Authors of English Literature
Authors of English Literature
homas Hardy
Famous as Novelist & Poet
Born on 02 June 1840
Born in Dorset, England
Died on 11 January 1928
Nationality United Kingdom
Works & A Pair of Blue eyes, Wessex Tales & The Return of the native; Order of Merit (1910
Achievements
Marriages
Thomas Hardy met his first wife Emma Lavinia 1870 in Cornwell, while still working as an architect. They ma
reasons, her death in 1912 came as a shocking and painful experience to him. He mourned deeply and wrote po
their courtship and reflected both his remorse and love for his wife. One of such works was the Poems 1912-19
Dugdale was his previous secretary and 39 years younger to him.
Views on Religion
There are strong suggestion that Hardy's stance on religion swayed between agnosticism and atheism. Most of
times of human suffering. As an author and poet, Hardy seemingly was fascinated with fatalistic ends and expr
mixture of philosophy and spiritualism which did not discard the existence of God, yet questioned it. Hardy rat
However a Church devotee, Hardy drew heavily upon the role of God in the irony and tragedy of life and huma
Notable Works
Hardy as a writer is mainly known for his novels. His first novel, The Poor Man and the Lady was written in 1
After a turbulent first experienced, Hardy anonymously published two novels Desperate Remedies and Under t
release of his first important work A Pair of Blue Eyes. The book was a recollection of his courtship with his fi
Another stunning success was the beginning of the series of Wessex Tales which was published after his secon
success. He next wrote The Return of the native, published in 1878. Hardy moved with his wife to Max Gate, i
Woodlanders (1887) and Tess of the d'Urbervilles (1891).
Hardy's first volume of poetry, Wessex Poems was published in 1898. Since then, a prodigious output of his po
though he could not achieve anything of distinct in this genre and it remained overshadowed by his works in pr
displayed his affection for natural world. Although like his novels, his poems also carry strain of irony of life,
Themes
Hardy's short stories and novel series are best remembered for their meticulous portrayal of life troubled by soc
set in a semi-fictional place Wessex, a large area of south-west England. His most controversial novel, Jude the
Town on a Tower, Hardy displays a firm stand against an orthodox and conventional path for attaining love. Fa
always find themselves trapped and are often defeated by the fate and unforeseen conditions. His books portray
Death
In December 1927, Hardy fell sick with pleurisy and eventually died in January 1928. After the funeral on 16 J
Jane Austen
Jane Austen
Born: 16-Dec-1775
Birthplace: Steventon, Hampshire, England
Died: 18-Jul-1817
Location of death: Winchester, Hampshire, England
Cause of death: unspecified
Remains: Buried, Winchester Cathedral, Winchester, Hampshire, England
Gender: Female
Race or Ethnicity: White
Occupation: Author
Nationality: England
Executive summary: Pride and Prejudice
English novelist, born on the 16th of December 1775 at the parsonage of Steventon, in Hampshire, a village of
youngest of seven children. Her mother was Cassandra Leigh, niece of Theophilus Leigh, a dry humorist, and f
could have been more uneventful than Miss Austen's. She did not marry, and she never left home except on sho
Steventon, where she began early to trifle with her pen, always jestingly, for family entertainment. In 1801 the
Austen, Jane and her sister Cassandra, to whom she was always deeply attached, to keep up the home; his sons
rank. In 1805 the Austen ladies moved to Southampton, and in 1809 to Chawton, near Alton, in Hampshire, and
as a memorial window in the cathedral testifies.
During her placid life Miss Austen never allowed her literary work to interfere with her domestic duties: sewing
were quiet and her area circumscribed, she saw enough of middle-class provincial society to find a basis on wh
her sympathetic imagination that there are not in English fiction more faithful representations of the life she kne
wide) of ivory" on which she worked "with so fine a brush" -- her own phrases -- was her own invention.
Her best known, if not her best work, Pride and Prejudice, was also her first. It was written between October 17
Sense and Sensibility, which was written, on an old scenario called "Eleanor and Marianne", in 1797 and 1798.
(although it is true that she sold that manuscript in 1803 for £10 to a Bath bookseller, only, however, to see it lo
there is no evidence that between 1798 and 1809 she wrote anything but the fragment called "The Watsons", af
- Mansfield Park, Emma and Persuasion being written between 1811 and 1816. All her works were initially ano
Although Pride and Prejudice is the novel which in the mind of the public is most intimately associated with M
more elaborate. But the fact that Pride and Prejudice is more single-minded, that the love story of Elizabeth Be
and Fanny Price and Edmund Bertram have parallel streams), has given Pride and Prejudice its popularity abov
character. Entirely satisfactory as is Pride and Prejudice so far as it goes, it is, however, thin beside the nicenes
exhibited in Mansfield Park.
It has been generally agreed by the best critics that Miss Austen has never been approached in her own domain.
the trivial daily comedy of small provincial family life, disdaining equally the assistance offered by passion, cri
she disregarded all alike when she took her pen in hand. Her interest was in life's little perplexities of emotion a
from the Cobb at Lyme Regis, in Persuasion; the most abandoned, Maria's elopement with Crawford, in Mansf
Emma may be said to be her Egoist, or the Egoist his Emma. But irony and fidelity to the fact alone would not h
admirably lucid and flowing prose style which makes her stories the easiest reading.
Recognition came to Miss Austen slowly. It was not until many decades later that to read her became a necessit
(Madame d'Arblay) and Maria Edgeworth, who in her day were the popular women novelists of real life, while
ridicule, are no longer anything but names. Although much delayed in her fame, Miss Austen had always her pa
Disraeli and Archbishop Whately, the last of whom may be said to have been her discoverer. Macaulay, whose
many critics give the palm to Emma. Disraeli read Pride and Prejudice seventeen times. Scott's testimony is oft
ordinary life which is to me the most wonderful I have ever met with. The big bow-wow I can do myself like an
truth of the description and the sentiment is denied to me."
