MCQOPTIONS
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MCQOPTIONS
This section includes 204 Mcqs, each offering curated multiple-choice questions to sharpen your Master of Arts in English (MA English) knowledge and support exam preparation. Choose a topic below to get started.
| 1. |
The dialogue of Shakespeare are sometimes spoilt by: |
| A. | Artificiality |
| B. | Difficult Diction |
| C. | Ruggedness |
| D. | None of the above |
| Answer» D. None of the above | |
| 2. |
For Johnson, in Shakespeare s works, even when the agency is supernatural the dialogue is level with ___. |
| A. | Tragedy |
| B. | Life |
| C. | Nature |
| D. | Character |
| Answer» C. Nature | |
| 3. |
A quibble is to Shakespeare, what luminous vapours are to |
| A. | Adventurers |
| B. | Farmers |
| C. | Sailors |
| D. | Travellers |
| Answer» E. | |
| 4. |
Shakespeare s drama reflects |
| A. | life |
| B. | nature |
| C. | chaos |
| D. | order |
| Answer» B. nature | |
| 5. |
The object of all criticism according to Johnson is to make the obscure and the confused |
| A. | clear and understood |
| B. | focused and precise |
| C. | unobscured |
| D. | orderly |
| Answer» B. focused and precise | |
| 6. |
Shakespeare s characters portrays |
| A. | humanity |
| B. | nature |
| C. | art |
| D. | truth |
| Answer» B. nature | |
| 7. |
Johnson tries Shakespeare by the test of |
| A. | Coherence and cogence |
| B. | relevance and contemporariness |
| C. | relativity, clarity and imaginativity |
| D. | time, Nature and Universality |
| Answer» E. | |
| 8. |
The defect or fault in Shakespeare according to Johnson is that |
| A. | He sacrifices virtue to convenience |
| B. | He is so much more careful to please than to instruct |
| C. | He seems to write without any moral purpose. |
| D. | All of the above |
| Answer» B. He is so much more careful to please than to instruct | |
| 9. |
Who is the 'father of English poetry', the well of English undefiled according to Arnold? |
| A. | Milton |
| B. | Dante |
| C. | Shakespeare |
| D. | Chaucer |
| Answer» E. | |
| 10. |
Samuel Johnson defended Shakespeare's use of the |
| A. | comedy |
| B. | tragedy |
| C. | tragi-comedy |
| D. | none of the above |
| Answer» D. none of the above | |
| 11. |
Johnson said that Shakespeare showed no regard to |
| A. | The unity of time and place |
| B. | The unity of action |
| C. | Characterization |
| D. | Poetic language |
| Answer» B. The unity of action | |
| 12. |
According to Johnson what type of drama did Shakespeare write with much labour? |
| A. | Comedy |
| B. | Tragedy |
| C. | Tragi-comedy |
| D. | None of the above |
| Answer» C. Tragi-comedy | |
| 13. |
The touchstone method was propagated by |
| A. | Matthew Arnold |
| B. | T.S. Eliot |
| C. | F.R. Leavis |
| D. | William Wordsworth |
| Answer» B. T.S. Eliot | |
| 14. |
Wordsworth chosen the various aspects of __________ |
| A. | Royal and rich life |
| B. | War and peace life |
| C. | Humble and Rustic life |
| D. | Nature and poets life |
| Answer» D. Nature and poets life | |
| 15. |
Samuel Johnson was a writer of the |
| A. | 17th Century |
| B. | 18th Century |
| C. | 19th Century |
| D. | 20th Century |
| Answer» C. 19th Century | |
| 16. |
The different kinds of estimations propounded by Arnold were |
| A. | Historical, Personal and Real |
| B. | Didactic, Prosaic and Autotelic |
| C. | Personal, Historical, Complete |
| D. | None of the above |
| Answer» B. Didactic, Prosaic and Autotelic | |
| 17. |
Johnson said that Shakespeare often surpassed expectation or desire when he wrote |
| A. | Comedy |
| B. | tragedy |
| C. | Tragi-comedy |
| D. | All of the above |
| Answer» B. tragedy | |
| 18. |
Arnold defines poetry as |
