The correct answer is A and C only.

Explanation: Andrew Marvell’s “To His Coy Mistress” is a classic carpe diem poem. At the very beginning, the speaker uses hyperbole to illustrate the vast amount of time he would spend admiring his mistress if time were not a constraint. He sets up this hypothetical scenario by invoking distant geographical locations.

• (A) The Ganges: The poem opens with the lines: “Had we but World enough, and Time, / This coyness Lady were no crime. / We would sit down, and think which way / To walk, and pass our long Love’s Day. / Thou by the Indian Ganges side / Should’st Rubies find: I by the Tide / Of Humber would complain.” The Ganges (or “Indian Ganges”) is mentioned as a far-off, exotic location where his mistress might spend an immense amount of time.
• (C) Humber: The Humber is a large tidal estuary on the east coast of Northern England. Marvell contrasts the distant Ganges with the Humber, a place closer to home for him, suggesting that while she would be by the Ganges, he would be complaining by the Humber for ages, if they had endless time.

About Other Options:

• (B) Thames: While the River Thames is a prominent river in England, particularly associated with London, it is not one of the two rivers mentioned at the beginning of “To His Coy Mistress” to mark the vast geographical span.
• (D) The Jhelum: The Jhelum River is located in India and Pakistan, but it is not mentioned in “To His Coy Mistress.” The Ganges is the only Indian river mentioned.

The correct answer is A and B only.

Explanation: Samuel Pepys’s Diary is one of the most important primary sources for the English Restoration period. It covers a decade of his life from 1660 to 1669 and provides vivid, first-hand accounts of major historical events.

• (A) The Plague in London: Pepys documented the devastating Great Plague of London in 1665, describing its progression, the fear, and the impact on the city and its inhabitants.
• (B) The Great Fire of London: He also provided a remarkably detailed and personal account of the Great Fire of London in 1666, including his observations of the fire’s spread, the destruction, and the efforts to combat it.

About Other Options:

• (C) The War of Spanish Succession: This major European conflict (1701-1714) occurred significantly after Pepys ceased writing his diary in 1669 due to failing eyesight.
• (D) Essex Rebellion: This rebellion, led by Robert Devereux, 2nd Earl of Essex, occurred in 1601, long before Samuel Pepys was born (1633).

The correct answer is A – II, B – III, C – IV, D – I.

Explanation: This question asks to match authors with their respective literary works, focusing on distinct titles.

• A) Thomas Pynchon (II. V.): Thomas Pynchon is a renowned American novelist, and V. (1963) is his debut novel, known for its complex plot, postmodern style, and intricate symbolism.
• B) Howard Jacobson (III. J): Howard Jacobson is a contemporary British novelist, and J (2014) is his Booker-shortlisted novel, a dystopian narrative exploring themes of memory, identity, and a forgotten catastrophe.
• C) Anthony Burgess (IV. M/F): Anthony Burgess was a versatile English writer. M/F (1971) is one of his lesser-known but characteristic novels, a complex and often experimental work that plays with linguistics, mythology, and identity.
• D) John Berger (I. G.): John Berger was an English art critic, novelist, and painter. G. (1972) is his experimental novel that won the Booker Prize, blending fiction, history, and essayistic elements to explore a protagonist’s journey across Europe.

The correct answer is B and C only.

Explanation: Epic Theatre is a theatrical movement developed in the early to mid-20th century, primarily associated with German playwrights and theorists who sought to provoke rational thought and social change in their audiences rather than emotional empathy.

• Bertolt Brecht (B): Bertolt Brecht is the most famous and influential figure associated with Epic Theatre. He developed its theories and techniques, including the “Verfremdungseffekt” (alienation effect), which aimed to make the familiar strange and encourage critical reflection on social issues. His plays like Mother Courage and Her Children and The Threepenny Opera are prime examples.
• Arnolt Bronnen (C): Arnolt Bronnen was a German playwright and contemporary of Brecht who was also involved in the development of expressionist and, subsequently, Epic Theatre. While less globally renowned than Brecht, he contributed to the experimental theatre scene in Germany that gave rise to Epic Theatre principles.

