FOUNDERS AND FATHERS OF IMPORTANT ENGLISH GENRE

FOUNDERS AND FATHERS OF IMPORTANT ENGLISH GENRE

1.Geoffrey Chaucer = The Father of English Literature
2.Geoffrey Chaucer = The Father of English Poetry
3.Geoffrey Chaucer = The Father of English Language
4.Geoffrey Chaucer = The Morning Star of the Renaissance
5.Geoffrey Chaucer = The First National Poet
6.Venerable Bede = The Father of English Learning.
7.Venerable Bede = The Father of English History
8.King Alfred the Great = The Father of English Prose
9.Aeschylus = The Father of Tragedy
10.Nicholas Udall = The First English Comedy Writer
11.Edmund Spenser = The Poet’s poet (by Charles Lamb)
12.Edmund Spenser = The Child of Renaissance
13.Edmund Spenser = The Bridge between Renaissance and Reformation
14.Gutenberg = The Father of Printing
15.William Caxton = Father of English Press
16.Francis Bacon = The Father of English Essay
17.John Wycliffe = The Morning Star of the Reformation
18.Christopher Marlowe = The Father of English Tragedy
19.William Shakespeare = Bard of Avon
20.William Shakespeare = The Father of English Drama
21.William Shakespeare = Sweet Swan of Avon
22.William Shakespeare = The Bard
23.Robert Burns = The Bard of Ayrshire (Scotland)
24.Robert Burns = The National Poet of Scotland
25.Robert Burns = Rabbie
26.Robert Burns = The Ploughman Poet
27.William Dunber = The Chaucer of Scotland
28.John Dryden = Father of English criticism
29.William of Newbury = Father of Historical Criticism
30.John Donne = Poet of love
31.John Donne = Metaphysical poet
32.John Milton = Epic poet
33.John Milton = The great master of verse
34.John Milton = Lady of the Christ College
35.John Milton = Poet of the Devil’s Party
36.John Milton = Master of the Grand style
38.John Milton = The Blind Poet of England
39.Alexander Pope = Mock heroic poet
40.William Wordsworth = The Worshipper of Nature
41.William Wordsworth = The High Priest of Nature
42.William Wordsworth = The Poet of Nature
43.William Wordsworth = The Lake Poet
44.William Wordsworth = Poet of Childhood
45.William Wordsworth = Egotistical Sublime
46.Samuel Taylor Coleridge = The Poet of Supernaturalism
47.Samuel Taylor Coleridge = Opium Eater
48.Coleridge & Wordsworth = The Father of Romanticism
49.Wordsworth, Coleridge, Southey = Lake Poets
50.Lord Byron = The Rebel Poet
51.Percy Bysshe Shelley = The Revolutionary Poet
52.Percy Bysshe Shelley = Poet of hope and
regeneration
53.John Keats = Poet of Beauty
54.William Blake = The Mystic Poet
55.John Keats = Chameleon Poet
56.Lord Alfred Tennyson = The Representative of the Victorian Era
57.George Bernard Shaw = The greatest modern dramatist
58.George Bernard Shaw = The Iconoclast
59.Jane Austen = Anti-romantic in Romantic age
60.Lindley Murray = Father of English Grammar
61.James Joyce = Father of English Stream of Conscious Novel
62.Edgar Allen Poe = Father of English Mystery play
63.Edgar Allen Poe = The Father of English Short Story
64.Henry Fielding = The Father of English Novel
65.Samuel Johnson = Father of English one Act Play
66.Sigmund Freud = A great Psycho-analyst
67.Robert Frost = The Poet of Terror
68.Francesco Petrarch = The Father of Sonnet (Italian)
69.Francesco Petrarch = The Father of Humanism
70.Sir Thomas Wyatt = The Father of English Sonnet
71.Henry Louis Vivian Derozio = The Father of Indian-Anglican Sonnet
72.William Hazlitt = Critic’s Critic
73.Charles Lamb = The Essay of Elia
74.Arthur Miller = Mulk Raj Anand of America
75.Addison = The voice of humanist Puritanism
76.Emerson = The Seneca of America
77.Mother Teresa = The Boon of Heaven
78.Thomas Nash = Young Juvenile
79.Thomas Decker = Fore-runner of Humorist
80.Homer = The Father of Epic Poetry
81.Homer = The Blind Poet
82.Henrick Ibsen = Father of Modern theatre
83.Rabindranath Tagore = Indian National Poet
84.Nissim Ezekiel = The Father of Indian English Poet

The Art of Fiction by Henry James summary note

The Art of Fiction  by Henry James

The Art of Fiction was a response to remarks by English critic Walter Besant, who wrote an article that literally attempted to lay down the "laws of fiction." For instance, Besant insisted that novelists should confine themselves to their own experience: "A young lady brought up in a quiet country village should avoid descriptions of garrison life." James argued that a sufficiently alert novelist could catch knowledge from everywhere and use it to good purpose: "The young lady living in a village has only to be a damsel upon whom nothing is lost to make it quite unfair (as it seems to me) to declare to her that she shall have nothing to say about the military. Greater miracles have been seen than that, imagination assisting, she should speak the truth about some of these gentlemen."

James continually argues for the fullest freedom in the novelist's choice of subject and method of treatment: "The only obligation to which in advance we may hold a novel, without incurring the accusation of being arbitrary, is that it be interesting." In particular, James is suspicious of restraining fiction with specific moral guidelines: "No good novel will ever proceed from a superficial mind; that seems to me an axiom which, for the artist in fiction, will cover all needful moral ground."

James followed his own advice in criticizing the various writers included in Partial Portraits. In his long, engrossing essay on Maupassant, for instance, he couldn't help noticing the Frenchman's propensity for what James called the "monkeys' cage" view of human existence. But that didn't stop James from approving wholeheartedly of Maupassant's vigour, precision and conciseness in describing life as he saw it.

 

James followed his own advice in criticizing the various writers included in Partial Portraits. In his long, engrossing essay on Maupassant, for instance, he couldn't help noticing the Frenchman's propensity for what James called the "monkeys' cage" view of human existence. But that didn't stop James from approving wholeheartedly of Maupassant's vigour, precision and conciseness in describing life as he saw it.

Similarly, James found much to appreciate in the intellectual force of George Eliot, the stolid but comprehensive detail-work of Anthony Trollope, the unbounded imagination of Robert Louis Stevenson, and the genial common sense of Alphonse Daudet. All very different writers, but all speak with validity from their personal view on life. This wide range presages the "house of fiction" image James would include in the New York Edition preface to The Portrait of a Lady, where each novelist looks at life from a particular window of the house and thus composes a unique and personally characteristic account.***

Henry James and The Art of Fiction

The novel has struggled to be taken seriously as an art form. The very title of James’s essay begins his campaign on its behalf: ‘art’ and ‘fiction’, often seen at odds with each other, are placed side by side here. Prose fiction includes short stories, novellas (longer short stories), and the novel. James regarded the novel as supreme in its importance, not least because of the possibilities it provided for larger-scale plot development and characterization. In this essay, as Mark Spilka has argued, James began ‘an adventure of immense importance to the novel’s history’ (1977: 208).

