Directions: Passage for Question 1 to 9 Jane Austen's novels were published between 1811 and 1818, a time when English literature was not included in academic curricula, and fiction was under attack. Certain religious and political groups believed that novels could make immoral characters appealing to young readers and considered them to be of little practical use. Due to these attitudes and Austen's anonymity as a novelist, she received little attention from early nineteenth-century literary critics. However, the critics who did engage with her work provided insightful and incisive evaluations, similar to twentieth-century criticism. One such critic was Scott, who praised Austen's novels for their accurate depiction of ordinary people and places, likening them to seventeenth-century Flemish paintings. While he did not use the term "realism," he acknowledged the merits of Austen's fiction in presenting recognizable human characters and suggested the potential for moral instruction through her realistic method. Another critic, Whitely, commended Austen's ability to create characters who embody a mixture of goodness and villainy, weakness and virtue, similar to real life. Whitely compared Austen's art of characterization to Dickens', expressing a preference for Austen's approach. Not all responses to Austen's work were uniformly positive. In 1859, Lewes praised her verisimilitude but criticized the narrow focus on unlofty and commonplace subjects and characters. Twentieth-century Marxists also found fault with Austen, claiming an exclusive emphasis on a lofty upper-middle class. Nevertheless, Austen gradually gained recognition and appreciation from literary critics, reaching a point where she was considered controversial by the mid-nineteenth century. Q. The primary purpose of the passage is to

demonstrate the nineteenth-century preference for realistic novels rather than romanticones.

Explain why Jane Austen's novels were not included in any academic curriculum in the earlynineteenth century

Urge a reassessment of Jane Austen's novels by twentieth-century literary critics

Describe some of the responses of nineteenth ? century critics tol Jane Austen's novels aswell as to fiction in general

Argue that realistic character portrayal is the novelist's most difficult task as well as theaspect of novel most likely to elicit critical response.

Directions: Passage for Question 1 to 9 Jane Austen's novels were published between 1811 and 1818, a time when English literature was not included in academic curricula, and fiction was under attack. Certain religious and political groups believed that novels could make immoral characters appealing to young readers and considered them to be of little practical use. Due to these attitudes and Austen's anonymity as a novelist, she received little attention from early nineteenth-century literary critics. However, the critics who did engage with her work provided insightful and incisive evaluations, similar to twentieth-century criticism. One such critic was Scott, who praised Austen's novels for their accurate depiction of ordinary people and places, likening them to seventeenth-century Flemish paintings. While he did not use the term "realism," he acknowledged the merits of Austen's fiction in presenting recognizable human characters and suggested the potential for moral instruction through her realistic method. Another critic, Whitely, commended Austen's ability to create characters who embody a mixture of goodness and villainy, weakness and virtue, similar to real life. Whitely compared Austen's art of characterization to Dickens', expressing a preference for Austen's approach. Not all responses to Austen's work were uniformly positive. In 1859, Lewes praised her verisimilitude but criticized the narrow focus on unlofty and commonplace subjects and characters. Twentieth-century Marxists also found fault with Austen, claiming an exclusive emphasis on a lofty upper-middle class. Nevertheless, Austen gradually gained recognition and appreciation from literary critics, reaching a point where she was considered controversial by the mid-nineteenth century. Q. The author would most likely agree that which of the following ios the best measure of a writer'sliterary success?

Inclusion of the writer's work in an academic curriculum

Publication of the writer's work in the writer's own name

Existence of debate among critics about the writers work

Praise of the writers work by religious and political groups

Ability of the writers work to appeal to ordinary people.

