While John Webster is credited with having popularized the particular sub-genre of English theater known as the Elizabethan Revenge Tragedy, often characterized by the protagonist avenging the murder of a family member, his more acclaimed contemporary William Shakespeare, who wrote Hamlet, perhaps the most famous Revenge Tragedy in English literature, probably inspired Websters works. Since Shakespeare himself based many of his works on the structure and style of plays by the Greek playwright Seneca, Seneca should be credited as the creator of the Revenge Tragedy.In assessing the above argument, which of the following would it be most useful to determine?a)Whether any of Websters works were published before Shakespeares worksb)Whether Webster was actually awareof Senecas workc)Whether Shakespeares Revenge Tragedies have any structural and stylistic similarities with Senecas playsd)Whether Shakespeare wrote at least as many Revenge Tragedies as did Webstere)Whether Senecas Revenge Tragedies were more popular than Shakespeares Revenge TragediesCorrect answer is option 'C'. Can you explain this answer?

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In assessing the above argument, which of the following would it be most useful to determine?

a)
Whether any of Webster’s works were published before Shakespeare’s works
b)
Whether Webster was actually aware of Seneca’s work
c)
Whether Shakespeare’s Revenge Tragedies have any structural and stylistic similarities with Seneca’s plays
d)
Whether Shakespeare wrote at least as many Revenge Tragedies as did Webster
e)
Whether Seneca's Revenge Tragedies were more popular than Shakespeare's Revenge Tragedies

Correct answer is option 'C'. Can you explain this answer?

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While John Webster is credited with having popularized the particular ...

Pre-Thinking

Conclusion Clarification

The author gives two opinions in the passage. First, that JW’s ERTs were probably inspired by WS and second that Seneca should be credited as the creator of the Revenge Tragedy since WS’ works were inspired by Seneca. It is the second opinion that forms the main conclusion of the argument.

Pre-Thinking Approach

In order to evaluate the argument, we’ll pre-think the assumptions made by the author and ask questions that can evaluate these assumptions. To find the assumptions, we will understand the conditions under which the conclusion is falsified. The assumption then will be that these conditions don’t exist. Accordingly, let’s look at the logical structure, focusing on the stated linkage.

Linkage#1

Falsification Condition: A reason that shows that Seneca cannot be credited with being the creator of the Revenge Tragedy.

Instance 1: Shakespeare based MANY of his works on the structure and style of plays by Seneca. However, Shakespeare did not base his works in Revenge Tragedy on the structure and style of plays by Seneca.
- Assumption 1: Shakespeare’s Revenge Tragedies were based on the structure and style of plays by Seneca.
Instance 2: Seneca’s Revenge Tragedies were based on some other playwright’s structure & style.
- Assumption 2: Seneca’s Revenge Tragedies were not based on some other writer’s structure & style.

Answer Choices

Whether any of Webster’s works were published before Shakespeare’s works

Incorrect - Irrelevant

Even if some of Webster’s works were published before Shakespeare’s works, it does not help us evaluate whether his ERTs in particular were inspired by Shakespeare.

Whether Webster was actually aware of Seneca’s work

Incorrect - Irrelevant

Checking whether Webster was actually aware of Seneca's work will not help us evaluate whether Seneca should be credited as the creditor of Revenge Tragedies. Let's say he wasn't aware of the same. Even then, it is possible that Webster's ERT's were inspired by Shakespeare's works. But does it helps us evaluate that Seneca should be so credited? No, it doesn't.

Whether Shakespeare’s Revenge Tragedies have any structural and stylistic similarities with Seneca’s plays

Correct

This helps us determine whether Shakespeare’s RTs were actually based on Seneca’s works or not. This option evaluates the first assumption that we identified in the pre-thinking analysis and the answers to this question will either increase or decrease our belief in the stated linkage.

Whether Shakespeare wrote at least as many Revenge Tragedies as did Webster

Incorrect - Irrelevant

There is no given or implied link between the number of works produced in a genre by an author and his/her claim to popularizing that genre.