James begins by referring to ‘the mystery of story-telling’ (1884: 44), and it is worth reminding ourselves that the word ‘mystery’ originally referred to the secrets of a particular trade, or craft, and that ‘art’ was generally applied in mediaeval times and beyond to practical skills. James’s perspective in this essay is very much that of the producer, of the novelist, and he wants to retrieve this older, practical sense of ‘art’, together with the meaning that developed in the Romantic period (in literature, from around the 1780s through to the 1830s). In that period, artists were regarded as creative geniuses involved in the production of beautiful artefacts. What defined art, increasingly in the nineteenth century, was its detachment from the world, or its apparent lack of a specifiable purpose. The best fiction, for James, is an art because it involves both the kind of proficiency in a craft that comes with a long apprenticeship and the individual creative genius celebrated by Romantic writers such as the English poets William Wordsworth (1770–1850) and John Keats (1795– 1821). By combining these meanings of ‘art’, James attempts to fend off those who attack the novel for having ‘no great character’ and for being a ‘commodity so quickly and easily produced’ (1884: 49).

At the core of James’s definition of the novel is what he sees as its responsibility to represent life. He states that this is ‘the only reason for the existence of a novel’ (1884: 46). But it soon emerges that James is committed to a complex and shifting sense of what this responsibility amounts to. Part of the reason for these complications is James’s belief that ‘a novel ought to be artistic’ (1884: 47) as well as a representation of life. In an era of burgeoning popular photography, James wants to put as much distance as possible between the novel and crude realism. He argues that ‘[a] novel is in its broadest definition a personal, a direct impression of life’ (1884: 50). Crucially important here is the imaginative power of the writer; and this is what distinguishes the good novel from the bad, or popular, novel. To write artistic novels, rather than novels merely, the author must have ‘[t]he power to guess the unseen from the seen, to trace the implication of things, to judge the whole piece by the pattern’ (1884: 53).

A novel should seek not only to represent life, then, but to refract that representation through faculties of the imagination sharpened by sensitive and responsive observations in the world of experience. To say that novels represent experience realistically and leave it at that is to fail to acknowledge ‘that experience is never limited’, and that ‘it is never complete’ (1884: 52). It is also to overlook that ‘the measure of reality is very difficult to fix’ (1884: 51). James is less interested in ‘reality’, much more in the ‘air of reality’ (1884: 53). The central appeal of the novel is in its ability to represent life so interestingly that it actually ‘competes’ with it (1884: 53). Indeed, James was to go much further than this in a letter to the English novelist H. G. Wells (1866–1946), arguing there that ‘it is art that makes life’ (1915: 770). At the very least – because of its scope, flexibility of form, and openness towards experimentation – the novel can have the ‘large, free character of an immense and exquisite correspondence with life’ (1884: 61).

If the novel is a representation of life, its own vitality comes in part from the fusion of that representation with the writer’s own impressions. James’s insistence on the need for novels to be vital, on the analogy between the novel as a form and life, has a significant bearing on his theories of fiction and definition of the novel:

I cannot imagine composition existing in a series of blocks . . . A novel is a living thing, all one and continuous, like any other organism, and in proportion as it lives will it be found, I think, that in each of the parts there is something of each of the other parts. (1884: 54)

What matters here is the emphasis on the artificial nature of any boundaries between character and story, or plot, dialogue, description, and narration. James saw novels, in keeping with his description of them as ‘the most human form of art’ (1880: 868), as ‘organic’ in form. This fear of writing in ‘blocks’ is partly what propels James into condemning novels where the author’s voice, or that of his narrator, is obtrusive.  James was unhappy with facile connections between text and author, and anxious about destructive interferences from the reader at large.

Further at issue are what James regarded as fruitless distinctions, then common, between ‘the novel of character and the novel of incident’ (1884: 54). James was often criticized for focusing too much on psychological analysis at the expense of telling a good story, for elaborating on character rather than concentrating on the plot; and his defence is that the boundaries between these are useless. Such separations result in a dead rather than a living work of art. He regarded characters as analogous to the seeds of a plant: the novel should develop outwardly from the nature of those characters, the plot resulting from their characteristics and not the other way round.

James extends his application of the biological metaphor of an organism when identifying the ‘search for form’ (1884: 48) as a central feature of the art of fiction. The search, among other things, is for the most effective way of structuring and narrating the story as a whole; and it can only be found from within the subject itself, not by imposing existing patterns or applying sterile rules. In his preface to The Spoils of Poynton, James calls this ‘the logic of the particular case’ (1907–9: 1139). This view leads not just to a rejection of any externally imposed purpose on the novel, in keeping with the idea of organic form, but to the repudiation of any kind of ‘conscious moral purpose’ (1884: 62). The alternative is to confine the subject to ‘conventional, traditional moulds’, thereby reducing it to ‘an eternal repetition of a few familiar clichés’ (1884: 58). It is a ‘mistake’ to ‘say so definitely beforehand what sort of an affair the good novel will be’; the ‘only obligation to which in advance we may hold a novel . . . is that it be interesting’ (1884: 49).

The Art of Fiction is in large measure a rebuttal of the English novelist and critic Walter Besant’s The Art of Fiction (1884), from where James initially took his title, and its insistence on the novel as an ‘Art’ which is ‘governed and directed by general laws’ (Besant 1884: 3). The most important of these laws was that there should be a ‘conscious moral purpose’ (Besant 1884: 24). Against this, James asserts that ‘[t]here are bad novels and good novels’, but ‘that is the only distinction in which I see any meaning’ (James 1884: 55). The implications of what he goes on to say for the relation between the novel and morality are discussed below:

There is one point at which the moral sense and the artistic sense lie very near together; that is in the light of the very obvious truth that the deepest quality of a work of art will always be the quality of the mind of the producer . . . No good novel will ever proceed from a superficial mind. (1884: viii)

The author should be granted his ‘subject’ (1884: 56), the form of which ‘is to be appreciated after the fact’ (1884: 50). If the reader dislikes the subject, then the novel can be abandoned. The measure of a novel’s success is that of how the subject is treated; whether it develops organically, that is, like a seed into a plant, from the centre of its chosen subject. ‘[W]e can estimate quality’, James believed, only by applying the ‘test of execution’ (1884: 50), by judging what an author has done with his or her subject. James criticized George Eliot’s Middlemarch (1871–2), for example, for being a ‘treasure-house of details’, but an ‘indifferent whole’ (Rawlings 2002: 2: 301). He saw the character of Dorothea as central to the novel and felt that excursions into other characters and stories were a distraction. For James, George Eliot’s novel not only dealt with its subject in too scattered and distracting a way, it was ultimately irresponsive and irresponsible to what should have been its subject, Dorothea, thereby failing the ‘test of execution’.