| A. | The criticism of life, governed by the laws of poetic truth and poetic beauty . |
| B. | The breath and finer spirit of all knowledge . |
| C. | Not an expression of emotion, but as escape from emotion . |
| D. | A speaking picture with its end, to teach and delight . |
| Answer» B. The breath and finer spirit of all knowledge . | |
| 19. |
Samuel Johnson s Preface to Shakespeare was published in _________. |
| A. | 1756 |
| B. | 1770 |
| C. | 1800 |
| D. | 1765 |
| Answer» E. | |
| 20. |
In Preface to Shakespeare, Johnson defended Shakespeare s use of _________. |
| A. | tragic-comedy |
| B. | tragedy |
| C. | comedy |
| D. | None of the above |
| Answer» B. tragedy | |
| 21. |
The two modes of imitation according to Dr. Johnson are |
| A. | Tragedy and comedy |
| B. | Tragedy and tragicomedy |
| C. | Tragicomedy and Comedy |
| D. | None of the above |
| Answer» B. Tragedy and tragicomedy | |
| 22. |
Johnson is of the opinion that Shakespeare writes without moral purpose and is more careful to please than to ___________. |
| A. | dictate |
| B. | instruct |
| C. | sacrifice |
| D. | inform |
| Answer» C. sacrifice | |
| 23. |
Johnson praises Shakespeare and comments that his drama is the mirror of __________. |
| A. | himself |
| B. | nature |
| C. | life |
| D. | his family members |
| Answer» D. his family members | |
| 24. |
Shakespeare was the man, who, of all modern and perhaps ancient poets, had the largest and most comprehensive soul was said by |
| A. | Samuel Johnson |
| B. | Matthew Arnold |
| C. | John Dryden |
| D. | Boyle |
| Answer» D. Boyle | |
| 25. |
Johnson insists that Shakespeare s mode of composition |
| A. | Was inconsistent |
| B. | Lacked seriousness |
| C. | Remained the same |
| D. | Changed constantly |
| Answer» D. Changed constantly | |
| 26. |
When we read a Shakespearean play, we are not bothered by consideration of |
| A. | Characterization |
| B. | Dialogue |
| C. | Time and Place |
| D. | Humour and Pathos |
| Answer» D. Humour and Pathos | |
| 27. |
Shakespeare s first defect according to Johnson was that Shakespeare |
| A. | Sacrifices virtue to convenience |
| B. | He disregarded the distinction of time and place |
| C. | His plots are loose |
| D. | His declamations are cold and weak |
| Answer» B. He disregarded the distinction of time and place | |
| 28. |
According to Johnson, the plays of Shakespeare were originally classified into |
| A. | Comedies and tragedies |
| B. | Comedies, tragedies and histories |
| C. | Comedies, tragedies and love stories |
| D. | None of the above |
| Answer» C. Comedies, tragedies and love stories | |
| 29. |
In the violation of Unities, Johnson |
| A. | Criticizes Shakespeare |
| B. | Praises Shakespeare |
| C. | Follows Shakespeare |
| D. | Defends Shakespeare |
| Answer» E. | |
| 30. |
According to Johnson, Shakespeare presented nature |
| A. | Faithfully |
| B. | Artificially |
| C. | Foolishly |
| D. | Unrealistically |
| Answer» B. Artificially | |
| 31. |
Regarding the observance of the three unities in a play, Dr. Johnson's view is that |
| A. | Only the Unity of Time should be observed |
| B. | Only the Unity of Action should be observed |
| C. | Only the Unity of Place should be observed |
| D. | All the three unities should be observed |
| Answer» C. Only the Unity of Place should be observed | |
| 32. |
Which of the following critics preferred Shakespeare's comedies to his tragedies? |
| A. | Dryden |
| B. | Pope |
| C. | Johnson |
| D. | Addison |
| Answer» D. Addison | |
| 33. |
Eliot says that the function of a critic is to ______ a work of art |
| A. | explain |
| B. | elucidate |
| C. | publish |
| D. | contemplate |
| Answer» C. publish | |
| 34. |
In T.S Eliot's "The Function of Criticism'', he mentions that the ____ should be altered by the ___, as much as the ___ is altered by the ____. |
