Q. 1
Match the following authors with the novels:
(Name of Author) (Name of Novel)
(a) Chitra Banerjee Divakaruni (i) Inheritance
(b) Anita Rau Miami (ii) Listening Now
(c) Anjana Appachana (iii) Sister of My Heart
(d) Indira Genesan (iv) The Hero’s Walk
Answer: 4 (a)-(iii), (b)-(iv), (c)-(ii), (d)-(i)
Q. 2
“We know now that a text is not a line of words releasing a single .theological” meaning (the “message” of the Author-God) but a multidimensional space in which a variety of writings, none of them original, blend and clash…. Literature … by refusing . assign a secret”, an ultimate mean.g, to the text (and to the world as text) liberates what may be called an anti-theological activity, an activity that is truly revolutionary since to ref use to fix meaning is, M the end to ref use God and his hypostases-reason, science, law.”
The passage comes from which of the following essays
Answer: 3 The Death of the Author by Roland Barthes
Q. 3
Which of the statement is true of The Way of the World?
Answer: 3 The Way of the World failed on stage
Q. 4
Which of the following is most accurate description of Butler English?
Answer: 4 A Minimal pidgin that emerged during colonial times in the Madras Presidency
Q. 5
Albert Camus borrows the following epigraph to his novel The Plague from ———
“”It is as reasonable to represent one kind of imprisonment by another, as it is to represent anything that really exists by that which exists not.”
Answer: 2 Daniel Defoe’s Robinson Crusoe
Q. 6
Which of the following would not be evoked to describe a form of new Histroricist criticism?
Answer: 2 Post-structural recovery of authorial intent
Q. 7
In traditional ELT methods and materials, the native speaker is elevated and idealized against stereotyped non-native speakers. This tendency is dubbed———by Adrian Holliday
Answer: 3 Native Speakerism
Q. 8
the en– ending to denote the plural nouns (as in oxen, children, brethren has survived from the
Answer: 1 Old English practice of making plural nouns
Q. 9
Which post-War British poet ends a poem with the line “Get stewed: Books are a load of crap”
Answer: 1 Philip Larkin
Q. 10
Nicholas Nickleby firmly established Charles Dickens as a dominant novelist of his time and the book as an unrivalled literary phenomenon. To celebrate the completion of the book, a painter noted that there had been nothing comparable to him since the days of Samuel Richardson. Identify the painter.
Answer: 4 David Wilkie
Q. 11
Adherents of the fourteenth century religious movement associated with vernacular preaching, translation of New Testament into English, and challenges to the authority of priests and bishops were called
Answer: 2 Lollards
Q. 12
1992 demolition of the disputed structure in Ayodya produced two controversial literary responses. Identify them
Answer: 3 The Moor’s Last Sigh, Lajja
Q. 13
In this novel by Graham Greene a double agent uses classic works of fiction to encode secret information. “He put Clarissa Harlowe back in the bookcase” is the first clue to his treachery. Then he draws on War and Peace and The Way We Live Now as matrices for secretly transmitting formation. Identify the novel.
Answer: 4 The Human Factor
Q. 14
What is an “implied reader”?
Answer: 4 A reader who embodies all those predispositions necessary for a literary work to exercise its effect.
Q. 15
In Marlow’s Doctor Faustus, what books does Valdes counsel Faustus to study in preparation for conjuring up spirits
(i) The works of Bacon and Abanus
(ii) The Hebrew Psalter and New Testament
(iii) The works of Ovid and Homer
(iv) The works of Baxter and Horst
The right combination according to the code is:
Answer: 2 (i) The works of Bacon and Abanus
(ii) The Hebrew Psalter and New Testament
Q. 16
Allan Sealy’s The Trotter-Nama traces the history of the Anglo-Indian community in a chronicle of seven generations of the Trotter family, told by the seventh Trotter. This narrator is
Answer: 1 A forger of Indian miniatures
Q. 17
Who viewed Wordsworth, Southey and Coleridge as representatives of a “sect of poets… dissenters from the established system in poetry and criticism” who constituted “the most formidable conspiracy against sound judgement in matters poetical”?
Answer: 1 Francis Jeffrey
Q. 18
In which work does William Blake say that Milton was “a true poet and of Devil’s party without knowing it”?