The Moral Sense and the Artistic Sense in The Art Of Fiction

James writes in The Art of Fiction that:

There is one point at which the moral sense and the artistic sense lie very near together; that is in the light of the very obvious truth that the deepest quality of a work of art will always be the quality of the mind of the producer . . . No good novel will ever proceed from a superficial mind. (1884: 63–4)

A similar idea is expressed in the preface to The Portrait of a Lady. The ‘ “moral” sense of a work of art’ depends ‘on the amount of felt life concerned in producing it’: ‘The question comes back thus, obviously, to the kind and degree of the artist’s prime sensibility, which is the soil out of which his subject springs’. ‘Sense’, especially the peculiarly intense sense of the highly intelligent novelist, connects the moral and the aesthetic for James. This is part of a long tradition of thinking that goes all the way back to the Greek philosopher Plato and beyond. One of its most well-known manifestations is in Keats’s ‘Ode on a Grecian Urn’: ‘Beauty is Truth, – Truth Beauty, – that is all / Ye know on earth, and all ye need to know’ (1820: 321). Experience is at the core of the moral and the aesthetic. The moral and the artistic senses converge if we become ‘one on whom nothing is lost’ (James 1884: 53) as we encounter complex, ambiguous experiences.

We start to become moral, as James defines the word, only as we begin to realize that our perspective is partial and needs to take account of the perspectives of others. Art and morality are social affairs. Novelists and readers, like James’s characters, need to develop their moral intelligence as they steep themselves in the complexity of experiencing the world. But for James ‘experience is never limited and is never complete’. What matters is the extent to which ‘The Art of Fiction’ unites the experiencing subject with experience by suggesting that an ‘immense sensibility’ is the ‘very atmosphere’ of the ‘mind’ (James 1884: 52). Sensibility is always transitive; to be sensible, ultimately, is to be sensible of the world of experience. At this point, as a way of grasping just how inseparable art and morality are for James, you might find it helpful to review the discussion of perspective and consciousness in Chapter 4 (pp. 82–6).     

Quite simply, James believes that to become an intelligent novelist is to reach a moral stature beyond narrow, conventional, thinking. He further believes that this should be a general aspiration, while still holding to the view that intelligence is often the preserve of the few. In such a world, he observes wistfully, ‘are we not moreover – and let it pass this time as a happy hope! – pretty well all novelists now?’ (1902a: 346). The novel, for both the writer and the reader, is the road not to moral principles, but to the moral sense; and developing the reader’s own intelligence. The novel is ‘the great extension, great beyond all others, of experience and of consciousness’ (1907–9: 1061); and ‘experience’ is, for James, ‘our appreciation and our measure of what happens to us as social creatures’ (1907–9: 1091). If the novel is intelligently controlled, all the necessary moral ground will be covered, and ‘all prate of its representative character, its meaning and its bearing, its morality and humanity, [is] an impudent thing’ (1907–9: 1068). Novels should not transmit moral principles and rules as such, but renovate and develop the mind by attempting to engage the reader in the pursuit of intricate combinations of form, content, and germinating subjects.

James connects morality and realism in The Art of Fiction by arguing that novelists should not limit what they represent to the morally exemplary by excluding aspects of human experience: ‘the essence of moral energy is to survey the whole field’ (1884: 63). Two things will guarantee the broader moral reach of the novel: the acuity of the novelist, and the degree to which his or her novels can stimulate critical investigation and reflection. James strikingly defined ‘moral consciousness’ as ‘stirred intelligence’ (1907–9: 1095) in his New York prefaces; and he believed that a sharp, responsive intellect and a sense of morality were much the same thing. The clarifying expression of some of these ideas came eight years before The Art of Fiction in an essay entitled The Minor French Novelists (1876):

Every out-and-out realist who provokes curious meditation may claim that he is a moralist, for that, after all, is the most that the moralists can do for us. They sow the seeds of virtue; they can hardly pretend to raise the crop. (1876: 169–70,)

                                        

 https://www.youtube.com/channel/UC7j3LatEfjoxJ7RdCsBCROg?view_as=subscriber

McQ on English literature

 

Write only the correct answer in the Answer Book. Do not reproduce the questions.

(1) The subjugation of Women (1869) is an important text of:

(a) George Eliot
(b) Byron
(c) John Mill
(d) Hardy

(c) John Mill


(2) Which of the following poems by Tennyson is a monodrama?

(a) Ulysses
(b) Break, Break, Break
(c) Maud
(d) Crossing the Bar

(c) Maud


(3) The line “she dwells with Beauty – Beauty that must be” occurs in Keats’

(a) Lamia
(b) Ode to a Grecian Urn
(c) Ode on Melancholy
(d) Endymion

(c) Ode on Melancholy


(4) Negative Capability to Keats, means

(a) The ability to sympathize with other
(b) Say bad thing, about others
(c) To empathize

(c) To empathize


(5) “Art for arts sake” found its true adherent in:

(a) Wordsworth
(b) Byron
(c) Browning
(d) Wilde

(d) Wilde


(6) It as the best of times, it was the worst of time, it was the worst – the opening of Dickens’

(a) Hard Times
(b) David Copperfield
(c) Oliver Twist
(d) A Tales of Two Cities

(d) A Tales of Two Cities


(7) The character of Little Neil is a creation of:

(a) Hardy
(b) Eliot
(c) Oscar Wilde
(d) Dickens

(d) Dickens


(8) “Idylls of the King” is illustration of Tennyson’s deep interest in:

(a) Medieval legends
(b) The role of the king
(c) Hero worship
(d) The contemporary condition

(b) The role of the king


(9) Who believed that poetry is the spontaneous overflow of emotions?
(a) Blake
(b) Byron
(c) Wordsworth
(d) Keats

(c) Wordsworth


(10) Who after the publication of a poem, awoke and found himself famous?

(a) Shelley
(b) Browning
(c) Wordsworth
(d) Keats

(c) Wordsworth


(11) The image of the femme fatale dominates the poetry of:

(a) Wordsworth
(b) Keats
(c) Byron
(d) Tennyson

(b) Keats


(12) Little Time is a character in Hardy’s

(a) The return of the native
(b) Jude the Obscure
(c) Mayor of Casterbridge

(b) Jude the Obscure


(13) Which is the famous elegy written by Shelley?