Directions: Passage for Question 1 to 9 Jane Austen's novels were published between 1811 and 1818, a time when English literature was not included in academic curricula, and fiction was under attack. Certain religious and political groups believed that novels could make immoral characters appealing to young readers and considered them to be of little practical use. Due to these attitudes and Austen's anonymity as a novelist, she received little attention from early nineteenth-century literary critics. However, the critics who did engage with her work provided insightful and incisive evaluations, similar to twentieth-century criticism. One such critic was Scott, who praised Austen's novels for their accurate depiction of ordinary people and places, likening them to seventeenth-century Flemish paintings. While he did not use the term "realism," he acknowledged the merits of Austen's fiction in presenting recognizable human characters and suggested the potential for moral instruction through her realistic method. Another critic, Whitely, commended Austen's ability to create characters who embody a mixture of goodness and villainy, weakness and virtue, similar to real life. Whitely compared Austen's art of characterization to Dickens', expressing a preference for Austen's approach. Not all responses to Austen's work were uniformly positive. In 1859, Lewes praised her verisimilitude but criticized the narrow focus on unlofty and commonplace subjects and characters. Twentieth-century Marxists also found fault with Austen, claiming an exclusive emphasis on a lofty upper-middle class. Nevertheless, Austen gradually gained recognition and appreciation from literary critics, reaching a point where she was considered controversial by the mid-nineteenth century. Q. The passage supplies information for answering which of the following questions?

Ws Whately aware of Scott's remarks about Jane Austen's novels?

Who is an example of a twentieth-century Marxist critic?

Who is an example of twentieth-century critic who admired Jane Aujsten's novels?

What is the author's judgment of Dickens?

Did Jane Austen's express her opinion of those nineteenth-century critics who admired hernovels.

Directions: Passage for Question 1 to 9 Jane Austen's novels were published between 1811 and 1818, a time when English literature was not included in academic curricula, and fiction was under attack. Certain religious and political groups believed that novels could make immoral characters appealing to young readers and considered them to be of little practical use. Due to these attitudes and Austen's anonymity as a novelist, she received little attention from early nineteenth-century literary critics. However, the critics who did engage with her work provided insightful and incisive evaluations, similar to twentieth-century criticism. One such critic was Scott, who praised Austen's novels for their accurate depiction of ordinary people and places, likening them to seventeenth-century Flemish paintings. While he did not use the term "realism," he acknowledged the merits of Austen's fiction in presenting recognizable human characters and suggested the potential for moral instruction through her realistic method. Another critic, Whitely, commended Austen's ability to create characters who embody a mixture of goodness and villainy, weakness and virtue, similar to real life. Whitely compared Austen's art of characterization to Dickens', expressing a preference for Austen's approach. Not all responses to Austen's work were uniformly positive. In 1859, Lewes praised her verisimilitude but criticized the narrow focus on unlofty and commonplace subjects and characters. Twentieth-century Marxists also found fault with Austen, claiming an exclusive emphasis on a lofty upper-middle class. Nevertheless, Austen gradually gained recognition and appreciation from literary critics, reaching a point where she was considered controversial by the mid-nineteenth century. Q. According to the passage, the lack of critical attention paid to Jane Austen can be explained by all ofthe following nineteenth-century attitudes towards the novel EXCEPT the

assurance felt by many people that novels weakened the mind

certainly shared by many political commentators that the range of novels was too narrow

lack of interest shown by some critics in novels that were published anonymously

fear exhibited by some religious and political groups that novels had the power to portrayimmoral characters attractively

belief held by some religious and political groups that novels had no practical value.

Directions: Passage for Question 1 to 9 Jane Austen's novels were published between 1811 and 1818, a time when English literature was not included in academic curricula, and fiction was under attack. Certain religious and political groups believed that novels could make immoral characters appealing to young readers and considered them to be of little practical use. Due to these attitudes and Austen's anonymity as a novelist, she received little attention from early nineteenth-century literary critics. However, the critics who did engage with her work provided insightful and incisive evaluations, similar to twentieth-century criticism. One such critic was Scott, who praised Austen's novels for their accurate depiction of ordinary people and places, likening them to seventeenth-century Flemish paintings. While he did not use the term "realism," he acknowledged the merits of Austen's fiction in presenting recognizable human characters and suggested the potential for moral instruction through her realistic method. Another critic, Whitely, commended Austen's ability to create characters who embody a mixture of goodness and villainy, weakness and virtue, similar to real life. Whitely compared Austen's art of characterization to Dickens', expressing a preference for Austen's approach. Not all responses to Austen's work were uniformly positive. In 1859, Lewes praised her verisimilitude but criticized the narrow focus on unlofty and commonplace subjects and characters. Twentieth-century Marxists also found fault with Austen, claiming an exclusive emphasis on a lofty upper-middle class. Nevertheless, Austen gradually gained recognition and appreciation from literary critics, reaching a point where she was considered controversial by the mid-nineteenth century. Q. The authors mentions that English literature "was not part of any academic curriculum " in the earlynineteenth century in order to

emphasize the need for Jane Austen to increate ordinary, everyday character in her novels.

give support to those religious and political groups that had attacked fiction

give one reason why Jane Austen's novels received little critical attention in the earlynineteenth century.

