arthur, Guyon encounters many beasts and adventures on the journey to the island. He gets into skirmishes with characters like the evil knight brothers Pyrochles and Cymochles, the beast Mamon, and a group of violent men attacking a castle. Additionally, he must forge through the dangerous waters and confront the monsters of the Gulf of Greediness, fight off the wild beasts on the island, and ignore the seductive women of the island. Eventually, they find Acrasia. Binding Acrasia with nets, Sir Guyon ultimately destroys the Bower of Bliss. Book III Book III introduces the reader to the lady knight Britomart, who represents the virtue of chastity and is on a quest to find her beloved Artegall. Unlike Book I and Book II, Book III is set up as a collection of separate love stories that are interwoven into a pattern of relationships representing both chaste and unchaste love affairs. The first love affair is Britomart's, whose love for Artegall occurs after she sees him in a magic mirror. Meeting previous characters such as Sir Guyon, Prince Arthur, and the Redcross Knight, Britomart must confront foes such as the seductress Malecasta, who is the very representation of unchaste lust. Compared to other chaste characters like Florimell, Britomart's chastity does not need to be tested because her chastity is embedded within her very nature. After she meets the knight Scudamore and helps him rescue his betrothed, Amoretta, Britomart continues her journey to find Artegall by the end of Book III. Book IV Book IV, in its elaboration on the virtue of friendship, is also a collection of stories. From Britomart's rescue of the fair Amoretta to the false friendship between Blandamour and the envious Paridell, Book IV explores friendship as a social and public virtue that contrasts the private virtues of Books I-III. When Britomart proves to be Amoretta's knightly champion in a battle to preserve Amoretta's chastity, the two women express their true friendship through their devotional commitment. On the other hand, characters like Blandamour and Paridell become the illustration of a destructive friendship ruled by jealousy and exploitation. Such representations of true and false friendships become interwoven in a book that continues the exploits of the chaste characters introduced in Book III. Book V Book V returns to Artegall's adventure as he travels with Talus to rescue Eirena from her captor Grantorto. Representing the virtue of justice, Artegall's adventure begins after he receives his quest from the Faerie Queene. After encountering a squire and a knight named Sanglier fighting over a lady, Artegall acts as a benevolent and mindful judge, testing his subjects to see who truly loves the lady in question.

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 3 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 0 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs By defeating various foes, Artegall extends his just hand across the kingdom into Mercilla's court, where Prince Arthur and Artegall help maid Samient in defeating the evil king and queen, Souldan and Adicia. After watching Duessa's trial and execution over her many crimes, Artegall finishes his quest, rescuing Eirena from the monstrous Grantorto and driving the hags Distraction and Envy away along with their Blatant Beast, a representation of scandal and dishonor. Book VI Book VI follows Calidore as he spreads the social virtue of courtesy. Book VI starts with Calidore defeating Crudor and his wife Briana, then teaching them the virtue of courtesy. Calidore continues his adventure, eventually meeting Knight Calepine and his lady Serena, who was bitten and poisoned by the Blatant Beast. The narrative diverges into separate adventures, with Serena and Calepine meeting Prince Arthur to find a cure for the Blatant Beast's poison, and Calidore encountering the beautiful Pastorella who helps him in his journey. While Serena and friend Timias learn that the cure to the Blatant Beast's poison is the combination of virtue, self- control, and forthrightness, Calidore rescues his rival Coridon from a brigand and defeats the Blatant Beast's scandalous mouth by binding it together. Courtesy, which is contrasted to the personification of Disdain and Scorn, is able to beat the Blatant Beast, but it is also suggested that it cannot kill the Beast for good.

Major Characters One of the best ways to understand how each book is related to the other is to have a grasp of some of The Faerie Queene'scharacters. First, we'll take a look at the heroes of each book and their significance: Redcross Knight - He is the hero of Book I, the representation of holiness. Wearing the second-hand armor of past knights, the Redcross Knight's trials include encountering and defeating Duessa and Despair to preserve his holiness. Sir Guyon - The hero of Book II, the representation of temperance. Guyon learns both moderation and self- control in the face of anger, sex, greed, and ambition. Britomart - The hero of Book III, the representation of chastity. Unlike the Redcross Knight and Guyon, who sometimes fall from their appointed virtues, Britomart's virtue of chastity is bound up with the power of love, and she remains chaste throughout her adventure. Britomart is a formidable knight, significant because of her strong female role. Artegall - Britomart's beloved, as well as the representation of justice in Book V. Along with his companion Talus, Artegall ventures to rescue Eirena from Grantorto. Calidore - As the hero of Book VI, Calidore comes to represent the virtue of courtesy in its most

48. In which city did john Ruskin see a paradigm for Victorian Britain? 1. Vienna 2. Venice 3. Rome 4. Paris

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 3 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 1 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs Ans. (2) In nineteenth-century Great Britain, John Ruskin (1819-1900) was a figure about whom no reader could have been ignorant: a public intellectual, in our terms, who had ideas about what buildings should look like, what Christianity should be, what paintings were valuable and not, what responsibility the state had to its citizens and what responsibilities citizens had to the state. He wrote about myths and about science, about the duties of the sexes, the limits of capitalism, the pleasures of dancing, the meaning of the Alps, the sorrowful testimony of Venice. He tried to transform the heart of Great Britain. And he also sold tea The private thoughts and ideas of this huge figure of nineteenth-century Great Britain are also available. Ruskin kept a diary journal through most of his working life. And it has never been published in full in any open access, color, and high quality form. Ruskin‘s diary journals--distributed in archives across the UK and US--are copious, searching, luminous, and bothered. They reveal the observations and the development of ideas that would, often enough, make the public world of print. They are a kind of personal workshop for the public man. But they are also private: reflections on states of mind, on states of soul, on a personal perception of the condition of Europe. Charting the energies of a great writer, the journals also open up the tormented world of Ruskin‘s heart and the periodic failing of his mental health. They are impossible to summarize and replete with the testimonies of a life lived both to the full and, increasingly, on the verge.

49. Which novel of Kazuo Ishiguro is narrated by Japanese widow living in England and draws on the destruction and rehabilitation of Nagasaki? 1. An Artist of the Floating World 2. The Unconsoled 3. A Pale View of Hills 4. When We Were Orphans Ans. (3) A Pale View of Hills by Nobel-winning author, Kazuo Ishiguro, was first published in 1982. This debut novel begins with the suicide of a woman named Keiko. This act brings Niki, the protagonist, home to look after her mother, Etsuko. Keiko was Etsuko‘s first daughter. Etsuko‘s home now seems too large and empty, and after Niki returns, the book delves into the past. Etsuko‘s relationship with her first husband, Jiro, was not a happy one, but neither was it horrible. Jiro didn‘t devote much attention to Etsuko, showing that he didn‘t really care for her. However, the birth of their child gave Etsuko happiness, as did the peace that followed the terrors of World War II. This baby is Niki‘s older half-sister, Keiko. Years after marrying Jiro, Etsuko falls in love with a British man. This is Niki‘s father. Etsuko, who gave up her home and her culture to pursue this new, more loving, relationship, didn‘t want her second daughter to have a Japanese name. Etsuko and her daughters move to England. Keiko grows up unhappy. She‘s a recluse and can‘t connect with those around her. Part of this problem stems from an inability to communicate with her stepfather and Niki, who both speak fluent English. As an adult, she rents a flat in Manchester, England, and lives there until her death by suicide. She‘s found hanging from the ceiling by her landlady. Imagining Keiko‘s last moments plagues Etsuko. Etsuko reflects on a friend of hers,

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 3 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 2 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs Sachiko, who fell in love with a man named Frank. Frank was an American, and Sachiko wanted to move her daughter, Mariko, to the United States to be with him. Etsuko thought it cruel back then to uproot Mariko and expect her to live in a culture so different from her own, but she realizes that she did the same to Keiko. At the end of A Pale View of Hills, Niki leaves Etsuko to return to London. Loss is a major theme in this book. Despite Keiko‘s retreat from others in her life, everyone is touched in some way by her loss. For example, Keiko‘s death plunges Etsuko into a period of reflection, during which she determines that her decisions didn‘t bring Keiko happiness, but often brought her unhappiness instead. Another important theme is freedom of choice. One of the conflicts between Etsuko and Jiro involve politics. This is highlighted by what he learns of Hanada, his colleague. Hanada and his wife disagree on who to vote for, so Hanada threatens to beat his wife if she doesn‘t kowtow to his wishes. Many characters in A Pale View of Hills believe that women shouldn‘t have their own ideas and blame Americans for instilling that desire in them. Freedom of choice therefore goes hand-in-hand with the perceived and real influences of cultural exchange. Kazuo Ishiguro is a British author with Japanese family history. Ishiguro himself was born in Nagasaki, Japan. When he was a child, his family moved to England so that his father could work for the National Institute of Oceanography. As a young adult, Ishiguro attended the University of Kent, where he earned his B.A. in English and Philosophy. Then, he went on to study at the University of East Anglia, earning his master‘s degree in creative writing. He was mentored by author Angela Carter, known for her work as a novelist, poet, dramatist, editor, and translator. A Pale View of Hills presents both the Japanese and British viewpoints with equal attention. In 1982, A Pale View of Hills won the Winifred Hiltby Memorial Prize.

50. Which novel opens thus: ―Whether I shall turn out to be the hero of my own life, or whether that station will be held by anyone else, these pages must show‖. 1. Tristram Shandy 2. Lady Audley‘s Secret 3. David Copperfield 4. Fitz-Boodle‘s Confessions Ans. (3) "David Copperfield" is perhaps the most famous novel by Charles Dickens. The story of the novel is written in first person narrative mode, and it is believed that it, at least to some extent, it is an autobiography of the author. The fact that the main character describes his surroundings, his situations, his life and everything else in first person, makes it a very easy for us to analyze the colors and the features of his personality, making it a very appropriate character to analyze. By telling the story of his life in younger years, the character makes it possible for us readers to even analyze the factors which affected his personality and that made him who he is. It also gives us a clue on how he sees and thinks of the world around him, including the people of his life. One of the events which I believe was a significant factor in protagonist's personality development was removing him from school by his family because of money difficulties and because of his conflict with his step father because he was falling behind with his studies. His step father was a negative figure in our protagonists' life and we can

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 3 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 3 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs consider him an antagonist. This was a traumatic experience for little David Copperfield. Since the same thing happened to the author Charles Dickens in his childhood, this serves as a strengthening argument that we have to do with an autobiography and David Copperfield in fact is an impersonation of the author.

Keywords: David Copperfield, Charles Dickens, Character Analysis.

David Copperfield was born in an English home the 1800s. He mentions in the book that he was born on a Friday, just after midnight, which considering to him and the people who assisted his birth, makes him an unlucky person. Perhaps this is just superstition, but he really wasn't born with much luck. His father whom David Copperfield was named after, passed away six months before little David was born. As if this isn't enough bad luck, David was also born poor, and in a low class family. The aunt of his father who is to become an important character later in the book, hopes that she is going to get a girl relative, and even names the child before it's born, and as soon as David, a boy, comes to life, she abandons him and his mother going to live somewhere else. Having a rough start, David also has a very difficult life, being born in an underprivileged social class, being born as an orphan, and not having much luck with other people in his life either, especially in his childhood.

David is a person who lacks a lot, and doesn't want much in life, he wants affirmation as a person and a warm family life, basic needs of any individual. Not having any of them at his birth and childhood, when he needed them most, he has to use what nature gave him, his talents and his strong will, to achieve them. Since the story is told in retrospective, we know that he made it in life, what we are to find out in the novel is how he made it. And for that, there are hundreds of pages of his story telling. Despite his difficult situation, we can confidently say that David is an optimistic person.

Since basically his whole life is told on his novel, we are dealing with David in different age and development. As a child we can tell that he despite the challenges and difficulties is still a person with a good heart who wants good things for everybody. He tells the story of his childhood with the naivety and innocence of a young boy and not as a mature person, even though as I mentioned, he tells the story in retrospective. This makes it even easier for us to understand the true traits of David's personality, his warm heart, and although David is to immature and naïve to understand people around him, we are readers can easily understand their motifs which are not always good as little David thinks, and although David gets more mature with growing up and is not so naïve anymore about other people, he still has the same warm and goodwill heart as in his childhood.

His good heart is not always a good thing for him. It makes him emotional and weak in situations where he should rather be rational. This happens for example when he falls in love with and marries Dora, who obviously isn't a person suited for marriage and is rather selfish and immature, not at all suited for David. This is corrected by fate later, when Dora dies and David marries Agnes, his real love whom he had always considered as a sister. She is a smart and a very kind girl, since their love is both sided and they are well suited for one another, they live a happy marriage life together. We can say that Agnes is a better match for David. In this situation we see that David is not so completely unlucky after all and the novel shows us the well-known belief that "good wins in the end".