(a) In Memoriam
(b) Lycidas
(c) Adonis
(d) Thyrsis

(c) Adonis


(14) The moral choice is everything in the works of:

(a) Dickens
(b) George Eliot
(c) Hardy

(a) Dickens


(15) Which of the following is illustrative of Ruskin’s interest in social economy?

(a) The Seven Lamps
(b) Unto this Last
(c) The Stones of Venice

(b) Unto this Last


(16) Which one of the following poets named the Romantic poet as the “pond poets”?

(a) Southey
(b) Shelley
(c) Keats
(d) Byron

(a) Southey


(17) The Charge of the Light Brigade” (Tennyson) commemorates:

(a) The Boer War
(b) The battle of Trafalgar
(c) The Crimean War

(c) The Crimean War


(18) The Elgin Marbles inspired Keats to write:

(a) Endymion
(b) Lamia
(c) The Grecian Urn
(d) Melancholy

(c) The Grecian Urn


(19) Would you tell Sordelo (Browning) as a:

(a) Dramatic Monologue
(b) Dramatic Lyrics
(c) Tragic Drama

(b) Dramatic Lyrics


(20) Which one of the following poets was appointed Poet Laureate in the year 1813?

(a) Tennyson
(b) Byron
(c) Southey
(d) Wordsworth

(c) Southey

 

Why the novel matters by D.H. Lawrence

Introduction- the essay why the novel matter has been written by D.H.Lawrence.it was published posthumously in 1936 in an essay collection titled Phoenix

In the essay Lawrence speaks about the importance of the novel and tries to establish the superiority of the novelist above other professions. In an attempt to illustrate the importance of the novel Lawrence explains the importance of life and the living man.

D.H. Lawrence’s statement about his belief in the novel as a means of instructing or guiding men and women to live life to the completed. So that also reveals Lawrence's philosophy of life   Lawrence announced (proclaimed) in his essay being a novelist “ I consider myself superior to the saint the scientist the philosopher and the poet,” who are all the great master of different bits of men alive but never get the whole hog. Lawrence's mood of arguments is simple but extremely effective. He indicates that the novel is the most flexible and creative of literary form.

Lawrence begins the essay by ridiculing the superstitious belief that the body and the soul or mind are two separate existence. He believes that whatever is me alive is me. Lawrence said that he was only a soul or a body, mind intelligent or a brain, or a bit of himself. The whole is greater than the part so for a living man the whole part is important. He says that this is what scientists and philosophers fail to understand. According to Lawrence's novel show, life and its character are nothing but man alive. this is something which can be understood by the novelist because the novel is a bright book of life There for the novelist is better than the scientist and philosopher.

He quotes an example of an Italian Saint Francis of who tortured his body, believes that the soul was of ultimate importance. However, when he was dying he apologized to his body for tortured on his body.

According to Lawrence, the novelist possesses a complex understanding of the man alive more fully than a person, a philosopher, or a scientist. The person speaks about the soul in heaven. But a novelist talks about paradise in the plum of our hand or at the end of our nose which are alive because during his lifetime understanding by what happens to afterlife, so the novelist is not concerned about life after death.

The philosopher speaks about infinite knowledge possessed by a pure spirit. But for the novelist, there is no knowledge beyond what the living body can preserve. For philosopher nothing but the thing is important, but Lawrence says the thought is not alive, its like a radio signals floating in the air which are meaningless until they reach the receiver - a radio device that makes out the signal into a meaningful message. similarly, when thoughts are received by a man alive they become meaningful. It is only because the man alive receives them they become alive.

 Thus the living the body is more important than the message conveyed by the thoughts. According to Lawrence nothing is more important than life. Living things is more valuable than a dead object. A living dog is better than a dead lion but a living lion is better than a living dog. Lawrence says that scientists and philosophers find it too difficult to accept the value of living. For the scientist, a man is a heart, a liver, a kidney,  a gland, or a tissue. But for the novelist the whole living man is important.

This is because of a novel deals in nothing but man alive. In this regard, Lawrence calls the Bible “a great confuse novel”.  It is not about one man alive but a long list of men alive. Even God is another man is alive.

According to Lawrence the entire Bible, homer, Shakespeare is an example of the supreme old the novel they affect the whole man alive not a part of a man as does the scientist.

According to Lawrence, the nature of the novel is dynamic, its character which reflects the importance of constant and if something is forced to remain constant it loses its value and power along with the passing of times. A man today is different from what he is today. A man loves women because of the constant change in her. Loving an unchanging person is like loving a lifeless object. Lawrence says that one can learn about the importance of change from a novel. In a novel, the character does nothing but live. But if they began to act according to a fixed pattern, always remain good or bad then lose its value and power.

Lawrence however, says that it is difficult to define what is living. Different man has a different idea about what they mean by living in life. Some go to seek God while others seek money, wine, and women and others seek votes and political reforms. In this Lawrence says that the novel is a guide that helps to differentiate between a man alive and a man who is a dead man in life. A man alive shoots his enemy but in life throws bombs at people who are neither his friend nor his foe.

Finally, Lawrence says that the most important thing is to be a whole man alive, and the novel providing guidance in this matter. The novel is the best to guide which helps us to live, without getting ourselves unnecessary disturb by the theory of right or wrong. Since what is right in one case becomes wrong in another. In the novel, we say a man dying because of his goodness another person dying because of his weakness.

Lawrence extended fictional practice by breaking convention established by the Victorian novelist. Thus Lawrence asserts that the novel is a book that can teach the life of a whole man alive and that is why the novel matter.

 

 

1. Application for leave of absence

 1. Application for leave of absence

To

       The headmaster/ the principal

       School / college name

Address

Date: 22 April 2020

Subject: prayer for leave of absence/application for leave of absence

Respected  sir,

    with due respect I would like to inform you /(Most humbly and respectfully I beg to state you) that I could not attend school / college from the 10^th to 20^th April  on account of my  illness

Therefore I would like to request you kindly grant me leave of absence for those days only

                                                                                                    Yours faithfully/your sincerely

                                                                                                      Xyz

                                                                                                       Class

                                                                                                            Roll no

 

         2.  Application for sick leave 

To 

       The headmaster/ the principal

       School / college name

Address

Date: 22 April 2020

 subject: Application for sick leave

Sir,

     Most respectfully, I beg to state that I am not in a condition to attend my next period. I am suffering from fever. The doctor has advised me to take rest at least three days. Hence kindly grant me leave. I shall be grateful to you.

