British Literature Solved Questions

Section Overview: This is the largest section of the exam. It covers the core chronology of British Literature from the Medieval period to Post-Modernism.

Q1. Which of the following novels is not the part of Samuel Beckett's trilogy published together in London in 1959?
  • 1. Molloy
  • 2. Murphy
  • 3. Malone Dies
  • 4. The Unnamable
Correct Answer: 2. Murphy

Detailed Explanation & Research:

Samuel Beckett, an Irish writer who wrote extensively in both English and French, is most famous in the realm of prose for his post-war trilogy.

  • The Trilogy: The three novels that constitute "The Trilogy" are Molloy (1951), Malone Dies (Malone meurt, 1951), and The Unnamable (L'Innommable, 1953).
  • Publication History: These works were originally written in French between 1947 and 1950. Beckett subsequently translated them into English. They were first published as a single-volume trilogy in London by John Calder in 1959.
  • The "Odd One Out": Murphy (1938) was Beckett’s first published novel. Unlike the trilogy, it was originally written in English and belongs to his earlier, more "Joycean" period of writing. While it shares themes of mental alienation and physical inertia, it is structurally and chronologically separate from the famous 1950s trilogy.

Why this question is asked in UGC NET English:

  • Canonical Importance: Samuel Beckett is a central figure in Post-modernism and the Theatre of the Absurd. His shift from English to French and back to English is a major topic of stylistic study.
  • Chronology and Groupings: The NTA frequently tests a candidate's ability to categorize works within a famous author's career. Distinguishing between Beckett’s early novels (Murphy, Watt) and his mature "Trilogy" is a standard test of literary history.
  • The Shift in Form: The trilogy represents the dissolution of the traditional novel. Moving from Molloy to The Unnamable, the narrative voice becomes increasingly fragmented and abstract. Understanding this progression is essential for any scholar of 20th-century literature.

Analysis of Other Options (Why they are part of the Trilogy):

  • Molloy: This is the first part of the trilogy. It consists of two internal monologues: the first by a vagrant named Molloy and the second by a private detective named Jacques Moran who is sent to find him.
  • Malone Dies: The second part of the trilogy. It features the character Malone, who is bedridden and waiting for death while telling himself stories to pass the time.
  • The Unnamable: The final part of the trilogy. It is a radical piece of fiction where the protagonist (who may or may not be all the previous Beckett characters) exists as a mere "voice" in a void, unable to stop speaking but having nothing certain to say.
Q2. Which of the following settings of Harold Pinter's play The Birthday Party is incorrect?
  • 1. ACT I - A morning in winter
  • 2. ACT I - A morning in summer
  • 3. ACT II - Evening of the same day
  • 4. ACT III - The next morning
Correct Answer: 1. ACT I - A morning in winter

Detailed Explanation & Research:

The Birthday Party (1958) is one of Harold Pinter’s most famous plays and a hallmark of the "Comedy of Menace."

  • The Seasonal Setting: The play is set in a "living-room of a house in a seaside town." The time is specifically summer, which is crucial to the atmosphere. Seaside towns in Britain are typically bustling in the summer, yet the boarding house where the protagonist, Stanley, resides feels isolated and stagnant.
  • The Narrative Timeline:
    • Act I begins on a morning in summer with the characters Meg and Petey at breakfast.
    • Act II takes place during the evening of the same day, featuring the titular "birthday party" which descends into a nightmare of interrogation and psychological breakdown.
    • Act III occurs the next morning, showing the aftermath of the party and Stanley’s eventual forced departure from the house.
  • The Incorrect Option: Therefore, "A morning in winter" is factually incorrect according to the text of the play.

Why this question is asked in UGC NET English:

  • Focus on 20th Century Drama: Harold Pinter is a foundational figure in modern British drama. His work is central to the syllabus because he revolutionized stage dialogue through the use of the "Pinter Pause" and the exploration of mundane settings turned threatening.
  • Close Reading of Primary Texts: The UGC NET often moves beyond general themes to test specific details such as time, location, and act-wise settings. This ensures that candidates have engaged with the primary texts rather than just summaries.
  • Atmospheric Significance: In Pinter’s plays, the setting is never neutral. The contrast between the expected "summer holiday" vibe of a seaside town and the claustrophobic terror inside the house is a key element for academic analysis.
Q3. Assertion A: The best-known cycles of miracle or mystery plays come from York, Wakefield, and Chester.
Reason R: King Alfred encouraged the use of the vernacular in the late ninth century, but he made it clear that this was very much second best, necessitated by the deplorably low standards of Latin learning in his kingdom.
  • 1. Both A and R are correct and R is the correct explanation of A
  • 2. Both A and R are correct but R is NOT the correct explanation of A
  • 3. A is correct but R is not correct
  • 4. A is not correct but R is correct
Correct Answer: 2. Both A and R are correct but R is NOT the correct explanation of A

Detailed Explanation & Research:

  • Analysis of Assertion (A): This is a factually correct statement regarding Middle English Literature. The "Mystery Cycles" were series of plays based on the Bible, performed by town guilds. The four most famous surviving cycles are the York cycle (the most complete with 48 plays), the Wakefield cycle (famous for the Second Shepherds' Play), the Chester cycle, and the N-Town cycle. These plays typically flourished between the 14th and 16th centuries.
  • Analysis of Reason (R): This is also a factually correct statement regarding Old English Literature. In the late 9th century, King Alfred the Great lamented the decline of Latin scholarship due to Viking raids. In his famous Preface to the Pastoral Care, he argued for translating essential Latin texts into the vernacular (Old English) so that his people could remain educated, though he still viewed Latin as the primary language of the Church and high scholarship.
  • The Disconnect: While both statements are true, there is no logical or causal link between them. King Alfred’s 9th-century educational reforms in prose did not "explain" or lead directly to the 14th-century development of town-based mystery play cycles. The mystery plays evolved from liturgical drama (plays within the church) and the expansion of the feast of Corpus Christi, hundreds of years after Alfred's death.