David's talent, strong wills, hard work, optimism, helps him to achieve what he needed so much in his childhood. He becomes a famous writer and lives a happy life married with Agnes.

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 3 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 4 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs 51. Traces of the morality plays are discernible in a play like DR. Faustus, traces such as ______. 1. Vernacular songs adapting secular themes 2. Its soliloquizing protagonist, good and bad angels and its final moral 3. Its refrains from the Corpus Christi Carol, the complaint of Christ, the lover of mankind 4. Its rhythmical prose, and the presence of a larger narrative rhythm in the Morality plays Ans. (2) This drama should be regarded as a skeletal structure of the play written by Marlowe, for the surviving manuscripts are so interspersed with comic scenes and the lines themselves so often revised according to whims of the actors that the original writing must be culled out of the surviving version.

Even so, The Tragical History of Doctor Faustus is worth reading and study because of the many remaining examples of the poet‘s skill it contains. In addition to the adulterated poetry in this play there is also the problem of the tainted characterization and symbolism; for a while the personality of Mephistophilis is often caricaturized and while the exploits of Faustus are frequently rendered pure low comedy, still the Marlowe version of the two principal characters is evident in the sober and more consistent moments of the play. As an added contribution to existing Faustian literature, Marlowe‘s Doctor Faustus is an artistic effort, although not comparable in-depth or scope to the treatment given to this theme by Goethe.

Eternal Significance There is evidently more than what meets the eye in Doctor Faustus, otherwise, its story-element which is too brief and simple, has not by itself the power of creating a lasting impression and an abiding appeal. The play may have had an immediate interest to the people of the Renaissance age because it was written in and for that age, and also because Faustus typifies the genuine Renaissance passion for infinite knowledge. The play, it is true, is a typical Renaissance rendering of the story upon which it is based. But the fact that it is still a favourite of every reader of English drama in spite of three-and-half centuries of changing tastes and temperaments, proves that Doctor Faustus has its greatness not as a mere typical Renaissance play but as a play embodying eternal significance. Central Figure of ‗Dr. Faustus‘ Faustus, the chief and central figure of Marlowe‘s play, stands not for a character, not for a man, but for everyman. The grim tragedy that befalls him is not a personal tragedy, but one that overtakes all those who dare ‗practise more than heavenly power permits.‘ The terrible conflict that rages in his mind is not peculiar to him alone, but common to all who waver between truth and delusion. The play presents not the conflict between man and man, but the eternal battle between the world-old protagonists—Man and Spiritual Power. And the battle takes place not in any known battlefield but in the invisible and limitless region of the mind. And the object of fight—not sceptres and crowns, not kingdoms and empires, but the knowledge of man‘s final fate! Conflict in Dr. Faustus The mystery of life is an alluring and impenetrable one. Innumerable have been the attempts of scholars and scientists, poets and prophets, to pluck out the heart of this mystery. Yet baffling one and all, it continues to be a mystery. Part at least of this mystery is due to the perpetual conflict between good and evil—a conflict without beginning and end. The conflict is terrible, but in that very terror there is an irresistible fascination. It is such a fascination that the play of Doctor Faustusexercises on its readers. Faustus, the Teutonic and medieval sceptic, personifies disbelief in all its strength and weakness. Tired of what he calls barren knowledge, he deliberately seeks to learn and practise magic, magic that has been practised since the beginning of the history of thought by those who have chosen the wrong road. Blind in his blind determination, Faustus becomes deaf to the counsels of good that are constantly whispered into his ears by the Good Angel. Such is the power of Evil that when once it

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 3 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 5 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs takes a man by the throat, it will not leave him until it strangles him. This kind of crucifixion which carries with it its own moral, cannot but make an appeal to the mind of man in all ages and countries. Sin working out its own nemesis, brings the catastrophe of the play into vital relation with human conduct. And who can resist its appeal? Fascinating Appeal: The Attempt to Acquire Forbidden things and the Attempt to Secure Martyrdom And too, there is ever present in man an irrepressible temptation to reach that which is beyond his grasp, to conquer the infinite, to touch the impalpable, to see the invisible, to attain the impossible. In spite of examples from history, in spite of warnings and threats, man never gives up this instinct of his, never rests contented with what he has. He is forever eager to follow the dubious trail of some melting mirage of the mind and ready to stake his all, if necessary, in its pursuit‘. Doubtful though of his success, he still throws his red gauntlet in the face of fate, defies chance and circumstance, and hopes to reach his goal. May be the roses of reward will not be his, but his surely will be crown of martyrdom. And both the attempts—the attempt to acquire forbidden things and the attempt to secure martyrdom have their fascinating appeal. And Faustus, as we know, is both the hero and martyr of forbidden knowledge. An Interesting Story The story of Doctor Faustus may be synoptically stated thus. There was once a German scholar, John Faustus by name. He was a Doctor of Divinity—excelling all ‗whose sweet delight disputes in heavenly matters of theology.‘ Not satisfied with ‗learning golden gifts‘, he took to the study of cursed necromancy. He was convinced that ‗a sound magician is a mighty god‘, and that if he became one, all things that move between the quiet poles will be at his command. So he decided to enlarge his sphere of knowledge by cultivating magic. He conjured up Mephistophilis, servant to great Lucifer—‗arch-regent and commander of all spirits.‘ Mephistophilis told Faustus that he could not serve him without Lucifer‘s permission. Faustus then voluntarily offered to surrender his soul after twenty-four years, if during that period Mephistophilis promised to be his slave and did his biddings. Lucifer agreed, and demanded a promise executed in Faustus‘ blood. Faustus did so and set out in quest of knowledge and pleasure, travelling about invisible. He had an aerial flight ‗seat in a chariot burning bright‘, and visited Trier, Paris, Naples, Campania, Venice,Padua, Rome. By way of demonstrating his power and superiority, Faustus fooled the Pope, called up the spirits of Alexander and his paramour, provided grapes to the Duchess of Vanholt in mid-winter and, at the request of his scholar-friends, summoned the spirit of Helen of Troy—Helen whose face ‗launched a thousand ships and burnt the topless towers of Ilium.‘ At times Faustus was seized by the desire for repentance but the exhilaration of pleasure was too great, and the powers of Evil too strong. Finally, as the period of contract expired, Faustus made frantic appeals to God and Christ: but precisely at the stroke of twelve, he was borne away by the Devils to his everlasting doom. Plot of ‗Doctor Faustus‘ As already mentioned Doctor Faustus consists only of scenes, of fourteen short scenes. Marlowe never cared to arrange them in Acts and Scenes according to the traditional manner. Some of the recent editors, have, however, attempted to do so. According to this arrangement the First Act consists of the first four scenes. The next two scenes constitute the Second Act. The seventh, eight and nineth scenes, with the Chorus preceding it, is the Third Act. Scenes ten, eleventh and twelveth with Bologue are marked off as the Fourth Act. The last two scenes form the Fifth Act. Whatever argument we like and follow, the fact remains that the interest and appeal of the play does not in the least depend upon its division into Acts and Scenes, or Movements or Episodes. Lacking as it does structural unity and technical perfection, the play has the greater merit of unity of character. It is the dominating figure of Faustus that holds the play together and imparts to it such dramatic quality and emotional appeal as can never belong to it by any other method. As inHamlet, so in this drama, the central personality himself is the play, a living play with living acts and scenes, and incidents and episodes. His adventure itself in the realm of knowledge is full of dramatic possibilities; and the conflict in his mind between his allegiance to the Devil and his desire to repent for it and seek God‘s pardon is, of course, dramatic in the extreme.

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 3 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 6 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs Characterisation of ‗Doctor Faustus‘ Characterization in Doctor Faustus is, in general, weak and shadowy. Marlowe concentrates all his power of character delineation on Faustus. Mephistophilis too, gets his share, though to a much less degree. But all the other characters are faint and feeble. In fact, Marlowe seems to have designed these minor characters, Valdes and Cornelius, the scholars, the Old Man, the Good and the Evil Angels, in such a manner as to heighten the character of Faustus by contrast. ―Each and all of these subordinate characters are dedicated to the one main purpose of expressing the psychological condition of Faustus from various points of view—the perplexities of his divided spirits, his waverings of anguish and remorse, the flickerings of hope extinguished in the smoke of self- abandonment to fear, the pungent pricks of conscience soothed by transient visions of delight, the prying curiosity which lulls his torment, at one moment, the soul‘s defiance ‗yielding to despair, and from despair recovering fresh strength. To this vivisection of a ruined man, all details in gloomy scene contribute. Even the pitiful distractions—pitiful in their leaden dullness and blunt edge of drollery—with which Faustus amuses his worse than Promethean leisure until the last hour of his contract sounds, heighten the infernal effect.‖

52. The branch of philosophy that asks the question, ―How do we know what we know? Is ______. 1. Ontology 2. Epistemology 3. Eschatology 4. Phenomenology Ans .(2)

53. In the communicative approach to ELT, the development of language learning or teaching involves a shift: 1. subscription 2. contribution 3. pre-publication 4. remaindering

Ans. (1) Communicative Language Teaching

Background

The origins of Communicative Language Teaching (CLT) are to be found in the changes in the British language teaching tradition dating from the late 1960s. Until then, Situational Language represented the major British approach to teaching English as a foreign language. In Situational Language Teaching, language was taught by practicing basic structures in meaningful situation-based activities.

British applied linguists emphasized another fundamental dimension of language that was inadequately addressed in current approaches to language teaching at that time - the functional and communicative potential of SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 3 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 7 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs language. They saw the need to focus in language teaching on communicative proficiency rather than on mere mastery of structures.

Another impetus for different approaches to foreign language teaching came from changing educational realities in Europe. With the increasing interdependence of European countries came the need for greater efforts to teach adults the major languages of the European Common Market and the Council of Europe, a regional organization for cultural and educational cooperation. Education was one of the Council of Europe's major areas of activity. It sponsored international conferences on language teaching, published monographs and books about language teaching. The need to articulate and develop alternative methods of language teaching was considered a high priority.

In 1971 a group of experts began to investigate the possibility of developing language courses on a unit-credit system, a system in which learning tasks are broken down into "portions or units, each of which corresponds to a component of a learner's needs and is systematically related to all the other portions" (van Ek and Alexander 1980: 6). The group used studies of the needs of European language learners, and in particular a preliminary document prepared by a British linguist, D. A. Wilkins (1972), which proposed a functional or communicative definition of language that could serve as a basis for developing communicative syllabuses for language teaching. Wilkins's contribution was an analysis of the communicative meanings that a language learner needs to understand and express. Rather than describe the core of language through traditional concepts of grammar and vocabulary, Wilkins attempted to demonstrate the systems of meanings that lay behind the communicative uses of language.

The work of the Council of Europe; the writings of Wilkins, Widdowson, Candlin, Christopher Brumfit, Keith Johnson, and other British applied linguists on the theoretical basis for a communicative or functional approach to language teaching; the rapid application of these ideas by textbook writers; and the equally rapid acceptance of these new principles by British language teaching specialists, curriculum development centers, and even governments gave prominence nationally and internationally to what came to be referred to as the Communicative Approach, or simply Communicative Language Teaching. (The terms notional-functional approach and functional approach are also sometimes used.) Although the movement began as a largely British innovation, focusing on alternative conceptions of a syllabus, since the mid-1970s the scope of Communicative Language Teaching has expanded. Both American and British proponents now see it as an approach (and not a method) that aims to (a) make communicative competence the goal of language teaching and (b) develop procedures for the teaching of the four language skills that acknowledge the interdependence of language and communication.

Howatt distinguishes between a "strong" and a "weak" version of Communicative Language Teaching:

There is, in a sense, a 'strong' version of the communicative approach and a 'weak' version. The weak version which has become more or less standard practice in the last ten years, stresses the importance of providing learners with opportunities to use their English for communicative purposes and, characteristically, attempts to integrate such activities into a wider program of language teaching.... The 'strong' version of communicative teaching, on the other hand, advances the claim that language is acquired through communication, so that it is not

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 3 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 8 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs merely a question of activating an existing but inert knowledge of the language, but of stimulating the development of the language system itself. If the former could be described as 'learning to use' English, the latter entails 'using English to learn it.' (1984: 279)

Finocchiaro and Brumfit (1983) contrast the major distinctive features of the Audiolingual Method and the Communicative Approach , according to their interpretation.