About Other Options:

• Fernando Arrabal (A): Arrabal is a Spanish playwright, filmmaker, and novelist, primarily known for his work in the Theatre of the Absurd and his co-founding of the Panic Movement. His style is distinct from the didactic and alienation-focused principles of Epic Theatre.
• James Saunders (D): James Saunders was a British playwright associated with the Theatre of the Absurd and experimental drama in the latter half of the 20th century. His work explored philosophical themes and unconventional structures but did not adhere to the specific tenets of Epic Theatre.

The correct answer is C and D only.

Explanation: The periodical essay, which gained prominence in the 18th century with publications like The Tatler and The Spectator, drew inspiration from earlier forms of the essay.

• Francis Bacon (C): As a significant figure in English Renaissance, Bacon is credited with bringing the essay form to England. His essays, though more formal and didactic than the later periodical essays, established the essay as a recognized literary genre for exploring various topics concisely and thoughtfully.
• Michel de Montaigne (D): The French philosopher and writer Michel de Montaigne is widely considered the inventor of the essay form. His Essais (published from 1580 onwards) were characterized by their personal, reflective, and discursive style, exploring his thoughts on a vast range of subjects. His innovative approach to writing about oneself and observations served as a foundational model for subsequent essayists, including those who developed the periodical essay.

About Other Options:

• Robert Burton (A): Burton is known for The Anatomy of Melancholy (1621), a highly idiosyncratic, sprawling, and encyclopedic work. While it contains essayistic elements and displays vast learning, it’s not a direct inspiration for the concise, regular, and often moralizing nature of the 18th-century periodical essay in the same way as Bacon or Montaigne.
• Francois Rabelais (B): A 16th-century French writer, Rabelais is celebrated for his satirical, often bawdy, and fantastical narratives like Gargantua and Pantagruel. His work is known for its exuberance and linguistic innovation, but it falls into the genre of novel/prose narrative rather than directly influencing the specific development of the periodical essay form.

The correct answer is B and C only.

Explanation: Thomas De Quincey’s The English Mail-Coach is a famous essay that combines elements of autobiography, social commentary, and hallucinatory prose, deeply influenced by his opium use. It is divided into distinct sections.

• (B) The Vision of Sudden Death: This is one of the main sections of the essay. It describes De Quincey’s terrifying experience of almost being involved in a head-on collision while riding on a mail-coach, and his vivid, almost dream-like, recounting of the moments leading up to and during the near-catastrophe.
• (C) The Glory of Motion: This is another principal section. In it, De Quincey extols the thrill, speed, and majesty of the English mail-coach system, romanticizing the experience of swift travel and the power of the coaches and horses, especially at night.

About Other Options:

• (A) The Glory of Mobility: While the essay certainly deals with themes of movement and travel, “The Glory of Mobility” is not an official section title within The English Mail-Coach. “The Glory of Motion” is the correct title.
• (D) The Vision of Unexpected Truth: This is not a title of any section in De Quincey’s The English Mail-Coach. It appears to be a rephrasing similar to “The Vision of Sudden Death” but is not accurate.

The correct answer is B and D only.

Explanation: Robert Browning was a prominent Victorian poet known for his dramatic monologues and psychological realism.

• (B) The Pied Piper of Hamelin: This is one of Robert Browning’s most famous narrative poems, a classic children’s tale adapted by him, published in 1842.
• (D) Two in the Campagna: This is a lyric poem by Robert Browning, published in his collection Men and Women (1855). It is a meditative poem about love and the fleeting nature of perfect understanding between two people.

About Other Options:

• (A) Locksley Hall: This is a famous dramatic monologue written by Alfred, Lord Tennyson, first published in 1842.
• (C) The Lady of Shalott: This is another well-known narrative poem by Alfred, Lord Tennyson, first published in 1832 and revised in 1842.

The correct answer is B and D only.