Why this question is asked in UGC NET English:

  • Chronological Literacy: The NTA often pairs two true statements from different eras (Old English vs. Middle English) to see if a candidate can spot the chronological gap. Alfred is 9th century; Mystery Plays are 14th–15th century.
  • History of the Vernacular: A major theme in the NET syllabus is the evolution of the English language. This question tests whether you understand the different motivations for using English: Alfred used it for necessity/education, while the Mystery plays used it for popular accessibility and entertainment.
  • Foundational Drama: Mystery and Miracle plays are the roots of English drama, leading eventually to Marlowe and Shakespeare. Understanding their geographic origins (York, Chester, etc.) is fundamental.
Q4. Arrange the following works of Thomas Hardy in order of their publication:
A. The Trumpet Major
B. The Hand of Ethelberta
C. Tess of the d’Urbervilles
D. The Woodlanders
E. The Return of the Native
  • 1. B, E, A, D, C
  • 2. E, D, A, B, C
  • 3. C, B, A, D, E
  • 4. D, B, E, A, C
Correct Answer: 1. B, E, A, D, C

Detailed Explanation & Chronology:

To answer this correctly, one must know the publication timeline of Hardy’s "Wessex Novels".

  1. B. The Hand of Ethelberta (1876): A lesser-known "comedy of manners" published early in his career after Far from the Madding Crowd.
  2. E. The Return of the Native (1878): Established the brooding landscape of Egdon Heath as a central "character".
  3. A. The Trumpet Major (1880): Hardy’s only historical novel, set during the Napoleonic Wars. Lighter in tone than his tragedies.
  4. D. The Woodlanders (1887): Explores complex themes of social class and divorce law, marking a shift toward somber realism.
  5. C. Tess of the d’Urbervilles (1891): One of his final and most famous novels, causing a scandal due to its sympathetic portrayal of a "fallen woman".

The Sequence: 1876 (B) → 1878 (E) → 1880 (A) → 1887 (D) → 1891 (C).

Why this question is asked in UGC NET English:

  • Mastery of the Victorian Novel: Hardy is mandatory. You must know his evolution from pastoral romance to fatalistic realism.
  • Distinguishing Minor vs. Major Works: The question uses minor titles (Trumpet Major, Ethelberta) to test if you know his full bibliography, not just the famous ones.
  • Wessex Chronology: It tracks how the fictional world of Wessex grew over twenty years.
Q5. Identify the novelist who wrote the following lines; and to whom is it written? “In delineating male character, I labour under disadvantages; intuition and theory will not adequately supply the place of observation and experience. When I write about women, I am sure of my ground — in the other case I am not so sure.”
  • 1. Charlotte Bronte wrote to James Taylor
  • 2. Jane Austen wrote to Elizabeth Sewell
  • 3. Margaret Oliphant wrote to Isabella Blackwood
  • 4. Charlotte Yonge wrote to Felicia Skene
Correct Answer: 1. Charlotte Bronte wrote to James Taylor

Detailed Explanation & Research:

This quote is taken from a letter dated 1 March 1849, written by Charlotte Brontë to James Taylor (a manager at her publishing house, Smith, Elder & Co.).

  • Context: Brontë was working on her novel Shirley. Unlike the intimate first-person Jane Eyre, Shirley attempted a broader social canvas with more male characters (like mill-owner Robert Moore).
  • The Struggle: She reflects on the limitations of being a woman in the 19th century. She felt she could "intuit" male feelings but lacked the "observation and experience" of male-only spaces (clubs, business) that men could access freely.

Why this question is asked in UGC NET English:

  • Victorian Gender Politics: It illustrates the "separate spheres" ideology that restricted female authors.
  • Epistolary History: The NTA often tests personal letters (Keats, Bronte, etc.) to gauge "behind-the-scenes" context.
  • Critical Background of Shirley: Since Shirley is her most political novel, her difficulty writing it is a key academic topic.
Q6. Which of the following description of characters from William Congreve’s The Way of the World is incorrect?
  • 1. Fainall, in love with Mrs. Marwood
  • 2. Mirabell, in love with Mrs. Millamant
  • 3. Witwoud, follower of Mrs. Millamant
  • 4. Petulant, follower of Mrs. Marwood
Correct Answer: 4. Petulant, follower of Mrs. Marwood

Detailed Explanation & Research:

William Congreve’s The Way of the World (1700) is widely considered the masterpiece of the Comedy of Manners. Its plot is famously complex, involving a web of secret affairs, inheritance schemes, and verbal sparring.