                                                                                                     Yours faithfully/yours sincerely

                                                                                                      Xyz

                                                                                                      Class

                                                                                                           Roll no

The Metaphysical School of Poetry

The term “metaphysical” means beyond the physical. The major poets of 17th Century English Literature belonged to this school of metaphysical poetry writing, which explored and upheld the fusion of intellect and emotion. Literary critic and poet Samuel Johnson first coined the term “metaphysical poetry” in his book Lives of the Most Eminent English Poets (1179 – 1781) (Life of Cowlie section). It was also used by John Dryden to describe Donne’s poetry. Some common metaphysical questions include Does God Exist? Is there a difference between perception and reality? Is free-choice not existent i.e, is fate pre-determined? Is consciousness limited to the brain? In this school certain methods were rigorously followed. They include a rare clarity and freshness of vision, a harmonious blending of wit and emotion, use of stock metaphors, the abundant use of conceits, use of environmental images, a lyrical flow of thought and verse and the manifestation of divinity in nature.

John Donne (1572 – 1631)

All discourse on metaphysical poetry must begin with John Donne who was especially noted for being hailed as the father of the “metaphysical school of poetry”. He was not only a poet, but also a lawyer, priest and satirist. Critics describe his style as inventive, strong, dramatic and sensual – that of a womanizer despite being religious. He wrote Love Poetry, Religious Poetry and Elegies and Satires. One of his most exemplary love poems is The Good Morrow, meaning wishing one’s beloved good morning. He compares his beloved and himself to two hemispheres of the globe to form one complete whole. Another of his love poems is A Valediction: Forbidden Mourning. His religious poetry includes The Progress of the Soul and The Anatomy of the World. His satires are a deliberate imitation of the Greek writer Persius. He also composed poems like The Flea and The Canonization.

In John Donne’s poetry there is a sense of miraculous exemption from time and all its entanglements. The freedom from temporal and spatial boundaries is one of the foremost features of Donne’s poetry. He takes into his purview of discussion the universal cause and explores in details the mysteries of human life and emotions. There is a lucid and candid expression and a field of joyous liberty. He also composed 26 holy sonnets along with two other sonnets which are derogatory in nature, after 1610. Their form is quintessentially Petrarchan and their themes refers to different aspects of his personality. His deep faith in divinity led him to compose sonnets which were  extensively replete with his sense of devotion and conviction in love. The sonnets vary greatly in their value. The themes involve his personal sense of limitations, his fears, his inadequacies and especially his thoughts about judgement day. They are philosophical speculations about the reality of human existence. His poetry was a reaction to the fluency and exuberance of Elizabethan poetry.

Andrew Marvel (1621 – 78)

Andrew Marvel is best known for his elaborate poem on the theme of Carpe diem or “Seize the Day”- To His Coy Mistress. Marvel’s poem is characterized with urbane energy which flows through the lines of the poem. The sense of romantic vastness and love for his beloved charged with remarkable intensity has been portrayed most artistically through the poem. The poem, incorporates various poetic conventions from French and Italian love poetry. The sense of immediacy is provided by a typical poetic situation. The poet exhorts his beloved to consummate their love lest time prevents it. As Marvel belongs to the metaphysical school of poetry, his poems uphold certain significant metaphysical features. In his poetry we come across an elegance and precision of style, polish and diction, regular rhyme and meter, persistent use of couplets and extensive irony of theme. He is a rather intelligent poet. Nevertheless, it is noticeable that in Marvel, there are some variations from the common features of the metaphysical school. We do identify a ruggedness of style and a very bold use of colloquialisms of daily conversation – sometimes bordering on the gross. Perhaps he tried to bring about a fusion between the metaphysical and Jonsonian styles. His poetry has a haunting, memorable and intellectual quality. T.S. Elliot had once commented –

“In Marvel’s poetry one may find a tough reasonableness beneath slight lyrical grace.”

Marvel’s other poems include Horatian Ode upon Oliver Cromwell’s return from Ireland. There are also other poems on Cromwell- The First Anniversary of the Government and Under His Highness, the Lord Protector. Marvel was clearly appreciating Cromwell’s government and personality in heroic couplets in the latter. He was a Puritan and his poems were circulated in manuscripts among his friends, published posthumously. Another of his famous poems is The Garden.

George Herbert (1593 – 1633)

The rhythm and intensity of Herbert’s poetry resembled those of the Provencal poets. Herbert’s poetry celebrates life, energy, rhythm and vitality. He is recognized as “one of the foremost British devotional lyricists.” He has composed 169 poems in 140 stanza patterns. The most popular of his works is The Temple which is a collection full of faith and fervour and also subtlety of thought and ornament. His famous poems include Caller, The Quip and The Pulley. Herbert made extensive use of the technique of conceit. In it, Herbert was experimenting with ‘Pattern Poetry’ wherein each stanza represents a picture or an image. His pictorial poems are Easter Winds, The Altar and other religious poems like Trinity Sunday. In The Windows, he compares a righteous preacher to a glass through which God’s light shines more effectively than his words. All his works are visually satisfying as they draw a pattern through the lines. Herbert was introducing a balance of thought and content in his poetry which conferred a regularity of patterns on his verse. Samuel Taylor Coleridge wrote of Herbert’s diction that “Nothing can be more pure, manly, or unaffected”.

Legouis Kazamian says that Herbert –
“is the saint of the metaphysical school…often gives an impression of a sort of sublimity”

Henry Vaughan (1621 – 95)

Vaughan is a religious metaphysical poet. He is chiefly known for the religious poetry contained in Silex Scintillans, published in 1650, with a second part published in 1655. He was greatly inspired by George Herbert. He uses several tricks of Herbert’s style like abrupt openings, ejaculations and whimsical titles. He found God not in the Bible but in nature. In his poem The Retreat, he quite symbolically explores the retreat into one’s childhood, from childhood back to infancy, from infancy to the pre-lapsarian stage of the fall before the birth of human life on Earth. Vaughan explores the belief that the divine almighty power is invested in nature or the environment that surrounds us. He says in it –

“They are all gone into the world of light”

We are born for a purpose upon the completion of which we would have to return to the Almighty. It is this one governing impulse, that characterizes Vaughan’s poetry. In Childhood, he yearns for a place full of love and harmony, a utopian world that is. He is preoccupied with his religious philosophies and his poems are like a prayer invoking divine presence. They paved the way for the Caroline school of poetry (the poetry of Herrick, Waller and Lovelace). The question of whether William Wordsworth knew Vaughan’s work before writing his ode Intimations of Immortality from Recollections of Early Childhood has puzzled and fascinated those seeking the origins of English romanticism. Both poems clearly draw on a common tradition of romantic images to heighten their speakers’ presentations of the value of an earlier time and the losses experienced in reaching adulthood. His style is free from complications as seen in the poem The World.