Father: Rev. George Austen (clergyman, b. 1731, d. Jan-1805)
Mother: Cassandra Leigh (b. 1739, d. 1827)
Brother: Frank
Brother: Charles
Sister: Cassandra
Brother: Edward
Brother: Henry
Boyfriend: Harris Bigg-Wither (broken engagement)
Is the subject of books:
A Portrait of Jane Austen , 1978, BY: David Cecil
Author of books:
Sense and Sensibility (1811, novel)
Pride and Prejudice (1813, novel)
Mansfield Park (1814, novel)
Emma (1816, novel)
Northanger Abbey (1818, novel, posthumous)
Persuasion (1818, novel, posthumous)
Henry Fielding
Born: 22-Apr-1707
Birthplace: Sharpham Park, Somerset, England
Died: 8-Oct-1754
Location of death: Lisbon, Portugal
Cause of death: unspecified
Remains: Buried, British Cemetery, Lisbon, Portugal
Gender: Male
Race or Ethnicity: White
Sexual orientation: Straight
Occupation: Novelist, Playwright
Nationality: England
Executive summary: Tom Jones
English novelist and playwright, born at Sharpham Park, near Glastonbury, Somerset, on
the 22nd of April 1707. His father was Lieutenant Edmund Fielding, third son of John
Fielding, who was canon of Salisbury and fifth son of the earl of Desmond. The earl of
Desmond belonged to the younger branch of the Denbigh family, who were supposed to be
connected with the Habsburgs. To this claim, now discredited by the researches of J.
Horace Round, is to be attributed the famous passage in Edward Gibbon's Autobiography
which predicts for Tom Jones -- "that exquisite picture of human manners" -- a diuturnity
exceeding that of the house of Austria. Henry Fielding's mother was Sarah Gould, daughter
of Sir Henry Gould, a judge of the king's bench. It is probable that the marriage was not
approved by her father, since, though she remained at Sharpham Park for some time after
that event, his will provided that her husband should have nothing to do with a legacy of
£3000 left her in 1710. About this date the Fieldings moved to East Stour in Dorset. Two
girls, Catherine and Ursula, had apparently been born at Sharpham Park; and three more,
together with a son, Edmund, followed at East Stour. Sarah, the third of the daughters,
born November 1710, and afterwards the author of David Simple and other works,
survived her brother.
Fielding's education up to his mother's death, which took place in April 1718 at East Stour,
seems to have been entrusted to a neighboring clergyman, Mr. Oliver of Motcombe, in
whom tradition traces the uncouth lineaments of "Parson Trulliber" in Joseph Andrews.
But he must have contrived, nevertheless, to prepare his pupil for Eton, to which place
Fielding went about this date, probably as an oppidan. Little is known of his schooldays.
There is no record of his name in the college lists; but, if we may believe his first
biographer, Arthur Murphy, by no means an unimpeachable authority, he left
"uncommonly versed in the Greek authors, and an early master of the Latin classics", -- a
statement which should perhaps be qualified by his own words to Robert Walpole in 1730:
"Tuscan and French are in my head; / Latin I Write, and Greek -- I read." But he certainly
made friends among his class-fellows -- some of whom continued friends for life.
Winnington and Hanbury-Williams were among these. The chief, however, and the most
faithful, was George, afterwards Sir George, and later Baron Lyttelton of Frankley.
When Fielding left Eton is unknown. But in November 1725 we hear of him definitely in
what seems like a characteristic escapade. He was staying at Lyme (in company with a
trusty retainer, ready to "beat, maim or kill" in his young master's behalf), and apparently
bent on carrying off, if necessary by force, a local heiress, Miss Sarah Andrew, whose
fluttered guardians promptly hurried her away, and married her to someone else
(Athenaeum, 2nd June 1883). Her baffled admirer consoled himself by translating part of
Juvenal's sixth satire into verse as "all the Revenge taken by an injured Lover." After this
he must have lived the usual life of a young man about town, and probably at this date
improved the acquaintance of his second cousin, Lady Mary Wortley Montagu, to whom he
inscribed his first comedy, Love in Several Masques, produced at Drury Lane in February
1728. The moment was not particularly favorable, since it succeeded Colley Cibber's
Provok'd Husband, and was contemporary with Gay's popular Beggar's Opera. Almost
immediately afterwards (March 16th) Fielding entered himself as "Stud. Lit." at Leiden
University. He was still there in February 1729. But he had apparently left before the
annual registration of February 1730, when his name is absent from the books; and in
January 1730 he brought out a second comedy at the newly-opened theater in Goodman's
Fields. Like its predecessor, the Temple Beau was an essay in the vein of William Congreve
and William Wycherley, though, in a measure, an advance on Love in Several Masques.
With the Temple Beau Fielding's dramatic career definitely begins. His father had married
again; and his Leiden career hnd been interrupted for lack of funds. Nominally, he was
entitled to an allowance of £200 a year; but this (he was accustomed to say) "any body
might pay that would." Young, handsome, ardent and fond of pleasure, he began that
career as a hand-to-mouth playwright around which so much legend has gathered -- and
gathers. Having -- in his own words -- no choice but to be a hackney coachman or a hackney
writer, he chose the pen; and his inclinations, as well as his opportunities, led him to the
stage. From 1730 to 1736 he rapidly brought out a large number of pieces, most of which
had merit enough to secure their being acted, but not sufficient to earn a lasting reputation
for their author. His chief successes, from a critical point of view, the Author's Farce
(1730) and Tom Thumb (1730, 1731), were burlesques; and he also was fortunate in two
translations from Molière, the Mock Doctor (1732) and the Miser (1733). Of the rest (with
one or two exceptions, to be mentioned presently) the names need only be recorded. They
are The Coffee-House Politician, a comedy (1730); The Letter Writers, a farce (1731); The
Grub-Street Opera, a burlesque (1731); The Lottery, a farce (1732); The Modern Husband,
a comedy (1732); The Covent Garden Tragedy, a burlesque (1732); The Old Debauchees, a
comedy (1732); Deborah; or, a Wife for you all, an after-piece (1733); The Intriguing
Chambermaid (from Regnard), a two-act comedy (1734); and Don Quixote in England, a
comedy, which had been partly sketched at Leiden.
Don Quixote was produced in 1734, and the list of plays may be here interrupted by the
event of Fielding's first marriage. This took place on the 28th of November 1734 at St.