  • Petulant's Actual Role: In the play, Petulant is a "witling"—a man who strives to be a wit but lacks the true sophistication of the hero, Mirabell. Both he and his friend Witwoud are suitors or "followers" of Mrs. Millamant. They are part of the "fashionable" crowd that surrounds her.
  • The Error in Option 4: While Petulant is a companion of the other characters, his romantic/social pursuit is directed toward the heroine, Millamant, not the antagonist, Mrs. Marwood.

Why this question is asked in UGC NET English:

  • Restoration Comedy Mastery: Congreve’s play is the definitive text of the era (1660–1700), characterized by "wit," "reputation," and "social performance."
  • Complex Plot Navigation: The NTA frequently asks questions about character pairings in this play because the relationships are intentionally convoluted. Testing who "follows" whom checks for deep engagement.
  • Stock Characters: Understanding the difference between the "True Wit" (Mirabell) and the "Fops" or "Witlings" (Witwoud and Petulant) is a foundational concept.

Analysis of Other Options (Why they are correct):

  • Fainall (Option 1): Correct. He is the antagonist, married to Lady Wishfort's daughter, but having a secret affair with Mrs. Marwood.
  • Mirabell (Option 2): Correct. The central romance. Famous for the "Proviso Scene" where they negotiate marriage terms.
  • Witwoud (Option 3): Correct. A fop who abandoned his country roots. Like Petulant, he hangs around Millamant to boost his social status.
Q7. G. B. Shaw’s Pygmalion dramatizes the __________ myth of a sculptor who fell in love with an ivory statue.
  • 1. Roman
  • 2. Greek
  • 3. Italian
  • 4. French
Correct Answer: 2. Greek

Detailed Explanation & Research:

George Bernard Shaw’s play Pygmalion (1913) takes its title and central conceit from Greek mythology.

  • The Original Myth: In Greek legend, Pygmalion was a sculptor who became disenchanted with real women and carved a statue of "ideal" womanhood out of ivory. He fell in love with it, and the goddess Aphrodite brought it to life (Galatea).
  • Shaw's Adaptation: Shaw reimagines this in the British class system. Professor Henry Higgins acts as the "sculptor" who takes a flower girl, Eliza Doolittle, and "sculpts" her into a lady by changing her speech.
  • The Subversion: Unlike the myth where they live happily ever after, Shaw subverts the ending. Eliza achieves independence and critiques Higgins, reflecting Shaw’s socialist/feminist concerns.

Why this question is asked in UGC NET English:

  • Myth and Modernity: It tests the relationship between Classical Literature and Modern Drama.
  • Intertextuality: Candidates are expected to know the origins of major works. This play is also the source for the musical My Fair Lady.

Why other options are wrong:

  • Roman (Option 1): While the Roman poet Ovid (in Metamorphoses) wrote the most famous version of the story, the myth itself originated in Greece (Cyprus).
Q8. Match the LIST-I with LIST-II:

LIST-I (Genre)
A. Dub Poetry
B. Bucolic Poetry
C. Confessional Poetry
D. Topographical Poetry

LIST-II (Poem)
I. “Tintern Abbey”
II. Ariel
III. The Dread Affair
IV. “Eclogues”
  • 1. A-II, B-I, C-III, D-IV
  • 2. A-III, B-IV, C-II, D-I
  • 3. A-IV, B-I, C-II, D-III
  • 4. A-I, B-II, C-III, D-IV
Correct Answer: 2. A-III, B-IV, C-II, D-I

Detailed Explanation & Research:

This question tests your ability to categorize canonical and contemporary poetry into specific generic traditions.

  • A-III: Dub Poetry — The Dread Affair: Dub poetry is a performance genre (1970s) set to reggae rhythms, often dealing with political themes. The Dread Affair is a seminal collection by Linton Kwesi Johnson.
  • B-IV: Bucolic Poetry — “Eclogues”: Derived from the Greek boukolos (cowherd), this genre focuses on idealized shepherd life. Virgil’s Eclogues are the foundation of this tradition.
  • C-II: Confessional Poetry — Ariel: A mid-20th-century movement dealing with private, taboo subjects (trauma, mental illness). Sylvia Plath’s Ariel (1965) is the most famous example.
  • D-I: Topographical Poetry — “Tintern Abbey”: Also known as "locodescriptive" poetry, it describes a specific landscape to trigger philosophical reflection. Wordsworth’s poem is the quintessential example.

Why this question is asked in UGC NET English:

  • Genre Classification: The NTA expects candidates to distinguish between broad categories (like Lyric) and specific sub-genres (like Dub or Topographical).
  • Breadth of the Canon: It spans from Classical antiquity (Virgil) to Romanticism (Wordsworth) to Post-colonialism (Johnson).
Q9. Which of the following novels is not an example of a dystopian novel?
  • 1. George Orwell’s Nineteen Eighty-four
  • 2. Jane Austen’s Pride and Prejudice
  • 3. Aldous Huxley’s Brave New World
  • 4. William Golding’s Lord of the Flies
Correct Answer: 2. Jane Austen’s Pride and Prejudice

Detailed Explanation & Research:

To identify the "odd one out," we must define the Dystopian genre: a fictional society that is frightening, dehumanized, or tyrannical.