Explanation: The question asks for books that are explorations of the art of the novel by novelists. This means the authors themselves are known as fiction writers who also wrote critical or theoretical works about the novel form.

• B) The Naive and the Sentimental Novelist by Orhan Pamuk. Orhan Pamuk is a Nobel Prize-winning Turkish novelist. This book is a collection of his Norton Lectures, in which he explores the art of the novel, distinguishing between two types of novelists: the “naive” (who write intuitively) and the “sentimental” (who are more conscious of their craft and its history). It’s a direct exploration of the novel by a practitioner.
• D) Testaments Betrayed by Milan Kundera. Milan Kundera was a Czech-French novelist known for works like The Unbearable Lightness of Being. Testaments Betrayed is a collection of essays where Kundera delves into various aspects of the novel as an art form, discussing its history, its challenges, and its unique capabilities. It’s a significant contribution to novel theory from a novelist’s perspective.

About Other Options:

• A) The Brief Compass by John Hollander. John Hollander was a prominent American poet and literary critic. While he was a significant figure in literature and criticism, he is primarily known as a poet and scholar, not a novelist whose work The Brief Compass directly explores the art of the novel from a novelist’s perspective. It’s more broadly a work of literary criticism.
• C) The Visionary Company by Harold Bloom. Harold Bloom was one of the most influential American literary critics of the 20th century, known for his theories of influence and anxiety. He was not a novelist, and The Visionary Company is a critical study of Romantic poetry, not an exploration of the art of the novel.

The correct answer is A – III, B – IV, C – I, D – II.

Explanation: This question matches prominent literary critics and poets from different eras with their significant works of literary theory or criticism.

• A) Horace (III. Ars Poetica): Horace, an ancient Roman poet, wrote Ars Poetica (The Art of Poetry), a highly influential work of literary criticism that laid down principles for good writing, particularly in poetry and drama.
• B) John Dryden (IV. Of Dramatic Poesy): John Dryden was a leading English poet, literary critic, and playwright of the Restoration period. His An Essay of Dramatick Poesie (1668) is a seminal work of English literary criticism, presented as a dialogue discussing the merits of ancient vs. modern drama, and French vs. English drama.
• C) Samuel Daniel (I. Defence of Rhyme): Samuel Daniel was an English poet and historian of the Elizabethan era. His Defence of Ryme (1603) was a critical essay arguing for the legitimacy and value of rhyme in English poetry, defending it against criticisms from those who advocated for classical unrhymed verse.
• D) Ben Jonson (II. Timber: or, Discoveries): Ben Jonson, a prominent Jacobean playwright and poet, compiled Timber: or, Discoveries Made Upon Men and Matter. This work is a collection of his reflections, observations, and critical opinions on various subjects, including literature, language, and other writers, offering valuable insights into his critical thought.

The correct answer is A – III, B – I, C – IV, D – II.

Explanation: This question requires matching key theoretical terms with the scholars most closely associated with them.

• A) Superreader (III. Michael Riffaterre): Michael Riffaterre, a prominent structuralist and semiotician, introduced the concept of the “superreader.” This is not an actual person, but rather an idealized or composite reader who is capable of perceiving all the latent meanings, intertextual references, and structural patterns within a text that a normal reader might miss. It represents the accumulated understanding derived from multiple readings.
• B) Biopower (I. Michel Foucault): Michel Foucault, the influential French philosopher, developed the concept of “biopower.” This term describes a new form of power that emerged in the 17th and 18th centuries, which is concerned with managing and regulating life at the level of populations (biopolitics) and individual bodies (bio-techniques). It focuses on control over life processes, health, reproduction, and mortality.
• C) Bricolage (IV. Claude Lévi-Strauss): Claude Lévi-Strauss, a foundational figure in structural anthropology, used the term “bricolage” to describe the characteristic way in which mythical thought operates. A “bricoleur” is someone who constructs things using whatever materials are at hand, often repurposing objects for new functions. Lévi-Strauss applied this to cultural production, arguing that myths and other cultural forms are constructed from pre-existing conceptual fragments and elements, much like a bricoleur uses available resources.
• D) Chronotope (II. Mikhail Bakhtin): Mikhail Bakhtin, the Russian literary theorist and philosopher, coined the term “chronotope.” Derived from the Greek words “chronos” (time) and “topos” (space), it refers to the intrinsic interconnectedness of time and space as expressed in literature. Bakhtin argued that particular genres and narratives organise space-time in characteristic ways, creating specific meanings and effects.

