HSST Jr 2003

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178/2003
maximum : 100 Time: 2 hours
Section A
Questions 1 to 60, carry 1 mark each

  1. The material from Shakespeare’s English historical plays were derived mainly from the “Chronicles” of ______________.
Raphael Holinshed
  1. Richard II was written in direct imitation of Marlowe’s __________________.
Edward II
  1. The __________ of the Taming of the Shrew deals with the practical joke played upon Sly.
Scene I
  1. To a certain extent Shakespeare was influenced by _________ theory of the “humours”.
Ben Jonson's
  1. __________ in Twelfth Night is a ridiculous representation of Puritanism.
Malvolio
  1. Dryden’s “Here is God’s plenty” refers to the diversity of characters in _________.
The Canterbury Tales
  1. Spenser followed the Italian plan of writing sonnets in sequences in his ___________.
Amoretti
  1. The collection of “Songs and Sonnets” by various authors, is commonly known from the name of its publisher, as ________________.
Tottell's Miscellany.
  1. “To His Coy Mistress” is an example of a poem on the ___________theme.
Carpe diem (seize the moment)
  1. The Period from 1660 to 1700 is known as the ______________ period.
Restoration Period
  1. The term ___________ is used to signify an error in judgment whether through ignorance or moral fault.
Hamartia
  1. Chaucer wrote in the ______________ dialect.
East Midland dialect
  1. Hard Times expresses the philosophy of ________________.
Utilitarianism and Classical Economics.
  1. Larkin, Ted Hughes and Gunn belong to the ____________ group of poets.
Movement Poets.
  1. The phrase “a terrible beauty” is an example of the figure of speech __________.
Oxymoron
  1. In Memoriam laments the death of _________________.
Arthur Hallam
  1. What is Hopkins name for the individuality distinctive inner structure of a thing?
Inscape
  1. What is the subtitle of the poem The Windower?
To Christ My Lord.
  1. The Victorian treatise ____________ consists of four essays on economics and its title is taken from the Bible.
Unto This Last by John Ruskin.
  1. The Immortality Ode is indebted to Vaughan's poem____________.
The Retreat
  1. Lamb called __________ the poet's poet.
Edmund Spenser
  1. The verse form used in “Macflecknoe” and “The Rape of the Lock” is ______________.
Heroic Couplet
  1. According to the ___________ theory language arose from the noise made by a group of people engaged in joint labour.
Pooh-Pooh Theory of Language
  1. Who introduced the Sonnet into English poetry?
Thomas Wyatt
  1. _________ is a powerful defence of the art of poetry written in reply to Stephen Gosson.
Philip Sydney's Apology for Poetry (also Thomas Lodge's A Defence of Poetry)
  1. “Thyrsis” and ____________ are companion poems.
The Scholar Gipsy
  1. The various languages that evolved from Latin and known as _________ languages.
Romance languages
  1. Indo-European languages are grouped into Satem and _________ languages.
Centum languages
  1. __________ is the greatest practitioner of the Dramatic Monologue.
Robert Browning
  1. Virginia Woolf was a member of the ____________ group.
Bloomsbury group
  1. Kyd's Spanish Tragedy influenced Shakespeare in writing ____________.
Hamlet
  1. The purgation of emotions in a play, according to Aristotle, is ____________.
Catharsis
  1. ______________ is the substitution of a less distasteful word or phrase to hide the real nature of something unpleasant.
Euphemism
  1. The Roman playwright who inspired the Elizabethan Revenge Tragedy was __________.
Seneca
  1. The companion poem of L'Allegro is ______________.
Il Penseroso
  1. The phrase “Amor Vincit Omnia” is engraved on the brooch of ____________.
The Prioress (Madame Eglantine)
  1. The author of Heroes and Hero Worship is _____________.
Thomas Carlyle
  1. ___________ is written in epistolary form.
Pamela
  1. Goldsmith's “She Stoops to Conquer” is a reaction against __________ comedy.
Sentimental Comedy
  1. Herrick, Lovelace and Suckling are know as _________ poets.
Cavalier Poets
  1. ____________ is the greatest exponent of Absurd Drama.
Samuel Beckett (English),
  1. Burns used the ____________ dialect in his poems.
Scottish dialect
  1. The term “dissociation of sensibility” is associated with the critic ___________.
T.S. Eliot
  1. Glanvil's “The Vanity of Dogmatizing” is the source of Arnold's ____________.
The Scholar Gipsy
  1. Oscar Wilde is the disciple of __________, the father of aestheticism.
Walter Pater
  1. The novel sequence “Pilgrimage”, one of the earliest stream of consciousness works of fiction was written by__________.
Dorothy Richardson
  1. In Antony and Cleopatra Shakespeare gives an unhistorical prominence to _________ constituting him the chorus of the play.
Enobarbus
  1. T.S. Eliot refers to the ___________ Upanishad in The Waste Land.
Brihadaranyaka Upanishad
  1. Datta, Dayadhvam and __________ are Eliot's prescriptions for the moral restoration of the modern world.
Dhamyata
  1. When part of one word is combined with part of another to form a new word carrying with it the idea behind both the original terms we have a _______ word.
Portmanteau word
  1. The picaresque novel features a picaro, the Spanish word meaning __________.
a rogue
  1. The formation of the word “laser” is an instance of an ______________.
acronym
  1. The real name of George Eliot is _________________.
Mary Ann Evans
  1. The last line of the Spenserian stanza is called an _______________.
Alexandrine
  1. A rhythm counted not by syllables and regular feet, but by stresses is called _________ rhythm.
Sprung rhythm
  1. Horace Walpole, Monk Lewis and Mrs. Radcliffe are writers of _________ romances.
Gothic Romances
  1. The levelling of inflexions took place during the _________ period.
Middle English Period
  1. We can study languages either synchronically or _______________.
Diachronically
  1. Bunyan's _____________ is one of the three great allegories of world literature.
Pilgrims' Progress
  1. Richard Steele started _________, a periodical in April, 1709.
The Tatler (his first journal)
(60x1=60)

Section B
Answer all questions.
Each question carries 5 marks.
Maximum length of each short essay should be two pages.