Whether Seneca's Revenge Tragedies were more popular than Shakespeare's Revenge Tragedies

Incorrect - Irrelevant

The comparative popularity has nothing to do with whether Seneca's RTs inspired Shakespeare's RTs.

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The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question.Understanding romantic aesthetics is not a simple undertaking for reasons that are internal to the nature of the subject. Distinguished scholars, such as Arthur Lovejoy, Northrop Frye andIsaiah Berlin, have remarked on the notorious challenges facing any attempt to define romanticism. Lovejoy, for example, claimed that romanticism is “the scandal of literary historyand criticism” . . . The main difficulty in studying the romantics, according to him, is the lack of any “single real entity, or type of entity” that the concept “romanticism” designates. Lovejoy concluded, “the word ‘romantic’ has come to mean so many things that, by itself, it means nothing” . . .The more specific task of characterizing romantic aesthetics adds to these difficulties an air of paradox. Conventionally, “aesthetics” refers to a theory concerning beauty and art or thebranch of philosophy that studies these topics. However, many of the romantics rejected the identification of aesthetics with a circumscribed domain of human life that is separated fromthe practical and theoretical domains of life. The most characteristic romantic commitment is to the idea that the character of art and beauty and of our engagement with them shouldshape all aspects of human life. Being fundamental to human existence, beauty and art should be a central ingredient not only in a philosophical or artistic life, but also in the lives ofordinary men and women. Another challenge for any attempt to characterize romantic aesthetics lies in the fact that most of the romantics were poets and artists whose views of artand beauty are, for the most part, to be found not in developed theoretical accounts, but in fragments, aphorisms and poems, which are often more elusive and suggestive thanconclusive.Nevertheless, in spite of these challenges the task of characterizing romantic aesthetics is neither impossible nor undesirable, as numerous thinkers responding to Lovejoy’s radicalskepticism have noted. While warning against a reductive definition of romanticism, Berlin, for example, still heralded the need for a general characterization: “[Although] one does have acertain sympathy with Lovejoy’s despair…[he is] in this instance mistaken. There was a romantic movement…and it is important to discover what it is” . . .Recent attempts to characterize romanticism and to stress its contemporary relevance follow this path. Instead of overlooking the undeniable differences between the variety of romanticisms of different nations that Lovejoy had stressed, such studies attempt to characterize romanticism, not in terms of a single definition, a specific time, or a specific place, but in terms of “particular philosophical questions and concerns” . . .While the German, British and French romantics are all considered, the central protagonists in the following are the German romantics. Two reasons explain this focus: first, because ithas paved the way for the other romanticisms, German romanticism has a pride of place among the different national romanticisms . . . Second, the aesthetic outlook that was developed in Germany roughly between 1796 and 1801-02 — the period that corresponds to the heyday of what is known as “Early Romanticism” . . .— offers the most philosophical expression of romanticism since it is grounded primarily in the epistemological, metaphysical, ethical, and political concerns that the German romantics discerned in the aftermath of Kant’s philosophy.The main difficulty in studying romanticism is the