Mary, Charlcombe, near Bath, the lady being a Salisbury beauty, Miss Charlotte Cradock,
of whom he had been an admirer, if not a suitor, as far back as 1730. This is a fact which
should be taken into consideration in estimating the exact Bohemianism of his London life,
for there is no doubt that he was devotedly attached to her. After a fresh farce entitled An
Old Man taught Wisdom, and the comparative failure of a new comedy, The Universal
Gallant, both produced early in 1735, he seems for a time to have retired with his bride,
who came into £1500, to his old home at East Stour. Around this rural seclusion fiction has
freely accreted. He is supposed to have lived for three years on the footing of a typical 18th-
century country gentleman; to have kept a pack of hounds; to have put his servants into
impossible yellow liveries; and generally, by profuse hospitality and reckless expenditure,
to have made rapid duck and drake of Mrs. Fielding's modest legacy. Something of this is
demonstrably false; much, grossly exaggerated. In any case, he was in London as late as
February 1735 (the date of the Preface to The Universal Gallant); and early in March 1736
he was back again managing the Haymarket theater with a so-called "Great Mogul's
Company of English Comedians."
Upon this new enterprise fortune, at the outset, seemed to smile. The first piece (produced
on the 5th of March) was Pasquin, a Dramatick Satire on the Times (a piece akin in its
plan to Buckingham's Rehearsal), which contained, in addition to much admirable
burlesque, a good deal of very direct criticism of the shameless political corruption of the
Walpole era. Its success was unmistakable; and when, after bringing out the remarkable
Fatal Curiosity of George Lillo, its author followed up Pasquin by the Historical Register
for the Year 1736, of which the effrontery was even more daring than that of its
predecessor, the ministry began to bethink themselves that matters were going too far.
How they actually effected their object is obscure: but grounds were speedily concocted for
the Licensing Act of 1737, which restricted the number of theaters, rendered the lord
chamberlain's license an indispensable preliminary to stage representation, and -- in a
word -- effectually put an end to Fielding's career as a dramatist.
Whether, had that career been prolonged to its maturity, the result would have enriched
the theatrical repertoire with a new species of burlesque, or reinforced it with fresh
variations on the "wit-traps" of Wycherley and Congreve, is one of those inquiries that are
more academic than profitable. What may be affirmed is, that Fielding's plays, as we have
them, exhibit abundant invention and ingenuity; that they are full of humor and high
spirits; that, though they may have been hastily written, they were by no means
thoughtlessly constructed; and that, in composing them, their author attentively
considered either managerial hints, or the conditions of the market. Against this, one must
set the fact that they are often immodest; and that, whatever their intrinsic merit, they
have failed to rival in permanent popularity the work of inferior men. Fielding's own
conclusion was, "that he left off writing for the stage, when he ought to have begun" --
which can only mean that he himself regarded his plays as the outcome of imitation rather
than experience. They probably taught him how to construct Tom Jones; but whether he
could ever have written a comedy at the level of that novel, can only be established by a
comparison which it is impossible to make, namely, a comparison with Tom Jones of a
comedy written at the same age, and in similar circumstances.
Tumble-Down Dick; or, Phaeton in the Suds, Eurydice and Eurydice hissed are the names
of three occasional pieces which belong to the last months of Fielding's career as a
Haymarket manager. By this date he was thirty, with a wife and daughter. As a means of
support, he reverted to the profession of his maternal grandfather; and, in November 1737,
he entered the Middle Temple, being described in the books of the society as "of East Stour
in Dorset." That he set himself strenuously to master his new profession, is admitted;
though it is unlikely that he had entirely discarded the irregular habits which had grown
upon him in his irresponsible bachelorhood. He also did a good deal of literary work, the
best known of which is contained in the Champion, a "News-Journal" of the Spectator type
undertaken, with James Ralph, whose poem of "Night" is made notorious in the Dunciad.
That the Champion was not without merit is undoubted; but the essay-type was for the
moment out-worn, and neither Fielding nor his coadjutor could lend it fresh vitality.
Fielding contributed papers from the 15th of November 1739 to the 19th of June 1740. On
the 20th of June he was called to the bar, and occupied chambers in Pump Court. It is
further related that, in the diligent pursuit of his calling, he travelled the Western Circuit,
and attended the Wiltshire sessions.
Although, with the Champion, he professed, for the time, to have relinquished periodical
literature, he still wrote at intervals, a fact which, taken in connection with his past
reputation as an effective satirist, probably led to his being "unjustly censured" for much
that he never produced. But he certainly wrote a poem "Of True Greatness" (1741); a first
book of a burlesque epic, the Vernoniad, prompted by Vernon's expedition of 1739; a vision
called the Opposition, and, perhaps, a political sermon entitled the Crisis (1741). Another
piece, now known to have been attributed to him by his contemporaries, is the pamphlet
entitled An Apology for the Life of Mrs. Shamela Andrews, a clever but coarse attack upon
the prurient side of Samuel Richardson's Pamela, which had been issued in 1740, and was
at the height of its popularity. Shamela followed early in 1741. Richardson, who was well
acquainted with Fielding's four sisters, at that date his neighbors at Hammersmith,
confidently attributed it to Fielding; and there are suggestive points of internal evidence
(such as the transformation of Pamela's "Mr. B." into "Mr. Booby") which tend to connect
it with the future Joseph Andrews. Fielding, however, never acknowledged it, or referred
to it; and a great deal has been laid to his charge that he never deserved (Preface to
Miscellanies, 1743).
But whatever may be decided in regard to the authorship of Shamela, it is quite possible
that it prompted the more memorable Joseph Andrews, which made its appearance in
February 1742, and concerning which there is no question. Professing, on his title page, to
imitate Cervantes, Fielding set out to cover Pamela with Homeric ridicule by transferring
the heroine's embarrassments to a hero, supposed to be her brother. Allied to this purpose
was a colleteral attack upon the slipshod Apology of the playwright Colley Cibber, with
whom, for obscure reasons, Fielding had long been at war. But the avowed object of the
book fell speedily into the background as its author warmed to his theme. His secondary
speedily became his primary characters, and Lady Booby and Joseph Andrews do not
interest us now as much as Mrs. Slipslop and Parson Adams -- the latter an invention that
ranges in literature with Laurence Sterne's "Uncle Toby" and Oliver Goldsmith's "Vicar."