  • Jane Austen’s Pride and Prejudice (1813): This is a classic Comedy of Manners and Regency Romance. It focuses on domestic life, marriage, and social standing, depicting a structured, polite society rather than a futuristic nightmare.
  • The Dystopians:
    • Nineteen Eighty-four (Orwell): Totalitarian state, surveillance, and "Thought Police."
    • Brave New World (Huxley): Genetic engineering and social conditioning.
    • Lord of the Flies (Golding): A sociological dystopia showing the descent into savagery.

Why this question is asked in UGC NET English:

  • Genre Identification: A fundamental skill is distinguishing between "Realism" (Austen) and "Speculative Fiction" (Orwell/Huxley).
  • Thematic Contrasts: It highlights the difference between novels that celebrate social order (Austen) and those that warn of its collapse.
Q10. Which of the following statements about the Kailyard School are correct?

A. In the 1890s there was a flowering of the Scottish provincial novel in a highly sentimental and romanticised form which came to be known as the Kailyard School.
B. The kailyard was the cabbage patch at the back of a village house, and it designates the small-town preoccupations with which the novelists dealt.
C. Dorothy L. Sayers in her novel Peter Pan the popular lower-class sleuth in novels.
D. J.I.M. Stewart, a novelist of the school, writes a novel in this category Lament for a Maker with his friend Lord Peter Wimsey.
E. Barrie’s A Window in Thrums, based on his home town of Kirriemuir in Angus, remains the best known of this short-lived burst of parochial, vernacular romanticism.
  • 1. A, B, and E Only
  • 2. B, C, and D Only
  • 3. A, D, and E Only
  • 4. A, B, and C Only
Correct Answer: 1. A, B, and E Only

Detailed Explanation & Research:

The Kailyard School (from the Scots word for 'cabbage patch') refers to a specific movement in Scottish literature during the 1890s.

  • Statement A (Correct): The movement was characterized by a sentimental and romanticized depiction of rural Scottish life, often focusing on domesticity and religion.
  • Statement B (Correct): The term "Kailyard" literally means a cabbage patch behind a cottage. It symbolized the parochial, small-town focus of writers who preferred village life to industrial reality.
  • Statement E (Correct): J.M. Barrie (famous for Peter Pan) was a leading figure. His work A Window in Thrums (1889) is a quintessential Kailyard text, providing a nostalgic look at his hometown of Kirriemuir.

Why this question is asked in UGC NET English:

  • Scottish Literary Identity: The Kailyard School is a major topic because it was later criticized by the "Scottish Renaissance" (e.g., Hugh MacDiarmid) for being too "saccharine."
  • Literary Schools: Identifying specific movements (Lake Poets, Kailyard School) is essential for categorizing authors.
  • J.M. Barrie's Range: It tests the knowledge that the creator of Peter Pan was also a serious novelist of Scottish rural life.

Analysis of Other Options (Why they are wrong):

  • Statement C: Factually incorrect. Dorothy L. Sayers wrote detective fiction (Lord Peter Wimsey), not Peter Pan.
  • Statement D: J.I.M. Stewart (Michael Innes) was a 20th-century writer, not part of the 1890s Kailyard School. Lament for a Maker is a mystery novel.
Q11. Match the LIST-I with LIST-II:

LIST-I (Author)
A. Francis Bacon
B. Thomas Fuller
C. Abraham Cowley
D. Sir Thomas Browne

LIST-II (Work)
I. “Of Marriage”
II. “Of Solitude”
III. “An Essay on Death”
IV. “Of Toleration”
  • 1. A-II, B-I, C-III, D-IV
  • 2. A-III, B-I, C-IV, D-II
  • 3. A-III, B-II, C-I, D-IV
  • 4. A-III, B-II, C-I, D-IV
Correct Answer: 3 (or 4). A-III, B-II, C-I, D-IV

Detailed Explanation & Research:

This question highlights the 17th-century prose writers who transitioned the essay from the aphoristic Renaissance style to the personal Restoration style.

  • A-III: Francis Bacon — “An Essay on Death”: Known as the "Father of the English Essay," Bacon is famous for his detached, objective style.
  • B-II: Thomas Fuller — “Of Solitude”: A prolific historian and divine. His work The Holy State and the Profane State contains essays on moral subjects like solitude.
  • C-I: Abraham Cowley — “Of Marriage”: Cowley was key in making the essay more personal ("Of Myself"). Note: While Bacon also wrote "Of Marriage and Single Life," the logic of this specific question pairs Cowley here.
  • D-IV: Sir Thomas Browne — “Of Toleration”: Noted for his "leisurely, symbolical, and melancholic" prose (Religio Medici), exploring faith and tolerance.

