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MCQOPTIONS
This section includes 297 Mcqs, each offering curated multiple-choice questions to sharpen your Master of Arts in English (M.A. English) knowledge and support exam preparation. Choose a topic below to get started.
| 101. |
The Sanskrit term for the ‘the pathetic’ |
| A. | srinkara |
| B. | hasa |
| C. | soka. |
| D. | vira |
| Answer» D. vira | |
| 102. |
The Sanskrit term for the ‘the ludicrous’ |
| A. | srinkara |
| B. | hasa |
| C. | soka |
| D. | vira |
| Answer» C. soka | |
| 103. |
The Sanskrit term for the ‘the amorous’ |
| A. | srinkara |
| B. | hasa |
| C. | soka |
| D. | vira |
| Answer» B. hasa | |
| 104. |
Which among the following is the primary emotion? |
| A. | the fearful |
| B. | the jealous |
| C. | the anxious |
| D. | the despair |
| Answer» B. the jealous | |
| 105. |
Which among the following is not the primary emotion? |
| A. | the amorous |
| B. | the pathetic |
| C. | the heroic |
| D. | the jealous |
| Answer» E. | |
| 106. |
Who is the author of the work “Abhinava Bharti” |
| A. | abhinava gupta |
| B. | abhinavabharati |
| C. | bhattatauta |
| D. | lollota |
| Answer» B. abhinavabharati | |
| 107. |
In “Sakumtalam”, the blooming flowers ,the fragrant air and the furlingRiver Malini are instances of --------- |
| A. | uddipanavibhava |
| B. | anubhava |
| C. | vyabhicaribhava |
| D. | alambanavibhava |
| Answer» B. anubhava | |
| 108. |
In “Sakumtalam”, Sakumtala is --------to excite Sringara in Dushyanta |
| A. | vibhava |
| B. | anubhava |
| C. | vyabhicaribhava |
| D. | alambanavibhava |
| Answer» E. | |
| 109. |
In “Sakumtalam”, Dushyanta is --------to excite Sringara in Sakuntla. |
| A. | vibhava |
| B. | anubhava |
| C. | vyabhicaribhava |
| D. | alambanavibhava |
| Answer» E. | |
| 110. |
A woman waiting for her lover, experiencing emotions like jealousy,despair anxiety and over-fondness is an instance for------ |
| A. | vibhava |
| B. | anubhava |
| C. | vyabhicaribhava |
| D. | alambanavibhava |
| Answer» D. alambanavibhava | |
| 111. |
The emotion of anger being accompanied by biting of the teeth is aninstance of ------ |
| A. | vibhava |
| B. | anubhava |
| C. | vyabhicaribhava |
| D. | none of the above |
| Answer» C. vyabhicaribhava | |
| 112. |
--------are the psycho-physical manifestation which a particular emotionmakes upon characters |
| A. | vibhava |
| B. | anubhava |
| C. | vyabhicaribhava |
| D. | none of the above |
| Answer» C. vyabhicaribhava | |
| 113. |
According to Bharata -------are the objective conditions that inspire anemotion |
| A. | vibhava |
| B. | anubhava |
| C. | vyabhicaribhava |
| D. | uddipanavibhava |
| Answer» E. | |
| 114. |
According to Bharata -------are the characters with respect to whom anemotion arouses |
| A. | vibhava |
| B. | anubhava |
| C. | vyabhicaribhava |
| D. | alambanavibhava |
| Answer» E. | |
| 115. |
According to Bharata -------are the various temporary emotions |
| A. | vibhava |
| B. | anubhava |
| C. | vyabhicaribhava |
| D. | none of the above |
| Answer» D. none of the above | |
| 116. |
According to Bharata, Vibhavas are of -----kinds |
| A. | two |
| B. | three |
| C. | four |
| D. | six |
| Answer» B. three | |
| 117. |
According to Bharata -------are the objective conditons producing anemotion |
| A. | vibhava |
| B. | anubhava |