Suggest the superiority of an informal and unsystematized approach to the study ofliterature

contrast nineteenth-century attitudes towards English literature with those towards classicalliterature

Directions: Passage for Question 1 to 9 Jane Austen's novels were published between 1811 and 1818, a time when English literature was not included in academic curricula, and fiction was under attack. Certain religious and political groups believed that novels could make immoral characters appealing to young readers and considered them to be of little practical use. Due to these attitudes and Austen's anonymity as a novelist, she received little attention from early nineteenth-century literary critics. However, the critics who did engage with her work provided insightful and incisive evaluations, similar to twentieth-century criticism. One such critic was Scott, who praised Austen's novels for their accurate depiction of ordinary people and places, likening them to seventeenth-century Flemish paintings. While he did not use the term "realism," he acknowledged the merits of Austen's fiction in presenting recognizable human characters and suggested the potential for moral instruction through her realistic method. Another critic, Whitely, commended Austen's ability to create characters who embody a mixture of goodness and villainy, weakness and virtue, similar to real life. Whitely compared Austen's art of characterization to Dickens', expressing a preference for Austen's approach. Not all responses to Austen's work were uniformly positive. In 1859, Lewes praised her verisimilitude but criticized the narrow focus on unlofty and commonplace subjects and characters. Twentieth-century Marxists also found fault with Austen, claiming an exclusive emphasis on a lofty upper-middle class. Nevertheless, Austen gradually gained recognition and appreciation from literary critics, reaching a point where she was considered controversial by the mid-nineteenth century. Q. It can be inferred from the passage that Whately found Dickens character to be

especially interest to you readers

ordinary persons in recognizably human situations

less liable than Jane Aujten's characters to have a realistic mixture of moral qualities

more often villainous and week than virtuous and good

less susceptible than Jane Austen's characters to the m oral judgments of sermonizingnarrator.

Directions: Passage for Question 1 to 9 Jane Austen's novels were published between 1811 and 1818, a time when English literature was not included in academic curricula, and fiction was under attack. Certain religious and political groups believed that novels could make immoral characters appealing to young readers and considered them to be of little practical use. Due to these attitudes and Austen's anonymity as a novelist, she received little attention from early nineteenth-century literary critics. However, the critics who did engage with her work provided insightful and incisive evaluations, similar to twentieth-century criticism. One such critic was Scott, who praised Austen's novels for their accurate depiction of ordinary people and places, likening them to seventeenth-century Flemish paintings. While he did not use the term "realism," he acknowledged the merits of Austen's fiction in presenting recognizable human characters and suggested the potential for moral instruction through her realistic method. Another critic, Whitely, commended Austen's ability to create characters who embody a mixture of goodness and villainy, weakness and virtue, similar to real life. Whitely compared Austen's art of characterization to Dickens', expressing a preference for Austen's approach. Not all responses to Austen's work were uniformly positive. In 1859, Lewes praised her verisimilitude but criticized the narrow focus on unlofty and commonplace subjects and characters. Twentieth-century Marxists also found fault with Austen, claiming an exclusive emphasis on a lofty upper-middle class. Nevertheless, Austen gradually gained recognition and appreciation from literary critics, reaching a point where she was considered controversial by the mid-nineteenth century. Q. The passage supplies information to suggest that the religious and political groups mentioned andWhately might have agreed that a novel

has the ability to influence the moral values of its readers

is of most interest to readers when representing ordinary human characters.

should not be read by young readers.