Approach

Theory of language

The communicative approach in language teaching starts from a theory of language as communication. The goal of language teaching is to develop what Hymes (1972) referred to as "communicative competence." Hymes coined this term in order to contrast a communicative view of language and Chomsky's theory of competence. Chomsky held that linguistic theory is concerned primarily with an ideal speaker-listener in a completely homogeneous speech community, who knows its language perfectly and is unaffected by such grammatically irrelevant conditions as memory limitation, distractions, shifts of attention and interest, and errors (random or characteristic) in applying his knowledge of the language in actual performance. (Chomsky 1965: 3)

For Chomsky, the focus of linguistic theory was to characterize the abstract abilities speakers possess that enable them to produce grammatically correct sentences in a language. Hymes held that such a view of linguistic theory was sterile, that linguistic theory needed to be seen as part of a more general theory incorporating communication and culture. Hymes's theory of communicative competence was a definition of what a speaker needs to know in order to be communicatively competent in a speech community. In Hymes's view, a person who acquires communicative competence acquires both knowledge and ability for language use with respect to

1. whether (and to what degree) something is formally possible;

2. whether (and to what degree) something is feasible in virtue of the means of implementation available;

3. whether (and to what degree) something is appropriate (adequate, happy, successful) in relation to a context in which it is used and evaluated;

4. whether (and to what degree) something is in fact done, actually performed, and what its doing entails.

This theory of what knowing a language entails offers a much more comprehensive view than Chomsky's view of competence, which deals primarily with abstract grammatical knowledge.

Another linguistic theory of communication favored in CLT is Halliday's functional account of language use. "Linguistics ... is concerned... with the description of speech acts or texts, since only through the study of language in use are all the functions of language, and therefore all components of meaning, brought into focus" (Halliday 1970: 145). In a number of influential books and papers, Halliday has elaborated a powerful theory of the functions of language, which complements Hymes's view of communicative competence for many writers on SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 3 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 9 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs CLT (e.g., Brumfit and Johnson 1979; Savignon 1983). He described (1975: 11-17) seven basic functions that language performs for children learning their first language:

1. the instrumental function: using language to get things;

2. the regulatory function: using language to control the behaviour of others;

3. the interactional function: using language to create interaction with others;

4. the personal function: using language to express personal feelings and meanings;

5. the heuristic function: using language to learn and to discover;

6. the imaginative function: using language to create a world of the imagination;

7. the representational function: using language to communicate information.

Learning a second language was similarly viewed by proponents of Communicative Language Teaching as acquiring the linguistic means to perform different kinds of functions.

At the level of language theory, Communicative Language Teaching has a rich, if somewhat eclectic, theoretical base. Some of the characteristics of this communicative view of language follow.

1. Language is a system for the expression of meaning.

2. The primary function of language is for interaction and communication.

3. The structure of language reflects its functional and communicative uses.

4. The primary units of language are not merely its grammatical and structural features, but categories of functional and communicative meaning as exemplified in discourse.

Theory of learning

In contrast to the amount that has been written in Communicative Language Teaching literature about communicative dimensions of language, little has been written about learning theory. Neither Brumfit and Johnson (1979) nor Littlewood (1981), for example, offers any discussion of learning theory. Elements of an underlying learning theory can be discerned in some CLT practices, however. One such element might be described as the communication principle: Activities that involve real communication promote learning. A second element is the task principle: Activities in which language is used for carrying out meaningful tasks promote learning (Johnson 1982). A third element is the meaningfulness principle: Language that is meaningful to the learner supports the learning process. Learning activities are consequently selected according to how well they engage the learner in meaningful and authentic language use (rather than merely mechanical practice of

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 4 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 0 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs language patterns). These principles, we suggest, can be inferred from CLT practices (e.g., Little-wood 1981; Johnson 1982). They address the conditions needed to promote second language learning, rather than the processes of language acquisition.

More recent accounts of Communicative Language Teaching, however, have attempted to describe theories of language learning processes that are compatible with the communicative approach. Savignon (1983) surveys second language acquisition research as a source for learning theories and considers the role of linguistic, social, cognitive, and individual variables in language acquisition. Other theorists (e.g., Stephen Krashen, who is not directly associated with Communicative Language Teaching) have developed theories cited as compatible with the principles of CLT. Krashen sees acquisition as the basic process involved in developing language proficiency and distinguishes this process from learning. Acquisition refers to the unconscious development of the target language system as a result of using the language for real communication. Learning is the conscious representation of grammatical knowledge that has resulted from instruction, and it cannot lead to acquisition. It is the acquired system that we call upon to create utterances during spontaneous language use. The learned system can serve only as a monitor of the output of the acquired system. Krashen and other second language acquisition theorists typically stress that language learning comes about through using language communicatively, rather than through practicing language skills.

Johnson (1984) and Littlewood (1984) consider an alternative learning theory that they also see as compatible with CLT-a skill-learning model of learning. According to this theory, the acquisition of communicative competence in a language is an example of skill development. This involves both a cognitive and a behavioral aspect:

The cognitive aspect involves the internalisation of plans for creating appropriate behaviour. For language use, these plans derive mainly from the language system — they include grammatical rules, procedures for selecting vocabulary, and social conventions governing speech. The behavioural aspect involves the automation of these plans so that they can be converted into fluent performance in real time. This occurs mainly through practice in converting plans into performance. (Littlewood 1984: 74)

This theory thus encourages an emphasis on practice as a way of developing communicative skills.

Design

Objectives

Piepho (1981) discusses the following levels of objectives in a communicative approach:

1. an integrative and content level (language as a means of expression)

2. a linguistic and instrumental level (language as a semiotic system and an object of learning);

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 4 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 1 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs 3. an affective level of interpersonal relationships and conduct (language as a means of expressing values and judgments about oneself and others);

4. a level of individual learning needs (remedial learning based on error analysis);

5. a general educational level of extra-linguistic goals (language learning within the school curriculum).

(Piepho 1981: 8)

These are proposed as general objectives, applicable to any teaching situation. Particular objectives for CLT cannot be defined beyond this level of specification, since such an approach assumes that language teaching will reflect the particular needs of the target learners. These needs may be in the domains of reading, writing, listening, or speaking, each of which can be approached from a communicative perspective. Curriculum or instructional objectives for a particular course would reflect specific aspects of communicative competence according to the learner's proficiency level and communicative needs.

The syllabus

Discussions of the nature of the syllabus have been central in Communicative Language Teaching. We have seen that one of the first syllabus models to be proposed was described as a notional syllabus (Wilkins 1976), which specified the semantic-grammatical categories (e.g., frequency, motion, location) and the categories of communicative function that learners need to express. The Council of Europe expanded and developed this into a syllabus that included descriptions of the objectives of foreign language courses for European adults, the situations in which they might typically need to use a foreign language (e.g., travel, business), the topics they might need to talk about (e.g., personal identification, education, shopping), the functions they needed language for (e.g., describing something, requesting information, expressing agreement and disagreement), the notions made use of in communication (e.g., time, frequency, duration), as well as the vocabulary and grammar needed. The result was published as Threshold Level English (van Ek and Alexander 1980) and was an attempt to specify what was needed in order to be able to achieve a reasonable degree of communicative proficiency in a foreign language, including the language items needed to realize this "threshold level."

Types of learning and teaching activities

The range of exercise types and activities compatible with a communicative approach is unlimited, provided that such exercises enable learners to attain the communicative objectives of the curriculum, engage learners in communication, and require the use of such communicative processes as information sharing, negotiation of meaning, and interaction. Classroom activities are often designed to focus on completing tasks that are mediated through language or involve negotiation of information and information sharing.

Learner roles

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 4 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 2 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs The emphasis in Communicative Language Teaching on the processes of communication, rather than mastery of language.

Teacher roles

Several roles are assumed for teachers in Communicative Language Teaching, the importance of particular roles being determined by the view of CLT adopted. Breen and Candlin describe teacher roles in the following terms:

The teacher has two main roles: the first role is to facilitate the communication process between all participants in the classroom, and between these participants and the various activities and texts. The second role is to act as an independent participant within the learning-teaching group. The latter role is closely related to the objectives of the first role and arises from it. These roles imply a set of secondary roles for the teacher; first, as an organizer of resources and as a resource himself, second as a guide within the classroom procedures and activities.... A third role for the teacher is that of researcher and learner, with much to contribute in terms of appropriate knowledge and abilities, actual and observed experience of the nature of learning and organizational capacities. (1980: 99)

Other roles assumed for teachers are needs analyst, counselor, and group process manager.

NEEDS ANALYST

The CLT teacher assumes a responsibility for determining and responding to learner language needs. This may be done informally and personally through one-to-one sessions with students, in which the teacher talks through such issues as the student's perception of his or her learning style, learning assets, and learning goals. It may be done formally through administering a needs assessment instrument, such as those exemplified in Savignon (1983). Typically, such formal assessments contain items that attempt to determine an individual's motivation for studying the language. For example, students might respond on a 5-point scale (strongly agree to strongly disagree) to statements like the following.

I want to study English because...

1. I think it will someday be useful in getting a good job.

2. it will help me better understand English-speaking people and their way of life.

3. one needs a good knowledge of English to gain other people's respect.

4. it will allow me to meet and converse with interesting people.

5. I need it for my job.

6. it will enable me to think and behave like English-speaking people.

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 4 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 3 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs On the basis of such needs assessments, teachers are expected to plan group and individual instruction that responds to the learners' needs. counselor

Another role assumed by several CLT approaches is that of counselor, similar to the way this role is defined in Community Language Learning. In this role, the teacher-counselor is expected to exemplify an effective communicator seeking to maximize the meshing of speaker intention and hearer interpretation, through the use of paraphrase, confirmation, and feedback.

GROUP PROCESS MANAGER

CLT procedures often require teachers to acquire less teacher-centered classroom management skills. It is the teacher's responsibility to organize the classroom as a setting for communication and communicative activities. Guidelines for classroom practice (e.g., Littlewood 1981; Finocchiaro and Brumfit 1983) suggest that during an activity the teacher monitors, encourages, and suppresses the inclination to supply gaps in lexis, grammar, and strategy but notes such gaps for later commentary and communicative practice. At the conclusion of group activities, the teacher leads in the debriefing of the activity, pointing out alternatives and extensions and assisting groups in self-correction discussion. Critics have pointed out, however, that non- native teachers may feel less than comfortable about such procedures without special training.

The focus on fluency and comprehensibility in Communicative Language Teaching may cause anxiety among teachers accustomed to seeing error suppression and correction as the major instructional responsibility, and who see their primary function as preparing learners to take standardized or other kinds of tests. A continuing teacher concern has been the possible deleterious effect in pair or group work of imperfect modeling and student error. Although this issue is far from resolved, it is interesting to note that recent research findings suggest that "data contradicts the notion that other learners are not good conversational partners because they can't provide accurate input when it is solicited" (Porter 1983).

The role of instructional materials

A wide variety of materials have been used to support communicative approaches to language teaching. Unlike some contemporary methodologies, such as Community Language Learning, practitioners of Communicative Language Teaching view materials as a way of influencing the quality of classroom interaction and language use. Materials thus have the primary role of promoting communicative language use. We will consider three kinds of materials currently used in CLT and label these text-based, task-based, and realia.

TEXT-BASED MATERIALS

There are numerous textbooks designed to direct and support Communicative Language Teaching. Their tables of contents sometimes suggest a kind of grading and sequencing of language practice not unlike those found in

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 4 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 4 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs structurally organized texts. Some of these are in fact written around a largely structural syllabus, with slight reformatting to justify their claims to be based on a communicative approach. Others, however, look very different from previous language teaching texts. Morrow and Johnson's Communicate (1979), for example, has none of the usual dialogues, drills, or sentence patterns and uses visual cues, taped cues, pictures, and sentence fragments to initiate conversation. Watcyn-Jones's Pair Work (1981) consists of two different texts for pair work, each containing different information needed to enact role plays and carry out other pair activities. Texts written to support the Malay-sian English Language Syllabus (1975) likewise represent a departure from traditional textbook modes. A typical lesson consists of a theme (e.g., relaying information), a task analysis for thematic development (e.g., understanding the message, asking questions to obtain clarification, asking for more information, taking notes, ordering and presenting information), a practice situation description (e.g., "A caller asks to see your manager. He does not have an appointment. Gather the necessary information from him and relay the message to your manager."), a stimulus presentation (in the preceding case, the beginning of an office conversation scripted and on tape), comprehension questions (e.g., "Why is the caller in the office?"), and paraphrase exercises.