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The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question.Understanding romantic aesthetics is not a simple undertaking for reasons that are internal to the nature of the subject. Distinguished scholars, such as Arthur Lovejoy, Northrop Frye andIsaiah Berlin, have remarked on the notorious challenges facing any attempt to define romanticism. Lovejoy, for example, claimed that romanticism is “the scandal of literary historyand criticism” . . . The main difficulty in studying the romantics, according to him, is the lack of any “single real entity, or type of entity” that the concept “romanticism” designates. Lovejoy concluded, “the word ‘romantic’ has come to mean so many things that, by itself, it means nothing” . . .The more specific task of characterizing romantic aesthetics adds to these difficulties an air of paradox. Conventionally, “aesthetics” refers to a theory concerning beauty and art or thebranch of philosophy that studies these topics. However, many of the romantics rejected the identification of aesthetics with a circumscribed domain of human life that is separated fromthe practical and theoretical domains of life. The most characteristic romantic commitment is to the idea that the character of art and beauty and of our engagement with them shouldshape all aspects of human life. Being fundamental to human existence, beauty and art should be a central ingredient not only in a philosophical or artistic life, but also in the lives ofordinary men and women. Another challenge for any attempt to characterize romantic aesthetics lies in the fact that most of the romantics were poets and artists whose views of artand beauty are, for the most part, to be found not in developed theoretical accounts, but in fragments, aphorisms and poems, which are often more elusive and suggestive thanconclusive.Nevertheless, in spite of these challenges the task of characterizing romantic aesthetics is neither impossible nor undesirable, as numerous thinkers responding to Lovejoy’s radicalskepticism have noted. While warning against a reductive definition of romanticism, Berlin, for example, still heralded the need for a general characterization: “[Although] one does have acertain sympathy with Lovejoy’s despair…[he is] in this instance mistaken. There was a romantic movement…and it is important to discover what it is” . . .Recent attempts to characterize romanticism and to stress its contemporary relevance follow this path. Instead of overlooking the undeniable differences between the variety of romanticisms of different nations that Lovejoy had stressed, such studies attempt to characterize romanticism, not in terms of a single definition, a specific time, or a specific place, but in terms of “particular philosophical questions and concerns” . . .While the German, British and French romantics are all considered, the central protagonists in the following are the German romantics. Two reasons explain this focus: first, because ithas paved the way for the other romanticisms, German romanticism has a pride of place among the different national romanticisms . . . Second, the aesthetic outlook that was developed in Germany roughly between 1796 and 1801-02 — the period that corresponds to the heyday of what is known as “Early Romanticism” . . .— offers the most philosophical expression of romanticism since it is grounded primarily in the epistemological, metaphysical, ethical, and political concerns that the German romantics discerned in the aftermath of Kant’s philosophy.Which one of the following statements is NOT supported by the passage?

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The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question.Understanding romantic aesthetics is not a simple undertaking for reasons that are internal to the nature of the subject. Distinguished scholars, such as Arthur Lovejoy, Northrop Frye andIsaiah Berlin, have remarked on the notorious challenges facing any attempt to define romanticism. Lovejoy, for example, claimed that romanticism is “the scandal of literary historyand criticism” . . . The main difficulty in studying the romantics, according to him, is the lack of any “single real entity, or type of entity” that the concept “romanticism” designates. Lovejoy concluded, “the word ‘romantic’ has come to mean so many things that, by itself, it means nothing” . . .The more specific task of characterizing romantic aesthetics adds to these difficulties an air of paradox. Conventionally, “aesthetics” refers to a theory concerning beauty and art or thebranch of philosophy that studies these topics. However, many of the romantics rejected the identification of aesthetics with a circumscribed domain of human life that is separated fromthe practical and theoretical domains of life. The most characteristic romantic commitment is to the idea that the character of art and beauty and of our engagement with them shouldshape all aspects of human life. Being fundamental to human existence, beauty and art should be a central ingredient not only in a philosophical or artistic life, but also in the lives ofordinary men and women. Another challenge for any attempt to characterize romantic aesthetics lies in the fact that most of the romantics were poets and artists whose views of artand beauty are, for the most part, to be found not in developed theoretical accounts, but in fragments, aphorisms and poems, which are often more elusive and suggestive thanconclusive.Nevertheless, in spite of these challenges the task of characterizing romantic aesthetics is neither impossible nor undesirable, as numerous thinkers responding to Lovejoy’s radicalskepticism have noted. While warning against a reductive definition of romanticism, Berlin, for example, still heralded the need for a general characterization: “[Although] one does have acertain sympathy with Lovejoy’s despair…[he is] in this instance mistaken. There was a romantic movement…and it is important to discover what it is” . . .Recent attempts to characterize romanticism and to stress its contemporary relevance follow this path. Instead of overlooking the undeniable differences between the variety of romanticisms of different nations that Lovejoy had stressed, such studies attempt to characterize romanticism, not in terms of a single definition, a specific time, or a specific place, but in terms of “particular philosophical questions and concerns” . . .While the German, British and French romantics are all considered, the central protagonists in the following are the German romantics. Two reasons explain this focus: first, because ithas paved the way for the other romanticisms, German romanticism has a pride of place among the different national romanticisms . . . Second, the aesthetic outlook that was developed in Germany roughly between 1796 and 1801-02 — the period that corresponds to the heyday of what is known as “Early Romanticism” . . .— offers the most philosophical expression of romanticism since it is grounded primarily in the epistemological, metaphysical, ethical, and political concerns that the German romantics discerned in the aftermath of Kant’s philosophy.According to the romantics, aesthetics