Answer: 4 The Marriage of Heaven and Hell
Q. 19
Which interpretation of Keats’s “Beauty is truth, truth beauty” best represents the mimetic perspective?
Answer: 4 A work of literature is ‘beautiful” insofar as it offers an accurate representation of ifs subject matter, with fully realized characters and vivid description of events.
Q. 20
Which of the following statements on Rajmohan’s Wife is not true?
Answer: 3 Bankim Chandra published it soon after serilaization
Q. 21
“Why don’t we have a little game? Let’s pretend that we’re human beings, and that we’re actually alive.” This passage forms part of
Answer: 3 Look Back in Anger
Q. 22
Identify the character, a Mack-eyed dwarf who “constantly revealed a few discoloured fangs that were yet scattered in his mouth, and gave him the aspect of a panting dog.
Answer: 4 Daniel Quilp in The Old Curiosity Shop
Q. 23
The following lines are W.B.Yeats’s metaphor for an old man :
A tattered coat upon a stick, unless
Soul clap its hands and sing, and louder sing
For every tatter in its mortal dress
Here, the aged man is ……., and his “soul …. in its mortal dress,” is
Answer: 2 tenor, vehicle
Q. 24
This poet was of the Auden generation and was only briefly a member of the Communist party. In his poem, “The Pylons”, he averred that the Pylons are “Bane like nude giant girls that have no secret. This prompted the label, Pylon Poets, for the new generation of poets who were happy to use the gas works or pistons of a steam-engine as poetic imagery. (Name this poet.)
Answer: 4 Stephen Spender
Q. 25
Which ancient Greek writer, name is directly mentioned in Lord Byron, poem “The Isles of Greece“?
Answer: 3 Sappho
Q. 26
The Norman Conquest was a significant landmark in English history. What French did the Normans speak and what was it known as ?
Answer: 2 They spoke Norman French (Anglo-Norman)
Q. 27
One of the most flexible metres, …..is a five foot line. It was introduced by Geoffrey Chaucer in the fourteenth century and has since then become the commonest of metres in English poetry.
Answer: 4 Pentameter
Q. 28
Alas! What boots it with uncessant care.
To tend the homely slighted shepherd’s trade,
And strictly meditate the thankless Muse?
Were it not better done as others use,
To sport with Amaryllis in the shade,
Or with the tangles of Neaera’s hair?
Who are Amaryllis and Neaera in the above extract from John Milton’s Lycidas?
Answer: 4 Amaryllis is a shepherdess mentioned in ancient pastoral poetry, notably Eclogues; Neaera, a nymph who appears in Virgil’s Eclogues.
Q. 29
David Malouf’s novel Ransom is based on
Answer: 2 An Episode in Trojan War
Q. 30
Which of the following had the alternative title “Things as They Are”
Answer: 3 William Godwin’s Caleb Williams
Q. 31
In which of his novels does Italo Calvino construct his narrative through a tarot pack of cards and reinterpret the Western canon providing new versions of Oedipus Rex, Faust, Hamlet, Macbeth and King Lear
Answer: 2 The Castle of Crossed Destinies
Q. 32
The following epitaph was written by Rudyard Kipling during the War of 1814- 18.
HINDU SEPOY IN FRANCE
This man in his own country prayed we know not to what Powers.
We pray Them to reward him for hie bravery in ours.
“Powers” here refers to——–“Them” to ——— and “ours” to——
Answer: 2 the divine, the Powers, our country
Q. 33
Who among the following are referred to as the “Scottish Chaucerians”?
(i) Thomas Hoccelve
(ii) Robert Henryson
(iii) John Lydgate
(iv) William Dunbar
The right combination according to the code is
Answer: 1 (ii) and (iv)
Q. 34
The title of Dylan Thomas’s Deaths and Entrances was taken from?
Answer: 3 John Donne’s Deaths Duell
Q. 35
Arnold Wesker is associated with “kitchen-sink drama”, a rather condescending title Deaths Duellapplied to the then new-wave realistic drama depicting the family lives of working-class characters, on stage and broadcast plays. Two of the following plays begin with one character doing the dishes in a kitchen sink Identify the plays
(i) The Kitchen
(ii) Chicken Soup with Barley
(iii) Roots
(iv) Menace
The right combination according to the code is
Answer: 1 (ii) and (iii)
Q. 36
One of the less noticed and acknowledged distinction of The Canterbury Tales is that
Answer: 2 Instead of revealing England’s divisions, it revelled in its diversity
Q. 37
Which of the following themes was not common to the works of Cavalier poets such as Thomas Carew, Sir John Denham, Edmund Waller, Sir John Suckling, James Shirley, Richard Lovelace, and Robert Herrick
Answer: 2 Pious devotion to religious virtues
Q. 38
“Search the heads of the greatest rivers in the world, you shall find them but bubbles of water.”