| A. | future, past & past, future |
| B. | present, past & past, present |
| C. | future, present & present, future |
| D. | past, present & present, past |
| Answer» E. | |
| 35. |
What is the commentation and exposition of works of art by means of written words according to Eliot? |
| A. | philosophy |
| B. | Literature |
| C. | criticism |
| D. | creativity |
| Answer» D. creativity | |
| 36. |
Eliot mentions that the end of criticism appears to be the elucidation of works of art and |
| A. | the correction of taste |
| B. | the convection of taste |
| C. | the conversion of taste |
| D. | the conduction of taste |
| Answer» B. the convection of taste | |
| 37. |
What according to Eliot does the inner voice sound like? |
| A. | trusting one's instincts |
| B. | doing as one likes |
| C. | doing what's necessary |
| D. | doing as other's like |
| Answer» C. doing what's necessary | |
| 38. |
Who according to Eliot are the real corruptors of taste? |
| A. | those that supply lies and fiction |
| B. | those that supply opinions or fancy |
| C. | those that supply truth or facts |
| D. | those that supply criticism |
| Answer» C. those that supply truth or facts | |
| 39. |
According to Eliot the most important qualification that a critic must have is |
| A. | a highly developed sense of understanding |
| B. | a highly developed sense of fact |
| C. | a highly developed sense of meaning |
| D. | a highly developed sense of intuition |
| Answer» C. a highly developed sense of meaning | |
| 40. |
T.S. Eliot has stated that criticism is the elucidation of work of _________ and the correction of _________. |
| A. | arts, taste |
| B. | writers, sense |
| C. | individual, mistake |
| D. | none of the above |
| Answer» B. writers, sense | |
| 41. |
Eliot states that to be an ideal critic, one has to develop an extraordinary sense of _____. |
| A. | imagination |
| B. | taste |
| C. | fact |
| D. | vision |
| Answer» D. vision | |
| 42. |
Eliot says that inner voice is _________. |
| A. | hoarse |
| B. | Whiggery |
| C. | artificial |
| D. | raspy |
| Answer» C. artificial | |
| 43. |
What, according to T.S. Eliot are the chief tools of the critic? |
| A. | Comparison and analysis |
| B. | Analysis and exposition |
| C. | Exposition and comparison |
| D. | None of the above |
| Answer» B. Analysis and exposition | |
| 44. |
Eliot believes that artists unite consciously or unconsciously under a common |
| A. | Inheritance and cause |
| B. | Religion and faith |
| C. | System of Believe |
| D. | Habit and cause |
| Answer» B. Religion and faith | |
| 45. |
The commentation and exposition of works of art, according to Eliot, is |
| A. | Elucidation |
| B. | Exposition |
| C. | Collaboration |
| D. | Criticism |
| Answer» E. | |
| 46. |
Criticism must always profess an _______ |
| A. | Observation |
| B. | Analysis of works of art |
| C. | Objective |
| D. | End in view |
| Answer» E. | |
| 47. |
The lemon squeezer critic is opposed by |
| A. | Middleton Murry |
| B. | T.S. Eliot |
| C. | Samuel Johnson |
| D. | F.R. Leavis |
| Answer» C. Samuel Johnson | |
| 48. |
Eliot said that Mathew Arnold overlooks the importance of |
| A. | Inner Voice |
| B. | Creation in criticism |
| C. | Criticism in creation |
| D. | None of the above |
| Answer» D. None of the above | |
| 49. |
The chief tools of a critic are |
| A. | Truth and knowledge |
| B. | Facts and Science |
| C. | Comparison and analysis |
| D. | Reading and understanding |
| Answer» D. Reading and understanding | |
| 50. |
No writer according to Eliot is_____ |
| A. | Self-reliant |
| B. | Self-supported |
| C. | Self-sufficient |
| D. | Selfish |
| Answer» D. Selfish | |