The correct answer is A – IV, B – III, C – II, D – I.

Explanation: This question connects key terms and concepts in linguistics with their associated theorists.

• A) Paul Grice (IV. cooperative principle): Paul Grice was a philosopher of language known for his theory of conversational implicature, which includes the Cooperative Principle. This principle suggests that participants in a conversation will try to be truthful, relevant, clear, and informative.
• B) Edward Sapir (III. linguistic relativity): Edward Sapir was an American anthropologist and linguist. He, along with Benjamin Lee Whorf, developed the Sapir-Whorf hypothesis, which posits linguistic relativity – the idea that the structure of a language affects its speakers’ worldview or cognition.
• C) Ferdinand de Saussure (II. linguistic signs): Ferdinand de Saussure was a Swiss linguist whose work is foundational to structuralism in linguistics. He introduced the concept of the linguistic sign, composed of a signifier (the sound-image) and a signified (the concept), and emphasized their arbitrary relationship.
• D) Nancy Dorian (I. language death): Nancy Dorian is a prominent linguist and anthropologist known for her extensive research on language obsolescence and language death (or language endangerment). Her work often focuses on speakers of dying languages and the sociolinguistic processes involved in language shift.

The correct answer is A – IV, B – III, C – I, D – II.

Explanation: This question requires matching key terms or works in cultural studies and sociology with their respective theorists.

• A) Michel de Certeau (IV. The Practice of Everyday Life): Michel de Certeau was a French Jesuit scholar whose influential work, The Practice of Everyday Life, explores how individuals navigate and resist dominant systems through various “tactics” in their daily routines, focusing on consumption, reading, and walking as acts of creative subversion.
• B) John Fiske (III. Understanding Popular Culture): John Fiske is a prominent cultural studies scholar known for his work on popular culture. His book Understanding Popular Culture (1989) is a foundational text that examines how audiences actively create meaning from cultural texts and resist dominant ideologies.
• C) Pierre Bourdieu (I. Distinction): Pierre Bourdieu was a highly influential French sociologist. His seminal work Distinction: A Social Critique of the Judgement of Taste (1979) argues that taste in culture is not natural but a product of social class and a means of maintaining social hierarchies.
• D) Janice Radway (II. Reading the Romance): Janice Radway is an American literary critic and cultural studies scholar. Her book Reading the Romance: Women, Patriarchy, and Popular Literature (1984) is a landmark ethnographic study of women readers of romance novels, analysing their motivations, interpretations, and the social functions of their reading practices.

The correct answer is A – IV, B – II, C – I, D – III.

Explanation: This question tests knowledge of key terms and their associated theorists in literary theory.

1. A) arche-ecriture (IV. Jacques Derrida): “Arch-writing” or “arche-writing” is a fundamental concept in Jacques Derrida’s deconstruction. It refers to a primordial form of writing that precedes and enables both speech and conventional writing, challenging the traditional hierarchy that privileges speech.
2. B) cyborg (II. Donna Haraway): Donna Haraway is a leading figure in feminist and technoscience studies, famous for her “Cyborg Manifesto” (1985). In this work, she uses the metaphor of the cyborg (a cybernetic organism, part machine, part organism) to challenge fixed categories of gender, nature, and technology.
3. C) genotext (I. Julia Kristeva): Julia Kristeva, a prominent psychoanalytic feminist theorist, introduced the concept of the “genotext” in her work on semiotics and poetics. The genotext represents the pre-linguistic, instinctual, and pulsional drives that underpin and inform the “phenotext” (the actual linguistic manifestation of a text).
4. D) Hermeneutic circle (III. Friedrich Schleiermacher): The hermeneutic circle is a concept in hermeneutics (the theory of interpretation). It describes the process of understanding a text or phenomenon by moving back and forth between its parts and the whole. While it has roots in ancient philosophy, it was significantly articulated and popularized in modern hermeneutics by Friedrich Schleiermacher and later by Heidegger and Gadamer.