| C. | vyabhicaribhava |
| D. | none of the above |
| Answer» B. anubhava | |
| 118. |
In which work is the theory of rasa, originally expounded? |
| A. | kavyakautuka |
| B. | vakroktijivita |
| C. | abhinavabharati |
| D. | natyasastra |
| Answer» E. | |
| 119. |
Which among the following is the maxim concerning rasa? |
| A. | vibhavanubhavasamyogadrasanispatti |
| B. | kavyasyatamadvani |
| C. | sadbaranikaran |
| D. | none of the above |
| Answer» B. kavyasyatamadvani | |
| 120. |
Who is the originator of Rasa theory |
| A. | bharata |
| B. | abhinavagupta |
| C. | bhatatauta |
| D. | samkuka |
| Answer» B. abhinavagupta | |
| 121. |
The earliest work of Indian aesthetics is ------ |
| A. | natyasastra |
| B. | kavyakautuka |
| C. | vakroktijivita |
| D. | alankarasastra |
| Answer» B. kavyakautuka | |
| 122. |
The concept of objective correlative is associated with----- |
| A. | aristotle |
| B. | plato |
| C. | words worth |
| D. | t. s eliot. |
| Answer» E. | |
| 123. |
According to Aristotle, tragedy was born from ------ |
| A. | comedy |
| B. | satire |
| C. | the nobler actions of good men |
| D. | the mean actions of bad men. |
| Answer» D. the mean actions of bad men. | |
| 124. |
Which of the following statements are true with respect to Aristotle’sconcept? |
| A. | comedy is inferior to tragedy |
| B. | epic is later in origin than tragedy |
| C. | epic is later in origin than comedy |
| D. | tragedy is inferior to comedy. |
| Answer» B. epic is later in origin than tragedy | |
| 125. |
An epic, says Aristotle is meant to be------ |
| A. | staged |
| B. | recited |
| C. | dramatized |
| D. | acted |
| Answer» C. dramatized | |
| 126. |
Aristotle traces the roots of comedy to ----- |
| A. | satire |
| B. | humour |
| C. | phallic songs |
| D. | epic |
| Answer» B. humour | |
| 127. |
Who defined poetry as spontaneous overflow of powerful feelings whichtakes its origin from emotions recollected in tranquility? |
| A. | aristotle |
| B. | plato |
| C. | words worth |
| D. | coleridge |
| Answer» D. coleridge | |
| 128. |
Who made the distinction between ‘fancy’ and ‘imagination’? |
| A. | aristotle |
| B. | plato |
| C. | words worth |
| D. | coleridge |
| Answer» E. | |
| 129. |
Who defined tragedy as the imitation of an action that is serious,complete and of certain magnitude? |
| A. | aristotle |
| B. | plato |
| C. | words worth |
| D. | coleridge |
| Answer» B. plato | |
| 130. |
Who made the distinction between simple and complex plot on the basisof anagnorisis and peripetia |
| A. | aristotle |
| B. | plato |
| C. | words worth |
| D. | coleridge |
| Answer» B. plato | |
| 131. |
The tragic error of Othello is ----- |
| A. | procrastination |
| B. | uncontrollable anger |
| C. | suspicious jealousy |
| D. | over-vaulting ambition |
| Answer» D. over-vaulting ambition | |
| 132. |
The tragic error of KING LEAR is ----- |
| A. | procrastination |
| B. | uncontrollable anger |
| C. | suspicious jealousy |
| D. | over-vaulting ambition |
| Answer» C. suspicious jealousy | |
| 133. |
The tragic error of Macbeth is ----- |
| A. | procrastination |
| B. | uncontrollable anger |
| C. | suspicious jealousy |
| D. | over-vaulting ambition |
| Answer» E. | |
| 134. |
The tragic error of Hamlet is ----- |
| A. | procrastination |
| B. | uncontrollable anger |
| C. | suspicious jealousy |
