00173--S.T.Coleridge—BIOGRAPHIA LITERARIA Primary Imagination/Secondary Imagination/Organic Wholes/Symbols/Concrete Universals

 In his work Biographia Literaria Coleridge discusses the following titles:

1.  Primary Imagination

2.  Secondary Imagination

a.     Organic  Wholes,

b.    Symbols, and,

c.      Concrete Universals

Primary Imagination

In the primary imagination, that infinite self-consciousness of God is echoed in our finite self-consciousness.  Now artists who make use of this creative power are divine ventriloquists: poet prophets who receive direct inspiration from above and respond passively with the song or the poem. 

Secondary Imagination

Coleridge hails the secondary imagination rather as the true source of poetry.  Whereas the primary imagination is passive, the secondary imagination is active.                                               

 The goal of secondary imagination = to dissolve, dissipate and diffuse in order to recreate.

What it does = the secondary imagination takes the raw material given it by inspiration, and breaks down that raw material and then reshapes it into a new and a vital form.

The esemplastic power (= shaping power) of the secondary imagination enables poets to create three things: a) Organic Wholes, Symbols and Concrete Universals.

Organic Wholes

Working from the philosophical aesthetic theories of Aristotle, Kant and Schiller and many others, Coleridge fashioned an organic theory of poetry.  He viewed a poem as an almost living organism in which the whole not only contains each part but each part contains within itself the whole.   Just as the seed within an apple contains within itself the potential not only for another apple but for an entire growth of apple trees, the part contains the whole within it.  That is true organic theory. 

Coleridge’s definition of what a poem is includes the criterion that it gives equal pleasure in the whole as it does in each part.  In an organic whole there is a dynamic incarnational relationship between its form and its content.  Ideas and images are fused.  Dissimilitude is resolved into similitude.

How can we know a poem is truly an organic whole?  Examine whether anything can be added or taken away from it.  If either of this action is possible then the poet has failed to achieve a complete fusion of parts and whole.

Symbols

Unlike many theorists before him Coleridge previlaged symbols over allegories for he felt symbols come closer to the ideal of the organic whole.  In an allegory an abstract notion is merely translated into a picture language.  For instance in the middle ages an allegory of the inner struggle between good and evil could be of a devil on one shoulder and an angel on the other shoulder.  It is a picture language that tries to capture something abstract.

Coleridge felt in an allegory there is no essential link between the idea and the picture.  One simply stands in for the other.  But n a symbol the abstract notion is seen in and through the physical symbol. 

In the symbol SPECIFIC AND GENERAL, TEMPERAL AND ETERNAL, and, CONCRETE AND UNIVERSAL meet and fuse in an almost mystical, incarnational way.  This is why Coleridge privileged symbol over allegory.

Concrete Universals

Coleridge again echoing Aristotle and Kant uses the phrase Concrete Universals to denote the highest forms of organic wholes and symbols.  Within the microcosm of the poem a universal idea has been fully realized in a concrete form.  The Concrete Universals effect a full fusion of an abstract non-physical idea and a specific special image.  Just as Christ via essemplastic power of incarnation became both fully man and fully God.

The mystical reciprocal relationship that forms within such poems, such concrete universals is timeless.  It is as if the concrete image had been carried up into the realm of idea, even as the idea descends and dwells within the image.  In other words a concrete universal is coming down and at the same time the concrete is moving up and losing itself in the universal.

                                                                END

00072--On what grounds does Coleridge criticise Wordsworth's theory of Poetic Language?

            Though Wordsworth and Coleridge were co-poets in writing and publishing the 'Lyrical Ballads', Coleridge did not agree with Wordsworth in his theory of Poetic Language enunciated by him in his preface to the Lyrical Ballads.  There were two cardinal points in Wordsworth's theory.  First, that poetry should be written in the language of the common men as really spoken by them.  Second, that there is no essential difference between the language of prose and that of metrical composition.  Coleridge did not agree with either of these points.