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The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question.Understanding romantic aesthetics is not a simple undertaking for reasons that are internal to the nature of the subject. Distinguished scholars, such as Arthur Lovejoy, Northrop Frye andIsaiah Berlin, have remarked on the notorious challenges facing any attempt to define romanticism. Lovejoy, for example, claimed that romanticism is “the scandal of literary historyand criticism” . . . The main difficulty in studying the romantics, according to him, is the lack of any “single real entity, or type of entity” that the concept “romanticism” designates. Lovejoy concluded, “the word ‘romantic’ has come to mean so many things that, by itself, it means nothing” . . .The more specific task of characterizing romantic aesthetics adds to these difficulties an air of paradox. Conventionally, “aesthetics” refers to a theory concerning beauty and art or thebranch of philosophy that studies these topics. However, many of the romantics rejected the identification of aesthetics with a circumscribed domain of human life that is separated fromthe practical and theoretical domains of life. The most characteristic romantic commitment is to the idea that the character of art and beauty and of our engagement with them shouldshape all aspects of human life. Being fundamental to human existence, beauty and art should be a central ingredient not only in a philosophical or artistic life, but also in the lives ofordinary men and women. Another challenge for any attempt to characterize romantic aesthetics lies in the fact that most of the romantics were poets and artists whose views of artand beauty are, for the most part, to be found not in developed theoretical accounts, but in fragments, aphorisms and poems, which are often more elusive and suggestive thanconclusive.Nevertheless, in spite of these challenges the task of characterizing romantic aesthetics is neither impossible nor undesirable, as numerous thinkers responding to Lovejoy’s radicalskepticism have noted. While warning against a reductive definition of romanticism, Berlin, for example, still heralded the need for a general characterization: “[Although] one does have acertain sympathy with Lovejoy’s despair…[he is] in this instance mistaken. There was a romantic movement…and it is important to discover what it is” . . .Recent attempts to characterize romanticism and to stress its contemporary relevance follow this path. Instead of overlooking the undeniable differences between the variety of romanticisms of different nations that Lovejoy had stressed, such studies attempt to characterize romanticism, not in terms of a single definition, a specific time, or a specific place, but in terms of “particular philosophical questions and concerns” . . .While the German, British and French romantics are all considered, the central protagonists in the following are the German romantics. Two reasons explain this focus: first, because ithas paved the way for the other romanticisms, German romanticism has a pride of place among the different national romanticisms . . . Second, the aesthetic outlook that was developed in Germany roughly between 1796 and 1801-02 — the period that corresponds to the heyday of what is known as “Early Romanticism” . . .— offers the most philosophical expression of romanticism since it is grounded primarily in the epistemological, metaphysical, ethical, and political concerns that the German romantics discerned in the aftermath of Kant’s philosophy.According to the passage, recent studies on romanticism avoid “a single definition, a specific time, or a specific place” because they

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While John Webster is credited with having popularized the particular sub-genre of English theater known as the Elizabethan Revenge Tragedy, often characterized by the protagonist avenging the murder of a family member, his more acclaimed contemporary William Shakespeare, who wrote Hamlet, perhaps the most famous Revenge Tragedy in English literature, probably inspired Webster’s works. Since Shakespeare himself based many of his works on the structure and style of plays by the Greek playwright Seneca, Seneca should be credited as the creator of the Revenge Tragedy.In assessing the above argument, which of the following would it be most useful to determine?a)Whether any of Webster’s works were published before Shakespeare’s worksb)Whether Webster was actually awareof Seneca’s workc)Whether Shakespeare’s Revenge Tragedies have any structural and stylistic similarities with Seneca’s playsd)Whether Shakespeare wrote at least as many Revenge Tragedies as did Webstere)Whether Seneca's Revenge Tragedies were more popular than Shakespeare's Revenge TragediesCorrect answer is option 'C'. Can you explain this answer?