TASK-BASED MATERIALS

A variety of games, role plays, simulations, and task-based communication activities have been prepared to support Communicative Language Teaching classes. These typically are in the form of one-of-a-kind items: exercise handbooks, cue cards, activity cards, pair-communication practice materials, and student-interaction practice booklets. In pair-communication materials, there are typically two sets of material for a pair of students, each set containing different kinds of information. Sometimes the information is complementary, and partners must fit their respective parts of the "jigsaw" into a composite whole. Others assume different role relationships for the partners (e.g., an interviewer and an interviewee). Still others provide drills and practice material in inter- actional formats.

REALIA

Many proponents of Communicative Language Teaching have advocated the use of "authentic," "from-life" materials in the classroom. These might include language-based realia, such as signs, magazines, advertisements, and newspapers, or graphic and visual sources around which communicative activities can he built, such as maps, pictures, symbols, graphs, and charts. Different kinds of objects can be used to support communicative exercises, such as a plastic model to assemble from directions.

Conclusion

Communicative Language Teaching is best considered an approach rather than a method. Thus although a reasonable degree of theoretical consistency can be discerned at the levels of language and learning theory, at the levels of design and procedure there is much greater room for individual interpretation and variation than most methods permit. It could be that one version among the various proposals for syllabus models, exercise types, and classroom activities may gain wider approval in the future, giving Communicative Language Teaching a

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 4 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 5 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs status similar to other teaching methods. On the other hand, divergent interpretations might lead to homogeneous subgroups.

Communicative Language Teaching appeared at a time when British language teaching was ready for a paradigm shift. Situational Language Teaching was no longer felt to reflect a methodology appropriate for the seventies and beyond. CLT appealed to those who sought a more humanistic approach to teaching, one in which the interactive processes of communication received priority. The rapid adoption and implementation of the communicative approach also resulted from the fact that it quickly assumed the status of orthodoxy in British language teaching circles, receiving the sanction and support of leading British applied linguists, language specialists, publishers, as well as institutions, such as the British Council (Richards 1985).

Now that the initial wave of enthusiasm has passed, however, some of the claims of CLT are being looked at more critically (Swan 1985). The adoption of a communicative approach raises important issues for teacher training, materials development, and testing 'and evaluation. Questions that have been raised include whether a communicative approach can be applied at all levels in a language program, whether it is equally suited to ESL and EFL situations, whether it requires existing grammar-based syllabuses to be abandoned or merely revised, how such an approach can be evaluated, how suitable it is for non-native teachers, and how it can be adopted in situations where students must continue to take grammar-based tests. These kinds of questions will doubtless require attention if the communicative movement in language teaching continues to gain momentum in the future.

54. Oxford India published a volume of Premchand transitions in English, The Oxford India Premchand. Who among the following is not one of the translators? 1. David Robin 2. Alok Roy 3. Gilliam Wright 4. Christopher king Ans. (3) Gillian Wright is a translator and writer based in New Delhi. She has translated two classic novels of Hindi literature, Raag Darbariby Shrilal Shukla and A Village Divided by Rahi Masoom Reza, as well as a selection of the acclaimed short stories of Bhisham Sahni. Her other books include Presidential Retreats of India and The Darjeeling Tea Book. She has also worked with her partner Mark Tully on all of his books, co-authoring India in Slow Motion. Robin David Robin David is resident editor of The Times of India's Chandigarh edition with interest in books and cricket. His first book, City of Fear, was shortlisted for the Crossword Book Award in 2007. Alok Rai

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 4 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 6 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs The writer taught in the department of English, Delhi University.

55. Which of the two novels of Jane Austen have the spa town of Bath as primary location? a. Emma b. Pride and Prejudice c. Northanger Abbey d. Persuasion The right combination according to the code is: 1. (a) and (d) 2. (d) and ( c) 3. (c) and (d) 4. (a)and (b) Ans. (3) persuasion, novel by Jane Austen, published posthumously in 1817. Unlike her novel Northanger Abbey, with which it was published, Persuasion (written 1815–16) is a work of Austen‘s maturity. Like Mansfield Park and Emma, it contains subdued satire and develops the comedy of character and manners. Persuasion tells the story of a second chance, the reawakening of love between Anne Elliot and Captain Frederick Wentworth, whom eight years earlier she had been persuaded not to marry. Wentworth returns from the Napoleonic Wars with prize money and the social acceptability of naval rank. He is now an eligible suitor, acceptable to Anne‘s snobbish father and his circle, and Anne discovers the continuing strength of her

love for him.

Jane Austen: Austen’s novels: an overview

Persuasion tells the story of a second chance, the reawakening of love between Anne Elliot and Captain Frederick Wentworth, whom seven years earlier she had been persuaded not to marry. Now Wentworth returns from the Napoleonic Wars with prize money and the social acceptability of…

Elliot family

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 4 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 7 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs

…fictional characters in the novel Persuasion (1817) by Jane Austen. The head of the family is Sir Walter Elliot of Kellynch Hall, who is immensely vain on account of his good looks and distinguished ancestry. His oldest daughter, Elizabeth, is a snob like her father; unable to find a worthy…



Frederick Wentworth

>Persuasion (1817).…

Northanger AbbeyNorthanger Abbey, novel by Jane Austen, published posthumously in 1817. Northanger Abbey, which was published with Persuasion in four volumes, was written about 1798 or 1799, probably under the title Susan.

Mansfield Park

Mansfield Park, novel by Jane Austen, published in three volumes in 1814. In its tone and discussion of religion and religious duty, it is the most serious of Austen‘s novels. The heroine, Fanny Price, is a self-effacing and unregarded cousin cared for by the Bertram family in their country house.…

56. In the communicative approach to ELT, the development of language learning or teaching involves a shift: a. From from-based to meaning-based approach b. From eclectic approach to rigid method c. From teacher-centered to learner-centered classes d. From broad-based competence to specific needs The right combination, according to the code is: (1) (b) and (d) (2) (a) and (d) (3) (b) and (c) (4) (a) and (c) Ans. (2) see answer to question No. 52.

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 4 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 8 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs 57. The four Moral Essays by Alexander Pope are addressed to carefully selected figures. Identify the correct group. 1. Timons, Newton, Martha Blount, wellington 2. Lord Cobham, Robert Walpole, Houghton Hall, Chandos 3. Martha Blount, Lord Cobham,Barthust, Burlington 4. William III, John Haydn, Joseph Addison, john Dennis Ans . (3) Moral Essays (also known as Epistles to Several Persons) is a series of four poems on ethical subjects by Alexander Pope, published between 1731 and 1735. The individual poems are as follows:

1. Epistle to Cobham (1734, addressed to Sir Richard Temple, Lord Cobham), "Of the Knowledge and Characters of Men". 2. Epistle to a Lady (1735, addressed to Martha Blount), "Of the Characters of Women". 3. Epistle to Bathurst (1733, addressed to Allen, Lord Bathurst), "Of the Use of Riches". 4. Epistle to Burlington (1731, addressed to Richard Boyle, Earl of Burlington), "Of the Use of Riches".

58. Bertolt Brecht‘s ―Mother Courage and Her Children‖ presents the war-torn Europe as its protagonist as she follows troops with her canteen wagon. What is the real name of Mother Courage? 1. Paula Danckert 2. Anna Fierling 3. Jane Vanstone 4. Jani Lauzon

Ans. (2) Is Mother Courage and Her Children an anti-war play? It's certainly not a wildly enthusiastic endorsement of war, not a pro-war play. Brecht had been an ambulance driver during the first world war, an experience that cured him of any appetite for military conflict. The Thirty Years war, the setting for Mother Courage, was a pointless, grotesquely protracted, gruesome catastrophe for everyone except the handful of victors among the European aristocracy who profited from it. This is an assessment of the conflict to which no historian I've encountered would take exception. War for Brecht, as it is for Mother Courage by the end of the play, is hell – as it is assumed to be by most people who haven't lived through it, and known to be by nearly everyone who has.

Driven into exile by the Third Reich, Brecht began work on Mother Courage in Sweden in the summer of 1939; he was writing it when Germany invaded Poland. Ten years later, the play received its German premiere at the Deutsches Theater in Berlin. The refugee playwright had circumnavigated the planet. The city to which he returned, once his home and the arena for his great successes, scandals and remarkable theatrical experiments, was now a wasteland of burnt, rat-infested rubble. The Reich was gone, the second world war had ended, but the cold war was heating up. The possibility of atomic annihilation overshadowed an uneasy peace. Brecht wrote:

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 4 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 9 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs In 1949, Mother Courage's characters, creator, cast and audience shared a war-weariness and an ashen, heartsick terror at the prospect of more war. It was manifestly one of Brecht's ambitions for the play to expose the transactional, economic nature of war. But by the end of Mother Courage, arguably the bleakest conclusion Brecht wrote, his adage that war is business carried on by other means feels inadequate and hollow. The play reveals war not as business but as apocalypse, as the human nemesis. War devours life.

Less mythic than monstrous

It's understandable that the play has often been labelled as anti-war, both by those for whom this constitutes high praise and by those for whom Mother Courage is evidence that Brecht, writing an ostensibly pacifist text in 1939, supported the Hitler-Stalin non-aggression treaty, thereby unmasking himself as a dull Stalinist drone.

Emblazoned on the house curtain of the Berliner Ensemble, whose signature production was Mother Courage, was a peace dove drawn by Picasso. In a poem about those curtains, Brecht admiringly describes Picasso's peace dove as streitbare – "argumentative" or "cantankerous". If there's a pacifist, anti-war spirit stirring within Mother Courage, it too must be described as streitbare, to say the least. It's a problematic sort of anti-war play, given that its climactic, least ambiguous and most hopeful moment is the one in which a town of sleeping people are awakened and summoned to battle against a merciless foe. The great moment of heroism and sacrifice is not a refusal to fight, but rather a call to arms.

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So is that an anti-war play? Brecht was not a simple man. His personality and his politics are fascinatingly complex, as is his theoretical writing, his poetry, his plays, all of it remarkably resistant to reductive labelling. Mother Courage and Her Children, in my opinion the greatest of his many great works, is not a simple play. It places us in judgment of the actions of a woman who inhabits a universe defined by war, who often makes calamitous choices; but her choices are unbearably hard, and sometimes all but impossible. She refuses to understand the nature of her tragic circumstances; she is afraid that looking back will weaken her. She reaches correct conclusions and then immediately discards them. We watch her world grow lonelier and less forgiving with each bad choice she makes. We feel we are watching her dying, yet she refuses to die. Her indomitability, her hardiness, come to seem dehumanising, less mythic than monstrous.

And yet we are moved by this woman, as, inarguably, Brecht meant us to be. She's egoistical because she has almost nothing. She has a vitality and a carnality. Even though her appetites seem obscene, set as they are against widespread carnage, the grinding down of Courage's ambition and self-possession are devastating to watch. She's smart and she thinks her cleverness has gained her the little something, the small sufficiency – her wagon – by means of which she attains a degree of agency and power in her malevolent world. The shattering of that illusion leads her to self-loathing, and from that to a bitter contempt for the powerless – and then on to a creeping slow stupidity.

The medieval meets the modern

The smartass, sceptical, secular intelligence governing Courage is at war with a fatal darkness. As with nearly all of Brecht's big plays written in exile, Mother Courage is set at one of the many transitional historical moments when the medieval is yielding to the mercantile (a process it took centuries to complete, if indeed it's completed even now). The bad new things are preferable, according to another of Brecht's adages, to the good old things; but in Courage, a pre-modern Christianity is set against the onslaught of the modern. It's impossible to

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 5 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 0 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs resist the power of this Christian ethos of redemptive suffering. It is equally impossible to imagine for it any existence in the world of Mother Courage – our world – other than as the nearly subliminal spectre that haunts (and at a few critical moments possesses) Brecht's play, which in part accounts for its divided pro- and anti-war soul.

In her blindness, Courage embodies an uncomfortably familiar modern disfigurement: a relationship to commodities, money and the marketplace that perverts human relationships and is ultimately inimical to life. And yet what else can she do? If she is oblivious to the consequences of hanging on, she is eagle-eyed about the consequences of losing what she has. She will not have to sell herself as long as she has boots, buckles, beer and black market bullets to sell instead. She isn't neglecting any plausible alternative. In choosing to write about a canteen woman trailing after armies in war-ravaged 17th-century Europe, Brecht precluded any other options from presenting themselves. If his formal inventions – the jarring succession of bluntly spliced juxtapositions, the epic chronological elisions and leaps, the probing of the social basis of character – invite us to adopt a stance of critical observation, his choices of time, place and circumstance force us out of judgment and into empath

Like all great plays, Mother Courage instructs; like all great plays, its instruction flashes forth from a churning, disorienting action. Clarity is intended, but the confusion is no accident. What Courage shows us will escape our judgment – but it remains infinitely available to our struggles to understand.