Why this question is asked in UGC NET English:

  • Evolution of Prose: It tests if you can distinguish between Bacon's aphorisms, Fuller's history, Browne's metaphysics, and Cowley's personal tone.
  • Title Recognition: Many early essayists used the "Of..." title format (inspired by Montaigne). You must know the stylistic nuances to match them correctly.
Q12. Assertion A: Bacon's position as an essayist is peculiar.
Reason R: He has no resemblance to Addison or Hazlitt.
  • 1. Both A and R are correct and R is the correct explanation of A
  • 2. Both A and R are correct but R is NOT the correct explanation of A
  • 3. A is correct but R is not correct
  • 4. A is not correct but R is correct
Correct Answer: 1. Both A and R are correct and R is the correct explanation of A

Detailed Explanation & Research:

  • Analysis of Assertion (A): Francis Bacon is the "Father of the English Essay," but his style is "peculiar" because he does not follow the subjective, "chatty" model established by Montaigne. His essays are collections of apothegms—practical, detached wisdom.
  • Analysis of Reason (R): This is factually correct. Addison (18th c.) and Hazlitt (19th c.) represent the "Familiar Essay" tradition—conversational and personal. Bacon is impersonal and utilitarian.
  • The Connection: Bacon’s position is "peculiar" specifically because his style remains an outlier. The writers who followed him (like Addison/Hazlitt) took the essay in a completely different direction.

Why this question is asked in UGC NET English:

It tests the understanding of the evolution of the essay: from Bacon's formal aphorisms to the informal "Familiar Essay" of the Romantics.

Q13. Match the LIST-I (Characters) with LIST-II (Novels):

LIST-I (Characters)
A. Marya Zelli
B. Julia Marin
C. Rosamund Stacey
D. Ruth Patchett

LIST-II (Novels)
I. After Leaving Mr. Mackenzie
II. The Life and Loves of a She-Devil
III. Quartet
IV. The Millstone
  • 1. A-II, B-IV, C-I, D-III
  • 2. A-I, B-II, C-III, D-IV
  • 3. A-III, B-I, C-IV, D-II
  • 4. A-IV, B-III, C-II, D-I
Correct Answer: 3. A-III, B-I, C-IV, D-II

Detailed Explanation & Chronology:

This question tests knowledge of 20th-century women's fiction, focusing on isolation and revenge.

  • A-III: Marya Zelli — Quartet (1928): Jean Rhys's first novel. Marya is vulnerable and adrift in Paris, entangled in a destructive relationship.
  • B-I: Julia Marin — After Leaving Mr. Mackenzie (1931): Another Rhys heroine whose life spirals after her lover cuts off her allowance.
  • C-IV: Rosamund Stacey — The Millstone (1965): Margaret Drabble's protagonist who chooses to raise a child alone in 1960s London, exploring the "millstone" of motherhood.
  • D-II: Ruth Patchett — The Life and Loves of a She-Devil (1983): Fay Weldon's iconic character who transforms herself to destroy the husband who left her.

Why this question is asked in UGC NET English:

  • Jean Rhys & Subjectivity: Knowing Rhys's early heroines is essential for understanding her later masterpiece, Wide Sargasso Sea.
  • Contemporary Classics: Drabble and Weldon mark a shift toward frank depictions of female autonomy.
Q14. Arrange the following events in chronological order of their appearance related to George Bernard Shaw’s Arms and the Man:
A. Arms and the Man was first performed at the Avenue Theatre.
B. There was a release of British film adaptation of Arms and the Man directed by Cecil Lewis.
C. A German film adaptation of Arms and the Man was released, which garnered an Academy Award nomination for Best Foreign Language Film.
D. Arms and the Man is a comedic play, set during the Serbo-Bulgarian war, which lasted fourteen days from 14 to 28 of November.
E. There was the famous London revival of Arms and the Man at The Old Vic starring Ralph Richardson and Laurence Olivier.
  • 1. D, A, E, C, B
  • 2. A, D, B, C, E
  • 3. A, D, C, E, B
  • 4. D, A, B, E, C
Correct Answer: 4. D, A, B, E, C

Detailed Chronology & Explanation:

To solve this, distinguish between the historical setting and the production history.

  1. D. Historical Setting (1885): The play is set during the Serbo-Bulgarian War. This historical event is the foundation.
  2. A. First Performance (1894): Premiered at the Avenue Theatre, London. Shaw's first commercial success.
  3. B. British Film Adaptation (1932): Directed by Cecil Lewis, an early sound film.
  4. E. Old Vic Revival (1944): Famous WWII production starring Laurence Olivier and Ralph Richardson.
  5. C. German Film Adaptation (1958): Titled Helden, nominated for an Oscar.
Q15. Match the LIST-I (Character) with LIST-II (Role) from W.B. Yeats’s The Countess Cathleen:

LIST-I (Character)
A. SHEMUS RUA
B. ALEEL
C. OONA
D. MARY

LIST-II (Role)
I. Foster Mother of Countess Cathleen
II. Wife of Shemus Rua
III. A Peasant
IV. A Poet
  • 1. A-II, B-I, C-IV, D-III
  • 2. A-IV, B-I, C-III, D-II
  • 3. A-I, B-III, C-II, D-IV
  • 4. A-III, B-IV, C-I, D-II
Correct Answer: 4. A-III, B-IV, C-I, D-II

Detailed Explanation & Research:

The Countess Cathleen (1892) is a verse play by W.B. Yeats, central to the Irish Literary Revival. It tells the story of a noblewoman who sells her soul to save her starving tenants.

  • A-III: Shemus Rua — A Peasant: A starving peasant who, in desperation, invites the soul-merchant demons into his home.
  • B-IV: Aleel — A Poet: The poet who loves the Countess. He represents the aesthetic/spiritual world and urges her to flee rather than sacrifice herself.
  • C-I: Oona — Foster Mother: The elderly nurse/foster mother, representing tradition and domestic loyalty.
  • D-II: Mary — Wife of Shemus Rua: Unlike her husband, she remains devout and refuses the demons' food, eventually dying of starvation.