BTR AGREEMENT

MCQ on english literature

(1) who among the following, is not an Australian writer?:
(A)Patrick White
(B) Les Murray
(C) Alice Munro
(D)Peter Carey 
Ans: c Canadian
(2)‘Which English poet was Sylvia Plath married to?:
(A) Hughes
(B) Masefield
(C) Rilke
(D) Larkin 
Ans: A
(3)The name of the central character in Things Fall Apart is:
(A) Okonkwo
(B)Kurtz
(C) Adisa
(D) Barack Ans: A
(4) Sidney’S Defence of Poesie was written in response to:
(A) Poetics
(B) The Courtier
(C) The School of Abuse
(D) On the Sublime Ans: c
(5) What is the name of the storyteller of One Thousand and One Nights?:
(A) Alf Layla
(B) Noorjehan
(C) Sultana
(D) Scheherazade Ans: D
(6)Which is Charles Dickens’s first novel’?:
(A) David Copperfield
(B) The Pickwick Papers
(C) Oliver Twist
(D) Little Dorrit Ans: B
(7)Pablo Neruda belongs to:
(A) Peru
(B) Cuba
(C) Chile
(D) Argentina Ans: c
(8)The Diary of Anne Frank was originally published in: 
(A) Dutch
(B) German
(C) French
(D) English Ans: A
(9)Which book won the first Man Booker prize?:
(A) Heat and Dust
(B) Midnight’s Children
(C) The Luminaries
(D) Something to Answer  For Ans: B



 (10) Who  is the author of Around the World in Eighty Days?
A)HG Wells
(B) Jules Verne
(C) Thomas Hardy
(D) Mark Twain Ans: B
(11)which play does “Forest of Arden” figure?:
(A) Much Ado About Nothing
(B) Richard II
(C) As You Like It
(D) Hamlet Ans: C
(12)Who wrote the book The Republic?:
(A) Aristotle
(B) Socrates
(C) Horace
(D) Plato Ans: D
(13)In Marlowe’s play, what was the name of the Jew of Malta
(A) Shylock
(B) Barabas
(C) Solomon Ans: B
,(D)Lazarus (14)The setting of the poem “The Solitary Reaper” was inspired by the poet’s stay in:
(A) Scotland
(B) France
(C) England
D) Wales Ans: A
(15)An edition of Mulk Raj Anand’s The Untouchable carries a foreword by:
(A) Mahatma Gandhi
(B) D H Lawrence
(C) Henry James
(D) E M Forster Ans: A
(16)In The Pride and Prejudice, the Bennet family lives in the village of:
(A) Pemberley
(B) Mansfield
(C) Longbourn
,(D) Brighton Ans: C
(17). Showalter begins her essay ‘Feminist Criticism in the Wilderness’ by discussing a
dialogue between
(A) Carolyn Heilbrun and Catherine Stimpson
(B) Bell hooks and Judith Butler
(C) Virginia Woolf and Kate Millet
(D)Nancy Frazer and Angela Davis Ans: A
(18) Which the month is the cruellest in ‘The Waste Land’
(A) March
(B) April
(C) December
(D) January Ans: B




(19) Which among the following, is not written by Keats?:
(A) Ode to Psyche
(B) Ode on Melancholy
(C) Ode to the West Wind
(D)Ode to a Nightingale Ans: C
(20) Who is Shock in The Rape of the Lock?:
(A) Belinda’S Dog
(B) Belinda’S Angel
(C) Belinda’S Maid
(D)Belinda's Beau Ans:A
(21)The term ‘Theatre of the Absurd’ was coined by:
(A) Martin Esslin
(B) Samuel Beckett
(C) J L Stayan
(D) John Osborne Ans:A
(22)According to Aristotle, Epic presents men:
(A) As they are
(B) Worse than they are
(C) Better than they are
(D)As they ought never to be Ans: C
(23)‘Hearing’ a colour or ‘Seeing’ a smell is an example of:
(A) Synaesthesia
(B) Oxymoron
(C) Hyperbole
(D) Assonance Ans: A
24. Aspects of the Novel is written by:
(A) David Lodge
(B) E M Forster
(C) Henry James
(D) Walter Allen Ans: B
(25)The Lay of the Last Minstrel’ is written by:
(A) Wordsworth
(B) Coleridge
(C) Walter Scott
(D)Shelley Ans: C
(26) Who  is the author the work Simulacra and Simulations?:
(A)Jean Francois Lyotard (B)Jean Baudrillard. 
(C)Julia Kristeva
(D)Roland Barthes Ans: b
(27) What is the subtitle of the play Twelfth Night?:
(A) Or, What you Want
(B) Or, What you Think
(C) Or, What you Like
(D)Or, What you Will 
Ans: D



 .


(28) Who is Afraid of Virginia Wolf?’ IS a:
(A) play by Edward Albee
(B) novel by Melville
(C) essays by Sylvia Plath 
(D) poem by Kamala Das Ans: A
(29) The Trotter Nama is written by:
A) Ruskin Bond
(B)Vikram Seth
(C) Amit Choudhuri (D)Allan Sealy Ans:D
(30)Saki’ is the pen name of:
(A) Somerset Maugham
(B) William Hazlitt
(C) HH Munro
(D)Robert Burns Ans: C
(31) When was Paradise Lost published?:
(A)1669
(B)1667 A
(C)1657
 (D) 1659 Ans: B
(32) Shelly's ‘Adonais’ is an elegy on the death of: (A) Donne
(B) Byron
(C) Keats
(D)Milton Ans: C
(33) Who wrote the poem ‘The Defence of Lucknow’?:
A) Tennyson
(B) Yeats
(C) Browning
(D) Swinburn Ans: A
(34)which country is Macbeth set?:
(A) Denmark
(B) Scotland
(C) Spain
(D) Germany Ans: B
(35)‘Rain races, ripping and restless in its rage.’ This sentence is an example of a/an:
(A) oxymoron
(B) hyperbole
(C) personification
(D) alliteration Ans: D
(36)Who is the author of Piers Plowman?:
(A) Sir Thomas Malory
(B) Geoffrey of Monmouth
(C) William Langland
(D) Geoffrey Chaucer Ans: C



 (37) Who wrote: ‘Shall I compare thee to a summer’s day/ Thou art more lovely and more
temperate...’?:
(A) Shakespeare
(B) Milton
(C) Donne
(D) Marlowe Ans: A
(38)Who wrote The Dunciad’?:
(A) Milton
(B)Gay
(C) Dryden 
(D) Pope Ans: D
(39) In Coleridge’s poem ‘The Rime of the Ancient Mariner’, where were the three gallants going?:
(A) A funeral
(B) A birth ceremony
(C) To the church
(D) A wedding Ans: D
(40) Who  is credited to have written the Panchatantra?:
(A) Banabhatta
(B) Vishnu Sharma
(C) Abhinavagupta
(D) Kalidasa