            Regarding the first point he says that there is an obvious contradiction in Wordsworth's own statement.  Wordsworth was conscious of the fact that a charge of 'triviality and meanness' may be brought against poetry written in the language of the common men as really spoken by them.  Therefore he adds that the language of the common men should be "purified indeed from what appear to be its real defects, from all lasting and rational causes of dislike or disgust."  Now Coleridge's contention is that when the language of the common men has been so purified and corrected and improved upon, it no longer remains the language of the common men as really used by them.  Therefore there is no rational point in this part of his theory of language.  Moreover, all the major poems of Wordsworth himself are written in a language which common men would even hardly understand.

            Coming to the second point, Coleridge says that there will always remain an essential difference between the language of prose and that of poetry.  A poet has to write in rhyme or metre.  This very fact would change his choice of words and structure of sentences.  Poetry cannot be written as prose.  So long as rhyme, rhythm, and cadence remain essential requisites of poetry, its language will remain different from prose.  In conclusion Coleridge says, "there is and will always remain an essential difference between the language of prose and that of metrical composition." 

00069--Discuss Coleridge's view of Art.

            Coleridge refutes the platonic concept that art is merely an imitation of nature, and therefore twice removed from reality.  Coleridge holds the view that art is not an imitation but an imaginative re-creation of nature.  As such, art is a product of imagination.  In other words, art is the union of the soul with the external world or nature.  It represents nature as thought, and though as nature.  Therefore  it is more than the object it imitates.  It is so because the artist's soul is added to it.  Art is the fusion of the artist's soul and the object viewed by him.  The artist adds something from his own imaginative faculty.  He illumines what is dark, and raises high what is low.  Thus, art is the balance or reconciliation of opposites or discordant qualities.  The contraries are reconciled in art.  They signify the universalising power of art.

            There is the union of heart and head in every work of art.  Coleridge agrees with Wordsworth that 'art embodies the union of deep feeling with profound thought'.  In this process of reconciliation imagination plays the vital role.  Therefore in Coleridge's view art is not an imitation of any object of nature.  The object of nature only ignites the soul of the artist, and then the artist's soul creates something that never existed anywhere in the past, nor will it ever do in the future. 

00194--What distinction does Coleridge make between FANCY and IMAGINATION?

Imagination for Coleridge is the creative faculty possessed by poets.  This shaping power of imagination enables the poet to configure the work as a unified whole.  Both primary and secondary imagination—the former is involuntary where as the latter is a conscious form—have the same faculty of recreation.  Fancy on the contrary is made of memory emancipated from the order of time and space, modified by the empirical phenomenon of the will.  Coleridge makes poetic genius identical with imagination, and poetic talent with fancy.

00224--What distinction does Coleridge make between FANCY and IMAGINATION? [English Literature free notes]

Imagination for Coleridge is the creative faculty possessed by poets.  This shaping power of imagination enables the poet to configure the work as a unified whole.  Both primary and secondary imagination—the former is involuntary where as the latter is a conscious form—have the same faculty of recreation.  Fancy on the contrary is made of memory emancipated from the order of time and space, modified by the empirical phenomenon of the will.  Coleridge makes poetic genius identical with imagination, and poetic talent with fancy.

00225--Consider 'Kubla khan' as a fantasy [S.T.Coleridge] OR Discuss the supernatural elements in the poem ‘Kubla Khan’ [English Literature free notes]

  'Supernatural' refers to things that cannot be explained.   Supernatural forces are forces that work upon people but we cannot explain how and why.  Ghosts in the plays of Shakespeare, gods interfering in the affairs of man, Deus ex machine, etc. can be taken as supernatural elements.  Coleridge employs the supernatural in three of his important poems, namely, 'Christabel, 'Ancient Mariner' and 'Kubla khan'.  We shall discuss here how Coleridge exploits this device to create effect to his poem.

            'Kubla khan' is a vision in a dream and all the images rising up before the poet seem to be 'things'.  Kubla khan orders a pleasure dome to be build in Xanadu on the banks of the sacred river Alph which flows, through 'Caverns measureless to man' and flows 'down to a sunless sea'.  An area of ten miles was enclosed for the purpose with walls and towers.  Inside the enclosed area were gardens with 'sinuous rills' and 'sunny spots of greenery'.  The dome is a miracle of rare device.  Everything about the river is mysterious and enigmatic.  The hidden caves of nature are set against the 'sinuous rills' and the 'sunny spots of greenery'.  The word 'bright' suggests something abnormal and unnatural.  'Walls' and 'towers' also suggest the exclusiveness and man's effort to cut himself off from nature.