Who is the author of this line?
Answer: 4 John Webster (The Duchess of Malfi)
Q. 39
As a boy growing up in Squire Allworthy’s estate, Tom gets one of the following characters into trouble. Identify the character
Answer: 1 Black George
Q. 40
The titular figure of Federico Gracia Lorca’s elegy “Lament for Ignacio Sanchez Mejias” was
Answer:2 A popular matador and writer
Q. 41
Which Walter Scott novel is set in France in the 15th Century
Answer: 4 Quentin Durward
Q. 42
Jonathan Swift arrived London in 1710 and confronted a rapidly changing world in the new Tory ministry. Hie reactions to this world are vividly recorded in his Journal to Stella, series of letters addressed to
(i) Hester Vanhoinrigh
(ii) Esther Johnson
(iii) Rebecca Dingley
(iv) Lady Mary Montagu
The right combination according to the code is
Answer: 4 (ii) and (iii)
Q. 43
Deconstructionist critics argue that texts are never free from
Answer: 3 Distortions inherent im the rhetoricity of language
Q. 44
Full many a lady I have eyed with best regard and many a time
The harmony of their tongues hath into bondage
Brought my too diligent ear: for several virtues
Have I liked several women; never any
With so fun soul, but some defect in her
Did quarrel with the noblest grace she owed
And put it to the foil: but you, O you,
So perfect and so peerless, are created
Of every creature’s best!
This passage admiring the perfect matching of inner and outward beauty of a woman is taken from
Answer:1 Shakespeare’s The Tempest
Q. 45
Given below are two statements labelled as Assertion (A) and the other labelled as Reason (R). Read the statements and choose the correct answer using the code given below :
Assertion (A) : Gender studies do not see an urgent need to help us navigate the various pitfalls of racism, ethnocentrism, cultural relativism, and plain ignorance that flow from using “culture” as an explanatory tool.
Reason (R): Issues relating to women’s rights, gender roles, sexuality and family obligations are centrally implicated in the so called clash of civilizations between Christianity or Secularism, and Islam.
Answer: 1 (R) does not follow logically from (A)
Q. 46
Match the writer with the work
(a) George Puttenham (i) Leviathan
(b) Thomas Sprat (ii) The practice of piety
(c) Lewis Bayly (iii) The Art of English poesie
(d) Thomas Hobbes (iv) History of the Royal Society
Q. 47
Early African-American texts like slave narratives were often described as told to narratives as their ‘authors’ dictated their experiences. The persons who noted these experiences are
Answer:3 Amanuenses
Q. 48
Match the character with the work
Characters Name of Wok
(a) Rupert Birkin (i) Sons and Lovers
(b) Lydia Lensky (ii) Kangaroo
(c) Mirian Leivers (iii) Women in Love
(d) Richad Somers (The Rainbow)
Answer: 1 (a)-(iii), (b)-(iv), (c)-(i),(d)-(ii)
Q. 49
Who among the ancients prescribed that poetry should both instruct and delight?
Answer: 3 Horace
Q. 50
Who among the following exemplified the role of the “peasant poet”?
(i) John Clare
(ii) John Keats
(iii) William Cobbett
(iv) Robert Burns
Answer: 4 (i) and (iv)
Q. 51
What tone will be best suited to the following poem?
THE COMING OF WISDOM WITH TIME
Though leaves are many, the root is one;
Through all the lying days of my youth
I swayed my leaves and flowers in the sun;
Now I may wither into the truth.
Answer: 4 Regret
Q. 52
The fault of Cowley, and perhaps of all the writers of the metaphysical race, is that of pursuing his thoughts to their last ramifications, by which he loses the grandeur of generality, for of the greatest things the parts are little; what is little can be but pretty, and by claiming dignity becomes ridiculous. Thus all the power of description is destroyed by a scrupulous enumeration; and the force of metaphors is lost when the mind by the mention of particulars is turned more upon the original than the secondary sense, more upon that from which the illustration is drawn than that to which it is applied.sense, more upon that from which the illustration is drawn than that . which it is applied.