The correct answer is A – IV, B – III, C – I, D – II.

Explanation: This question tests knowledge of loanwords in English that have originated from various Indian languages.

• A) mongoose (IV. Marathi): The word “mongoose” in English is believed to have come from the Marathi word “mangus” (मंगूस).
• B) loot (III. Hindi/Urdu): “Loot” comes from the Hindi/Urdu word “lūṭ” (लूट), meaning plunder or spoil.
• C) curry (I. Tamil): The word “curry” in English is derived from the Tamil word “kari” (கறி), which referred to a sauce or relish for rice.
• D) betel (II. Malayalam): The word “betel” (as in betel nut or betel leaf) is generally accepted to have originated from the Malayalam word “veṟṟila” (വെറ്റില).

The correct answer is A – II, B – IV, C – I, D – III.

Explanation: This question requires matching well-known essayists with their famous essays.

• A) George Orwell (II. Why I Write): George Orwell’s “Why I Write” is a celebrated essay where he articulates his motivations for writing, particularly his desire to fuse political purpose with artistic purpose.
• B) Michel de Montaigne (IV. On the Cannibals): Michel de Montaigne is considered the inventor of the essay form. “On the Cannibals” is one of his most famous essays from his Essais, where he reflects on cultural relativism and criticizes European perceived superiority.
• C) Charles Lamb (I. On the Artificial Comedy of the Last Century): Charles Lamb was a prominent Romantic essayist known for his Essays of Elia. “On the Artificial Comedy of the Last Century” is an essay in which he discusses the moral implications and the charm of Restoration comedies.

D) Jonathan Swift (III. A Modest Proposal): Jonathan Swift, the Anglo-Irish satirist, is famous for “A Modest Proposal,” a searing satirical essay that ironically suggests a solution to poverty in Ireland by having the poor sell their children as food.

The correct answer is A and D only.

Explanation: Lord Macaulay’s “Minute on Indian Education,” published in 1835, was a pivotal document in shaping educational policy in British India. Its primary aim was to establish English as the medium of instruction and to promote Western knowledge.

• (A) promote European literature and science among the natives. This was the central objective of Macaulay’s Minute. He argued vehemently for the superiority of Western knowledge (European literature and science) over traditional Indian learning, believing it would “civilize” the Indian population and create a class of Indians loyal to British rule.
• (D) stop expenditure on the publication of oriental works and spend funds only on English education. A key part of Macaulay’s argument was to cease the financial support for the publication and promotion of traditional Sanskrit and Arabic texts. He advocated for directing all available funds towards the promotion of English education and Western knowledge.

About Other Options:

• (B) impart knowledge of English literature and science through translated texts. Macaulay was against the idea of translating Western texts into Indian vernacular languages. He strongly believed that English itself should be the medium of instruction to fully immerse Indians in Western thought.
• (C) encourage branches of native learning by more useful studies. This goes directly against the spirit and content of Macaulay’s Minute. He was critical of “native learning” (traditional Indian education) and explicitly sought to replace it with Western education, which he deemed “more useful.”

The correct answer is B and D only.

Explanation: Anthony Burgess, a diverse and prolific novelist, explored the lives of historical figures, including other writers, in some of his novels.

• (B) Marlowe: Burgess’s novel A Dead Man in Deptford (1993) is a fictionalized account of the last days and mysterious death of the Elizabethan playwright Christopher Marlowe.
• (D) Keats: Burgess’s novel ABBA ABBA (1977) includes a significant section that details the final months of the Romantic poet John Keats’s life.