            The land plunges down through cedar woods to a deep valley.  A note of fear and beauty is suggested.  The atmosphere is both holy and enchanted.  The place is both savage and charming.  Into this place is introduced a love-lorn lady seeking her demon lover under the weird light of the declining moon.  This adds to the eeriness and mystery of the scene.  It adds a dramatic force to the scene.

            The irregular bursts of water beneath the earth is described with the phrases 'turmoil seething',  'fast thick pants', 'mightily', 'forces', 'vaulted', 'flung up' etc.  The river makes a deep nose when it falls into the ocean.  Kubla Khan seems to hear the voices of his forefathers predicting that war is imminent.  A message about destruction from the immeasurable past is passed on to the present.  It is ominous indeed.

       The song of the Abyssinian girl suggests something primitive about it.  The poet with his holiness and his sacred inspiration is a prophet different from the ordinary people.  The frenzy in which the poet is in the second part of the poem also contributes to its supernatural vein.  On the whole, 'Kubla khan' is full of supernatural elements.

00070--What is Poetry according to Coleridge?

       

            Poetry, according to Coleridge, is the product of imagination working on the objects of life and nature.  It is an activity of imagination, idealizing the real and realising the ideal.  As colours are to the art of painting, words are to the art of writing poetry.  Again, as the combination of colours decide the pattern and quality of painting, so the arrangement of words aesthetically expressing the emotions and thoughts of the power decide the pattern an quality of poetry.  But words arranged in the pattern of rhyme alone would not make poetry.  The following lines, for example, have rhyming ending, but they do not make poetry:

"Thirty days hath September,

April, June and November."

            The real soul of poetry lies in its power of expressing and arousing emotions.  However, rhyme and rhythm add to the charm and pleasure of poetry.  He says, "As a particular pleasure is found in anticipating the recurrence of sounds and quantities, all compositions that have this charm super-added, whatever be their contents, may be entitled poems.  But mere metre and rhyme, without imagination and emotion for their bases would not make poetry. 

            But it should be remembered that pleasure, and not truth is the immediate end of poetry.  He does not believe that moral preaching is the ultimate end of poetry.  It is true that metrical form of composition has more charm and pleasure.  But they are merely apparel, and not the soul of poetry. 

00068--Discuss Samuel Taylor Coleridge's Theory of Imagination.

                                       

            Imagination is the basic and most important creative faculty in a poet.  No poet can write poetry without the faculty of imagination.  Imagination is the faculty by which a poet observes different forms and objects in human life and nature, and unifies them into one whole which is more beautiful and more sublime than the original ones.  With its "plastic stress" it dissolves and diffuses different objects in to one 'Sweet Solution'.  Therefore imagination is called 'shaping and unifying power.'

            Coleridge divides imagination into two forms or stages:

(a)the Primary, and,
(b)the Secondary 
                                                              

            The primary form of imagination is natural and involuntary.  It uses only one sense-the sense of perception-and observes the tangible forms of persons, places, things and subjects of nature.  Then this primary imagination fuses them into one whole, but only in the tangible form.

            The more important form of imagination is the secondary form.  It is a conscious form of imagination.  It is a composite faculty of the soul, using all faculties; perception, intellect, will, emotions and spirituality.  As such, it is more active and more comprehensive faculty than the primary imagination.  In its 'shaping and modifying' process the mind and nature act and react on each other.  The mind acting on nature becomes one with nature; and nature acting on the mind become one with the mind.  Thus mind and nature get identified.  Thus, the primary and secondary forms of imagination have the same faculty of 're-creation' with a difference of only 'degrees' or 'range of comprehension' and not in essentials.

00071--What was Coleridge's concept of Poetic Genius? How is it different1from Poetic Talent?