S



Ans B

1. Who among the following is a 16th-century poetess?
(A) Katherine Philips (B Aphra Behn
(C) Lady Mary Wroth (D) Anne Killigrew
Ans:c
\2. Masques are
(A) masks worn during dances
(B) courtly entertainment
(C) performed in public
(D) operatic performances 
Ans B
3. Shakespeare’s Company was known as
(A) King’s Men
(B) The Duke’s Man
(C) The Salisbury Group
(D) The Admiral’s Men 
Ans:A
 4. He was the Lord Chancellor to Henry VIII and later executed for his religious belive, Identify the famous book written by him.
(A) Utopia
(B) The Leviathan
(C) The Book of Common Prayers
(D) Religio Medici 
Ans A
5. The York Cycle comprises of
(A) 24 mystery plays
(B) 48 morality plays
(C) 48 mystery plays
(D) 24 morality plays

Ans:c
 6. Magna Carta was signed in 1215 as a treaty for peace by
(A) King O1 of England and the King of France
(B) king john  of England and a group of rebel barons
(C) the archbishop of Canterbury and a group of rebel barons 
(D) the Archbishop of Canterbury and the King of France
Ans:B
7. The Wars of the Roses was fought between
(A)House of York and the House of Lancashire
(B) the House of Cambridge and the House of York
(C) the House of Salisbury and the House of York
(D) the House of Lancaster and the House of York

Ans:A
 8. Morte  d'Arthur was written by
(A) Sir Thomas Moore
(B) Henry Howard
(C) Sir Thomas Malory
(D) Sir Thomas Wyatt 
And:c
9. — is considered the first tragedy among the English plays.
(A) Ralph Roister Doister (B) Gorboduc
(C) Needle (D) Edward  Two
Ans:b
10. Sir Francis Drake’s circumnavigation of the world took place between
(A) 1557-1580 (B) 1580-1583
(C)1577-1579 (D) 1580-1584 
Ans:c
 11.  How does Lady Macbeth explains her husband wild behaviour at the banquet?
(A) She tells the guests that banquet’s ghost is haunting Macbeth
(B) She reveals that Macbeth 1 mourning the death of Duncan
(C) She tells the guest that Macbeth was drunk.
(D)She informs the guests that Macbeth  ill and will recover Soon.

Ans d
 12. The Spanish Tragedy was pub1ish in
IA) 1591 (B 1592
(C) 593 (1)) 1594 Ans:B
13. The Defence of poesy is a work of
(A) poetry (B) criticism (C) drama (D) short story 
Ans:B
 14. Choose the correct chronology
(A) Timberlin, The Massacre at Paris; Dido, Queen of Carthage; Doctor Faustus
(B) Timberlin, Dido Queen of Carthage Doctor Faustus;  The Massacre at Paris 
(C) Doctor Faustus; The Massac at ParisTamburlaine; Dido, Queefl of Carthage
(D) he Massacres at Paris; Tamburlaine ’ Dido, Queen of Carthage Doctor Faustus
Ans B


 15. Identify the University Wits.
(A) Christopher Marlowe, William ShakC8PeaT John Webster, Thomas Nashe
(B) Robert Greene, John Done Philip Sidney, John Lyly
(C) John Webster, Robert Greene, William Shakespeare, Philip Sidney (D) Christopher Marlowe Robert Greene, John Lyly Thomas Lodge
Ans:D






16. The poems Jabberwocky is from
(A) Alice in Wonderland(B) Through the Looking-Glass
(C) The Water-Babies (D) The Woman in White 
Ans:B
17. In which novel would you find the characters Dorothea Brooke, Will Ladislaw, Rosamond Vincy and Celia Brooke’? (A) Middlemarch (B) North and South
(C) Mary Barton (D) Daniel Deronda 
Ans:A
18. The title of Thomas Hardy’s novel, Far from the Madding Crowd was drawn from the poem
Elegy Written in a Country Churchyard
(B) Ode on a Grecian Urn
(C) The Scholar-Gipsy
(D) Dover Beach
Ans:A
19. Bertha Mason is a character in the novel
(A) Great Expectations (B) Oliver Twist,(c) Jane
Eyre (D) Wuthering Heights 
Ans:C
20. Which city became the centre of Western civilization by the mid-nineteenth century?
(A) Paris (B) New York
(C) London (D) All of the above
Ans:C

 21. What did Kipling mean by “white man’s” Burden’?
(A) The British’ destiny to industrialize   the world
(B) The moral responsibility of the British  to colonize  and educate its subject
(C) A Chartist sentiment, (D) The importance of solving economic and social problems in England
Ans:B
22. In which of the following texts was the idea of the ‘Angel of the House most clearly propounded?
(A) Lord Alfred Tennyson’s princess
(B) Charlotte Bronte’s Jane Eyre
(C) John Ruskin s Of Queen’s Gardens(D) Oscar Wild’s Importance of Being Earnest
Ans: C
23. Which is the last novel by Thomas Hardy and when was it published’
(A) Jude the Obscure; 1895
(B) The Woodlanders 1898
(C) Jude the Obscure; 1899
(D) The wood1anders 1896
Ans:A
24. The Picture of Dorian Gray was written by
(A) Charles Dickens
(B) Thomas Hardy
(C) Oscar Wilde
(D) H. G. Wells 
Ans: C



 25. When was Charles Darwin’s The origin of Species  pb1ished?
(A) 1857 (B) 1858
(C)1859 (D) 1860 
Ans:C
26. What is common between Dante Gabriel Rossetti, William  Michael Rossetti, Holmount hunt and John Everett Mi1lis?
(A) They started the Oxford Movement
(B) They were all born in India
(C) They were the part of the Pre-Raphaelite Brotherhood
(D)) They were dramatists 
Ans: C
27. Who, according to Matthew Arnold, among the following writers is not a Touchstone Poet?
(A) John Dryden
(B) William Shakespeare
(C) Dante Alighieri
(D) Virgil 
Ans:A
28. Among the Literary Movements listed below, which did not take place in the Victorian Period?
(A) Oxford Movement
(B) Aesthetic Movement
(C) Pre-Raphaelite Movement
(D) The Imagist Movement 
Ans: D
29. In which year did Queen Victoria adopt the title of Empress of India?
(A) 1874 (B) 1857
(C) 1876 (1)) 1859 
Ans: C
30. Marlow is the narrator in the novel
(A) Heart of Darkness
(B) A Portrait of the Artist as a Young Man
(C) To the Lighthouse
(D) Mrs Dalloway
Ans:A
 31. Milton’s primary argument In the text is on freedom of speech and expression What Is the
name of the text?
(A) Pradise Lost
(B) Areopagitica
(C) Essay on Man
(0) Ballad of Heaven and Hell
Ans: B
32. Moll Flanders in Defoe’s novel is born in
(A) America (B) Bath
(C) Newgate (D) Scotland
Ans: c
33. Aurora Leigh’s mother is not English in Elizabeth Barrett Hrownmg’s poem. She is
(A) French (B) Tuscan
(C) African (D) German 
Ans: B
34. Mein Kampf is the autobiography of
(A) Hitler (B) Botticelli
(C) Michael Angelo (D) Dali 
Ans:A
35. The Tatler was first published by
(A) Addison (B) Steele
(c)) Dryden
(D) Swift