| D. | over-vaulting ambition |
| Answer» B. uncontrollable anger | |
| 135. |
Who coined the phrase ‘tragic flaw’ for hamartia? |
| A. | t.s. eliot |
| B. | washington alston |
| C. | a. c. ward |
| D. | bernard shaw. |
| Answer» D. bernard shaw. | |
| 136. |
The English equivalent of the term “hamartia” |
| A. | tragedy |
| B. | tragic flaw |
| C. | tragic hero |
| D. | tragic mistake |
| Answer» C. tragic hero | |
| 137. |
Aristotle classified plot into simple and complex plot on the basis of ------ |
| A. | hamartia & catharsis |
| B. | anagnoris&peripetia |
| C. | sublimity & decorum |
| D. | all the above. |
| Answer» C. sublimity & decorum | |
| 138. |
Which among the following is the right order in which Aristotle arrangedthe constituent parts in tragedy based of their significance? |
| A. | character, plot, thought, diction, song, & spectacle |
| B. | plot, character, diction, though, spectacle & song |
| C. | plot, character, thought, diction, song & spectacle |
| D. | plot, character, thought, diction, spectacle, & song. |
| Answer» D. plot, character, thought, diction, spectacle, & song. | |
| 139. |
The term used by Aristotle to mean “reversal of situations” in a tragedy |
| A. | hamartia |
| B. | anagnorisis |
| C. | catharsis |
| D. | peripetia |
| Answer» E. | |
| 140. |
The term used by Aristotle to mean ‘recognition’ |
| A. | hamartia |
| B. | anagnorisis |
| C. | catharsis |
| D. | peripetia |
| Answer» C. catharsis | |
| 141. |
The term used by Aristotle to mean tragic flaw is ---- |
| A. | hamartia |
| B. | anagnorisis |
| C. | catharsis |
| D. | peripetia |
| Answer» B. anagnorisis | |
| 142. |
Purgation of the emotions of pity and fear in tragedy is referred to as------ |
| A. | hamartia |
| B. | anagnorisis |
| C. | catharsis |
| D. | peripetia |
| Answer» D. peripetia | |
| 143. |
According to Aristotle, poetry springs from the instincts of------ |
| A. | imitation |
| B. | rhythm and harmony |
| C. | both ‘a’ & ‘b’ |
| D. | none of the above |
| Answer» D. none of the above | |
| 144. |
In tragedy, the emotions of pity and fear are aroused with a view to ------- |
| A. | hamartia |
| B. | anagnorisis |
| C. | catharsis |
| D. | peripetia |
| Answer» D. peripetia | |
| 145. |
---------arouses the emotions of pity and fear |
| A. | tragedy |
| B. | comedy |
| C. | epic |
| D. | revenge play |
| Answer» B. comedy | |
| 146. |
Aristotle considers------as the end of poetry |
| A. | pleasure |
| B. | satire |
| C. | comedy |
| D. | laughter |
| Answer» B. satire | |
| 147. |
Imitation, according to Plato, is ------- |
| A. | an inborn natural instinct |
| B. | achieved with much labour |
| C. | ascribed |
| D. | none of the above |
| Answer» B. achieved with much labour | |
| 148. |
In which of the following ways, according to Aristotle, does the poetimitate things? |
| A. | as they were or are |
| B. | as they are said or thought to be |
| C. | as they ought be |
| D. | all the above |
| Answer» E. | |
| 149. |
The last chapter of “poetics’ is devoted to ----- |
| A. | poetry |
| B. | a comparison of epic poetry and tragedy |
| C. | exclusively to tragedy |
| D. | poetic diction |
| Answer» C. exclusively to tragedy | |
| 150. |
Aristotle calls poet an ------- |
| A. | actor |
| B. | imitator |
| C. | interpreter |
| D. | evaluator |
| Answer» C. interpreter | |