            Coleridge has very minutely differentiated between poetic genius and poetic talent.  Poetic genius is inborn, while poetic talent can be acquired and cultivated.  He makes genius identical with imagination and talent with fancy.  Poetic genius is creative like imagination and talent merely combinatory like fancy.  Poetic genius is characterised by the following four factors:

(1)  Power of Imagination -  Poetry is the product of imagination working on the objects of human life and nature.  Therefore the first requisite of Poetic genius is the power of imagination.  It is this power of imagination which infuses life, spark and beauty into the objects of the external world.  The poetic genius transforms the inanimate or cold objects into 'living entities' infused with life and light.

(2)  Depth of Thought and Emotion -  A poet of real genius is endowed with the deep power of thought and emotion.  Poetry is the expression of the poet's thought and emotion and his genius gives them shape, beauty, and grandeur.

(3)  Shaping power of Imagination - The poetic genius of the poet takes shape by his power of imagination.  The poet's genius would remain mute and submerged until his power of imagination gives it shape and sound.  Poetic genius cannot express itself except through his power of imagination.

(f)  Instinct for Musical Delight - The basic function of poetry is to give aesthetic delight.  Poetic genius must be accompanied by the poet's natural faculty of musical delight.

            The four factors characterize the poet's poetic genius without which he cannot be a poet. 

00264--[DOUBLE] Willing suspension of disbelief in THE BIG BANG THEORY

[DOUBLE] Willing suspension of disbelief in THE BIG BANG THEORY

Willing suspension of disbelief is a term coined in 1817 by the poet and aesthetic philosopher Samuel Taylor Coleridge who suggested that if a writer could infuse a "human interest and a semblance of truth" into a fantastic tale, the reader would suspend judgment concerning the implausibility of the narrative. [Wikipedia]

In simple words we keep aside our reason and enjoy the art or literature. Where reason kills the amusement or thrill or joy, the willing suspension of disbelief prepares the ground for harmony with the artist or writer. That ( willing suspension of disbelief) is a small price we pay for being subjected to a great experience.

Sheldon is a collection of strange behaviours. To enjoy the work of art, namely Sheldon, the audience practices the attitude which Coleridge called as Willing suspension of disbelief.

When [S07E06] Sheldon snatches the cookie from Leaonard and says, “Now give me that cookie I discovered an element”, we need to have a double willing suspension of disbelief. Because we had already practiced this attitude with Sheldon's antipathy for his food being touched by others.

We all very well remember the incident in which Sheldon throws away the food just because Penny has touched it. Now will such a person take someone else's cookie even if it is to show off the importance he gained after he made a great discovery? 

We are OK with Sheldon's that habit (thanks to our capacity to suspend disbelief) but now he behaves the opposite as he snatches a cookie from Leonard. That too is OK. Again thanks to our capacity to suspend disbelief.

We watch TBBT to laugh. Therefore we keep aside our reasoning and laugh when Sheldon says,“Now give me that cookie I discovered an element”. But here we are suspending our disbelief for the second time. I would like to call it DOUBLE SUSPENSION OF DISBELIEF.

However “reason” is the substratum. TBBT had to introduce a new character named Lucy to make Raj to talk in front of women without the help of alcohol. Raj's cure is made possible without the willing suspension of disbelief from the part of the audience.

I LOVE THE BIG BANG THEORY!!!!

01650--ballad

Ballad is a folk song or orally transmitted poem telling in a direct and dramatic manner some popular story usually derived from a tragic incident in local history or legend. The story is told simply, impersonally, and often with vivid dialogue. Ballads are normally composed in quatrains with alternating four-stress and three-stress lines, the second and fourth lines rhyming (see ballad metre); but some ballads are in couplet form, and some others have six-line stanzas. Appearing in many parts of Europe in the late Middle Ages, ballads nourished particularly strongly in Scotland from the 15th century onward. Since the 18th century, educated poets outside the folk-song tradition— notably Coleridge and Goethe—have written imitations of the popular ballad's form and style: Coleridge's 'Rime of the Ancient Mariner' (1798) is a celebrated example.

00190--UGC-NET, English Literature Objective Type Question Answers 61 to 75

.