Yet more than these and others equally admirable in their round veracity, is the writer's
penetrating outlook upon the frailties and failures of human nature. By the time he had
reached his second volume, he had convinced himself that he had inaugurated a new
fashion of fiction; and in a Preface of exceptional ability, he announced his discovery.
Postulating that the epic might be "comic" or "tragic", prose or verse, he claimed to have
achieved what he termed the "Comic Epos in Prose", of which the action was "ludicrous"
rather than "sublime", and the personages selected from society at large, rather than the
restricted ranks of conventional high life. His plan, it will be observed, was happily
adapted to his gifts of humor, satire, and above all, irony. That it was matured when it
began may perhaps be doubted, but it was certainly matured when it ended. Indeed, except
for the plot, which, in his picaresque first idea, had not preceded the conception, Joseph
Andrews has all the characteristics of Tom Jones, even (in part) to the initial chapters.
Joseph Andrews had considerable success, and the exact sum paid for it by Andrew Millar,
the publisher, according to the assignment now at South Kensington, was £183 11s., one of
the witnesses being the author's friend, William Young, popularly supposed to be the
original of Parson Adams. It was with Young that Fielding undertook what, with exception
of "a very small share" in the farce of Miss Lucy in Town (1742), constituted his next work,
a translation of the Plutus of Aristophanes, which never seems to have justified any similar
experiments. Another of his minor works was a Vindication of the Dowager Duchess of
Marlborough (1742), then much before the public by reason of the Account of her Life
which she had recently put forth. Later in the same year, David Garrick applied to Fielding
for a play; and a very early effort, The Wedding Day, was hastily patched together, and
produced at Drury Lane in February 1743 with no great success. It was, however, included
in Fielding's next important publication, the three volumes of Miscellanies issued by
subscription in the succeeding April. These also comprised some early poems, some
essays, a Lucianic fragment entitled a Journey from this World to the Next, and, last but
not least, occupying the entire final volume, the remarkable performance entitled the
History of the Life of the late Mr. Jonathan Wild the Great.
It is probable that, in its composition, Jonathan Wild preceded Joseph Andrews. At all
events it seems unlikely that Fielding would have followed up a success in a new line by an
effort so entirely different in character. Taking for his ostensible hero a well-known thief-
taker, who had been hanged in 1725, he proceeds to illustrate, by a mock-heroic account of
his progress to Tyburn, the general proposition that greatness without goodness is no
better than badness. He will not go so far as to say that all "Human Nature is Newgate with
the Mask on"; but he evidently regards the description as fairly applicable to a good many
so-called great people. Irony (and especially Irony neat) is not a popular form of rhetoric;
and the remorseless pertinacity with which Fielding pursues his demonstration is to many
readers discomforting and even distasteful. Yet -- in spite of Scott -- Jonathan Wild has its
softer pages; and as a purely intellectual conception it is not surpassed by any of the
author's works.
His actual biography, both before and after Jonathan Wild, is obscure. There are evidences
that he labored diligently at his profession; there are also evidences of sickness and
embarrassment. He had become early a martyr to the malady of his century -- gout, and the
uncertainties of a precarious livelihood told grievously upon his beautiful wife, who
eventually died of fever in his arms, leaving him for the time so stunned and bewildered by
grief that his friends feared for his reason. For some years his published productions were
unimportant. He wrote Prefaces to the David Simple of his sister Sarah in 1744 and 1747;
and, in 1745-46 and 1747-48, produced two newspapers in the ministerial interest, the True
Patriot and the Jacobite's Journal, both of which are connected with, or derive from, the
rebellion of 1745, and were doubtless, when they ceased, the pretext of a pension from the
public service money (Journal of a Voyage to Lisbon, Introduction). In November 1747 he
married his wife's maid, Mary Daniel, at St. Bene't's, Paul's Wharf; and in December 1748,
by the interest of his old school-fellow, Lyttelton, he was made a principal justice of peace
for Middlesex and Westminster, an office which put him in possession of a house in Bow
Street, and £300 per annum "of the dirtiest money upon earth", which might have been
more had he condescended to become what was known as a "trading" magistrate.
For some time previously, while at Bath, Salisbury, Twickenham and other temporary
resting places, he had intermittently occupied himself in composing his second great novel,
Tom Jones; or, the History of a Foundling. For this, in June 1748, Millar had paid him
£600, to which he added £100 more in 1749. In the February of the latter year it was
published with a dedication to Lyttelton, to whose pecuniary assistance to the author
during the composition it plainly bears witness. In Tom Jones Fielding systematically
developed the "new Province of Writing" he had discovered incidentally in Joseph
Andrews. He paid closer attention to the construction and evolution of the plot; he
elaborated the initial essays to each book which he had partly employed before, and he
compressed into his work the flower and fruit of his forty years' experience of life. He has,
indeed, no character quite up to the level of Parson Adams, but his Westerns and
Partridges, his Allworthys and Blifils, have the inestimable gift of life. He makes no
pretence to produce "models of perfection", but pictures of ordinary humanity, rather
perhaps in the rough than the polished, the natural than the artificial, and his desire is to
do this with absolute truthfulness, neither extenuating nor disguising defects and
shortcomings. One of the results of this unvarnished naturalism has been to attract more
attention to certain of the episodes than their inventor ever intended. But that, in the
manners of his time, he had chapter and verse for everything he drew is clear. His sincere
purpose was, he declared, "to recommend goodness and innocence", and his obvious
aversions are vanity and hypocrisy. The methods of fiction have grown more sophisticated
since his day, and other forms of literary egotism have taken the place of his once famous
introductory essays, but the traces of Tom Jones are still discernible in most of our manlier
modern fiction.
Meanwhile, its author was showing considerable activity in his magisterial duties. In May
1749, he was chosen chairman of quarter sessions for Westminster; and in June he
delivered himself of a weighty charge to the grand jury. Besides other pamphlets, he
produced a careful and still readable Enquiry into the Causes of the late Increase of
Robbers, etc. (1751), which, among its other merits, was not ineffectual in helping on the
famous Gin Act of that year, a practical result to which the "Gin Lane" and "Beer Street" of
his friend William Hogarth also materially contributed. These duties and preoccupations
left their mark on his next fiction, Amelia (1752), which is rather more taken up with social
problems and popular grievances than its forerunners. But the leading personage, in
whom, as in the Sophia Western of Tom Jones, he reproduced the traits of his first wife, is
certainly, as even Samuel Johnson admitted, "the most pleasing heroine of all the
romances." The minor characters, too, especially Dr. Harrison and Colonel Bath, are equal
to any in Tom Jones. The book nevertheless shows signs, not of failure but of fatigue,
perhaps of haste -- a circumstance heightened by the absence of those "prolegomenous"
chapters over which the author had lingered so lovingly in Tom Jones. In 1749 he had been
dangerously ill, and his health was visibly breaking. The £1000 which Millar is said to have
given for Amelia must have been painfully earned.