'It's brilliant to play'

Maddy Costa interviews Fiona Shaw about Mother Courage

When the director Deborah Warner and I first thought of doing Mother Courage, I wanted to do something new with it. We had done The Good Person of Sichuan at the National together 10 years before, and I wasn't keen on doing Brecht again: I'm a very received person when it comes to brown-hessian polemics. But then I happened to see a performer called Duke Special in Los Angeles, who had short hair on one side of his head, dreadlocks on the other, wore red bell-bottoms and some sort of cravat, and played a lot of peculiar instruments. He seemed quite Weimar to me, so I asked him to write the music for the play. What he wrote was so thrilling, we've invited him to crash on to the stage and sing alongside us. That feels very exciting – I feel we're making a brand new thing.

Tony Kushner's translation is also new, although true to the original. Like Brecht, who used a peculiar German for the play, he has written a hiccupy English, which often has the verb at the end of a sentence. For instance, in the play I'll say to my daughter: "I'll bandage you up, and in a week you're healed." We don't speak like that, and the effect it has is to make the language, which is often about something tiny like a package or a skirt, poetical. It does make it difficult to learn, however.

I find I'm constantly surprised by Mother Courage, because she constantly contradicts herself. She curses the war, then in the very next scene says that poor people do much better in war than in peace. She speaks in every scene with whatever point of view she has at that moment, which is generally the practical, amoral, politically incorrect point of view. It's brilliant to play, because I can continually shed what I've just done; but I have to work hard at making the connections, because she is not self-conscious, she doesn't know herself. What's thrilling to me is that the audience can like or dislike her. Even if what she says is outrageous, it has a truth.

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 5 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 1 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs The political situation in Iraq and Afghanistan absolutely informs the decision to stage the play now. Its speeches – about forcing liberty on other countries, for instance – are so pertinent, sometimes I just want to insert the name George Bush.

59. From among the following, identify the journal that publishes articles on English language teaching learning. 1. University of Toronto Quarterly 2. Agenda 3. TESOL Quarterly 4. English Language Notes Ans. (3) TESOL Quarterly (TQ), a refereed professional journal, fosters inquiry into English language teaching and learning by providing a forum for TESOL professionals to share their research findings and explore ideas and relationships in the field. TQ's readership includes ESOL teacher educators, teacher learners, researchers, applied linguists, and ESOL teachers. University of Toronto Quarterly :Acclaimed as one of the finest journals focused on the humanities, the University of Toronto Quarterly publishes interdisciplinary articles and reviews of international repute. This interdisciplinary approach provides a depth and quality to the journal that attracts both general readers and specialists from across the humanities. UTQ accepts submissions in either English or French. Discover Canada‘s Best Kept Literary Secret! - Letters in Canada Subscribers anticipate the ‗Letters in Canada‘ issue, published each winter, which contains reviews of the previous year‘s work in Canadian fiction, poetry, drama, translations and works in the humanities. Agenda : At the forefront of feminist publishing in South Africa for over 20 years, the Agenda journal raises debate, probes, questions, challenges and critiques understandings of gender and feminism in its broad and complex diversity. Agenda prides itself on being at the cutting edge of feminist debate and gender analysis, and the journal provides readers with a fresh, challenging, stimulating and thought-provoking read. English Language Notes : ELN is delighted to announce that, as of the publication of our April 2018 issue, the stellar Duke University Press Journals has become the publisher of both print and online factions of our journal. As we continue with the transition to DUP, our digital content will be hosted by Duke UP digital journal platform and Project Muse. With this move, English Language Notes will become available online to approximately 1.5 million readers worldwide. The print version now boasts a dramatic makeover in formatting and cover art, and our publication schedule has changed to an April/October calendar. Finally, in 2019, watch for a new ―Of Note‖ section that will showcase exciting new pathways and trends in methods, theories, scholarship, and creative work.

60. Arrange the following elegies in English in chronological order: 1. ―Elegy written in a country Churchyard‖- ―Adonis‖ – ―Thyris‖- ―In Memoriam‖ 2. ―Elegy written in a Country Churchyard‖- ―Adonis‖-―In Memoriam‖-―Thyrisis‖

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 5 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 2 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs 3. ―Elegy Written in a Country Churchyard‖- ―In Memoriam‖-Adonis‖- ―Thyrisis‖ 4. ―Aldonis‖- ―Elegy Wriiten in a Country Churchyard‖- ―In Memoriam‖- ―Thyrisis‖ Ans. (2) An Elegy Written in a Country Church Yard, meditative poem written in iambic pentameter quatrains by Thomas Gray, published in 1751. A meditation on unused human potential, the conditions of country life, and mortality, An Elegy Written in a Country Church Yard is one of the best-known elegies in the language. It exhibits the gentle melancholy that is characteristic of the English poets of the graveyard school of the 1740s and ‘50s. The poem contains some of the best-known lines of English literature, notably ―Full many a flower is born to blush unseen‖ and ―Far from the madding Crowd‘s ignoble Strife.‖

Adonais was published in 1821 just after Keats death, who died in Rome at the tender age of 25, so the poem was subtitled ―An Elegy on the Death of John Keats…‖ He was defined by Shelley in his Preface as ―to be classed among the writers of the highest genius who have adorned our age‖. Adonais comes from Adonis, the mythological character who was eternally young and who symbolizes death and the renovation of nature. He was the beautiful youth loved by Venus and killed by a wild boar.

In Memoriam A.H.H. (1850) is the extended, fragmentary elegy that Tennyson wrote for his closest friend Arthur Henry Hallam, after Hallam‘s sudden death at age 22. Scholars agree that this was the most important event in Tennyson‘s life, and the one which most shaped his work. In Memoriam combines the expression of a deeply personal experience of intense male friendship and mourning with discussions of public concerns, including major debates of the day about science and religion.

Thyrsis, elegiac poem by Matthew Arnold, first published in Macmillan’s Magazine in 1866. It was included in Arnold‘s New Poems in 1867. It is considered one of Arnold‘s finest poems. In Thyrsis Arnold mastered an intricate 10-line stanza form. The 24-stanza poem eulogizes his friend, poet Arthur Hugh Clough, who had died in 1861. Arnold portrays Clough as Thyrsis, a traditional Greek name for a shepherd-poet. In rich pastoral imagery, Arnold recalls the Oxford countryside the two explored as students in the 1840s and reviews the fate of their youthful ideals after they left the university.

61. Who is the only one of Milton‘s contemporaries to be mentioned by name in Paradise Lost? 1. Charles I ANS. (3) Milton‘s ―Paradise Lost‖ (1667), poem, an epic story of the world, recounts the creation and fall, the life of Christ, and the final consummation. Yet in the midst of these history-changing events, Milton found room to mention Galileo‘s telescopic discoveries. He notes the roughness of the Moon, sunspots, and the phases of Venus. Galileo‘s stature is unique, in that the poem mentions no other contemporaries. Milton visited Galileo in Arcetri, overlooking Florence, when Galileo was confined under house arrest at the end of his life. 2. Francis Bacon 3. Johannes Vermeer 4. Galileo King

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 5 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 3 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs 62. K. S. Maniam is a major writer of Indian origin, writing in English, born and living in Malaysia. Identify two of his novels from the following list : 1. The Rice Mother 2. The Return 3. Touching Earth 4. Between Lives The right combination according to the code is : 1. (a) and (d) 2. (b) and (c) 3. (c ) and (d) 4. (b) and (d) Ans. (4) K.S. Maniam, born 1942, has been writing from his early teens. His stories have appeared in numerous journals around the world. His first novel, The Return, was published in 1981 and the second, In a Far Country, in 1993. He won the first prize for The Loved Flaw: Stories from Malaysia in The New Straits Times–McDonald short-story contest (1987) and for Haunting the Tiger: Contemporary Stories from Malaysia in The New Straits Times–Shell contest (1990). He is the inaugural recipient of the Raja Rao Award (New Delhi, September 2000), for his outstanding contribution to the literature of the South Asian diaspora. He has been lecturer (1980–85) and associate professor (1986–97) in the English Department, University of Malaya, in Kuala Lumpur. He lives with his wife, son and daughter in Subang Jaya, Malaysia, and devotes his time fully to writing. ―The Return‖ by K.S. Maniam is a novel that allows the reader the opportunity to be part of a Malaysian experience. It is an experience that brings into light universal existential uncertainties such as adaptation to the ever-changing modern world, the loss of identity, the loss of family and traditional roots, the role of education in life, the opposition between authoritarian and democratic societies, and many more. The novel made me think of my own life and identity. In a way, all of us have to ―return‖ at a point of our lives to some place that is dear to our heart. Either it is our native country, our home, or the place where our parents have grown up, it is a ―return‖ that will always stay in our minds. It is this kind of existential problem that The Return offers us. I recommend it to all readers who are willing to dive free in the fairly new Southeast Asian world of literature. Between Lives :Set in contemporary Malaysia, the novel Between Lives, by K.S. Maniam, engages with the lives and preoccupation of the Indian diaspora, but from a strikingly feminine perspective, because all its anchoring characters are women.

63. What did Thomas Percy collect in his Reliques? 1. Medieval folklore and lyrics of the midlands 2. Old songs, ballads, and romances in English and Scots 3. Highland lore, mostly oral wisdom of the Scotts 4. Romantic idylls, sonnets and odes Ans. (2)

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 5 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 4 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs Thomas Percy, (born April 13, 1729, Bridgnorth, Shropshire, Eng.—died Sept. 30, 1811, Dromore, County Down, Ire.), English antiquarian and bishop whose collection of ballads, Reliques of Ancient English Poetry (1765), awakened widespread interest in English and Scottish traditional songs.

Thomas Percy, detail of an engraving by J. Hawksworth after a painting by Lemuel AbbottCourtesy of the trustees of the British Museum; photograph, J.R. Freeman & Co. Ltd.

The basis of Percy‘s collection was a tattered 15th-century manuscript of ballads (known as the Percy folio) found in the house of a friend when it was about to be used to light a fire. To this nucleus Percy added many other ballads, songs, and romances, supplied by his friends who, at his request, rummaged in libraries, attics, and warehouses for old manuscripts. Publication of the Reliquesinaugurated the ―ballad revival,‖ a flood of collections of ancient songs, that proved a source of inspiration to the Romantic poets. Percy was the son of a wholesale grocer from Shropshire. After attending local schools he was educated at Christ Church, Oxford, and held livings in Northamptonshire, at Easton Maudit (1753) and Wilby (1756). The Reliques, dedicated to the Countess of Northumberland, gained him her patronage, and after editing The Household Book of the Earl of Northumberland in 1512 (1768), a pioneer work of its kind, he became the earl‘s chaplain and secretary. In 1778 he acquired the deanery of Carlisle and in 1782 the Irish bishopric of Dromore. Percy‘s geniality and scholarly interests made him many friends, including Samuel Johnson, who encouraged him to edit the Reliques and praised his ―minute accuracy of enquiry.‖ Percy‘s translations from Chinese, Hebrew, Spanish, and Icelandic and his first English version of the Icelandic Edda (from Latin, in Northern Antiquities, 1770) show his linguistic ability. Above all, his voluminous correspondence confirms his determined pursuit of factual accuracy and places in context the work for which he is principally remembered.

64. Nirad Chaudhari‖s Autobiography of an Unknown India concludes with an essay on the course of Indian history. But in the penultimate chapter chaudhari concludes the account of events in his life. How does this narrative end? 1. Chaudhari ties the knot with his childhood sweetheart and moves from Calcutta to Delhi 2. Chaudhuri obtaisn a job in the military accounts department and gives it up because he finds it soul- destroying 3. Chaudhuri joins the editorial team of a Calcutta newspaper and is upset over the drudgery of reporter‘s life.

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 5 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 5 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs 4. Chaudhuri rushes to his ancestral village Bangram on receiving the new of the dead of his uncle and recalls his past life. Ans. (*) Nirad C. Chaudhuri (1897–1999) was born in the town of Kishorganj in East Bengal in the year of Queen Victoria‘s Diamond Jubilee. His first book, The Autobiography of an Unknown Indian, was published in 1951 and was followed by many others, The Autobiography of an Unknown Indian is an astonishing work of self-discovery and the revelation of a peerless and provocative sensibility. Describing his childhood in the Bengali countryside and his youth in Calcutta—and telling the story of modern India from his own fiercely independent viewpoint—Chaudhuri fashions a book of deep conviction, charm, and intimacy that is also a masterpiece of the writer‘s art.