61)      “…the error of evaluating a poem by its effects—especially its emotional effects—upon the reader” is:

A.      Affective Fallacy

B.      Intentional Fallacy

C.      Both A and B

D.     Pathetic Fallacy

Answer: …………………………………………

62)      Match A with B

                        A                                             B

a. Robert Penn Warren                   1. Ode to the Confederate Dead

b. Allen Tate                                     2. Understanding Poetry

c. John Crowe Ransom              3. Literary Criticism: A Short History

d. W.K. Wimsatt                                       4. The New Criticism

A.      a-4, b-3, c-1, d-2

B.      a-2, b-4, c-3, d-1

C.      a-2, b-1, c-4, d-3

D.     a-1, d-4, c-2, d-3

Answer: ……………………………………………

63)      Marlowe’s all four great tragedies share two features in common.  Which are they?

1.      Magic Realism

2.      Theme of overreaching

3.      Blank Verse

4.      Romantic presentation

A.      Only 1, 2 and 3

B.      Only 3 and 4

C.      Only 2, 3 and 4

D.     Only 2 and 3

Answer: ………………………………………..

64) Who said that the writer should be “outside the whale”, because otherwise, the state or society could swallow the writer up, as the whale had swallowed Jonah.

A.      Andrew Marvell

B.      S.T.Coleridge

C.      T.S.Eliot

D.     George Orwell

Answer: ……………………………..

65) “I have used similitude.” Who said this about his which work?

A.      Thomas Hobbes about ‘Leviathan’.

B.      Bunyan about ‘The Pilgrim’s Progress’

C.      Milton about ‘Paradise Lost’

D.     Alexander Pope about ‘The Dunciad’

Answer: …………………………………

66)   Which of the following is wrong?

A.      Jonathan Swift—A Modest Proposal—Pamphlet—1728

B.      Samuel Johnson—The Vanity of Human Wishes—Imitation of Juvenal’s 10^th satire

C.      Robinson Crusoe—Friday—Colonialism

D.     Henry Feilding—Tom Jones—Story of a foundling

Answer: ……………………………………….

67) The two gentlemen in the Two Gentlemen of Verona are
(a) Douglas and Calvin
(b) Valentine and Protons
(c) Henry Bailey and Davenant
(d) Lovelace and Herrick
Answer: …………………………….
68) Who popularized the inductive method for arriving at a conclusion through his Novum Organum?
(a) Ben Jonson
(b) Francis Bacon
(c) Addison and Steele
(d) Dr. Johnson
Answer: …………………….
69)  Thomas Hardy’s life and career are obliquely depicted in:
A. The Return of the Native
B. Jude the Obscure
C. Tess of the d’ Urbervilles
D. The Mayor of Casterbridge
Answer: …………………………….
70) Which of the following statements is/are wrong based on the novel “Heart of Darkness”?
1. Kurtz pretends to be mad.
2. The novel opens on the mouth of the Thames.
3. Marlow is the hero-narrator of the tale
4. Chinu Achebe denounced this novel as “bloody racist”.

A. Only 1
B. Only 2
C. Only 3 and4
D. Only 4
Answer: ………………….

71)       “The humblest craftsman over near the Aemilian school will model fingernails and imitate waving hair in bronze; but the total work will be unhappy because he does not know how to represent it as a unified whole. I should no more wish to be like him, if I desired to compose something, than to be praised for my dark hair and eyes and yet go through life with my nose turned awry. You who write, take a subject equal to your powers, and consider at length how much your shoulders can bear. Neither proper words nor lucid order will be lacking to the writer who chooses a subject within his powers. The excellence and charm of the arrangement, I believe, consists in the ability to say only what needs to be said at the time, deferring or omitting many points for the moment. The author of the long-promised poem must accept and reject as he proceeds.”

Horace here:

A.      Gives advice

B.      Criticises

C.      Evaluates

D.     Inspires

Answer: ……………………..

72)      “The ancient poets animated all sensible objects with gods or geniuses, calling them by the names and adorning them with the properties of woods, rivers, mountains, lakes, cities, nations, and whatever their enlarged and numerous senses could perceive.