Early in 1752 his still indomitable energy prompted him to start a third newspaper, the
Covent Garden Journal, which ran from the 4th of January to the 25th of November. It is
an interesting contemporary record, and throws a good deal of light on his Bow Street
duties. But it has no great literary value, and it unhappily involved him in harassing and
undignified hostilities with Tobias Smollett, Dr. John Hill, Bonnell Thornton and other of
his contemporaries. To the following year belong pamphlets on "Provision for the Poor",
and the case of the strange impostor, Elizabeth Canning (1734-1773). By 1754 his own case,
as regards health, had grown desperate; and he made matters worse by a gallant and
successful attempt to break up a "gang of villains and cut-throats", who had become the
terror of the metropolis. This accomplished, he resigned his office to his half-brother John
(afterwards Sir John) Fielding. But it was now too late. After fruitless essay both of Dr.
Ward's specifics and the tar-water of Bishop Berkeley, it was felt that his sole chance of
prolonging life lay in removal to a warmer climate. On the 26th of June 1754 he accordingly
left his little country house at Fordhook, Ealing, for Lisbon, in the "Queen of Portugal",
Richard Veal master. The ship, as often, was tediously wind-bound, and the protracted
discomforts of the sick man and his family are narrated at length in the touching
posthumous tract entitled the Journal of a Voyage to Lisbon, which, with a fragment of a
comment on Bolingbroke's then recently issued essays, was published in February 1755
"for the Benefit of his [Fielding's] Wife and Children." Reaching Lisbon at last in August
1754, he died there two months later (8th October), and was buried in the English
cemetery, where a monument was erected to him in 1830. Luget Britannia gremio non
dari fovere natum is inscribed upon it.
His estate, including the proceeds of a fair library, only covered his just debts; but his
family, a daughter by his first, and two boys and a girl by his second wife, were faithfully
cared for by his brother John, and by his friend Ralph Allen of Prior Park, Bath, the Squire
Allworthy of Tom Jones. His will (undated) was printed in the Athenaeum for the 1st of
February 1890. There is but one absolutely authentic portrait of him, a familiar outline by
Hogarth, executed from memory for Andrew Millar's edition of his works in 1762. It is the
likeness of a man broken by ill health, and affords but faint indication of the handsome
Harry Fielding who in his salad days "warmed both hands before the fire of life." Far too
much stress, it is now held, has been laid by his first biographers upon the unworshipful
side of his early career. That he was always profuse, sanguine and more or less
improvident, is as probable as that he was always manly, generous and sympathetic. But it
is also plain that, in his later years, he did much, as father, friend and magistrate, to
redeem the errors, real and imputed, of a too-youthful youth.
As a playwright and essayist his rank is not elevated. But as a novelist his place is a definite
one. If the Spectator is to be credited with foreshadowing the characters of the novel,
Daniel Defoe with its earliest form, and Richardson with its first experiments in
sentimental analysis, it is to Henry Fielding that we owe its first accurate delineation of
contemporary manners. Neglecting, or practically neglecting, sentiment as unmanly, and
relying chiefly on humor and ridicule, he set out to draw life precisely as he saw it around
him, without blanks or dashes. He was, it may be, for a judicial moralist, too indulgent to
some of its frailties, but he was merciless to its meaner vices. For reasons which have been
already given, his high-water mark is Tom Jones, which has remained, and remains, a
model in its way of the kind he inaugurated.
Author of books:
An Apology for the Life of Mrs. Shamela Andrews (1741, satire, anonymous)
Joseph Andrews (1742, novel)
Miscellanies (1743, collection)
The History of Tom Jones, a Foundling (1749, novel)
Amelia (1751, novel)
The Journal of a Voyage to Lisbon (1754, travelogue)
Wrote plays:
Historical Register, For the Year 1736 (1737)
Charles Dickens
AKA Charles John Huffam Dickens
Born: 7-Feb-1812
Birthplace: Portsmouth, Hampshire, England
Died: 9-Jun-1870
Location of death: Gad's Hill Place, Kent, England
Cause of death: Stroke
Remains: Buried, Westminster Abbey, London, England
Gender: Male
Race or Ethnicity: White
Sexual orientation: Straight
Occupation: Novelist
Nationality: England
Executive summary: Oliver Twist
Charles Dickens, novelist and humorist, was born at Landport in Hampshire, in
February 1812. His father, John Dickens, was employed for some years in the
Navy Pay Department, but at the conclusion of the war with France was
pensioned, and became a parliamentary reporter. In this pursuit his son was
soon distinguished for uncommon ability; and after a literary engagement -- at
a very early age -- upon The True Sun, he attached himself to the staff of the
Morning Chronicle. In this newspaper he gave the first evidence of his talents in the lively essays, entitled Sketches
by Boz, published in 1836.
Encouraged by their success, he undertook to write the letterpress of Adventures of Mr. Pickwick, the illustrations of
which were to be executed by the then more famous Mr. Seymour, a comic artist. The Pickwick Papers became an
enormous commercial success, commencing an era in English literature. It was the first of a series of fictitious
works exhibiting the life and manners of the middle and lower classes, which up to that time had had scarcely any
exponent. In one respect, however, this book had neither predecessor nor progeny. Neither before nor since has there
ever been such a literary embodiment of healthy animal spirits. There is none like it for unflagging but never unwise
entertainment -- for humor that is very much the reverse of dry.
