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English · UNIT 08 · MOCK TEST

Reading Comprehension — Mock Test 5

25 questions · about 30 minutes. Press End Mock any time to see your score and the correct answers.

0 / 25 answered 00:00

Q1.

Which of the following statements is true?

AThe poet says that talking in bed is very easy. BThe poet says that talking in bed is not very easy. CThe poet says that talking in bed should be easy but it is not. DThe poet says that talking in bed can never be easy.

Q2.

The poet says that two people lying together look like:

ATwo pure human beings BTwo hypocrites CTwo innocent fellows DNone of these

Q3.

The poet says that while lying in bed he and his companion pass the time:

Aby talking between themselves Bby observing the trees outside the window Csilently Dby playing cards

Q4.

The poet and his companion are:

Ain a hotel in the middle of a town Bin a hotel room on the edge of a town Cin the corridor of a hotel far from the towns Din a place away from the towns

Q5.

The poet says it is difficult to find words that are:

Aat once honest and caring Bat once true and unkind Cat once pure and impure Dat once honest and touching

Q6.

'Poetry in its use of language continually distorts and denies the structure of reality to exalt the structure of the self' implies:

Athe pragmatic function of poetry, reflecting social reality through expressive language Bthe capacity of poetry to draw attention to itself as an aesthetic object Cthat poetry exalts the self by privileging the 'egotistical sublime' Dthe mimetic function of poetry, alluding to external reality in clear language

Q7.

What does the word 'assonance' mean?

ARepetition of identical or similar consonants BRepetition of identical or similar vowels CRepetition of identical or similar phrases DRepetition of identical or similar clauses

Q8.

What does Caudwell imply by 'The novel blots out external reality by substituting a more or less consistent mock reality'?

AThe reality of fiction has no existence independent of the words, and our emotional responses are directed by them BThe reality of fiction does not depend on the words, and our feelings are not triggered by them CThe mock reality subverts external reality so obtrusively that readers notice the writer's strategy DThe novel is metonymic and linear while poetry is metaphoric

Q9.

What is meant by 'mock reality' in the passage?

AThe reality contrived by novelists through the strategic use of words BThe reality evoked through figurative devices CThe quasi-reality produced by poetic devices DA reality approximating external reality

Q10.

If rhythm, 'preciousness' and style are alien to the novel, in which genre are they distinctive features?

ADrama BPoetry CProse DNon-fiction

Passage I (Walter Pater, 'Style', Appreciations, 1889 — excerpt)

That imaginative prose should be the special and opportune art of the modern world results from two important facts about the latter: first, the chaotic variety and complexity of its interests, making the intellectual issue, the really master currents of the present time incalculable — a condition of mind little susceptible of the restraint proper to verse form, so that the most characteristic verse of the nineteenth century has been lawless verse; and secondly, an all-pervading naturalism, a curiosity about everything whatever as it really is, involving a certain humility of attitude, cognate to what must, after all, be the less ambitious form of literature. And prose thus asserting itself as the special and privileged artistic faculty of the present day, will be, however critics may try to narrow its scope, as varied in its excellence as humanity itself reflecting on the facts of its latest experience — an instrument of many stops, meditative, observant, descriptive, eloquent, analytic, plaintive, fervid.

Q11.

Pater's claim that imaginative prose should be the special art of the modern world implies:

Aabstract language Benvironmental crisis Cintellectual complexities Dmetaphorical functions

Passage I (Walter Pater, 'Style', Appreciations, 1889 — excerpt)

That imaginative prose should be the special and opportune art of the modern world results from two important facts about the latter: first, the chaotic variety and complexity of its interests, making the intellectual issue, the really master currents of the present time incalculable — a condition of mind little susceptible of the restraint proper to verse form, so that the most characteristic verse of the nineteenth century has been lawless verse; and secondly, an all-pervading naturalism, a curiosity about everything whatever as it really is, involving a certain humility of attitude, cognate to what must, after all, be the less ambitious form of literature. And prose thus asserting itself as the special and privileged artistic faculty of the present day, will be, however critics may try to narrow its scope, as varied in its excellence as humanity itself reflecting on the facts of its latest experience — an instrument of many stops, meditative, observant, descriptive, eloquent, analytic, plaintive, fervid.

Q12.

Which expression is closest to the meaning of 'fervid'?

Afeeling nostalgic Bportraying feelings that are very strong Criding strong feelings Dexpressing humility of attitude

Passage I (Walter Pater, 'Style', Appreciations, 1889 — excerpt)

That imaginative prose should be the special and opportune art of the modern world results from two important facts about the latter: first, the chaotic variety and complexity of its interests, making the intellectual issue, the really master currents of the present time incalculable — a condition of mind little susceptible of the restraint proper to verse form, so that the most characteristic verse of the nineteenth century has been lawless verse; and secondly, an all-pervading naturalism, a curiosity about everything whatever as it really is, involving a certain humility of attitude, cognate to what must, after all, be the less ambitious form of literature. And prose thus asserting itself as the special and privileged artistic faculty of the present day, will be, however critics may try to narrow its scope, as varied in its excellence as humanity itself reflecting on the facts of its latest experience — an instrument of many stops, meditative, observant, descriptive, eloquent, analytic, plaintive, fervid.

Q13.