Why this question is asked in UGC NET English:

  • Irish Literary Theatre: Yeats is a major figure. Understanding the character dynamics is vital for grasping the Celtic Twilight movement.
  • Symbolism: The characters represent different facets of Ireland: The Peasantry (Material need), The Poet (Spiritual need), and The Countess (Sacrifice).
Q16. Assertion A: The years after 1945 saw changes in English poetry.
Reason R: Some poets, despite Modernism, continued Romantic traditions, writing deeply personal responses to the world and engaging with ‘eternal’, ‘elemental’ themes.
  • 1. Both A and R are correct and R is the correct explanation of A
  • 2. Both A and R are correct but R is NOT the correct explanation of A
  • 3. A is correct but R is not correct
  • 4. A is not correct but R is correct
Correct Answer: 1. Both A and R are correct and R is the correct explanation of A

Detailed Explanation & Research:

  • Assertion A (True): 1945 (End of WWII) marked a shift from the "High Modernism" of Eliot and Pound to new post-war movements.
  • Reason R (True): While Modernism valued impersonality, post-war poetry saw a resurgence of the "Romantic." Poets like Dylan Thomas (The New Apocalypse) wrote about "elemental" themes (birth, death, nature) in a highly personal voice.
  • The Connection: The "change" mentioned in A was defined by this reaction against Modernist detachment and a return to the subjective/Romantic modes described in R.

Why this question is asked in UGC NET English:

  • Post-War Movements: It tests the transition between Modernism and Post-Modernism.
  • Thematic Shifts: You must recognize the shift from the "Objective Correlative" (Eliot's impersonality) back to the "Subjective Voice" of the post-war poet.
Q17. Which of the following statements about Geoffrey Chaucer are correct?

A. Chaucer’s first work, The Book of the Duchess, is a dream-poem on the death in 1368 of Blanche, Duchess of Lancaster, the wife of John of Gaunt.
B. In The House of Fame, it is the first time that Dante’s epic of a journey to Paradise, Purgatory, and Hell — The Divine Comedy — is echoed in English.
C. The Canterbury Tales absorbs literary, historical, social, and moral concerns, and transcends them all.
D. In The Legend of Good Women, Cupid and Venus, passion and desire, innocence and knowledge, are all invoked.
E. The Miller’s Tale is an old-fashioned fable, a story of deception in war, almost similar to The Knight’s Tale.
  • 1. A, B, and C Only
  • 2. A, C, and D Only
  • 3. B, C, and E Only
  • 4. B, D, and E Only
Correct Answer: 1. A, B, and C Only

Detailed Explanation & Research:

  • A (Correct): The Book of the Duchess (c. 1368) is Chaucer’s first major poem, an allegorical dream vision commemorating Blanche, wife of his patron John of Gaunt.
  • B (Correct): The House of Fame marks his "Italian period" and engages with Dante’s Divine Comedy (e.g., the eagle guide).
  • C (Correct): The Canterbury Tales is celebrated for its encyclopedic scope, blending genres (romance, fabliau, sermon).
  • E (Incorrect): This is a deliberate "trap." The Miller’s Tale is a fabliau (bawdy comedy) explicitly intended to "quit" (parody) the chivalric Knight’s Tale. They are thematic opposites, not similar.

Why this question is asked in UGC NET English:

  • Chaucer's Influence: It tests knowledge of his development from French dream visions to Italian allegory to English realism.
  • Genre Distinction: Testing the difference between the Knight (Romance) and Miller (Fabliau) checks for understanding of literary decorum and subversion.
Q18. Which of the following novels of E.M. Forster doesn't display the mentioned contrast?
  • 1. Contrast of East and West in A Passage to India
  • 2. Contrast of English and French culture in Where Angels Fear to Tread
  • 3. Contrast of English and Italian culture in A Room with a View
  • 4. Contrast of the Schlegels and the Wilcoxes families in Howards End
Correct Answer: 2. Contrast of English and French culture in Where Angels Fear to Tread

Detailed Explanation & Research:

E.M. Forster is famous for his mantra "Only Connect," exploring clashes between cultures and classes.

  • The Error (Option 2): Where Angels Fear to Tread (1905) contrasts English provincialism with Italian passion (not French). The protagonist Lilia falls for an Italian man, horrifying her English in-laws.
  • Correct Contrasts:
    • A Passage to India: West (British Raj) vs. East (Indian subjects).
    • A Room with a View: Rigid English codes vs. Italian spontaneity.
    • Howards End: Schlegels (Intellectual/Inner Life) vs. Wilcoxes (Pragmatic/Outer Life).