Since Pickwick, Dickens has given us many works more admirable in other respects. Nicholas Nickleby, his next
effort, was, as a story, greatly in advance of it. It was also the first of those social novels which form so marked a
feature in the literature of the next hundred years. It was aimed at the wrongs and cruelties inflicted upon their
wretched pupils by the cheap schoolmasters of Yorkshire -- and it hit its mark. Since then Dickens has set lance
against many a social monster. He may be sometimes wrong, but he can scarcely be accused of want of honesty of
purpose; while quite as little can partisanship (except that he is always for the poor) be laid to his charge, since at the
very time that the country gentlemen were shaking their heads at him for his lack of reverence for "land", he
incensed the manufacturing interest by the publication of Hard Times. His sarcasm is of a rather peculiar character;
too good-natured to sneer, and with eyes, notwithstanding their indignant fire, that never lose sight of the ludicrous
side of things, his style is mocking argument.
After Nicholas Nickeby came Master Humphrey's Clock, containing the Old Curiousity Shop and Barnaby Rudge. In
the former of these, and in the character of Little Nelly, he first exhibited that power of setting forth child-life and
child-thought which may have been said perhaps, before the publication of George Eliot's works, to be peculiarly
his own. Barnaby Rudge was his first, and, with the exception of his subsequent Tale of Two Cities, his only attempt
to describe the past; and it was a successful one. It is probably, with reference to plot and circumstance, his best
novel, barring David Copperfield. The Old Curiosity Shop began in a curious dreamy manner, which, although
obviously a favorite one with Dickens, he soon perceived was unappreciated, and had the prudence to discontinue.
This disposition of his mind towards the weird and grotesque he subsequently developed with greater success in his
Christmas Stories.
After a voyage across the Atlantic, Dickens published in 1842 his American Notes for General Circulation; but a
much more admirable result of that expedition appeared in his Martin Chuzzlewit. This was certainly the greatest of
his humorous works since the Pickwick Papers, and it may almost be said to have been his last. From this period, his
animal spirits -- a rare gift among even comic authors, and rarely lasting so long as in his own case -- appear to have
deserted him. His humor, except in some rich creations, such as Mr. Micawber, is no longer so apparent, while, on
the other hand, his with and pathos have increased. Dombey and Son was considered a falling off in one who stood
so high; but his death of little Dombey brought tears to the eyes of lawyers.
When men were expecting that he should wane and weaken like other prolific writers before him, he produced a
novel as fresh as the dawn. In this, for the first time he adopted the autobiographical form, and that perhaps offered
him some advantages; but at all events, the result was admirable. David Copperfield is perhaps by far his greatest
work, and will endure -- though for very different reasons -- as long as the Pickwick Papers. Its Agnes is one of the
most charming female characters in the whole range of fiction. Bleak House, Hard Times, Little Dorritt, the Tale of
Two Cities, and Great Expectations, have since succeeded one another with almost periodic punctuality, and an
audience larger than any English author ever had has awaited each. No prose writer was ever more quotable or
quoted than Dickens, and his works hold a unique place in the canon of English literature. The good characters of
his novels do not exert a wholesome moral tendency, as many of them act from impulse, and not from the influence
of moral or religious motives. In 1845, the Daily News was started under Dickens' auspices, but he soon withdrew
from it. In 1850 he commenced Household Words, which has since been merged into All the Year Round. In 1867 he
again visted the United States, and was cordially received. He died 1870 at Gad's Hill Place in Kent.
Father: John Dickens (pay clerk)
Mother: Elizabeth Barrow
Brother: Charles
Wife: Catherine Hogarth (m. 2-Apr-1836, separated 1858, ten children)
Mistress: Ellen Ternan (actress, his mistress 1860's until his death)
Girlfriend: Maria Beadnell (1830-33)
Sister: Fanny (d. 1848)
Brother: Alfred (d. 1860)
Athenaeum Club (London)
Boston Saturday Club
Royal Society of Arts
Risk Factors: Depression, Epilepsy, Gout
Author of books:
Sketches by "Boz" (1836, sketches)
Pickwick Papers (1836-37, novel)
Oliver Twist (1838, novel)
Nicholas Nickleby (1839, novel)
The Old Curiosity Shop (1841, novel)
Barnaby Rudge (1841, novel)
American Notes (1842, travelogue)
A Christmas Carol (1843, novel)
Martin Chuzzlewit (1844, novel)
Dombey and Son (1848, novel)
David Copperfield (1850, novel)
Bleak House (1853, novel)
A Child's History of England (1853, juvenile)
Hard Times (1854, novel)
Little Dorrit (1857, novel)
A Tale of Two Cities (1859, novel)
Reprinted Pieces (1858, essays)
The Uncommercial Traveller (1861, essays)
Great Expectations (1861, novel)
Our Mutual Friend (1865, novel)
The Mystery of Edwin Drood (1870, novel, unfinished)
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(d) Tennyson
(a) Hamlet
(a) A novel
(c) a poem
(d) a drama
(a) play
(b) short story
(c) an epic
(d) novel
i>oi8]
’iRblMP *0*8]
(a) an epic
(c) a tragedy
(d) a ballad
(a) A Jew
(b) A Turk
(c) A Roman
(d) A Moor
(d) None
(a) Dickens
(b) Frost
Answer
9 D
10 D
11 D
12 D
13 B
14 B
15 D
16 A
(d) None
17. Who is a modern author?
(a) C. Marlow
(c) Chaucer
(c) Frost
(d) Auden
(c) Frost
(d) Auden
20. ‘Caesar and Cleopatra’ is written by-
(c) Joyce
(d) Hardy
22. ‘Man and Superman’ and ‘Arms and The Man’ were written by-
(d) None
23. Who wrote ‘The Waste Fand’?
"Sc
Answer
17 D
18 A
19 B
20 D
21 A
22 A
23 B
(d) None
(b) E. M. Forster
(a) Roots
(b) Ulysses
(d) Rebecca
(d) None
(d) none
(d) All
24 B
25 B
26 D
27 A
28 B
29 A
30 A
31 D
32. “To be, or not to be, that is the question” - Where do you find this quotation?