About Other Options:

• (A) Milton: While Anthony Burgess had a deep appreciation for and engaged critically with John Milton’s work (e.g., through allusions in A Clockwork Orange or in critical essays), there is no widely recognized novel by Burgess that explicitly takes John Milton’s life as its primary subject matter.
• (C) Shelley: There is no prominent novel by Anthony Burgess that centres on the life of Percy Bysshe Shelley.

The correct answer is B, D, C, A.

Explanation: Let’s establish the approximate emergence or prominent association dates for each term:

• B) Stream of Consciousness: This literary technique gained prominence in the late 19th and early 20th centuries, heavily associated with Modernist writers. The term itself was popularized by psychologist William James in The Principles of Psychology (1890) to describe the flow of thoughts. Its application in literature became widespread in the early 1900s (e.g., Dorothy Richardson’s Pilgrimage started in 1913, James Joyce’s Ulysses in 1922).
• D) Defamiliarization (Ostranenie): This concept was introduced by the Russian Formalist critic Viktor Shklovsky in his essay “Art as Technique” (1917). It describes the artistic technique of presenting common things in an unfamiliar or strange way in order to enhance perception of the familiar.
• C) Practical Criticism: This term is most strongly associated with I.A. Richards and his book Practical Criticism(1929). Richards advocated for close reading of texts without external information, focusing solely on the words on the page.
• A) Heresy of Paraphrase: This term was coined by Cleanth Brooks in his influential New Critical text The Well Wrought Urn: Studies in the Structure of Poetry (1947). It refers to the fallacy of believing that the meaning of a poem can be fully captured by paraphrasing it, emphasizing the poem’s organic unity and indivisible form and content.

Therefore, the chronological order is: Stream of Consciousness (c. 1890s-early 1900s), Defamiliarization (1917), Practical Criticism (1929), Heresy of Paraphrase (1947).

The correct answer is A and C only.

Explanation: In Henry David Thoreau’s essay “Civil Disobedience” (originally titled “Resistance to Civil Government”), he recounts his experience of being jailed for refusing to pay a poll tax (as a protest against slavery and the Mexican-American War). He draws significant conclusions from this night.

• (A) He concluded that the State is ultimately weak. Thoreau realized that the state’s power is physical and limited to the body, but it cannot compel the mind or conscience. He felt more free inside the prison than outside, seeing the state’s efforts as clumsy and ineffective against a principled individual. He described the state as “half-witted” and “feeble.”
• (C) He realized that the neighbours are only friends during good times. Thoreau was struck by the indifference and superficiality of his fellow townsmen and neighbours. He observed that they offered him no support or understanding for his principles, suggesting that their friendship and concern were conditional on conventional behaviour and did not extend to genuine moral solidarity or critical thought. He felt they were living “as if they had never heard of me who was their neighbour.”

About Other Options:

• (B) He realized that captivity inspires courage. While Thoreau himself demonstrated courage, his essay doesn’t explicitly state that the experience of captivity itself universally inspires courage in others or him in a direct, transformative way. His courage stemmed from his convictions, which were tested by captivity, rather than generated by it.
• (D) He concluded that captivity brings wisdom about human affairs. While he gained profound insights into the nature of the state and society from his experience, describing it specifically as “wisdom about human affairs” that captivity brings is not the primary or most accurate phrasing of his realization. His wisdom came more from the act of principled defiance and the observation of others’ reactions to it, rather than the intrinsic nature of being confined. His insights were about the limitations of state power and the social conformity of his peers.

The correct answer is B and D only.

Explanation: In Walter Pater’s essay “Style,” he discusses the qualities that constitute great art and emphasizes the importance of the artist’s unique vision and meticulous craftsmanship. He often uses examples from literature to illustrate his points.