Needs the sermonizing of a narrator in order to impart moral truths

Directions: Passage for Question 1 to 9 Jane Austen's novels were published between 1811 and 1818, a time when English literature was not included in academic curricula, and fiction was under attack. Certain religious and political groups believed that novels could make immoral characters appealing to young readers and considered them to be of little practical use. Due to these attitudes and Austen's anonymity as a novelist, she received little attention from early nineteenth-century literary critics. However, the critics who did engage with her work provided insightful and incisive evaluations, similar to twentieth-century criticism. One such critic was Scott, who praised Austen's novels for their accurate depiction of ordinary people and places, likening them to seventeenth-century Flemish paintings. While he did not use the term "realism," he acknowledged the merits of Austen's fiction in presenting recognizable human characters and suggested the potential for moral instruction through her realistic method. Another critic, Whitely, commended Austen's ability to create characters who embody a mixture of goodness and villainy, weakness and virtue, similar to real life. Whitely compared Austen's art of characterization to Dickens', expressing a preference for Austen's approach. Not all responses to Austen's work were uniformly positive. In 1859, Lewes praised her verisimilitude but criticized the narrow focus on unlofty and commonplace subjects and characters. Twentieth-century Marxists also found fault with Austen, claiming an exclusive emphasis on a lofty upper-middle class. Nevertheless, Austen gradually gained recognition and appreciation from literary critics, reaching a point where she was considered controversial by the mid-nineteenth century. Q. The passage suggests that twentieth century Marxists would have admired Jane Austen's noels moreif the novels, a he Marxists understood them, had

described the values of upper-middle class society

avoided moral instruction and sermonizing

depicted ordinary society in a more flattering light portrayed characters from more than oneclass of society

portrayed characters from more than one class of society

anticipated some of controversial social problems of the twentieth century.

Directions: Passage for Question 1 to 9 Jane Austen's novels were published between 1811 and 1818, a time when English literature was not included in academic curricula, and fiction was under attack. Certain religious and political groups believed that novels could make immoral characters appealing to young readers and considered them to be of little practical use. Due to these attitudes and Austen's anonymity as a novelist, she received little attention from early nineteenth-century literary critics. However, the critics who did engage with her work provided insightful and incisive evaluations, similar to twentieth-century criticism. One such critic was Scott, who praised Austen's novels for their accurate depiction of ordinary people and places, likening them to seventeenth-century Flemish paintings. While he did not use the term "realism," he acknowledged the merits of Austen's fiction in presenting recognizable human characters and suggested the potential for moral instruction through her realistic method. Another critic, Whitely, commended Austen's ability to create characters who embody a mixture of goodness and villainy, weakness and virtue, similar to real life. Whitely compared Austen's art of characterization to Dickens', expressing a preference for Austen's approach. Not all responses to Austen's work were uniformly positive. In 1859, Lewes praised her verisimilitude but criticized the narrow focus on unlofty and commonplace subjects and characters. Twentieth-century Marxists also found fault with Austen, claiming an exclusive emphasis on a lofty upper-middle class. Nevertheless, Austen gradually gained recognition and appreciation from literary critics, reaching a point where she was considered controversial by the mid-nineteenth century. Q. The author quotes Coleridge in order to

refute the literary opinions of certain religious and political groups

make a case for the inferiority of novels to poetry

give an example of a writer who was not a literary reactionary

illustrate the early nineteenth-century belief that fiction was especially appealing to youngreaders