65. In john Gover‘s Confessio Amantis, Amans, the lover makes his confession to the priest named______1. Verito 2. Genius 3. Amor 4. Phebe Ans (2) Confessio amantis, late 14th-century poem by John Gower. The Confessio (begun about 1386) runs to some 33,000 lines in octosyllabic couplets and takes the form of a collection of exemplary tales of love placed within the framework of a lover‘s confession to a priest of Venus. The priest, Genius, instructs the poet, Amans, in the art of both courtly and Christian love. The stories are chiefly adapted from classical and medieval sources and are told with a tenderness and the restrained narrative art that constitute Gower‘s main appeal today. Many classical myths (especially those deriving from Ovid‘s Metamorphoses) make the first of their numerous appearances in English literature in the Confessio.

66. In Eugene Ionesco‘s Chairs, the absurdity is not so much in the banal words that are uttered as ______1. In the large-scale use of frightening stage props and lighting effects. 2. In the absurdist interpretation of them by character after character. 3. In the fact that they are spoken to an ever-growing number of empty chairs. 4. In the fact that they are spoken time and again by member of the audience. ans . (3)

Eugène Ionesco‘s The Bald Soprano and The Chairs

If you‘re looking for the origins of the Theatre of the Absurd, you could do worse than begin with the first play written by a man who claimed to hate the theatre. Eugène Ionesco‘s La Cantatrice Chauve (usually translated as The Bald Soprano/Prima Donna) went on stage in 1950, and features six characters and a succession of small scenes that unravel almost as soon as they appear, partly inspired by the playwright‘s attempts to learn English from an old-fashioned textbook. In one, a couple discuss events that have become increasingly implausible (one

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 5 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 6 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs character might or might not be dead; their children might or might not have the same names). Later on in the play another couple share an escalating series of apparently extraordinary coincidences

67. A half-sentence in Purchas his pilgrimage triggered off ―Kubla Khan‖. Whose work was Purchas his Pilgrimage? 1. Robert Herrick, the poet‘s 2. John Hakluyt‘s the collector of traveler‘s tales 3. Samuel Purchas, the London parson‘s 4. Edward Purchas, the globe-trotter‘s Ans. (3)

The source for the beginning of Samuel Taylor Coleridge‘s poem ‗Kubla Khan‘ came to him through Samuel Purchas‘s book Purchas his Pilgrimage. He wrote in the preface to Sybilline Leaves (1816) that he was reading it when he fell asleep. The words ‗In Xamdu did Cublai Can build a stately palace …‘ stayed in his head. However, Coleridge noted this several years after the poem‘s composition, and there are considerable doubts that his dating of the composition (1797) is correct.

Coleridge also knew Purchas‘s Pilgrimes (1625), which mentions Cublai Can and his palace at Xandu. This text has a more extensive description of the site.

68. Based on the life of a thirteenth-century troubadour, from among the following identify the work, that marked a catastrophic failure in Robert Borrowing‘s poetic career, earning him a reputation for impenetrable difficulty? 1. Paracelsus 2. Sordello 3. The Ring and The Book 4. Pauline Ans. (2) Sordello, poem by Robert Browning, published in 1840. The much-revised work is densely written, with multilayered meanings and many literary and historical allusions. On publication the work was considered obscure and was a critical failure. ―Sordello‖ is a study in the psychology of genius and the development of a soul. Based on the renowned 13th- century poet and troubadour of that name, the poem reveals the troubles of its subject, who is torn between the practical and the sublime, between the demands of his poetic imagination and his involvement in the power and glory of politics

69. In Tristram Shandy, the Author‘s preface______1. Is hawked to be highest bidden

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 5 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 7 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs 2. Appears in-between chapters 13 and 14 in Volume II. 3. Is printed in italics in all editions 4. Appears in-between chapters 10 and 11 in VolumeI Ans. (1)

 Mr. Shandy is getting jazzed up thinking about Toby's mind as a roasting spit. He thinks about it so intently that he … nods off to lullaby land. Toby, too, conks out.  Since everyone else is occupied—Dr. Slop is upstairs with the midwife and Mrs. Shandy, and Trim is cooking up some equipment for Toby's model fortifications—this is a good time for Tristram to write the preface.  THE AUTHOR'S PREFACE (in Tristram's own words)  Tristram says the book basically speaks for itself—it's that good. Always the modest one, that Tristram. He paraphrases Locke, who says that wit and judgment don't go together—just like farting and hiccupping.  We're not sure if we read that part of Locke, but it sounds true enough.  Anyway, Tristram hopes that his readers have as much wit and judgment as they possibly can hold. If so, then they'd be sure to like this book—but they'd also be impossible to live with. Witty people also tend to be kind of rude.  Of course, good judgment always comes in handy. But the world holds only so much wit and judgment. Of course, very cold places use hardly any wit and judgment. As you go farther south, however, wit and common sense start popping up all over the place.  So Tristram's going to come clean with you. Wishing that his readers have lots of wit and judgment is just a way of buttering you up. If you got more than your fair share, you'd rob other people of theirs, and all professions—from lawyers to the clergy—would run wild.  Okay, breaking it down a little bit more: Wit and Judgment are like two symmetrical decorations. If you remove one, the whole thing looks ridiculous. Better not to have either than to have only one. This is where Tristram differs from Locke, who doesn't give a fig about wit.

70. Evelyn Waugh once complained that T. S. Eliot‘s Poems, 1909-1925 was ― Marvelously good, but very hard to understand, ―The most pessimistic novel Waugh wrote was called ______and he owed the title to______. 1. Black Mischief ------―Sweeney among the Nightingles‖ 2. Scoop ------― Morning at Window‖ 3. Prancing Nigger ------― Ash Wednesday‖ 4. A Handful of Dust------― The Waste Land‖ Ans. (4)

A Handful of Dust, satirical novel by Evelyn Waugh, published in 1934. The novel, which is often considered Waugh‘s best, examines the themes of contemporary amorality and the death of spiritual values. Precipitated by the failure of Waugh‘s marriage and by his conversion to Roman Catholicism, the novel points out the similarities between the savagery of so-called civilized London society and the barbarity encountered by the hero in the South American jungle. SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 5 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 8 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs The novel‘s protagonist, Tony Last, is bewildered and devastated when, out of boredom, his beloved wife, Brenda, has an affair and sues Tony for divorce. Tony flees to South America, where he is captured by a demented, illiterate English squatter who keeps Tony a prisoner, forcing him to read aloud continuously from the works of Charles Dickens.

71. During the year 1830 to 1850, the illusion of peace in Victorian England was broken by such incidents as ______- 1. The revolution in France and the Chartist Movement in England 2. The General strike of 1835 and the Rail Tragedy of 1847 3. The visionary libertarianism of poets and the lawless embodiment of revolution 4. The disaster of the Indian Munity and the incompetent bungling of the Crimean War Ans. (3) The Industrial Revolution was, essentially, the shift of most of humanity from an agrarian society, to an urban and industrialized one. This was made possible by many technological develops. This 'revolution' was the beginning of man's significant dominion over nature, and it affected all aspects of human society, including literature.

As is always true of new ideas, people opposed the industrial revolution. Many were appalled at the conditions that factory workers endured, the low wages workers earned, and the use of children as near-slaves. Many books were penned by these protesters.

The Industrial Revolution also led to the end of the luxurious lifestyles oft pictured in the context of pre- revolution life. The rich courts of kings and queens began to fade as the people took power in their countries. The influx of fineries from colonies ceased as they too gained their independence. People began to focus more on work and the practical side of the life rather than the 'liberal arts'. In fact, the distinction between 'practical skills and 'liberal arts' occurred as a result of the Industrial Revolution, as people shifted away from learning history, philosophizing, and the study of oneself, towards a society of work, toil, and reward. The drawing away from the liberal arts meant less people were reading books that are considered literature; the classics. More books were of the scientific kind.

Thus, the Industrial Revolution created many feelings of distrust and disgust at the new conditions of life. The people who felt these feelings often published books and pamphlets denouncing the revolution. The Industrial Revolution also lead to the shifting away of society from the studies of the liberal arts as the majority of one education to the application of oneself to work and toil. The shift from the liberal arts meant less people were reading the classics.

72. Gulliver receives the following response when he boasts about his countrymen: ―….the most pernicious race of little odious vermin that nature ever sufferd to crawl upon the face of the earth.‖ Whose response? 1. The King of Lilliput‘s 2. The king of Brobdingnag‘s 3. The Governor of Glubbudrib‘s

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 5 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 9 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs 4. The first of the Houyhnhnms‘s he meets Ans. (2) The king is not being intentionally insulting, but merely stating basically what to him is an unreliable fact; the people of the western culture are prone to extreme and in his view unreliable and unjustifiable violent.

73. In the Inferno Dante, as he travels through the various circles of the hell find Judas who is unable to speak. What is the reason behind this?

1. His tongue s transformed into a coiled snake. 2. His head is battered and so he cannot open his mouth. 3. Lucifer is chewing on his head 4. His tongue is pulled out and nailed on the tree of sin.

Ans.(3) in Dante‘s Inferno: The last Ninth Circle of Hell is divided into 4 Rounds according to the seriousness of the sin though all residents are frozen in an icy lake. Those who committed more severe sin are deeper within the ice. Each of the 4 Rounds is named after an individual who personifies the sin. Thus Round 1 is named Caina after Cain who killed his brother Abel, Round 2 is named Antenora after Anthenor of Troy who was Priam‘s counselor during the Trojan War, Round 3 is named Ptolomaea after Ptolemy (son of Abubus), while Round 4 is named Judecca after Judas Iscariot, the apostle who betrayed Jesus with a kiss.

74. Assertion (A) : Our reality is linguistic, a language mediated reality. Reason (R) : Our perception and understanding of reality are largely . constructed by the words and other signs we use. In the light of the statements above: 1. Both (A) and (B) are true and (R) is the correct explanation of (A). 2. Both (A) and (R) are true, but (R) is not the correct explanation of (A). 3. (A) is true but (R ) is false 4. (A) is false but (R) is true. Ans. (1) Language Determines How We Perceive Reality

Language is far more than a tool for communication. With language we categorize, distinguish and create the universe. Ultimately, we perceive the world consistently with our language. For example, when we think in English, we perceive a world made up primarily of objects: people, trees, houses. These objects do things or have things done to them, using verbs. We literally see everything in the world in this fashion. We don‘t perceive ―things out there‖ because there really are things out there. That just happens to be our worldview, because in our language there is a subject, which acts upon an object, which exists independently of the subject. In the English language, independent entities (subjects and objects) are primary, rather than processes or relationships. That‘s not true in every language.

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 6 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 0 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs

75. In his book, In Theory, Aijaz Ahmed works out the relations between the three entities: 1. Classes, Nations , Literatures 2. Religion, Nation, Languages 3. State, Religion, Gender 4. Literature, Print, Theory. Ans. (1) In Theory: Classes, Nations, Literatures : After the Second World War, nationalism emerged as the principle expression of resistance to Western imperialism in a variety of regions from the Indian subcontinent to Africa, to parts of Latin America and the Pacific Rim. With the Bandung Conference and the formation of the Non-Aligned Movement, many of Europe's former colonies banded together to form a common bloc, aligned with neither the advanced capitalist "First World" nor with the socialist "Second World." In this historical context, the category of "Third World literature" emerged, a category that has itself spawned a whole industry of scholarly and critical studies, particularly in the metropolitan West, but increasingly in the homelands of the Third World itself.

Setting himself against the growing tendency to homogenize "Third World" literature and cultures, Aijaz Ahmad has produced a spirited critique of the major theoretical statements on "colonial discourse" and "post- colonialism," dismantling many of the commonplaces and conceits that dominate contemporary cultural criticism. With lengthy considerations of, among others, Fredric Jameson, Edward Said, and the Subaltern Studies group, In Theory also contains brilliant analyses of the concept of Indian literature, of the genealogy of the term "Third World," and of the conditions under which so-called "colonial discourse theory" emerged in metropolitan intellectual circles.

Erudite and lucid, Ahmad's remapping of the terrain of cultural theory is certain to provoke passionate response.

76. In 1660, a group of 12 people including Robert Boyle and Christopher Wren formed what they called the ROYAL Society. In 1663, it became The Royal Society of London for improving Natural Knowledge. What was the society‘s motto‘? 1. ―In Him We Trust‖ 2. ―In the words of no one‖ 3. ―Lighted to lighten‖ 4. ―Love conquers all‖ Ans. (2). By 1663, a Royal charter refers to the group as ―Royal Society of London for improving natural knowledge. Like Francis Bacon, they were concerned about the accuracy and limit of words in recording and observation of physical world. Instead, the Royal Society took ―Nullius In Verba‖- ―in the words of no one‖ as its motto.