(Life of Cowley, 17781
What Dr. Johnson actually faults here is :
Answer: 3 The metaphysical poets’tendency to saunter away
Q. 53
The enigmatic castle which K. attempts to reach in vain in Fanz Kafka’s The Castle belongs to?
Answer: 3 Count Westwest
Q. 54
“The chapter on the Fall of the Rupee you may omit. It is somewhat too sensational. Even these metallic problems have their melodramatic side.” The fall of the Indian rupee inthe final decades of 19th century is referred to one of Oscar Wilde’s plays. Identify the play.
Answer: 4 The Importance of Being Earnest
Q. 55
Match the plays to their setting :
(a) Krapp’s Last Tape (i) A country road; A tree.
(b( Happy Days (ii) Bare interior; Two small windows high up; grey light.
(c) Waiting for Godot (iii) Expanse of scorched grass forming a low mound; Minding light. (d) Endgame (iv) A. late evening in future; white light.
Answer: 4(a)-(iv), (b)-(iii), (c)-(i), (d)-(ii)
Q. 56
The term ‘Digger’ is associated with a group of agrarian communists who flourished in England in 1649-50 and were led by/
Answer: 2 Gerrard Winstanley
Q. 57
What comes “After great pain” in the famous Emily Dickinson poem?
Answer: 4 A formal feeling
Q. 58
Why did Plato banish the poet from his ideal state?
Answer: 3 In representing the sensual aspee. of reality, the poet fails to diseena the transcendent reality behind mere appearance.
.
Q. 59
Match the poem with the opening lines:
(a) “Ode to Psyche” (i) My heart aches, and a drowsy numbness pains My sense, as though of hemlock I had drunk,”
(b) “Ode on a Grecian Urn” (ii) “No, no, go not to Lethe, neither twist. … Wolf’s-bane, tight-rooted, for its poisonous wine”
(c) “Ode to a Nightingale” (iii) “Thou still unravished bride of quietness, Thou foster-child of silence and slow time,”
(d) “Ode on Melancholy” (iv) O Goddess! hear these tuneless numbers, wrung. By sweet enforcement and remembrance dear
Answer: (a)-(iv), (b)-(iii), (c)-(i), (d)-(ii)
Q. 60
S.T Coleridge’s “Dejection: An Ode” opens with an epigraph which is a reference to a ballad. Identify the ballad
Answer: 3 Ballad of Sir Patrick Spence
Q. 61
Which of the following is not indebted to the Gothic genre?
1 Ann Radcliff’s The Italian
2. Tobias Smollett’s Roderick Random
3. Matthew Lewis’s The Monk
4. William Beckford’s Vathek
Answer: 2 Roderick Random
Q. 62
Mango Souffle, India’s first major gay themed film,is an adaptation of Mahesh Dattani’s play
Answer: 1 On a Muggy Night in Mumbai
Q. 63
In imitation of which classical poet did Samuel Johnson write his London and The Vanity of Human Wishes
Answer: 2 Juvenal
Q. 64
Thomas Nashe’s The Unfortunate Traveller is narratted by
Answer 2 Jack Wilton, an English Page
Q. 65
“Reality is that nothing happens. How many of the events of history have occurred, ask yourselves, for this and for that reason, but for no other reason, fundamentally, than the desire to make things happen ? I present to you History, the fabrication, the diversion, the reality-obscuring drama.”
Which postmodern novel thus subverts the truth claims of traditional historiography ?
Answer: 3 Graham Swift’s Waterland
Q. 66
I have carried the manuscript of these translations about with me for days, reading it M railway trains, or on the top of omnibuses and i restaurants, and I have often had to close it lest some stranger would see how much it moved me. These lyrics—which are the original, my ——(Indian friends) tell me, full of subtlety of rhythm, of untranslatable delicacies of colour, of metrical invention — display in their thought a world I have dreamed of all my life long. The work of a supreme culture, they yet appear as much a growth of the common soil as the grass and the rush.. A tradition, where poetry and religion are the same thing, has passed through the centuries, gathering from learned and unlearned metaphor and emotion, and carried back again to the multitude the thought of the scholar and the noble. If the civilization of Bengal remains unbroken, if that common mind which – as one divines-runs through all, is not, as with us, broken into a dozen minds that know nothing of each other, something even of what is most subtle in these verses will have come, in a few generations, to the beggar on the roads.
