In Book 10 of the Republic, Plato outlines his philosophical and moral objections to poetry:

• (A) True: Poetry is mimesis (imitation). It is twice removed from the "really real" world of Forms.
• (C) True: It encourages the wrong emotions. It waters and fosters passions/emotions, which interferes with the striving toward pure reason.
• (E) True: Poets compose under inspiration, not reason or knowledge. They are ignorant about what they describe (e.g., a poet describing a chariot does not actually know how to build or drive one).

In Aristotle's Poetics, he defines tragedy as using "language embellished with each kind of artistic ornament" (or "pleasurable accessories"). He explicitly defines this embellishment as rhythm, harmony (melody), and song.

Greek tragic drama included a singing chorus, meaning music, rhythm, and sung language were integral, physical materials of the performance, not just "pompous" or "emotive" vocabulary.

The Querelle des Anciens et des Modernes was a massive literary and artistic debate that heated up in the Académie Française in the late 17th century.

The "Ancients" (led by Boileau) argued that true literary greatness rooted itself in the heritage of Greek and Roman antiquity. The "Moderns" (led by Charles Perrault) argued that since 17th-century France under King Louis XIV was politically and religiously superior to antiquity, its literature was also inherently superior.

Statement 2 is false: Wordsworth explicitly rebelled against the strict, rigid neoclassical forms, structures, and elevated "poetic diction" of the 18th century.

In the Preface to Lyrical Ballads, he argued that poetry should be the "spontaneous overflow of powerful feelings" and should use the ordinary, everyday language of common men, focusing on emotion rather than rigid structural mechanics.

This is S.T. Coleridge's famous rebuttal to Wordsworth, found in Biographia Literaria (Chapter 14/17).

Wordsworth had proclaimed in his Preface that there neither is nor can be any essential difference between the language of prose and metrical composition. Coleridge fundamentally disagreed with his friend, asserting that meter itself creates a distinct structure and elevated expectation, meaning there ought to be an essential difference between prose and poetry.

Statement I is True: It is a famous quote from Thomas Carlyle's lectures/book On Heroes, Hero-Worship, and the Heroic in History.

Statement II is True: It is a famous quote from John Ruskin, appearing in "The Nature of Gothic" (from The Stones of Venice, and echoing themes in Unto This Last), critiquing the soul-crushing, mechanistic nature of industrial labor.

Assertion (A) is true: Marxism (historical materialism) presents itself as an objective, scientific analysis of historical development driven by economic class conflict.

Reason (R) is true: Marxist literary theory views the economic "base" as determining the cultural "superstructure" (culture mirrors social/material life), and Stalin famously called writers "engineers of the human soul."

However, the belief about artists and culture (R) is a result of Marxist theory, not the foundational reason why Marxism is considered a scientific account of socio-economic change.

Assertion (A) is true: Lacan was highly critical of prevalent trends in institutional psychoanalysis (especially Ego Psychology) and demanded a "return to Freud" mixed with structural linguistics.

Reason (R) is true: His controversial clinical practices (like variable-length sessions) and radical theories led to his expulsion from the IPA.

However, his expulsion from the IPA (R) was the result of his radical critiques, not the cause/explanation for why he was critical in the first place.

Roland Barthes is a towering figure in Structuralism and Post-structuralism.

Statement A is False: He did NOT reject the structural analysis of narratives; he was a pioneer of it (e.g., in his structural analysis of Balzac's Sarrasine in S/Z).

Statements B, C, D, and E are all true: He famously analyzed the five codes of meaning (B, C), expanded Saussure's semiology into cultural signs (D), and famously declared the "Death of the Author," rejecting the idea of uncovering a single, intended hidden truth (E).

Madness and Civilization: A History of Insanity in the Age of Reason (1961) is a foundational text by Michel Foucault, not Roland Barthes.

The other pairings are correct: Geoffrey Hartman (Yale School deconstruction), Julia Kristeva (psychoanalysis/semiotics), and Harold Bloom (anxiety of influence/romanticism).

Assertion (A) is true: In S/Z, Barthes famously divides texts into lisible (readerly - straightforward, passive consumption) and scriptible (writerly - challenges the reader to actively construct meaning).

Reason (R) is true conceptually in literary theory, but it is a broad, generic statement about linguistics and perception. It does not specifically explain the structural mechanics of why Barthes divided texts into those two functional categories.

The codes created by Barthes are: Hermeneutic (enigma/mystery), Proairetic (action), Semantic/Semic (character traits/themes), Symbolic (binary oppositions), and Cultural (referential knowledge).

There is no "Synthetic code" (A is false). Options with B, C, D, and E are technically all valid codes. Official keys often rely on the exact phrasing of the options provided.

In his highly influential 1956 essay "Two Aspects of Language and Two Types of Aphasic Disturbances" (often referred to as "The Metaphoric and Metonymic Poles"), Russian-American linguist Roman Jakobson argued that language operates on two fundamental axes.

He linked Metaphor to the paradigmatic axis (selection/substitution, associated with poetry and Romanticism) and Metonymy to the syntagmatic axis (combination/contexture, associated with prose and Realism).