  1. Account for the discrepancies between spelling and pronunciation in English and cite a few examples.
  1. Discuss the essential features of Bacon's prose style.
  1. Illustrate and expand the remark that in “Macflecknoe” Dryden sank the greater part of his rancour in the humour of the conception.
Mac Flecknoe is a good example of Augustan wit in both its humorous and serious aspects. The heart of the joke, of course, is mock-heroic: it lies in taking a bad writer at his own evaluation as an eminent figure and showing where he is really eminent: "Through all the realms of Nonsense, absolute." Flecknoe himself, an Irish Catholic priest with whom Dryden is not known to have had any personal relation, is simply used as a type of the bad versifier. Growing old (his death in 1678 was possibly the occasion of the poem), he begins to consider the problem of succession and chooses Shadwell, a playwright of some merit but an execrable poet, for his heir. Shadwell alone among his sons has earned the right to bear the royal patronymic Mac, son of Flecknoe. He only has shown the necessary precocity in government: "Mature in dullness from his tender years." He only has been "confirmed" in the true church of "full stupidity." And further, he is destined to be the ripest fruit of the royal line; earlier poetasters, like Heywood and Shirley, were but his prefiguration "types" as the prophets of the Old Testament prefigured Christ. Even Flecknoe himself is only a John the Baptist to this Messiah (31-4). 

From this point on, the poem jests specifically at some of Shadwell's ludicrous performances, while "father Flecknoe" reaches the conclusion that "All arguments, but most his plays, persuade, That for anointed dullness he was made" (63). Then the scene turns to a disreputable section of London, the seat of dullness, where the actual coronation is to take place. Flecknoe's permanent consort the Virgilian and Chaucerian Fame, or rumor spreads the good news, and the imperial populace gathers, unrolling before its new master a royal drugget composed of the unsold pages of dull books, including his own: "Much Heywood, Shirley, Ogle by there lay, But loads of Sh - almost choked the way" (101-2). We are then given a view of the old and new emperors on their thrones, with the symbols of their imperium ale, bad writings, soporific poppies and an omen of their continuing prosperity: "twelve reverend owls" (129). Then Flecknoe concludes the poem with an address from the throne, invoking the spread of empire "Still in new impudence, new ignorance" (146); offering advice on ministers of state: "Let 'em be all by thy own model made" (157); warning against a rival lineage: "Thou art my blood, where Jonson has no part" (175); and counseling, in view of Mac Flecknoe's peculiar talents, a quiet reign: "Some peaceful province in acrostic land" (206) in preference to a militant one: "Thy inoffensive satires never bite" (200). 

Dryden and Shad well had been on reasonably good terms in the 1 670' s, and Mac Flecknoe undoubtedly points to some break in their relations. To this extent, it is a personal poem. It is important to realize, however, that it points equally to the universal war in every age between the first- and second-rate; and to the Augustan writer's characteristic insight that on the health of literature depends, in part, the health of society as a whole. Shadwell is represented as simply the newest champion in dulness's "immortal war with wit" (12). His coronation oath is to be that he will never "have peace with wit, nor truce with sense" (117). His glorification is set in an environment of brothel houses and infant punks, not only to disparage him, but because there is a connection between moral shoddiness and literary shoddiness. He becomes "sworn foe to Rome" (113) only partly because he is for the moment compared to Hannibal; as an irresponsible writer, his work denies the disciplined tradition in arts, morals, government that Rome embodies; for the same reason, he stands apart from Jonson's lineage. Most important of all, he can be both wittily and seriously depicted as a monarch, because, as Dry den well knew (and the best seller lists still show), the widest audience is always readier to acclaim a new literary Fuhrer than to undergo the pains of moral and  artistic discrimination: "He paused, and all the people cried, 'Amen.'

  1. Discuss Elaine Showalter's three-fold division representing the growth of feminist writings.
  1. Nissim Ezekiel's “Night of the Scorpion” is typical of Indian rustic scene and philosophy bringing in its wake two worlds, of superstitions and scientific temperament. Justify the statement.
  1. Attempt a critical analysis of Larkin's “Church Going”.
  1. Briefly examine the traditional approach to grammar and the structuralist critique of the inadequacies.
(7x5=35 marks)
Section C
Attempt an appreciation of the following poem giving importance to imagery, diction, structure and figures of speech. The question carries 5 marks.
Because I could not stop for Death,
He kindly stopped for me;
The carriage held but just ourselves
And Immortality.

We slowly drove, he knew no haste,
And I had put away
My labour, and my leisure too,
For his civility.

We passed the school where children played,
Their lessons scarcely done;
We passed the fields of gazing grain,
We passed the setting sun.

We paused before a house that seemed
A swelling of the ground;
The roof was scarcely visible,
The cornice but a mound.

Since then 'tis centuries; but each
Feels shorter than the day
I first surmised the horses' heads
Were toward eternity.

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