– W.B. Yeats, from Introduction to Rabindranath Tagore’s Gitanjali
In this passage, Yeats praises Indian culture primarily because it
Answer: 3 embodies values and gives rise to art that can be shared by people of all classess
Q. 67
Match the Character with the Play:
(Character) (Pay)
(a) Dorimant (i) The Plain Dealer
(b) Lady Fidget (ii) The Man of Mode
(c) Malevole (iii)The Country Wife
(d) Vernish (iv) The Malcontent
Answer: 2 (a)-(ii), (b)- (iii), (c)- (iv), (d)- (i)
Q. 68
Braj Kachru has observed a tendency among Indian-English speakers and writers to use hybridized lexical items. One example of this is
Answer: 1 Lathi-charge
Q. 69
Match the author with title:
(Author) (Title)
(a) Alan Paton (i) Open City
(b) Ngugi wa Thiong’o (ii) Cry, the Beloved Country
(c) Teju Cole (iii) A Grain of Wheat
(d) Wok Soyinka (iv) The Interpreters
Answer: 4 (a) – (ii), (b)-(iii), (c)-(i), (d)-(iv)
Q. 70
In his Practical Criticism I.A. Richards suggests that there are several kinds of meanings and that the “total meaning” is a blend of contributory meanings which are of different types. He identified four kinds of meaning, or the total meaning of a word depends upon four factors. Choose the right combination as proposed by Richards.
Answer: 1 Sense, Feeling, Tone and Intention
Q. 71
The ‘grammar bullies” – you read them . places like the NewYork Times – and they tell you what is correct.
You must never use “hopefully, “Hopefully, we will be going there on Thursday. That is incorrect and wrong and you are basically an ignorant pig if you say it.
This is judgementalism. The game that is being played there is a game of social class. It has nothing do with the morality of writing and speaking and thinking clearly, of which George Orwell, for instance, talked so well.
To which famous essay of Orwell does the author refer here
Answer: 3 Politics and the English Language
Q. 72
Allen Tate once made the useful distinction between structure and texture. The distinction referred to
Options
1. the main line of narrative, argument, etc., and the rhetorical, stylistic, metaphorical and other devices respectively
2. the rhetorical, stylistic, metaphorical and other devices and the main line of narrative, argument, etc., respectively
3.objects and materials on which a narrative casts light, and the devices employed to enlighten them respectively.
4. the devices employed to enlighten objects and materials in a narrative, and the objects and materials themselves, respectively.
Answer: 1. the main line of narrative, argument, etc., and the rhetorical, stylistic, metaphorical and other devices respectively
(The distinction between structure and texture is associated with RANSOM, and not Allen Tate)
Q. 73
What attitude towards death would you find in such poems as Tennyson’s “Crossing the Bar,” Whitman’s “Death Carol,” and Kipling’s “L’Envoi”?
Answer 3: Hope
Q. 74
In an ode, William Collin lamented the passing of a contmporary poet. The ode began with the line: “In yonder grave a Druid lies.”
Name the poet whose passing Collins laments
Answer: 3 James Thomson
Q. 75
Ah, what trifle is a heart,
If once into Love’s hands it come!
All other griefs allow a part
To other griefs, and ask themselves but some,
They come to us, but us Love draws,
He swallows us, and never chaws:
By him, as by chain-shot, whole ranks do die,
He is the tyrant pike, our hearts the fry.John Donne, 1633
Which sentence best paraphrases line 6 of the passage above
Answer: 4 Unbidden pain afflicts us, but we are lured by love
Q. 76
——-read Adam Bede with such pleasure that she not only keenly recommended it to her relative but also commissioned two paintings of scene from the novel
Answer 4: Queen Victoria
Q. 77
“The good thing about words, “Hanif Kureishi remarks in “Loose Tongues”, is that their final effect is incalculable. [….] You can never know what your words might turn out to mean for yourself or for someone else; or what the world they make will be like. Anything could happen. The problem with silence is that we know exactly what it will be like.”
Kureishi, in sum,suggests suggests:
(i) There is always some risk involved in writing/speaking.
(ii) It is bettor to avoid using words than to risk miscommunication.
(iii) Words being predictable, are always open to misinterpretation.