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 6 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 1 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs 77. Of whom did W. B. Yeats Say, ―We were the last Romantics‖? 1. The Pre- Raphaelite Brotherhood 2. The Imagist Poets 3. His friends in the Irish Literary Revival 4. Himself and his lady love, Maud Gonne Ans. (3) William Butler Yeats, (born June 13, 1865, Sandymount, Dublin, Ireland—died January 28, 1939, Roquebrune-Cap-Martin, France), Irish poet, dramatist, and prose writer, one of the greatest English-language poets of the 20th century. He received the Nobel Prize for Literature in 1923. Yeats quickly became involved in the literary life of London. He became friends with William Morris and W.E. Henley, and he was a cofounder of the Rhymers‘ Club, whose members included his friends Lionel Johnson and Arthur Symons. In 1889 Yeats met Maud Gonne, an Irish beauty, ardent and brilliant. From that moment, as he wrote, ―the troubling of my life began.‖ He fell in love with her, but his love was hopeless. Maud Gonne liked and admired him, but she was not in love with him. Her passion was lavished upon Ireland; she was an Irish patriot, a rebel, and a rhetorician, commanding in voice and in person. When Yeats joined in the Irish nationalist cause, he did so partly from conviction, but mostly for love of Maud. When Yeats‘s play Cathleen ni Houlihan was first performed in Dublin in 1902, she played the title role. It was during this period that Yeats came under the influence of John O‘Leary, a charismatic leader of the Fenians, a secret society of Irish nationalists.

78. Who wrote The Wandering Jew, a poem in 4 cantos and the short lyric, ―The Wandering Jew‘s Soliloquy? 1. S. T. Coleridge 2. Lord Byron 3. Thomas Gray 4. P. B. Shalley Ans. (4) The Wandering Jew, A Poem in Four Cantos by Percy Bysshe Shelley. Written in 1810, published posthumously for the Shelley Society by Reeves and Turner, London 1877.

79. Where, according to T. S. Eliot, are we likely to fine ―not only the best, but the most individual parts of a poet‘s work‖? 1. In the poet‘s juvenilia or rejected drafts. 2. In the best anthologies and scrapbooks. 3. In those parts where the dead poets assert their immortality. 4. In those parts where the living poets depart from their ancestors.

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 6 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 2 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs Ans. (3) This is a poor explanation of both 'modernism' (as the term is used in relation to Catholicism) and modernism, the cultural movement. For one, modernism never took 'worship everything new and futuristic' as a central credo, and using Pound and Italian futurists to claim otherwise is just plain silly. T.S. Eliot was probably the most influential modernist poet, and he (as well as virtually everyone else) never took such a simplistic view of things. "[W]e shall often find that not only the best, but the most individual parts of [a poet's] work, may be those in which the dead poets, his ancestors, assert their immortality most vigorously." The wikipedia definition is obviously not perfect but it's a far side better than what this article says it is. As far as Catholic modernism goes (which is what Pius X was arguing against in Pascendi dominici gregis, not Apollinaire or Vorticism or whatever) these articles provide explanations better than anything I could give

80. Which of the following is true of The Canterbury Tales? 1. Chaucer, the pilgrim, narrates Sir Thopas‘ Tale only. 2. Chaucer, the pilgrim, narrates The Tale of Melibee only. 3. Chaucer, the Pilgrim, narrates both Sir Thopas‘ and The Tale of Melibee. 4. Chaucer, the pilgrim does attempt to narrate an unnamed tale but abruptly stops due to the intervention of other pilgrims. Ans. (3) Sir Thopas" and "The Tale of Melibee" Perhaps more than with the Squire, it seems strange Chaucer this pilgrim would tell such tales. I posted early in the semester regarding estate satire; possibly here Chaucer is mocking the overly- romanticized tales of quests and jousts and battles: the second estate. In ―Sir Thopas: The Puppet‘s Puppet‖, originally published in The Chaucer Review, Ann Haskell asserts that Geoffrey Chaucer the author used his own character as the mocker of and a mockery of his Tales themselves. She says ―Chaucer the Pilgrim as a puppet, manipulated by Chaucer the Poet, whose action was perhaps relayed to the public with appropriate motions by Chaucer the Reader‖.

81. During the reign of Norman Kings, it was fashionable to speak______in upper-class circles in England. 1. Norse 2. Latin 3. Danish 4. French

Ans. (4) The use of French by the upper class

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 6 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 3 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs The number of Normans who settled in England was sufficiently predominant to continue to use their own language. It was natural at first, because they knew no English. For 200 years after the Norman conquest, French remained the language of ordinary intercourse among the upper classes in England. Intermarriage and association with the ruling class numerous people of English extraction thought it was and advantage to learn the new language. Before long the distinction between those who spoke French and those who spoke English was not ethnic but social. The language of the masses remained English. The most important factor in the continued use of French but the English upper class until the beginning of the 13th century was the close connection that existed through all these years between England and the continent. English kings spend often a great part of the time in Normandy. The Conqueror and his sons were in France for about half of their respective reigns. The English nobility was also as much a nobility of England as an Anglo French aristocracy. Nearly all the English landowners had possessions on the continent. There is no reason to think that the preference that the governing class in England showed for French was anything more than a natural result of circumstances. The idea that the newcomers were actively hostile to the English language is without foundation. It is true that English was now an uncultivated tongue, the language of a socially inferior class, and that a bishop like Wulfstan might be subjected to Norman disdain in part, at least, because of his ignorance of that social matter. According to the chronicler Ordelic Vitalis, William the Conqueror made an effort at the age of 43 to learn English, His sons may have known some English, although their approach to the language may be characterised by mere indifference. A lot of French literature was produced for royal and noble patronage. In the years following the Norman conquest the sting of defeat and the hardships were forgotten. People accepted the new order as something accomplished; they accepted it as a fact and adjusted themselves to it. The fusion of Normans and English was rapid.

82. Who among the following, collaborated with Purohit Swami in translating the Ten Principal Upanishads into English? 1. Christopher Fry 2. Aldous Huxley 3. Lawrence Durrell 4. W. B. Yeats Ans. (4) The Ten Principal Upanishads by Shree Purohit Swami (Author), W. B. Yeats (Contributor).

The Upanishads are the most sacred texts of the Hindu religion, considered to contain the ultimate truth and the knowledge that leads to spiritual emancipation. They are the finest examples of Indian metaphysical and speculative thought. Out of the traditional 109 Upanishads, ten of them are considered to be the principal ones: Isha, Kena and Katha, Prashan, Mundaka, Mandukya, Tattiriya, Aitareya, Chhandogya and Brihadaranyaka. The Ten Principal Upanishads is an introduction of the primary Upanishads to the uninitiated.

83. What unique distinction does Ben Jonson‘s ―To Penshurst‖ have in the English literary canon? 1. It is the only distinguished poems in English addressed to the Lords of Pneshurst 2. It celebrates Philip Sidney‘s elevation to knighthood, Sidney being the youngest scion of the family

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 6 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 4 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs 3. It is one of the first English poems celebrating s specific place, forerunner to Cooper‘s Hill and Windsor-Forest 4. It is the first in an elegiac series that late Elizabethan poets began on the demise of the Lord of Penshurst Ans. (3) ―To Penshurst‖ by Ben Jonson is a country house poem, a popular type of work usually used to praise the residence of a noble man in the 17th century. ―To Penshurst‖ specifically addresses to Robert Sidney, the brother of Sir Philip Sidney. Throughout the poem, a utopian place is depicted with calm nature, abundant resources, and harmonious inhabitants. However, I believe perfection cannot be flawless. That is why I keep wondering if this poem is indeed composed to just flatter the estate‘s owner. There are satirical elements underlying in the traces of irony of the poem and somehow indicating the omens for the future of this beautiful place.

84. It is well known that in many of his plays, Tom Stoppard has consciously drawn upon earlier, often reputed, works. Match the following Stoppard plays with earlier works whose spirits seems to have informed them. (a) Rosencrantz and Guildenstern are Dead (i) Hamlet (b) Indian Ink (ii) A Passage to India (c) Inspector Hound (iii) The Mousetrap (d) Traversties (iv) importance of being Earnest

Code: (a) (b) (c ) (d) 1. (iii) (ii) (i) (iv) 2. (i) (ii) (iv) (iii) 3. (iv) (iii) (i) (ii) 4. (ii) (i) (iv) (iii) Ans. (2) Rosencrantz and Guildenstern are Dead was Tom Stoppard's breakthrough play. It was a huge critical and commercial success, making him famous practically overnight. Though written in 1964, the play was published in 1967, and it played on Broadway in 1968, where it won the Tony for best play.

The play cleverly re-interprets Shakespeare's Hamlet from the point of view of two minor characters: Rosencrantz and Guildenstern.

Tom Stoppard is a leading British playwright of the twentieth century. His two-act play Indian Ink(1994) is based on his earlier radio play In the Native State and was first performed in London in 1995.

Indian Ink takes place in two different locations and time periods: India in 1930, during the struggle for national independence from British colonial rule, and England in the mid-1980s. The action shifts back and forth between these two settings without major set changes or clearly indicated transitions. The action in India concerns Flora SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 6 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 5 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs Crewe, a British poetess, whose portrait is being painted by an amateur Indian artist. The action in England concerns the efforts of a scholar of Flora Crewe‘s work to gather information for a biography. Flora‘s surviving younger sister, Mrs. Swan, is visited first by this English scholar, and then by the son of the Indian artist. The central enigma is the question of whether or not the Indian artist painted a nude portrait of Flora, and whether or not the two had an ―erotic relationship.‖

This play is concerned primarily with the historical and cultural struggles in India to gain independence from British Imperial rule. Indian and English characters discuss their differing perspectives on the history and meaning of British colonization of India. The play addresses themes of Empire, cultural

The Real Inspector Hound is a one-act play modeled after the parlor mystery genre that was extremely popular at the time. Written between 1961-62, it is considered one of Tom Stoppard‘s early works. The play is actually a play-within-a-play: the main characters are theater critics watching a play, and the plot consists of both the narrative arc of the critics, and the narrative arc of the play they are reviewing. Stoppard‘s play most closely resembles the storyline of Agatha Christie‘s 1952 play The Mousetrap — a ‗whodunnit‘ that continues to run today in London.

The playwright Tom Stoppard was in town recently, to see previews of his 1974 play, ―Travesties.‖ The drama is set in Zurich in 1917, and, amid Stoppard‘s layered, brilliant verbal erudition, it defends the purpose of art as an activity that can grant a sliver of immortality. Central to the action are James Joyce, the poet and Dada founder Tristan Tzara, and Vladimir Lenin—all of whom landed in Zurich during the First World War—and a production of Oscar Wilde‘s ―The Importance of Being Earnest.‖ The revival, directed by Patrick Marber, originated in London in 2016; it opens on Broadway, at the American Airlines Theatre, on April 24.

85. After discovering the truth about his heinous crimes committed in the past, what does Oedipus request as his punishment? 1. Exile 2. Castration 3. Decapitation 4. Blindness Ans. (1) Oedipus blinds himself because he cannot stand the sight of Jocosta hanging and the fact that he has indeed slept and have children with his own mother. In my opinion this an act of weakness because Oedipus decides not to face what has happen; by blinding himself he is forced to not see what is infront of him (i.e. his problems). Oedipus asks Creon to drive him out of Thebes because he doesnt want others to see him suffering. In my opinion his suffering is derserved because at the beginning of the story Oedipus put himself on a very high pedestal, comparing himself to the gods. One can say his arrogance may have determined his fate.

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 6 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 6 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs 86. How does ―Women in Love‖ open? 1. Rupert Birkin, Lawrence‘s alter ego, is taking a walk in the English countryside. 2. The Brangwen sisters, Urusula and Gudrun, are ―working and talking‖. 3. The wedding party gathers at shorthand, the Criches‘s home 4. The last lesson is in progress, ―peaceful and still‖ in Ursula‘s classroom Ans. (2) The book opens with a conversation between the two sisters about marriage. They later decide to go to a wedding, and meet their future loves, Gerald and Rupert. We see an early instance of modern views versus new ideas of love play out as Rupert grapples with an old flame, Hermione Roddice, who wants Rupert to marry and dominate her. He begins to fall in love with the more modern Ursula, though. Eventually things come to a head when Hermione tries to smash Rupert's head with a paperweight, and Rupert decides he'd rather not be involved with Hermione Good call! 87. Samuel Johnson has the following to say about an English poet: ―These images are marked by glittering accumulations of ungraceful ornaments: they strike, rather than please. The images are magnified by affection: the language is labored into harshness. The mind of the writer seems to work with unnatural violence_ ‗Double, double, toil and trouble‘. He has kind of strutting dignity, and is tall by walking on tiptoe. His art and his struggle are too visible, and there is too little appearance of ease and nature‖. Identify the poet. 1. Thomas Gray 2. John Dryden 3. John Milton 4. Thomas Wyatt Ans. (1) In the Lives of the Poets‖ Johnson argues about Thomas Gray. The following quotation will bean emphatical instance of a very selfish depravity, which is too common to human nature; a keen perception of the faults of others; and at least an apparent insensibility to our own.