Artistic literature is the representation of:

Afacts enhanced by creative illusions Bfacts transformed by human predilection in an array of forms Cfacts arranged by political reflection Dthe complex and natural instincts of a poet

Passage I (Walter Pater, 'Style', Appreciations, 1889 — excerpt)

That imaginative prose should be the special and opportune art of the modern world results from two important facts about the latter: first, the chaotic variety and complexity of its interests, making the intellectual issue, the really master currents of the present time incalculable — a condition of mind little susceptible of the restraint proper to verse form, so that the most characteristic verse of the nineteenth century has been lawless verse; and secondly, an all-pervading naturalism, a curiosity about everything whatever as it really is, involving a certain humility of attitude, cognate to what must, after all, be the less ambitious form of literature. And prose thus asserting itself as the special and privileged artistic faculty of the present day, will be, however critics may try to narrow its scope, as varied in its excellence as humanity itself reflecting on the facts of its latest experience — an instrument of many stops, meditative, observant, descriptive, eloquent, analytic, plaintive, fervid.

Q14.

What does the author mean by 'the less ambitious form of literature'?

Aliterature responsive to a heightened state of perception Bimaginative literature, specifically imaginative prose Cartistic literature Dpoetry without form and diction

Passage I (Walter Pater, 'Style', Appreciations, 1889 — excerpt)

That imaginative prose should be the special and opportune art of the modern world results from two important facts about the latter: first, the chaotic variety and complexity of its interests, making the intellectual issue, the really master currents of the present time incalculable — a condition of mind little susceptible of the restraint proper to verse form, so that the most characteristic verse of the nineteenth century has been lawless verse; and secondly, an all-pervading naturalism, a curiosity about everything whatever as it really is, involving a certain humility of attitude, cognate to what must, after all, be the less ambitious form of literature. And prose thus asserting itself as the special and privileged artistic faculty of the present day, will be, however critics may try to narrow its scope, as varied in its excellence as humanity itself reflecting on the facts of its latest experience — an instrument of many stops, meditative, observant, descriptive, eloquent, analytic, plaintive, fervid.

Q15.

According to the author, prose should be:

Asocio-political Bsubjective Cas varied as human experience Das visual as other art forms

Passage II (Henry David Thoreau, 'Smoke', 1843)

Light-winged Smoke, Icarian bird,
Melting thy pinions in thy upward flight,
Lark without song, and messenger of dawn,
Circling above the hamlets as thy nest;
Or else, departing dream, and shadowy form
Of midnight vision, gathering up thy skirts;
By night star-veiling, and by day
Darkening the light and blotting out the sun;
Go thou my incense upward from this hearth,
And ask the gods to pardon this clear flame.

Q16.

The poem deals with:

Afire in the forest Bfire in the city Cfire on a ship Dfire in the village

Passage II (Henry David Thoreau, 'Smoke', 1843)

Light-winged Smoke, Icarian bird,
Melting thy pinions in thy upward flight,
Lark without song, and messenger of dawn,
Circling above the hamlets as thy nest;
Or else, departing dream, and shadowy form
Of midnight vision, gathering up thy skirts;
By night star-veiling, and by day
Darkening the light and blotting out the sun;
Go thou my incense upward from this hearth,
And ask the gods to pardon this clear flame.

Q17.

Which figure of speech is implicit in 'Light-winged Smoke!'?

AApostrophe BSimile COxymoron DHyperbole

Passage II (Henry David Thoreau, 'Smoke', 1843)

Light-winged Smoke, Icarian bird,
Melting thy pinions in thy upward flight,
Lark without song, and messenger of dawn,
Circling above the hamlets as thy nest;
Or else, departing dream, and shadowy form
Of midnight vision, gathering up thy skirts;
By night star-veiling, and by day
Darkening the light and blotting out the sun;
Go thou my incense upward from this hearth,
And ask the gods to pardon this clear flame.

Q18.

In the first line, 'Icarian bird' connotes:

Ashortness of ambition Bpride Cdestruction Dthe waxen wing

Passage II (Henry David Thoreau, 'Smoke', 1843)

Light-winged Smoke, Icarian bird,
Melting thy pinions in thy upward flight,
Lark without song, and messenger of dawn,
Circling above the hamlets as thy nest;
Or else, departing dream, and shadowy form
Of midnight vision, gathering up thy skirts;
By night star-veiling, and by day
Darkening the light and blotting out the sun;
Go thou my incense upward from this hearth,
And ask the gods to pardon this clear flame.

Q19.

The word 'Lark' in the third line means:

Alaugh Bescape Cgiggle Dskylark

Passage II (Henry David Thoreau, 'Smoke', 1843)

Light-winged Smoke, Icarian bird,
Melting thy pinions in thy upward flight,
Lark without song, and messenger of dawn,
Circling above the hamlets as thy nest;
Or else, departing dream, and shadowy form
Of midnight vision, gathering up thy skirts;
By night star-veiling, and by day
Darkening the light and blotting out the sun;
Go thou my incense upward from this hearth,
And ask the gods to pardon this clear flame.

Q20.

Why does the poet seek pardon from the gods?

AThe singing birds disturb the peace of the forest. BThe earth is full of peace and tranquillity. CThe speaker admits the sin of lighting the fire. DThe narrator is over-enthusiastic.

Q21.

'Adult causality' is about:

Athe cognitive and logical structure of the world Bsensual and sexual knowledge of the world Cthe linguistic structure of objects Da nihilistic recreation of the world

Q22.

Which is closest to being true?

AChildren recreate meaning from toys. BChildren actively learn while playing. CChildren are objects for toy makers. DToys affect the cognitive abilities of children.

Q23.

The world of objects makes the child a/an:

Ainventor Bcreator Cactant Dimaginative being

Q24.

The word 'demiurge' connotes:

Athe cognitive inactivity of children Btheir sensational realisation of objects Ctheir creative abilities Dtheir sudden discovery

Q25.

Which of the following is a correct interpretation?

AThe child claims the object as his property. BThe objects the child holds are obscure and useless. CThe child cannot understand the design of the object. DIn handling the object, the child creates dynamic forms of life.