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While John Webster is credited with having popularized the particular sub-genre of English theater known as the Elizabethan Revenge Tragedy, often characterized by the protagonist avenging the murder of a family member, his more acclaimed contemporary William Shakespeare, who wrote Hamlet, perhaps the most famous Revenge Tragedy in English literature, probably inspired Webster’s works. Since Shakespeare himself based many of his works on the structure and style of plays by the Greek playwright Seneca, Seneca should be credited as the creator of the Revenge Tragedy.In assessing the above argument, which of the following would it be most useful to determine?a)Whether any of Webster’s works were published before Shakespeare’s worksb)Whether Webster was actually awareof Seneca’s workc)Whether Shakespeare’s Revenge Tragedies have any structural and stylistic similarities with Seneca’s playsd)Whether Shakespeare wrote at least as many Revenge Tragedies as did Webstere)Whether Seneca's Revenge Tragedies were more popular than Shakespeare's Revenge TragediesCorrect answer is option 'C'. Can you explain this answer? for GMAT 2025 is part of GMAT preparation. The Question and answers have been prepared according to the GMAT exam syllabus. Information about While John Webster is credited with having popularized the particular sub-genre of English theater known as the Elizabethan Revenge Tragedy, often characterized by the protagonist avenging the murder of a family member, his more acclaimed contemporary William Shakespeare, who wrote Hamlet, perhaps the most famous Revenge Tragedy in English literature, probably inspired Webster’s works. Since Shakespeare himself based many of his works on the structure and style of plays by the Greek playwright Seneca, Seneca should be credited as the creator of the Revenge Tragedy.In assessing the above argument, which of the following would it be most useful to determine?a)Whether any of Webster’s works were published before Shakespeare’s worksb)Whether Webster was actually awareof Seneca’s workc)Whether Shakespeare’s Revenge Tragedies have any structural and stylistic similarities with Seneca’s playsd)Whether Shakespeare wrote at least as many Revenge Tragedies as did Webstere)Whether Seneca's Revenge Tragedies were more popular than Shakespeare's Revenge TragediesCorrect answer is option 'C'. Can you explain this answer? covers all topics & solutions for GMAT 2025 Exam. Find important definitions, questions, meanings, examples, exercises and tests below for While John Webster is credited with having popularized the particular sub-genre of English theater known as the Elizabethan Revenge Tragedy, often characterized by the protagonist avenging the murder of a family member, his more acclaimed contemporary William Shakespeare, who wrote Hamlet, perhaps the most famous Revenge Tragedy in English literature, probably inspired Webster’s works. Since Shakespeare himself based many of his works on the structure and style of plays by the Greek playwright Seneca, Seneca should be credited as the creator of the Revenge Tragedy.In assessing the above argument, which of the following would it be most useful to determine?a)Whether any of Webster’s works were published before Shakespeare’s worksb)Whether Webster was actually awareof Seneca’s workc)Whether Shakespeare’s Revenge Tragedies have any structural and stylistic similarities with Seneca’s playsd)Whether Shakespeare wrote at least as many Revenge Tragedies as did Webstere)Whether Seneca's Revenge Tragedies were more popular than Shakespeare's Revenge TragediesCorrect answer is option 'C'. Can you explain this answer?.