• (B) The Divine Comedy: Dante Alighieri’s The Divine Comedy is frequently cited by Pater as an example of great art. Pater admired its structural perfection, its blend of form and content, and its representation of a profound inner vision, all hallmarks of what he considered exemplary style.
• (D) Faust: Goethe’s Faust is another work that Pater holds in high regard. He valued its intellectual depth, its artistic ambition, and its exploration of universal themes with a richness of expression and complexity that exemplifies his idea of great literature where form and matter are in perfect fusion.

About Other Options:

• (A) Iliad: While Homer’s Iliad is undeniably a foundational work of Western literature and an epic of immense significance, Pater, in his specific discussions of “great art” in “Style,” tends to lean more towards works that embody a particular kind of conscious artistic synthesis and perfection of form that he finds in Dante and Goethe.
• (C) Les Miserables: Victor Hugo’s Les Misérables is a major 19th-century French novel, known for its social commentary and expansive narrative. However, it does not typically appear in Pater’s “Style” as a primary example of the kind of aesthetic perfection and unified form that he associates with “great art,” particularly in contrast to the specific examples he draws from classical and highly crafted works.

The correct answer is A and C only.

Explanation: A dramatic monologue is a type of poem in which an imagined speaker addresses a silent listener, revealing aspects of their temperament and a dramatic situation. The speaker is distinct from the poet.

• (A) Alfred Tennyson, Ulysses: This is a quintessential example of a dramatic monologue. The speaker is the aging Greek hero Ulysses (Odysseus), who expresses his restless desire for new adventures after returning home. He addresses his mariners, revealing his character and his philosophy of life.
• (C) Carol Ann Duffy, Medusa: This poem reimagines the Greek myth of Medusa from her own perspective. The speaker is Medusa, addressing an implied listener, and through her voice, she reveals her transformation, her feelings of betrayal, and the bitterness that has turned her into the monstrous figure. It clearly fits the criteria of a dramatic monologue.

About Other Options:

• (B) Philip Larkin, Church Going: While “Church Going” features a single speaker reflecting on his visit to an empty church, it is more accurately described as a lyric poem of meditative reflection rather than a dramatic monologue. The speaker isn’t addressing a specific, silent listener within a dramatic situation in the same way; rather, he is pondering philosophical questions to himself or the reader. The “you” in the poem is a general, implied audience, not a specific silent listener whose presence shapes the monologue.
• (D) Katherine Philips, A Married State: This poem is a personal lyric expressing a woman’s reflections on marriage, particularly its potential pitfalls and loss of freedom. It’s a statement of personal opinion and contemplation, not a dramatic monologue where a specific character in a dramatic situation addresses a silent listener.

The correct answer is B and C only.

Explanation: The sentence “Hari wrote a poem on the mountains” is ambiguous because the phrase “on the mountains” can modify different parts of the sentence, leading to different interpretations.

• (B) The sentence is an example of structural ambiguity. This is correct. Structural ambiguity (also known as syntactic ambiguity) occurs when a sentence can be interpreted in more than one way due to the grammatical structure, rather than the meaning of individual words. In this case, “on the mountains” could mean:
  1. Hari was physically on the mountains when he wrote the poem.
  2. The poem’s subject matter was the mountains. The ambiguity arises from how the prepositional phrase attaches to different parts of the sentence’s structure.
• (C) The sentence involves two deep structures. This is also correct. In Chomskyan generative grammar, a deep structure represents the underlying meaning and grammatical relations of a sentence. Because the sentence “Hari wrote a poem on the mountains” has two distinct meanings, it is considered to derive from two different deep structures, each corresponding to one of the possible interpretations. These different deep structures are then transformed into the single, ambiguous surface structure.

About Other Options:

• (A) The sentence is an example of lexical ambiguity. This is incorrect. Lexical ambiguity occurs when a single word has multiple meanings (e.g., “bank” as a river bank or a financial institution). The ambiguity in “Hari wrote a poem on the mountains” doesn’t come from the individual words having multiple meanings, but from how the phrase “on the mountains” can relate to other parts of the sentence.
• (D) The sentence involves two surface structures. This is incorrect. The sentence as it is written, “Hari wrote a poem on the mountains,” is a single surface structure. It’s the overt form of the sentence. The ambiguity arises precisely because this single surface structure can correspond to two different deep structures (meanings). If there were two surface structures, it would mean the sentence could be written in two different ways to convey the two meanings, but here the ambiguity is in a single written form.