indicate how widespread was the attack on novels in the early nineteenth century

Directions: Passage for Question 10 to 15 The author discusses the beliefs of Emerson, Thoreau, Hawthorne, Melville, and Whitman, focusing on their humanistic perspective. These writers share the belief that humans are the spiritual center of the universe and that understanding the nature, history, and cosmos depends on understanding humanity itself. They reject the exclusive principles of a deity or brute matter and prefer to explain the world in terms of human experience. The Transcendentalist principle asserts that the structure of the universe mirrors the structure of the individual self, emphasizing that all knowledge begins with self-knowledge. This humanistic perspective is universalized, emphasizing the universal nature of humanity rather than specific cultural identities. It transcends time, space, birth, and talent. The writers envision the individual as part of a greater whole. They believe that individual virtue and happiness depend on the self-realization achieved through the harmonious reconciliation of two psychological tendencies: the self-asserting impulse to remain unique and separate, and the self-transcending impulse to embrace the world and become one with it. These conflicting impulses can be observed in the democratic ethic, where the democratic self faces the tension between individual liberty and the duty to society. Another shared belief among these writers is the conviction that intuition and imagination provide a more reliable path to truth than abstract logic or scientific methods. They emphasize introspection and view experience as symbolic, considering the inner world of individual psychology as the key to understanding external nature. The writers have faith in the power of imagination and see themselves as practitioners of imagination. They perceive the writer as a seer and have unwavering confidence in their own moral and metaphysical insights. Q. The author discuses "the democratic ethic in order to

explain the relationship between external experience and inner imagination

support the notion that the self contains two conflicting and reconcilable factions.

Illustrate the relationship between the self's desire to be individual and its desire to mergewith all other selves

Elaborate on the concept that the self constantly desires to realize its potential

Give an example of the idea that, in order to be happy, the self must reconcile its desireswith external reality

Directions: Passage for Question 10 to 15 The author discusses the beliefs of Emerson, Thoreau, Hawthorne, Melville, and Whitman, focusing on their humanistic perspective. These writers share the belief that humans are the spiritual center of the universe and that understanding the nature, history, and cosmos depends on understanding humanity itself. They reject the exclusive principles of a deity or brute matter and prefer to explain the world in terms of human experience. The Transcendentalist principle asserts that the structure of the universe mirrors the structure of the individual self, emphasizing that all knowledge begins with self-knowledge. This humanistic perspective is universalized, emphasizing the universal nature of humanity rather than specific cultural identities. It transcends time, space, birth, and talent. The writers envision the individual as part of a greater whole. They believe that individual virtue and happiness depend on the self-realization achieved through the harmonious reconciliation of two psychological tendencies: the self-asserting impulse to remain unique and separate, and the self-transcending impulse to embrace the world and become one with it. These conflicting impulses can be observed in the democratic ethic, where the democratic self faces the tension between individual liberty and the duty to society. Another shared belief among these writers is the conviction that intuition and imagination provide a more reliable path to truth than abstract logic or scientific methods. They emphasize introspection and view experience as symbolic, considering the inner world of individual psychology as the key to understanding external nature. The writers have faith in the power of imagination and see themselves as practitioners of imagination. They perceive the writer as a seer and have unwavering confidence in their own moral and metaphysical insights. Q. It can be inferred that intuition is important to the five writers primarily because it provides themwith

information useful for understanding abstract logic and scientific method

the discipline needed in the search for truth

inspiration for their best writing

clues to the interpretation of symbolic experience

the means of resolving conflicts between the self and the world

Directions: Passage for Question 10 to 15 The author discusses the beliefs of Emerson, Thoreau, Hawthorne, Melville, and Whitman, focusing on their humanistic perspective. These writers share the belief that humans are the spiritual center of the universe and that understanding the nature, history, and cosmos depends on understanding humanity itself. They reject the exclusive principles of a deity or brute matter and prefer to explain the world in terms of human experience. The Transcendentalist principle asserts that the structure of the universe mirrors the structure of the individual self, emphasizing that all knowledge begins with self-knowledge. This humanistic perspective is universalized, emphasizing the universal nature of humanity rather than specific cultural identities. It transcends time, space, birth, and talent. The writers envision the individual as part of a greater whole. They believe that individual virtue and happiness depend on the self-realization achieved through the harmonious reconciliation of two psychological tendencies: the self-asserting impulse to remain unique and separate, and the self-transcending impulse to embrace the world and become one with it. These conflicting impulses can be observed in the democratic ethic, where the democratic self faces the tension between individual liberty and the duty to society. Another shared belief among these writers is the conviction that intuition and imagination provide a more reliable path to truth than abstract logic or scientific methods. They emphasize introspection and view experience as symbolic, considering the inner world of individual psychology as the key to understanding external nature. The writers have faith in the power of imagination and see themselves as practitioners of imagination. They perceive the writer as a seer and have unwavering confidence in their own moral and metaphysical insights. Q. According to the passage, the five writers objects to the scientific method primarily because theythink it

is not the best way to obtain an understanding of the relationship between the individualand the cosmos

is so specialized that it leads to an understanding of separate parts of the universe but not ofthe relationships among those parts

cannot provide an adequate explanation of intuition and imagination

misleads people into believing they have an understanding of truth, when they do not

prevents people from recognizing the symbolic nature of experience.