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Since Shakespeare himself based many of his works on the structure and style of plays by the Greek playwright Seneca, Seneca should be credited as the creator of the Revenge Tragedy.In assessing the above argument, which of the following would it be most useful to determine?a)Whether any of Webster’s works were published before Shakespeare’s worksb)Whether Webster was actually awareof Seneca’s workc)Whether Shakespeare’s Revenge Tragedies have any structural and stylistic similarities with Seneca’s playsd)Whether Shakespeare wrote at least as many Revenge Tragedies as did Webstere)Whether Seneca's Revenge Tragedies were more popular than Shakespeare's Revenge TragediesCorrect answer is option 'C'. Can you explain this answer? defined & explained in the simplest way possible. 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Since Shakespeare himself based many of his works on the structure and style of plays by the Greek playwright Seneca, Seneca should be credited as the creator of the Revenge Tragedy.In assessing the above argument, which of the following would it be most useful to determine?a)Whether any of Webster’s works were published before Shakespeare’s worksb)Whether Webster was actually awareof Seneca’s workc)Whether Shakespeare’s Revenge Tragedies have any structural and stylistic similarities with Seneca’s playsd)Whether Shakespeare wrote at least as many Revenge Tragedies as did Webstere)Whether Seneca's Revenge Tragedies were more popular than Shakespeare's Revenge TragediesCorrect answer is option 'C'. Can you explain this answer?, a detailed solution for While John Webster is credited with having popularized the particular sub-genre of English theater known as the Elizabethan Revenge Tragedy, often characterized by the protagonist avenging the murder of a family member, his more acclaimed contemporary William Shakespeare, who wrote Hamlet, perhaps the most famous Revenge Tragedy in English literature, probably inspired Webster’s works. Since Shakespeare himself based many of his works on the structure and style of plays by the Greek playwright Seneca, Seneca should be credited as the creator of the Revenge Tragedy.In assessing the above argument, which of the following would it be most useful to determine?a)Whether any of Webster’s works were published before Shakespeare’s worksb)Whether Webster was actually awareof Seneca’s workc)Whether Shakespeare’s Revenge Tragedies have any structural and stylistic similarities with Seneca’s playsd)Whether Shakespeare wrote at least as many Revenge Tragedies as did Webstere)Whether Seneca's Revenge Tragedies were more popular than Shakespeare's Revenge TragediesCorrect answer is option 'C'. Can you explain this answer? has been provided alongside types of While John Webster is credited with having popularized the particular sub-genre of English theater known as the Elizabethan Revenge Tragedy, often characterized by the protagonist avenging the murder of a family member, his more acclaimed contemporary William Shakespeare, who wrote Hamlet, perhaps the most famous Revenge Tragedy in English literature, probably inspired Webster’s works. Since Shakespeare himself based many of his works on the structure and style of plays by the Greek playwright Seneca, Seneca should be credited as the creator of the Revenge Tragedy.In assessing the above argument, which of the following would it be most useful to determine?a)Whether any of Webster’s works were published before Shakespeare’s worksb)Whether Webster was actually awareof Seneca’s workc)Whether Shakespeare’s Revenge Tragedies have any structural and stylistic similarities with Seneca’s playsd)Whether Shakespeare wrote at least as many Revenge Tragedies as did Webstere)Whether Seneca's Revenge Tragedies were more popular than Shakespeare's Revenge TragediesCorrect answer is option 'C'. Can you explain this answer? theory, EduRev gives you an ample number of questions to practice While John Webster is credited with having popularized the particular sub-genre of English theater known as the Elizabethan Revenge Tragedy, often characterized by the protagonist avenging the murder of a family member, his more acclaimed contemporary William Shakespeare, who wrote Hamlet, perhaps the most famous Revenge Tragedy in English literature, probably inspired Webster’s works. Since Shakespeare himself based many of his works on the structure and style of plays by the Greek playwright Seneca, Seneca should be credited as the creator of the Revenge Tragedy.In assessing the above argument, which of the following would it be most useful to determine?a)Whether any of Webster’s works were published before Shakespeare’s worksb)Whether Webster was actually awareof Seneca’s workc)Whether Shakespeare’s Revenge Tragedies have any structural and stylistic similarities with Seneca’s playsd)Whether Shakespeare wrote at least as many Revenge Tragedies as did Webstere)Whether Seneca's Revenge Tragedies were more popular than Shakespeare's Revenge TragediesCorrect answer is option 'C'. Can you explain this answer? tests, examples and also practice GMAT tests.

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