(a) Macbeth
(b) Hamlet
(d) Othello
33. ‘The Road not Taken’ is a famous poem of -
(d) None
(a) Shelley
(c) Frost
(d) Whitman
a) Song of myself
b) Song of Innocence
c) Song of Experience
d) none of these
(d) None
(d) None
39. ‘The Sun Also Rises’ and ‘For Whom the Bell Tolls’ - These two novels were
written by -
(a) O’ Henry
"Sc
Answer
32 B
33 A
34 D
35 A
36 A
37 C
38 B
39 C
(d) None
(d) None
(a) O’ Henry
(b) L. Stevenson
(c) Hemingway
Answer
40 C
41 D
42 D
43 B
44 C
45 D
46 D
47 A
(d) H. Fielding
(a) Byron
(a) Byron
(c) Shelley
(a) Shelley
(b) Shakespeare
(c) Sophocles
(d) Euripedes
(b) Keats
(c) Shelley
(d) Byron
(a) Wordsworth
(b) Coleridge
(c) Keats
(d) Shelley
(a) Socrates
(b) Shakespeare
(c) Aristotle
(d) Sophocles
(a) Shelley
(c) Chaucer
(d) Donne
(a) Shakespeare
"Sc
Answer
48 A
49 C
50 A
51 D
52 B
53 D
54 C
55 B
(b) Chaucer
(c) Marlowe
(d) Congreve
56. ‘The Silent Woman’ is a play by - pT^lft 9 lRt>l s 1 < l 5 (^3|J '5T^ c tl®T?I) -
^oop]
(b) Shakespeare
(c) Marlowe
(a) Shakespeare
(b) Marlowe
(a) 1
(b) 2
(c) 3
(d) 4
(a) Hamlet
(c) Tempest
Answer
56 D
57 B
58 B
59 D
60 C
61 B
62 A
(b) Show that the Satan and God have equal power
(c) P. B. Shelley
66. ‘O Lady! We receive but what we give’- has been quoted from
(c) Tithonus
69. Who is the writer of ‘The End of History and The Last Man’?
"Sc
Answer
63 B
64 D
65 A
66 D
67 A
68 A
69 B
70 B
(b) Thackeray
(c) Scott
(d) Fielding
72. Who is the author of ‘The Old Man and the Sea’?
(a) E. Hemingway
(b) Churchill
(c) Wilson
(d) Hardy
(d) Scott
(b) Tolstoy
(c) Byron
(d) Dostoyevsky
(c) Gallsworth
77. Who is the author of the novel ‘The Sun Also Rises’?
(a) H.G. Wells
(a) Milton
(b) Hoffman
(c) Vergil
(d) Homer
(b) Hamlet
81. Of the following who is the most translated author of the world?
(a) Not
(b) Footballs
(c) Radio
(d) Breath
86. Who is well known for his translation of ‘Rubaiyat of Omar Khayyam’ into
English?
"Sc
Answer
79 D
80 A
81 C
82 C
83 D
84 D
85 D
86 B
(a) Drama
(c) novel
(d) poem
(a) Russia
(b) Germany
(c) England
(d) France
(d) Fitzerald
(b) Novel
(c) Story
(d) Essay
(b) Othello
(d) Tempest
94. Who was the only Laureate to refuse the Nobel Prize?
"Sc
Answer
87 B
88 B
89 A
90 A
91 C
92 B
93 D
94 B
(b) L. Tolstoy
(c) A. Pope
96. Who is the modern philosopher who was rewarded Nobel Prize for literature?
(a) Baker
(b) Kissinger
(c) Lenin
(d) B. Russell
(a) Ghandhi
(b) Nehru
(c) Jinnah
99. Who is the author of the drama ‘You never can tell’?
(c) Shakespeare
(c) Smith
"Sc
Answer
95 A
96 D
97 D
98 B
99 A
100 D
101 B
102 D
(d) Woolf
(a) 1948
(b) 1923
(c) 1953
(d) 1935
105. Which one of the following is the first long poem in English?
(a) Beowulf
- ^oos]
"Sr
Answer
103 C
104 A
105 A
106 B
107 B
108 B
109 D
114. The first English novel, Pamela, has been written by - "Q <jKR) -
^oog]
(a) Daniel Defoe
(c) Aeneid
(c) Rainbow
(d) Ulysses
a) John Milton
b) John Dryden
c) William Congreve
d) All of them
(b) a drama
(d) Conrad
(a) individual
(b) others
(c) papers
Answer
118 C
119 D
120 D
121 A
122 B
123 D
124 D
125 C
(a) A Chronicle
(b) an Autobiographer
(c) a diary
(d) a Biography
Answer
126 A
127 A
128 B
129 A
130 B
131 B
132 C
133 A
(c) a ballad
(d) a sonnet
(a) a poem
(b) a sonnet
(d) a lamentation
"Sr
Answer
134 A
135 D
136 C
137 D
138 D
139 A
140 C
141 A
Answer
142 C
143 B
144 A
145 A
146 D
147 C
148 C
(a) a poem
(b) a prose
(d) a story
'a.
Answer
149 A
150 A
151 D
152 A
153 B
154 D
155 C
156 D
(b) individual
(a) human
(b) poet’s
(d) personal
(b) representation
(c) presentation
(d) rebel
Answer
157 A
158 D
159 A
160 A
161 D
162 C
163 D
164 A
(a) meter
(b) foot
(c) mythology
(d) none
(c) single
"Sc
Answer
165 D
166 A
167 D
168 D
169 B
170 D
171 C
172 D
(a) Sophocles
(b) Euripides
(c) Homer
(d) surface
"Sc
Answer
173 D
174 B
175 A
176 C
177 D
178 C
179 A
180 D
(d) none
Answer
181 C
182 A
183 A
184 C
185 D
186 C
187 D
188 A
(a) drama
(b) novel
(d) versification
(a) comrade
(b) classmate
(d) friend
(a) Chronometer
(b) Chorology
(c) Chronicle
(d) Choreography
"Sc
Answer
189 D
190 A
191 A
192 B
193 D
194 C
195 C
(c) a Novella
(b) amazing
(c) wonder
(d) rapture
200. “Reading makes a full man, conference a ready man and writing an exact man.” - W
ho told it?