Directions: Passage for Question 10 to 15 The author discusses the beliefs of Emerson, Thoreau, Hawthorne, Melville, and Whitman, focusing on their humanistic perspective. These writers share the belief that humans are the spiritual center of the universe and that understanding the nature, history, and cosmos depends on understanding humanity itself. They reject the exclusive principles of a deity or brute matter and prefer to explain the world in terms of human experience. The Transcendentalist principle asserts that the structure of the universe mirrors the structure of the individual self, emphasizing that all knowledge begins with self-knowledge. This humanistic perspective is universalized, emphasizing the universal nature of humanity rather than specific cultural identities. It transcends time, space, birth, and talent. The writers envision the individual as part of a greater whole. They believe that individual virtue and happiness depend on the self-realization achieved through the harmonious reconciliation of two psychological tendencies: the self-asserting impulse to remain unique and separate, and the self-transcending impulse to embrace the world and become one with it. These conflicting impulses can be observed in the democratic ethic, where the democratic self faces the tension between individual liberty and the duty to society. Another shared belief among these writers is the conviction that intuition and imagination provide a more reliable path to truth than abstract logic or scientific methods. They emphasize introspection and view experience as symbolic, considering the inner world of individual psychology as the key to understanding external nature. The writers have faith in the power of imagination and see themselves as practitioners of imagination. They perceive the writer as a seer and have unwavering confidence in their own moral and metaphysical insights. Q. The authors quotes Whiteman primarily in order to

show that the poet not agree with Emerson

indicate the way the poet uses the humanists ideal to praise himself

suggest that the poet adapts the basis premises of humanism to his own individual outlookon the world

illustrate a way the poet expresses the relationship of the individual to the humanisticuniverse

demonstrate that the poet is concerned with the well being of all humans

Directions: Passage for Question 10 to 15 The author discusses the beliefs of Emerson, Thoreau, Hawthorne, Melville, and Whitman, focusing on their humanistic perspective. These writers share the belief that humans are the spiritual center of the universe and that understanding the nature, history, and cosmos depends on understanding humanity itself. They reject the exclusive principles of a deity or brute matter and prefer to explain the world in terms of human experience. The Transcendentalist principle asserts that the structure of the universe mirrors the structure of the individual self, emphasizing that all knowledge begins with self-knowledge. This humanistic perspective is universalized, emphasizing the universal nature of humanity rather than specific cultural identities. It transcends time, space, birth, and talent. The writers envision the individual as part of a greater whole. They believe that individual virtue and happiness depend on the self-realization achieved through the harmonious reconciliation of two psychological tendencies: the self-asserting impulse to remain unique and separate, and the self-transcending impulse to embrace the world and become one with it. These conflicting impulses can be observed in the democratic ethic, where the democratic self faces the tension between individual liberty and the duty to society. Another shared belief among these writers is the conviction that intuition and imagination provide a more reliable path to truth than abstract logic or scientific methods. They emphasize introspection and view experience as symbolic, considering the inner world of individual psychology as the key to understanding external nature. The writers have faith in the power of imagination and see themselves as practitioners of imagination. They perceive the writer as a seer and have unwavering confidence in their own moral and metaphysical insights. Q. The author's discussion of Emerson, Thoreau, Hawthorne, Melville, and Whitman is primarilyconcerned with explaining.

some of their beliefs about the difficulties involved in self-realization

some of their beliefs concerning the world and the place that humanity occupies in theuniversal order

some of their beliefs concerning the relationship between humanism and democracy

the way some of their beliefs are shaped by differences in temperament and literaryoutlook.

the effects of some of their beliefs on their writings

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