"These odes are marked by glittering accumulations of ungraceful ornaments; they strike rather than please; the images are magnified by affectation; the language is laboured into harshness. The mind of the writer, seems to work with unnatural violence. 'Double, double; toil, and trouble.' He has a kind of strutting dignity; and is tall by walking on tiptoe. His art, and his struggle are too visible; and there is too little appearance of ease, and nature." — If Mr. Gray ever affects this elaborate, and swelling dignity, it but seldom injures his ―poetry; and but in a small degree. But if I wished to give to any one an accurate idea of the ruling features of Johnson's eloquence, I should copy this faithful, and striking likeness which he has drawn of himself.

88. ―Take the smoking disclaimer issue‖ begins Vishal Bhardwaj. ―Putting a disclaimer every time somebody smokes on screen is not an answer. If M .F. Husain had painted a man with a cigar, would you have asked him to put the disclaimer, ‗Cigarette smoking is injurious to health‘ on the painting‖?

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 6 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 7 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs The point Bharadwaj makes with his rhetorical question is the following; 1. The smoking disclaimer is ineffectual because M. F. Husain‘s painting would not have carried it. 2. The smoking disclaimer on objects perceived as ‗art‘ is simply superfluous. 3. The smoking disclaimer is ineffectual because ‗art‘ entertains but does not instruct. 4. The smoking disclaimer on screen or on an M. F. Husain painting distracts us from enjoying art. Ans. (4) 89. According to ______certain, verbs actually ‗perform‘ an act when they are uttered. 1. Speech Act theorists such as Austin and Searle. 2. Russian Formalists such as Shklovsky and Propp. 3. Language theorists such as Sapir and Whorf. 4. Cognitive linguistic such as Lakoff and Johnson. Ans. (1) Speech act theory is a technical term in linguistics and the philosophy of language. The contemporary use of the term goes back to J. L. Austin's doctrine of locutionary, illocutionary, and perlocutionary acts. It is developed by the great philosopher J.L Austin in the 1930s and set forth in a series of lectures, which he gave at Harvard in1955. These were subsequently developed in 1962 as How to Do Things With Words. He founded the modern study of speech acts.

90. Haunted castles, strange noises, and acceptance of the supernatural with all its trappings mark____ 1. Metafiction 2. Fantasy fiction 3. Epistolary fiction 4. Gothic fiction Ans. (4) From wild and remote landscapes to vulnerable heroines; from violent and erotic fantasies to supernatural and uncanny happenings; Gothic fiction has intrigued and unsettled readers for more than two centuries.

91. ……sure it waits upon Some god o‘ th‘ island. Setting on a bank, Weeping again the king my father‘s wrack, This music crept by me upon the waters, Allaying both their fury and my passion, With its sweet air. Thence I have followed it, Or it hath drawn me rather….. Which of the following statements on this passage are true? (a) These lines, spoken by Edgar in King Lear, are part of a long speech delivered on the heath.

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 6 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 8 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs (b) These lines, spoken by Ferdinand in The Tempest, describe Ariel‘s music. (c) The passage reappears in an altered and ironic version in T. S. Eliot‘s ―The Waste Land‖. (d) The passage reappears verbatim in W.H. Auden‘s Sea and Mirror. The correct answer according to the code is: 1. (a) and (d) 2. (b) and ( c) 3. © and (d) 4. (a) and (c ) Ans. (2). The above lines appear both ―The Tempest‖ and The Waste Land by William Shakespeare and T. S. Eliot respectively. 92. Arrange the following plays of Shakespeare according to their periods (early, middle, late…) of composition. 1. As You Like IT, Love‘s Labours Lost, Anthony and Cleopatra, The Tempest, Midsummer Night‘s Dream, 2. Antony and Cleopatra, The Tempest, Midsummer Night‘s Dream, Love‘s Labours Lost, As You Like It. 3. Love‘s Labours Lost, Midsummer Night‘s Dream, As You Like It, Antony and Cleopatra, The Tempest. 4. Midsummer Night‘s Dream, Antony and Cleopatra, The Tempest, As You Like It, Love‘s Labours Lost.

Ans. (3) Love's Labour's Lost Overview

 Category: Comedy  Period written: 1595  First known performance:  Number of lines: 2758  Number of scenes: 9  Total Characters: 21  Prose/Verse: 35%/65%  Folios: Folio 1 (1623, based on Q1), Folio 2 (1632), Folio 3 (1663-4), Folio 4 (1685)  Quartos: Quarto 1 (1598), Quarto 2 (1631)  Possible Sources: The Chronicles of Enguerrand de Monstrelet (T. Johnes, 1400–1444), The French Academie (T. Bowes, 1586), The History of the Civil Wars of France(H.C. Davila, 1678), Gesta Grayorum (W. W. Greg., 1688), Travels of Sir Jerome Horsey in Russia at the Close of the Sixteenth Century (E. A. Bond, 1856)

93. Who among the following is not a reader-response critic?

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 6 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 9 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs 1. Maud Bodkin 2. Hans-Robert Jauss 3. Stanley Fish 4. Wolfgand Iser Ans. (1) Reader-response theory A theory, which gained prominence in the late 1960s, that focuses on the reader or audience reaction to a particular text, perhaps more than the text itself. Reader-response criticism can be connected to poststructuralism‘s emphasis on the role of the reader in actively constructing texts rather than passively consuming them. Unlike text-based approaches such as New Criticism, which are grounded upon some objective meaning already present in the work being examined, reader-response criticism argues that a text has no meaning before a reader experiences—reads—it. The reader-response critic‘s job is to examine the scope and variety of reader reactions and analyze the ways in which different readers, sometimes called ―interpretive communities,‖ make meaning out of both purely personal reactions and inherited or culturally conditioned ways of reading. The theory is popular in both the United States and Germany; its main theorists include Stanley Fish, David Bleich, and Wolfgang Iser.

94. Leo Tolstoy‘s Anna Karenina‘s closing lines present……. 1. A sad reflection on the unfortunate suicide of Anna, which should have been averted. 2. The enlivening freshness of a rain which has been threatening to break out. 3. Levin‘s affirmation that whatever happens to him, life is not meaningless but unquestionably meaningful. 4. Vronsk‘s lament over the death of Anna which ends on a positive note, affirming the human tendency to pass over the tragic events with hope. Ans. (3) Anna Karenina, novel by Leo Tolstoy, published in installments between 1875 and 1877 and considered one of the pinnacles of world literature. The Last Paragraph of Leo Tolstoy's Anna Karenina

I‘ll get angry in the same way with the coachman Ivan, argue in the same way, speak my mind inappropriately, there will be the same wall between my soul‘s holy of holies and other people, even my wife, I‘ll accuse her in the same way of my own fear and then regret it, I‘ll fail in the same way to understand with my reason why I pray, and yet I will pray—but my life now, my whole life, regardless of all that may happen to me, every minute of it, is not only not meaningless, as it was before, but has the unquestionable meaning of the good which it is in my power to put into it!

95. Which of the following novels begins with a prologue under the title ―The Storming of Seringapatam‖, saying, ―I address these lines written in Indian- to my relatives in England‖?

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 7 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 0 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs 1. The Siege of Krishnapur by J,G, Ferell 2. The Moonstone by Willkie Collins 3. The Sign of Four by Sir Arthur Conan Doyle. 4. The Jewel in the Crown by Paul Scott

Ans. (2) The Moonstone Summary and Analysis of Prologue - The Storming of Seringapatam Summary In 1799, a young John Herncastle and his cousin are soldiers in the British Army. They are preparing to lay siege to an Indian palace. In the camp before their assault, stories circulate about a famous Yellow Diamond in India known as the Moonstone. The Moonstone is used to worship the moon deity, and has a curious story behind it. During the Mohammedan conquests, the Diamond was saved from pillaging, and the god Vishnu charged three Brahmin priests with watching the Diamond for all the generations of men. Later, an officer in the ranks of the Emperor of the Moguls seized the Moonstone. The Brahmins and their descendants followed the Moonstone in disguise, even as the gem passed through multiple hands. It eventually fell into possession of the Sultan of Seringapatam, the palace of which the soldiers are about to storm. The story makes only an impression on Herncastle; everyone else treats it as a fable. On the day of the assault, however, the cousin witnesses Herncastle with the Diamond-laid dagger in his hand, having most likely just killed three Indian guards in the armory. After being seen by his cousin, Herncastle is not seen for the rest of the night. The general declares that thieves are to be hanged. The cousin confronts Herncastle about what happened the previous night, to which Herncastle denies knowing anything about. The cousin concludes with saying that he feels a certain superstition about the Diamond, and that others will live to regret receiving the gem from him.

96. In ―Gerontion‖, T. S. Eliot says: ―______has many cunning passages, contrived corridors / And issues, deceives with the whispering ambitions, / by vanities‖. What is Eliot‘s subject? 1. History 2. Politics 3. state 4. Religion Ans. (1) These lines from T.S. Eliot's "Gerontion" (1429, 34-37) appear in the final version of the poem, published in 1920. The speaker of this dramatic monologue is an old man sitting inside a ―decayed house.‖ The reference to knowledge invokes the original sin of Adam and Eve, signifying that the man (or society as a whole) has disobeyed God. Christ is no longer a symbol of forgiveness, but is instead represented by the fierce image of ―Christ the tiger‖ (20, 49). In the absence of spiritual redemption, …show more content…

The man describes an identical situation at the end of the poem, saying, ―Thoughts of a dry brain in a dry season‖ (76). The concept of nature as a source of order is based on its function as a cycle. The old man waits for the cycle to deliver him from his spiritually dry state to a place of fulfillment. But nature brings no change to the

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 7 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 1 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs man and leaves him in the same arid condition in which he began. The failure of nature to provide a cycle is supported by the natural, stationary images in the poem, such as, ―Rocks, moss, stonecrop, iron, merds‖ (12), and the ―Gull against the wind, in the windy straits‖ (70), which shows nature forcefully impeding the progress of the bird, just as its lack of cycle reinforces the stagnation of the old man‘s mind, body, and spirit.

Read the following poem and answer question 97 to 100. The Mountain My students look at me expectantly. I explain to them that the life of art is a life of endless labor. Their expressions hardly changes; they need to know a little more about endless labour. So I tell them the story of Sisyphus, how he was doomed to push a rock up a mountain, knowing nothing would come of this effort but that he would repeat it indefinitely. I tell them there is a joy in this, in the artist‘s life, that one eludes judgment, as I speak I am secretly pushing a rock myself, slyly p pushing it up the steep face of a mountain, why do I lie to these children? They are not listening, they are not deceived, their fingers trapping at the wooden desks- So I retract the myth; I tell them it occurs In hell, and that the artist lies because he is obsessed with attainment, that he perceives the summit

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 7 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 2 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs as that place where he will live for ever, a place about to be transformed by his burden: with every breath, I am standing at the top of the mountain. Both my hands are free. And the rock has added height to the mountain. (Louise Gluck)

97. Whose poetic voice is triggered right from the beginning?

1. Of student‘s 2. Of teacher‘s 3. Of critic‘s 4. Of an observer‘s ans. (2) 98. The speaker brings up the story of Sisyphus specifically by way of glossing______1. Art in life 2. Life in art 3. Endless labor 4. Poetic expectation Ans. (3) 99. In its context, the words ―their fingers / trapping at the wooden desks‖, best represent the students‘______. 1. Lack of protest 2. Lack of interest 3. Show of disrespect 4. Show of impatience Ans. (2) 100. Why does the speaker say, ―The rock has added height to the mountain‖? 1. Because the speaker is already on the top of the mountain. 2. Because both the hands of the speaker are now free. 3. Because the mountain now seems largely incomprehensible. 4. Because she feels that, the immensity of the problem has grown.

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 7 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 3 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources) VINEET PANDEY’S SAHITYA CLASSEs Ans. (1)

SAHITYA CLASSES (Dehli, Jammu, Varanasi, Hyderabad, Dehradun) 7 ADDRESS- 31 / A JIA SARAI NEW DELHI 110016. 8587035827, 9672784555, 9267928908, 4 (NEAR HAUZ KHAS METRO STATION) (Source: Compilation from various WEBSITES and Other Resources)