“And particularly they studied the genius of each city and country, placing it under its mental deity.

“Till a system was formed, which some took advantage of, and enslaved the vulgar by attempting to realize or abstract the mental deities from their objects: thus began priesthood; choosing forms of worship from poetic tales.

“And at length they pronounced that the gods had ordered such things.

“Thus men forgot that all deities reside in the human breast.

                                    ……………….

Who speaks here?

A.      Addison

B.      Matthew Arnold

C.      William Blake

D.     Alexander Pope

Answer: ………………………………….

73)      “I had not a dispute but a disquisition with Dilke on various subjects; several things dovetailed in my mind, and at once it struck me what quality went to form a man of achievement especially in literature and which Shakespeare possessed so enormously-I mean negative capability, that is when a man is capable of being in uncertainties, mysteries, doubts, without any irritable reaching after fact and reason-Coleridge, for instance, would let go by a fine isolated verisimilitude caught from the penetralium of mystery, from being incapable of remaining content with half-knowledge.”

This is taken:

A.  from Letter to Benjamin Bailey.

A.      from Letter to George and Thomas Keats .

B.      from Letter to John Taylor .

C.      from Letter to Richard Woodhouse.

Answer: ……………………..

74)      Well, we are all condamnes. as Victor Hugo says: "les hommes sont tous condamnes a mort avec des sursis indejinis ":  we have an interval, and then our place knows us no more. Some spend this interval in listlessness, some in high passions, the wisest in art and song. For our one chance is in expanding that interval, in getting as many pulsations as possible into the given time. High passions give one this quickened sense of life, ecstasy and sorrow of love, political or religious enthusiasm. or the "enthusiasm of humanity." Only, be sure it is passion, that it does yield you this fruit of a quickened, multiplied consciousness. Of this wisdom, the poetic passion, the desire of beauty, the love of art for art's sake has most; for art comes to you professing frankly to give nothing but the highest quality to your moments as they pass, and simply for those moments' sake.

This is from:

A. Is There a Text in This Class?

B. The Contingency of Language

C. Studies in the History of the Renaissance

D. The Metaphoric and Metonymic Poles

Answer: ………………………….

75)            Or, after dark, will dubious women come

               To make their children touch a particular stone;

               Pick simples for a cancer; or on some

               Advised night see walking a dead one?

               Power of some sort will go on

               In games, in riddles, seemingly at random;

               But superstition, like belief, must die,

               And what remains when disbelief has gone?

This is taken from Philip Larkin’s 

A.      The Less Deceived

B.      An Arundel Tomb

C.      Church Going

D.     Toads

Answer: …………………………….

ANSWERS:

61-A
62-C
63-D
64-D
65-B
66-A
67-B
68-B
69-B
70-A
71-A
72-C
73-B
74-C
75-C

00187--UGC-NET, English Literature Objective Type Question Answers 31 to 40

31)      "racial memory, animal instinct and poetic imagination all flow into one another with an exact sensuousness."

Who said this about Ted Hughes?

A.       Paul de Man

B.      Richard Rorty

C.      Seamus Heaney

D.     W.H. Auden

Answer: ……………………………
AUDIO BOOKS

32)      “ As for the having of them obnoxious to ruin; if they be of fearful natures, it may do well; but if they be stout and daring, it may precipitate their designs, and prove dangerous. As for the pulling of them down, if the affairs require it, and that it may not be done with safety suddenly, the only way is the interchange, continually, of favors and disgraces; whereby they may not know what to expect, and be, as it were, in a wood.”

This is taken from Bacon’s:

A.      Of Friendship

B.      Of Ambition

C.      Of Revenge

D.      Of Love

Answer: ………………………………………

33)      “To anyone in the habit of thinking with his ears, the words 'cultural criticism' (Kulturkritik) must have an offensive ring, not merely because, like 'automobile,' they are pieced together from Latin and Greek. The words recall a flagrant contradiction. The cultural critic is not happy with civilization, to which alone he owes his discontent. He speaks as if he represented either unadulterated nature or a higher historical stage.”