Why this question is asked in UGC NET English:

  • Forster's Liberal Humanism: You must know his major themes—specifically the "clash of civilizations" and social barriers.
  • Geographical Settings: The exam frequently tests if you recall the specific setting (Italy vs. India) of his major works.
Q19. Arrange the following statements in the order of their appearance in the essay, “Of Studies”:
A. Their chief use for delight, is in privateness and retiring
B. To spend too much time in studies, is sloth
C. Crafty men contemn studies; simple men admire them; and wise men use them
D. They perfect nature, and are perfected by experience
E. Histories make men wise; poets, witty; the mathematics, subtle; natural philosophy, deep; moral, grave; logic and rhetoric, able to contend
  • 1. B, D, C, A, E
  • 2. A, B, D, C, E
  • 3. C, A, E, B, D
  • 4. A, C, D, E, B
Correct Answer: 2. A, B, D, C, E

Detailed Explanation:

Francis Bacon’s essay follows a structured rhetorical path:

  1. A: Introduction: Defines the three purposes (delight, ornament, ability) and their use in privateness.
  2. B: Warnings: Warns against abuses, such as sloth (spending too much time).
  3. D: Application: Explains that studies "perfect nature" but need experience to be perfected themselves.
  4. C: The Users: Categorizes men: "Crafty men contemn studies... wise men use them."
  5. E: Benefits: Concludes by listing specific subjects (Histories, Poetry) and their effect on the mind.
Q20. Arrange the following poetic lines chronologically in the order of the publication of the poems they appear in:

A. She is the Rose, the glorie of the day,
B. Resembles life what once was deem’d of light,
C. Away! The moor is dark beneath the moon
D. When I consider how my light is spent
E. When in the chronicle of wasted time/ I see descriptions of the fairest wights,
  • 1. A, D, E, B, C
  • 2. A, B, D, C, E
  • 3. C, A, E, B, D
  • 4. A, C, D, E, B
Correct Sequence: A → E → D → C → B

Detailed Explanation & Chronology:

Based on literary history, the correct timeline of these lines is:

  1. A (1591): "She is the Rose..." — From Edmund Spenser's Daphnaïda.
  2. E (1609): "When in the chronicle..." — From William Shakespeare’s Sonnet 106.
  3. D (1673): "When I consider..." — From John Milton’s sonnet "On His Blindness."
  4. C (1816): "Away! The moor is dark..." — From P.B. Shelley’s "Stanzas.—April, 1814."
  5. B (1817): "Resembles life..." — From S.T. Coleridge’s poem "Limbo."
Note: The options provided in the exam question may not perfectly match this standard historical chronology (A-E-D-C-B), but the list above represents the factual publication order.

Why this question is asked in UGC NET English:

Chronological Mapping: It requires a broad knowledge of the poetic timeline, spanning from the Elizabethan era (Spenser/Shakespeare) to the Romantic period (Shelley/Coleridge).

Q21. Empedocles on Etna is an example of __________
  • 1. Narrative Poem
  • 2. Comedy
  • 3. Tragi-comedy
  • 4. Closet Drama
Correct Answer: 4. Closet Drama

Detailed Explanation:

Published in 1852 by Matthew Arnold, Empedocles on Etna follows the final hours of the Greek philosopher Empedocles before he leaps into a volcano.

  • Definition: It is a Closet Drama—a play intended to be read in private (the "closet") rather than performed on stage.
  • Arnold's Critique: Arnold famously withdrew the poem shortly after publication. He felt it was too morbid, lacking "poetic joy," and focused on "mental distress" that found no vent in action.

Why this question is asked in UGC NET English:

  • Genre Knowledge: Identifying Victorian genres like "Closet Drama" (plays for reading) is significant for understanding how poets explored psychology without the constraints of the stage.
Q22. Arrange the following in order of their publication:
A. Religio Medici
B. The Terrors of the Night
C. Essays of Elia
D. Utopia
E. The Four Ages of Poetry
  • 1. D, B, C, A, E
  • 2. E, D, A, B, C
  • 3. C, B, A, D, E
  • 4. D, B, A, E, C
Correct Answer: 4. D, B, A, E, C

Detailed Chronology & Explanation:

This timeline spans from the Renaissance to the Romantic era:

  1. D. Utopia (1516/1551): Thomas More's foundational work of political philosophy.
  2. B. The Terrors of the Night (1594): Thomas Nashe's Elizabethan discourse on dreams and apparitions.
  3. A. Religio Medici (1643): Sir Thomas Browne’s "meditative" spiritual testament.
  4. E. The Four Ages of Poetry (1820): Thomas Love Peacock's satirical essay arguing poetry was obsolete (which provoked Shelley’s Defence).
  5. C. Essays of Elia (1823): Charles Lamb’s collection, representing the peak of the Romantic "familiar essay."
Q23. Assertion A: The defining event of the first part of the twenty-first century was the attack on American targets, including the Twin Towers in New York, on 11 September 2001.
Reason R: A novel by Christopher Brookmyre published two days before the attacks happened, A Big Boy Did It and Ran Away, was, and still is, astonishingly prescient both about the violence and about some of its roots and resonances.
  • 1. Both A and R are correct and R is the correct explanation of A
  • 2. Both A and R are correct but R is NOT the correct explanation of A
  • 3. A is correct but R is not correct
  • 4. A is not correct but R is correct
Correct Answer: 2. Both A and R are correct but R is NOT the correct explanation of A

Detailed Explanation & Research:

  • Assertion A (True): From a historical and literary perspective, the 9/11 attacks fundamentally shifted the global narrative, leading to a massive surge in "9/11 Literature" that explores trauma and surveillance.
  • Reason R (True): This is a factual literary coincidence. Christopher Brookmyre’s novel was indeed published just before the attacks and dealt with themes of international terrorism in a way that seemed eerily prophetic.
  • The Connection: While both statements are true, the existence of a prescient novel (R) is not the reason why 9/11 became a defining global event (A). The event's significance stems from its geopolitical impact, not from its depiction in fiction.
Q24. Which of the following details about the Dramatis Personae of The Duchess of Malfi are correct?
A. FERDINAND [Duke of Calabria].
B. CARDINAL [Executioner].
C. ANTONIO [BOLOGNA, Steward of the Household to the Duchess].
D. DELIO [Court Officer].
E. DANIEL DE BOSOLA [Gentleman of the Horse to the Duchess].
  • 1. A, B, and D Only
  • 2. A, C, and E Only
  • 3. B, C, and D Only
  • 4. B, D, and E Only
Correct Answer: 2. A, C, and E Only

Detailed Explanation & Character Mapping:

John Webster’s The Duchess of Malfi (c. 1612) is a masterpiece of Jacobean Revenge Tragedy.

  • A (Correct): Ferdinand is the Duchess's twin brother and the Duke of Calabria.
  • B (Incorrect): The Cardinal is her brother, but his role is high ecclesiastical office. The actual "executioner" figure (who performs the dirty work) is Bosola.
  • C (Correct): Antonio Bologna is the Duchess's steward and her secret husband.
  • D (Incorrect): While Delio is a courtier and Antonio’s friend, he is not traditionally listed with the primary functional title of "Court Officer" in the way the others are specifically titled.
  • E (Correct): Daniel de Bosola is the complex antagonist/malcontent who serves as the "Gentleman of the Horse" while acting as a spy.

Why this question is asked in UGC NET English:

  • Jacobean Dramaturgy: Testing character roles ensures the candidate understands the social hierarchy, which is vital to the play's tragedy of status and class.
Q25. In which of the following novels of Charles Dickens, the city of London is shown shrouded in fog in the opening chapter?
  • 1. Bleak House
  • 2. A Tale of Two Cities
  • 3. Oliver Twist
  • 4. David Copperfield
Correct Answer: 1. Bleak House

Detailed Explanation & Context:

The opening of Bleak House (1852–53) contains one of the most famous descriptions of London in English literature.

  • The Opening Sentence: The novel begins with: "London. Michaelmas Term lately over... Implacable November weather... Fog everywhere."
  • Symbolism: Dickens uses this thick, pervasive fog to symbolize the legal delay, corruption, and confusion of the Court of Chancery (specifically the never-ending case of Jarndyce and Jarndyce). The fog blinds the characters just as the law blinds justice.

Why this question is asked in UGC NET English:

Symbolic Settings: Recognizing Dickens's use of fog is a standard test of understanding Victorian Realism and his critique of institutional decay.

Q26. The following lines are spoken by which character in Shakespeare's plays?
"Put out the light and then put out the light: If I quench thee, thou flaming Minister, I can again thy former light restore..."
  • 1. King Lear
  • 2. Hamlet
  • 3. Othello
  • 4. Macbeth
Correct Answer: 3. Othello

Detailed Explanation & Context:

These lines are spoken by the protagonist in Act 5, Scene 2 of William Shakespeare’s Othello.

  • The Context: Othello stands over a sleeping Desdemona, preparing to kill her.
  • The Metaphor: The "light" refers to two things:
    1. The physical candle he is holding ("flaming Minister").
    2. The metaphorical "light" of Desdemona's life.
  • The Tragic Irony: He muses that he can relight the candle, but once he kills Desdemona, he cannot "restore" her life. This highlights his agonizing inner conflict between love and his misguided belief in her infidelity.

Why this question is asked in UGC NET English:

Quotational Literacy: Major soliloquies are foundational. The NET tests if you can identify the exact psychological state (the "tragic error") of canonical characters.

Q27. Arrange the following famous lines of dramas in chronological order of their publication:

A. "Nothing happens, nobody comes, nobody goes, it's awful!"
B. "All the world's a stage /And all the men and women merely players."
C. "Come, violent death, / Serve for mandragora to make me sleep!"
D. "The last temptation is the greatest treason:/To do the right deed for the wrong reason."
E. "Never speak disrespectfully of Society, Algeron. Only people who can't get into it do that."
  • 1. B, C, E, D, A
  • 2. B, E, D, A, C
  • 3. C, B, E, A, D
  • 4. E, C, B, D, A
Correct Answer: 1. B, C, E, D, A

Detailed Chronology:

  1. B (c. 1599/1600): "All the world's a stage..." — Jaques in Shakespeare’s As You Like It (Renaissance).
  2. C (c. 1612–13): "Come, violent death..." — The Duchess in Webster’s The Duchess of Malfi (Jacobean Tragedy).
  3. E (1895): "Never speak disrespectfully..." — Lady Bracknell in Wilde’s The Importance of Being Earnest (Victorian Comedy).
  4. D (1935): "The last temptation..." — T.S. Eliot’s Murder in the Cathedral (Modernist Verse Drama).
  5. A (1952/1954): "Nothing happens..." — Beckett’s Waiting for Godot (Theatre of the Absurd).

Why this question is asked in UGC NET English:

Macro-History of Drama: It requires a bird's-eye view of English Drama, tracing the evolution from Elizabethan metaphors to Victorian wit, and finally to the existential stasis of the 20th century.

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