(iv) The unpredictable, in deed, is the strength of words.
Determine the correct combination according to the code
Answer: 2 (i) and (iv)
Q. 78
Match the following concepts with their definitions:
(Concept) (Definitions)
(a) Collocation (i) A semantic relationship of one to many
(b) Corpus (ii) A grid used lexical analysis
(c) Hyponymy (iii) A combination of two lexical items in a grammatical pattern
(a) Matrix. (iv) A large body of texts
Answer: 4 (a)-(iii), (b)-(iv), (c)-(i),(d)-(ii)
Q. 79
What is particular about the references in the following to some poets’ names in the plural?
It is a freezing, bleak day in January, and. I am looking for poetry. I see a few Chaucers, a few Shakespeares, and a hardcover, three dollar
History of Modern Poetry published in 1987
Answer: 3
Q. 80
There are helpers and harmers among fellow pilgrims in Christian’s journey in Pilgrim’s Progress. Who among the following is not a helper?
Answer: 3 Mr. Worldly Wiseman
Q. 81
Lines 4 and 6 M the above evoke :
Answer: 3 The myth of the phoenix
Q. 82
In Tomas Moore’s Utopia (Book II), the reader is told that in this new world there are few mistakes in marriage because
Answer: 1 Prospective husbands and wives see one another naked before agreeing to the the match
Q. 83
What type of writing did Walter Pater define as “the special and opportune art of the modern world”?
Answer: 1 Nonfiction prose
Q. 84
What is honor? A word. What is in that word “honor”? What is that “honor”? Air. A trim reckoning. Who hath it? He that died o’ Wednesday. Doth he feel it? No. Doth he hear it? No. ‘Tis insensible, then? Yea, to the dead. But will it not live with the living? No. Why? Detraction will not suffer it. Therefore, I’ll none of it. Honor is a mere scutcheon. And so ends my catechism.
Which character in the following Shakespeare’s dramas made this statement about honour
Answer: 1 Falstaff in King Henry IV Part 1
Q. 85
In his essay The Function of Criticism at the Present Time (1864) Matthew Arnold contended that
Answer: 1 Creative power should be ranked higher than critical power
Q. 86
What is the delicate balancing act of Andrew Marvell’s Horatian Ode?
Answer: 1 Celebrating Cromwell’s victories while inviting sympathy for the executed King
Q. 87
Identify the Fireside poets of the US
Answer: 3 William Cullen Bryant, HW Longfellow, Oliver Wendell Holmes
Q. 88
Evelina was published in 1778
Answer: 1 Anonymously
Q. 89
During the Raj, the British viewed their rule in terms of a thankless duty to uplift the downtrodden and inculcate and Oriental minds. The mission to civilize the “silent, sullen peoples” of the East was a burden imposed upon them by destiny.
The last observation is a fairly obvious allusion to
Answer:1 Rudyard Kipling’s The White Man’s Burden
Q. 90
In the spring of 1941, Nikos Kazantzakis embarked on one of his most ambitious projects, a play known as Yangtze. What English/Greek title is it now known as?
Answer: 3 Buddha
Q. 91
Match the Term with the Theorist:
(Term) (Theorist)
(a) Negritude (i) Alice Walker
(b) Womanism (ii) Jurgen Habermas
(c) Interpellation (iii) Aime Cesaire
(d) Public Sphere (iv) Louis Althusser
Answer 3 (a) – (iii), (b) – (i), (c) – (iv), (d) – (ii)
Q. 92
Which of the following is the most accurate statement by WEB Du Bois’s famous articulation of the ‘twoness’ of black American
Answer: 4 It is a peculiar sensation, this double-consciousness, this sense of always looking at one’s self through the eyes of others
Q. 93
Which of the following poems is quoted as the epigraph to A Raisin in the Sun by Lorraine Hansberry
Answer: 2 Harlem (A Dream Deferred)
Q. 94
Which of the following acts were not passed during the Victorian Era?
Answer 1 The Women’s Suffrage Act
Q. 95
It was the first narrative on the life of a black woman slave to be published in England in 1831. It has profound influence on the abolition movement in Britain. Idenetify the book and the author
Answer: 3 Mary Prince- The History of Mary Prince
Q. 96
Fill in the blanks. Choose the set that carries the correct words.