The Author is:

A.      Theodor W. Adorno

B.      Charles Baudelaire

C.      Walter Pater

D.     Mikhail Bakhtin

Answer: …………………………….
AUDIO BOOKS

34)  Find out the authors of the following extracts.

a.      “Because, if I am not mistaken, we shall have to say that about men poets and story-tellers are guilty of making the gravest misstatements when they tell us that wicked men are often happy, and the good miserable; and that injustice is profitable when undetected, but that justice is a man's own loss and another's gain-these things we shall forbid them to utter, and command them to sing and say the opposite.”

b.      “Our next subject will be the style of expression. For it is not enough to know, what we ought to say; we must also say it as we ought; much help is thus afforded towards producing the right impression of a speech. The first question 'to receive attention was naturally the one that comes first naturally-how persuasion can be produced from the facts themselves. The second is how to set these facts out in language. A third would be the proper method of delivery; this is a thing that affects the success of a speech greatly; but hitherto the subject has been neglected.”

c.       And first, truly, to all them that professing learning inveigh against poetry may justly be objected, that they go very near to ungratefulness, to seek to deface that which, in the noblest nations and languages that are known, hath been the first light-giver to ignorance, and first nurse, whose milk by little and little enabled them to feed afterwards of tougher know ledges.

d.      "For the second unity, which is that of place, the ancients meant by it, that the scene ought to be continued through the play, in the same place where it was laid in the beginning: for the stage on which it is represented being but one and the same place, it is unnatural to conceive it many; and those far distant from one another.”

1.      Sidney        2.Dryden         3. Plato            4. Aristotle

A.      a-2, b-3, c-1, d-4

B.      a-3, b-2, c-1, d-4

C.      a-4, b-1, c-3, d-2

D.     a-3, b-4, c-1, d-2

Answer: ………………………………………
AUDIO BOOKS

35)  Who are the Trench poets?

1. Siegfried Sassoon                2. Rupert Brooke                                 3. Issac Rosenberg     

4. Wilfred Owen                     5. W.H.  Auden

A.      Only 1,2 and 3

B.      Only 3, 4 and 5

C.      Only 3 and 5

D.     Only 1,2,3 and 4

Answer: ………………………………………..

36)      “ Yo! We have heard tell of the majesty of the Speardanes, of the Folk-kings, how the princes did valorous deeds.”

These lines are taken from:

A.      Beowulf

B.      Canterbury Tales

C.      Caedmon’s Hymn

D.     Piers Plowman

Answer: …………………………..

37) Donne’s poem “The Sun Rising” reveals:

1. His knowledge of Ancient Greek Mythology

2. His knowledge of Metaphysics

3. His knowledge of Ptolemaic system of astronomy

4. His knowledge of Platonic doctrine of archetypal ideas

A. Only 1 and 2

B. Only 2, 3 and 4

C. Only 3 and 4

D. Only 1, 2 and 4

Answer: ………………….

38) Match A with B

                        A                                                                      B

a. Thomas Kyd                                                             1. The Passionate Shepherd to His Love

b. Marlowe                                                                 2. The Poetaster

c. Ben Johnson                                                            3. She Stoops to Conquer

d. Oliver Goldsmith                                                     4. The Spanish Tragedy

A.      a-2, b-4, c-1, d-3

B.      a-4, b-1, c-2, d-3

C.      a-1, b-3, c-2, d-4

D.     a-4, b-1, c-2, d-3

Answer: ………………………

39) Who completed Marlowe’s unfinished poem “Hero and Leander”?

A. John Marston

B. Sir Philip Sidney

C. George Chapman

D. Richard Marriot

Answer: …………………………………

40)  According to Coleridge Primary Imagination is:

1. Superior to secondary imagination

2. Inferior to Secondary imagination

3. God’s revelation

4. Demands no active response from the poet

A. Only 1, 2 and 3

B. Only 2, 3 and 4

C. Only 2 and 4

D. Only 1 and 3

Answer: ……………………………………
AUDIO BOOKS
ANSWERS:

31- C
32- B
33- A
34- D
35- D
36- A
37- C
38- B
39- C
40- B