The correct answer is A – III, B – IV, C – I, D – II.

Explanation: This question asks you to match prominent Romantic poets with their significant works.

• A) John Keats (III. Lamia): Lamia is a narrative poem by John Keats, published in his 1820 collection, known for its sensual descriptions and tragic themes.
• B) William Wordsworth (IV. The Excursion): The Excursion is a long philosophical poem by William Wordsworth, published in 1814, intended as part of his larger uncompleted work, The Recluse.
• C) P. B. Shelley (I. Alastor): Alastor; or, The Spirit of Solitude is an important early poem by Percy Bysshe Shelley, published in 1816, which explores the isolated and often destructive quest for an ideal.
• D) William Blake (II. Songs of Experience): Songs of Experience is a collection of poems by William Blake, published in 1794, often paired with Songs of Innocence, exploring the darker aspects of human existence and societal corruption.

The correct answer is A – III, B – IV, C – I, D – II.

Explanation: This question asks you to match famous lines of poetry with the correct poems, all of which are by W.B. Yeats.

• A) ‘Monuments of unaging intellect’ (III. Sailing to Byzantium): This line comes from the first stanza of “Sailing to Byzantium,” where the speaker expresses a desire to escape the decay of the physical world and enter the realm of eternal art.
• B) ‘In the foul rag-and-bone shop of the heart’ (IV. The Circus Animals’ Desertion): This powerful and memorable line concludes “The Circus Animals’ Desertion,” where Yeats reflects on the sources of his poetic inspiration, ultimately finding them in the messy, human reality of the “heart.”
• C) ‘So mastered by the brute blood of the air’ (I. Leda and the Swan): This line is from “Leda and the Swan,” Yeats’s sonnet recounting the mythical rape of Leda by Zeus in the form of a swan. It captures the violent and overwhelming nature of the divine encounter.
• D) ‘As weary-hearted as the hollow moon’ (II. Adam’s Curse): This line is found in “Adam’s Curse,” a poem where the speaker reflects on the difficulty and effort involved in creating art, contrasting it with the perceived ease of other human endeavours.

The correct answer is B and C only.

Explanation: The question asks for characters/speakers who exhibit “studious abstraction of scholars,” meaning they are deep in thought, intellectual, contemplative, and sometimes removed from practical affairs due to their scholarly pursuits.

• Hamlet (B): William Shakespeare’s Hamlet is the quintessential example of a scholarly and contemplative character. He is a student (at Wittenberg) whose mind is constantly engaged in deep philosophical thought, introspection, and questioning, leading to a degree of abstraction and hesitation that contrasts with decisive action. His soliloquies are prime examples of his studious and often melancholic abstraction.
• Il Penseroso (C): “Il Penseroso” is the title of a poem by John Milton. The speaker of this poem (whose name means “the pensive man” or “the thoughtful man” in Italian) is a contemplative scholar who seeks solitude, intellectual pursuits, and communion with abstract thoughts, classical learning, and the quiet beauty of nature. The poem itself is an ode to melancholy and deep thought, perfectly embodying “studious abstraction.”

About Other Options:

• Shylock (A): From Shakespeare’s The Merchant of Venice, Shylock is a Jewish moneylender. While intelligent and articulate, his character is primarily defined by his business dealings, his desire for revenge, and his experience of social persecution. He is shrewd and practical, not exhibiting the “studious abstraction of a scholar.”
• Mosca (D): From Ben Jonson’s Volpone, Mosca is a parasitic, cunning, and manipulative servant. His intelligence is entirely directed towards practical schemes, deception, and personal gain. He is far from a contemplative or abstract scholar; he is a shrewd operator in the worldly sense.