Answer: 4 Creeps, syllable, struts, heard
Q. 97
The Romantic period produced a fair amount of dramatic criticism. A notable example is “On the Knocking at the Gate in Macbeth”
Who is the author?
Answer: 4 Thomas De Quincey
Q. 98
The following is an extract from a famous play. Read it carefully to answer questions that
follow
Maid [in the doorway]. A lady to see you, ma’am,–a stranger.
Nora. Ask her to come in.
Maid [to HELMER]. The doctor came at the same time, sir.
Helmer. Did he go straight into my room?
Maid. Yes, sir.
[HELMER goes into his room. The MAID ushers in Mrs Linde, who is in travelling dress, and shuts the door.]
Mrs Linde [in a dejected and timid voice]. How do you do, Nora?
Nora [doubtfully]. How do you do–
Mrs Linde. You don’t recognise me, I suppose.
Nora. No, I don’t know–yes, to be sure, I seem to–[Suddenly.] Yes! Christine! Is it really you?
Mrs Linde. Yes, it is I.
Nora. Christine! To think of my not recognising you! And yet how could I–[In a gentle voice.] How you have altered, Christine!
Mrs Linde. Yes, I have indeed. In nine, ten long years–
Nora. Is it so long since we met? I suppose it is. The last eight years have been a happy time for me, I can tell you. And so now you have come into the town, and have taken this long journey in winter–that was plucky of you.
Mrs Linde. I arrived by steamer this morning.
Nora. To have some fun at Christmas-time, of course. How delightful! We will have such fun together! But take off your things. You are not cold, I hope. [Helps her.] Now we will sit down by the stove, and be cosy. No, take this armchair; I will sit here in the rocking-chair. [Takes her hands.] Now you look like your old self again; it was only the first moment–You are a little paler, Christine, and perhaps a little thinner.
Mrs Linde. And much, much older, Nora.
Nora. Perhaps a little older; very, very little; certainly not much. [Stops suddenly and speaks seriously.] What a thoughtless creature I am, chattering away like this. My poor, dear Christine, do forgive me.
Mrs Linde. What do you mean, Nora?
Nora [gently]. Poor Christine, you are a widow.
Mrs Linde. Yes; it is three years ago now.
Nora. Yes, I knew; I saw it in the papers. I assure you, Christine, I meant ever so often to write to you at the time, but I always put it off and something always prevented me.
Mrs Linde. I quite understand, dear.
Nora. It was very bad of me, Christine. Poor thing, how you must have suffered. And he left you nothing?
Mrs Linde. No.
Nora. And no children?
Mrs Linde. No.
Nora. Nothing at all, then.
Mrs Linde. Not even a sense of loss to feed on
Nora [looking incredulously at her]. But, Christine, is that possible?
Mrs Linde [smiles sadly and strokes her hair]. It sometimes happens, Nora.
Nora. So you are quite alone. How dreadfully sad that must be. I have three lovely children. You can’t see them just now, for they are out with their nurse. But now you must tell me all about it
Identify the play of which this section is an excerpt
Answer: 1 A Doll’s House by Henrik Ibsen
Q. 99
Maid [in the doorway]. A lady to see you, ma’am,–a stranger.
Nora. Ask her to come in.
Maid [to HELMER]. The doctor came at the same time, sir.
Helmer. Did he go straight into my room?
Maid. Yes, sir.
[HELMER goes into his room. The MAID ushers in Mrs Linde, who is in travelling dress, and shuts the door.]
Mrs Linde [in a dejected and timid voice]. How do you do, Nora?
Nora [doubtfully]. How do you do–
Mrs Linde. You don’t recognise me, I suppose.
Nora. No, I don’t know–yes, to be sure, I seem to–[Suddenly.] Yes! Christine! Is it really you?
Mrs Linde. Yes, it is I.
Nora. Christine! To think of my not recognising you! And yet how could I–[In a gentle voice.] How you have altered, Christine!
Mrs Linde. Yes, I have indeed. In nine, ten long years–
Nora. Is it so long since we met? I suppose it is. The last eight years have been a happy time for me, I can tell you. And so now you have come into the town, and have taken this long journey in winter–that was plucky of you.
Mrs Linde. I arrived by steamer this morning.