Ans: B
 36. Walt Whitman wrote Leaves of grass celebrating  
(Al capitalist
(B) colonization
(C) dictatorshi
(D) democracy 
Ans: A
37• In The Scarlet Letter, Hester must Wear  the letter
(A)Z (B)D
(C)A (D)S 
Ans: C
38. Where is the fictional setting of the novel. Emma?
(A) Highbury
(B) Highlands
(C) London
(D) Edinburgh 
Ans:A
39• E.S P. Ode pour I’ election de son sepulchre’ (E. P. Ode or the Choice of His sepulchre) is the title of a section of the famous poem
(A) Hugh Selwyn Maubertey
(B) Ash Wednesday
(C) Geoffrey Hill
(I)) None of the above
Ans: A
40. Saints should always be judged guilty until they are proved innocent, but the tests that have to be applied to them are not, of course, the same in all cases.’ This is the first line of a famous essay by George Orwell. Who was the subject of this essay?
(A) Leo Tolstoy
(B) Albert Schweitzer
(C) Bertrand Russell
(D) Mahatma Gandhi 
Ans: D


 41. The name of Ben Johnson Was play based on a fair is
(A) Smithfield Fair
(B) Mayfair
(C) My Fair Lady
(D)) Barthlomoeo  Fair
Ans: D
42. Who among the following is not  the Restoration playwright?
(A)Congreve
(B) Etherege
(C) Aphra Behn
(D) Catherine Gore 
Ans: D
43. Adam in Milton’s Paradise Lost Was OVer cOme by
(A) God’s authoritY
(B) female charm
(C)female fear
(D)) love 
Ans: B
44. Who wrote the text, The principles of Biology (1863)?
(A) Charles Darwin
(B) Erasmus Darwin
(C) Herbert spencer
(D) J. S. Mill 
Ans: C
45. The idiom ‘argue the toss’ means
(A) cheer for loss
(B) argUe with spouse
(C) dispute a decission
(D) argue with the teacher

Ans: C
 46. In the room, the women come and go talking of Michal Angello
How many times do the following lines occur in the poem Love Song of J. Alfred Prufrock
(A) Once (B) Twice
(C) Thrice (I)) Four 
Ans: A
47. An aged man is but a ____ thing.
A tattered coat upon a stick...’
Fill in the blank.
(A) insignificant (B) paltry
(C) miserable (D) worthless 
Ans: B
48. Lupercal is a poetry collection by which modem poet?
(A) Simon Armitage
(B) Ted Hughes
(C) John Agard
(D) Carol Ann Duffy 
Ans: B
49. The Pylons Poets’ take their name from a poem with a similar name written by
(A) W. H. Auden
(B) Louis MacNeice
(C) Cecil Day-Lewis
(D) Stephen Spender 
Ans: D
50. Identify the correct chronological order of Charles Dickens’ novels.
(A) Sketches by Boz, Oliver Twist, A Christmas Carol, Bleak House
(B) Oliver Twist, Sketches by Boz, A Chrislrrw.s Carol, Bleak House
(C) A Christmas Carol, Bleak House, Oliver Twist, Sketches by Boz
(D) Bleak House, Oliver Twist, Sketches by Boz, A Christmas Carol 
Ans: A
51. Who among the following was not in the Bloomsbury group?
(A) Virginia Woolf
(B) J. M. Keynes
(C) E. M. Forster
(D) W. B. Yeats

Ans: D
 52. “Yet let’s go..”
?? they do nor ‘move.
These are the last lines of the play
(A) Myth of Sisyphus
(B) Waiting  for Godot
(C) The Zoo Story
(D) Rosencrantz and Guildenstern are dead
Ans: B
53. The only novel by Sylva  Plath  is
(A) The Bell Jar
(8) The Iron Men
(C) The Idiot
(I)) The Queen of the Night 
Ans: A
54. In which work do you find Captain Bluntschi, a Swiss army Officer?
(A) All Quiet on the Western Front
(13) War arid Peace
(C) Arms and the Man
(D) The Red Badge of courage 
Ans: C
55. He was found by the Bureau Of Statistics to be One against whom there was no official complaint,
These are the opening lines of the famous modem poem
(A) The Unknown
(B) The Unknown Soldier
(C) The Unknown Citizen
(D) An Unknown Girl

Ans: C


• b



 56. This Supplement his income from poetry by writing a detective novel  under the
pseudonym Nichola Blake. identified the  poet
( A) w. H. Auden
(B) Ted Hughes
(C) Cecil Day-Lewis
(D) Luis  Macnice
Ans: C

57.VLADIMIR: One out of four Of the three they don’t mention any thieves at all and the third says that both of them abuse him.

ESTRAGON : WHO

In this lines from Waiting for Godot the thieves refer to

(A) the two thieves who rob and beat Estragon 

(B)Lucky and Pozo

(C)The Two thieves crucified along with Jesus 

(D)  the two boys working for Godot
Ans: C

58 - Few Critics have even admitted that hamlet the play is the primary problem and hamlet the character only secondary. This is the opening line of a famous essay on hamlet. Who is the author?

(A) Ernest Jones            (B) T. S. Eliot

(c) Dr. johnson                      (D) Thomas De Quincey

 Ans B

59 Which IS the chronological order of the from T. S. Eliot’s the wasteland?

(A) The Burial of the Dead, A Game of Chess The Fire Sermon, Death by Water, What the Thunder Said

(B)The Burial of the Dead, A Game of Chess, Death by Water, The Fire Sermon  What the Thunder Said

C) The Burial of the Dead Death by Water, A Game of Chess The Fire Sermon, What the Thunder Said.

(D) The Burial of the Dead, The Fire Sermon A Game Of Chess, Death by Water, What the Thunder Said.

Ans B

60 Under whose, the leadership were the 1916,1917 anthologies of some imagist  poet published

(A)Ezra pound                               (B)  Amy Lowell

(C)Hilda  Doolittle                          ()   Ford Madox Ford

Ans A