Nora. To have some fun at Christmas-time, of course. How delightful! We will have such fun together! But take off your things. You are not cold, I hope. [Helps her.] Now we will sit down by the stove, and be cosy. No, take this armchair; I will sit here in the rocking-chair. [Takes her hands.] Now you look like your old self again; it was only the first moment–You are a little paler, Christine, and perhaps a little thinner.
Mrs Linde. And much, much older, Nora.
Nora. Perhaps a little older; very, very little; certainly not much. [Stops suddenly and speaks seriously.] What a thoughtless creature I am, chattering away like this. My poor, dear Christine, do forgive me.
Mrs Linde. What do you mean, Nora?
Nora [gently]. Poor Christine, you are a widow.
Mrs Linde. Yes; it is three years ago now.
Nora. Yes, I knew; I saw it in the papers. I assure you, Christine, I meant ever so often to write to you at the time, but I always put it off and something always prevented me.
Mrs Linde. I quite understand, dear.
Nora. It was very bad of me, Christine. Poor thing, how you must have suffered. And he left you nothing?
Mrs Linde. No.
Nora. And no children?
Mrs Linde. No.
Nora. Nothing at all, then.
Mrs Linde. Not even a sense of loss to feed on
Nora [looking incredulously at her]. But, Christine, is that possible?
Mrs Linde [smiles sadly and strokes her hair]. It sometimes happens, Nora.
Nora. So you are quite alone. How dreadfully sad that must be. I have three lovely children. You can’t see them just now, for they are out with their nurse. But now you must tell me all about it
Which of the following descriptions best applies to the above extract?
Answer 3 A chance meeting between old friends which leaves one puzzling over the inexplicable losses the other suffered
Q. 100
Maid [in the doorway]. A lady to see you, ma’am,–a stranger.
Nora. Ask her to come in.
Maid [to HELMER]. The doctor came at the same time, sir.
Helmer. Did he go straight into my room?
Maid. Yes, sir.
[HELMER goes into his room. The MAID ushers in Mrs Linde, who is in travelling dress, and shuts the door.]
Mrs Linde [in a dejected and timid voice]. How do you do, Nora?
Nora [doubtfully]. How do you do–
Mrs Linde. You don’t recognise me, I suppose.
Nora. No, I don’t know–yes, to be sure, I seem to–[Suddenly.] Yes! Christine! Is it really you?
Mrs Linde. Yes, it is I.
Nora. Christine! To think of my not recognising you! And yet how could I–[In a gentle voice.] How you have altered, Christine!
Mrs Linde. Yes, I have indeed. In nine, ten long years–
Nora. Is it so long since we met? I suppose it is. The last eight years have been a happy time for me, I can tell you. And so now you have come into the town, and have taken this long journey in winter–that was plucky of you.
Mrs Linde. I arrived by steamer this morning.
Nora. To have some fun at Christmas-time, of course. How delightful! We will have such fun together! But take off your things. You are not cold, I hope. [Helps her.] Now we will sit down by the stove, and be cosy. No, take this armchair; I will sit here in the rocking-chair. [Takes her hands.] Now you look like your old self again; it was only the first moment–You are a little paler, Christine, and perhaps a little thinner.
Mrs Linde. And much, much older, Nora.
Nora. Perhaps a little older; very, very little; certainly not much. [Stops suddenly and speaks seriously.] What a thoughtless creature I am, chattering away like this. My poor, dear Christine, do forgive me.
Mrs Linde. What do you mean, Nora?
Nora [gently]. Poor Christine, you are a widow.
Mrs Linde. Yes; it is three years ago now.
Nora. Yes, I knew; I saw it in the papers. I assure you, Christine, I meant ever so often to write to you at the time, but I always put it off and something always prevented me.
Mrs Linde. I quite understand, dear.
Nora. It was very bad of me, Christine. Poor thing, how you must have suffered. And he left you nothing?
Mrs Linde. No.
Nora. And no children?
Mrs Linde. No.
Nora. Nothing at all, then.
Mrs Linde. Not even a sense of loss to feed on.
Nora [looking incredulously at her]. But, Christine, is that possible?
Mrs Linde [smiles sadly and strokes her hair]. It sometimes happens, Nora.
Nora. So you are quite alone. How dreadfully sad that must be. I have three lovely children. You can’t see them just now, for they are out with their nurse. But now you must tell me all about it
“Not even a sense of loss to feed on” implies that
Answer: 3 Mrs. Linde’s severance from her tragic pair is total
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