(a) Shakespeare
(b) Chaucer
(c) Spenser
(d) Bacon
(a) Chaucer
(d) Spenser
202. “Our sweetest songs are those that tell of saddest thoughts” is a quotation from
-
(a) Wordsworth
(b) Shelly
(d) Blake
(a) Neo-classical
(b) Elizabethan
(c) Victorian
(d) Modern
(a) Wordsworth
(b) Shelly
(c) Keats
(a) Wordsworth
(b) Coleridge
(c) Blake
(d) Keats
(b) Tennyson
(c) Browning
(d) Shelley
(a) novelist
(b) essayist
(c) poet
(d) philosopher
211. Who is the most satirist in English Literature?
(c) Dryden
(d) Spenser
'a.
Answer
204 A
205 C
206 D
207 A
208 A
209 A
210 D
211 B
(b) Bacon
(c) Lamb
(a) Victorian
(b) Elizabethan
(c) Romantic
(d) Modern
(a) 19th.
(b) 20th
(c) 17th
(d) 18th
(d) Austen
(a) American
(b) English
(c) Irish
(d) French
(a) Germany
(b) India
(c) Russia
(d) England
Answer
212 D
213 A
214 D
215 A
216 B
217 D
218 D
219 A
(a) poetry
(b) an autobiography
(c) a diary
(d) plays
223. What is the full name of the great American short story writer O’Henry?
(a) a comedy
(c) an epic
(d) a tragedy
(d) R. L. Stevenson
'a.
Answer
220 C
221 B
222 D
223 A
224 D
225 B
226 C
227 A
"Sc
Answer
228 C
229 C
230 C
231 B
232 C
233 A
234 A
235 B
(a) Shakespeare
(b) Emerson
(c) Gladstone
(d) Disraeli
(d) None
(a) Cowper
240. Which of the following poet was not awarded the Nobel Prize?
(a) Eliot
(b) Yeats
(d) Milton
(b) essay
(c) poem
(d) novel
"Sc
Answer
236 C
237 A
238 C
239 B
240 D
24J B
242 C
(d) Keats
(a) Becket
(b) Pinter
(c) Stoppard
(d) Lessing
(b) Shelly
(d) None
"Sc
Answer
243 B
244 D
245 C
246 C
247 A
248 C
249 A
250 C
251. Who was not the famous poet of the age of Romanticism?
(a) Coleridge
(b) Byron
(c) Shelley
(d) Shakespeare
(b) Homer
(d) Eliot
253. What is literature?
(c) a hymn
(d) none
256. Whose real name was Mary Anne Evans?
(b) Shakespeare
(c) T. S. Eliot
(d) pentameter
"Sc
Answer
251 D
252 C
253 B
254 A
255 C
256 C
257 A
258 A
a) Metaphor
b) Epigram
c) Satire
d) Simile
(a) shorter
(b) longer
(c) smaller
(d) huger
"Sr
Answer
259 D
260 A
261 B
262 A
263 D
264 B
265 C
266 A
(c) S. T. Coleridge
(b) an elegy
(c) a novel
(d) a burlesque
(a) Epic
(b) Tragedy
(c) Comedy
(d) Sonnet
(a) archive
(b) chronology
(c) anthology
(d) antenna
Answer
267 D
268 A
269 A
270 A
271 A
272 D
273 B
274 A
(d) none
(a) Novel
(b) Play
(c) Theory
Answer
275 C
276 A
277 A
278 C
279 A
280 D
281 A
282 B
(b) Shakespeare
(c) Marlowe
(d) Ibsen
(b) Prelude
a) Adonais
b) The Patriot
d) My Last Duchess
'3c
Answer
283 B
284 A
285 D
286 C
287 D
288 A
289 D
290 A
(d) Wordsworth
(a) 1998
(b) 1997
(c) 1999
(d) 2000
(c) Dorothy
Answer
291 D
292 A
293 C
294 D
295 A
296 C
297 A
298 A
(a) Persian
(b) English
(c) French
(d) Italy
(a) Aristophanes
(b) Homer
(c) Ovid
(d) Sophocles
(a) essayist
(b) novelist
(c) dramatist
(d) poet
"Sc
Answer
299 A
300 D
301 A
302 D
303 D
304 D
305 B
306 A
(b) comedy
(c) tragicomedy
(d) sonnet
(a) Tennyson
(b) Chaucer
(c) Browning
(d) Spenser
309. ‘Romeo and Juliet’ is a/an - [^1 35 s (ft 9 ddt>l s 1<I 5 (*p tSjjlM - ik>k>k>]
(a) comedy
(b) melodrama
(c) play
(d) tragedy
(a) Sonnet
(b) ballad
(c) novel
313. Who is called the father of English Prose? pT^tft (<r(°«TlW c f ShT-Stri) -
^ooo]
(a) Gorboduc
(b) Pamela
(c) Iliad
Answer
307 B
308 D
309 D
310 D
311 D
312 C
313 D
314 D
(a) elegy
(b) sonnet
(c) ballad
(d) lyric
^oio]
(a) Hardy
(b) Shakespeare
(c) Marlowe
(d) Dickens
318. “The Trumpet of prophecy! O wind. If winter comes, can spring be far behind?” Wh
o is the poet
(a) novel
(b) drama
(c) poem
(a) Beloved
325. “She looked over his shoulder For vines and olive trees, Marble well-governed ci
ties And ships
(a) Lullaby
(a) American
(b) Irish
(c) English
(d) French
(a) Ovid
(b) Dante
(c) Boccaccio
(d) Virgil
2s.
Answer
322 B
323 A
324 D
325 B
326 B
327 C
328 D
329 D
(d) Arthur Miller
(a) R K Narayan
(a) English
(b) American
(c) Irish
(d) Canadian
(a) Egyptian
(b) English
(c) Irish
(d) American
'a.
Answer
330 A
331 A
332 A
333 D
334 A
335 B
336 A
(b) Heaney
338. “East is East and West is West and never the twain shall meet” - these lines wer
e written by?
(b) G. B. Shaw
(c) G. B. Shaw
(d) H. G. Wells
(a) 2006
(b) 2007
(c) 2008
(d) 2000
(a) poet
(b) novelist
(a) G. B. Shaw
(b) Shakespeare
(c) Spenser
(d) Dante
(a) Simile
(b) Metaphor
(c) Synecdoche
"Sc
Answer
337 D
338 A
339 C
340 A
34J A
342 C
343 A
344 A
(d) Metonymy
345. ‘I Wandered Lonely as a Cloud’ is a poem written by -
(b) Blake
(d) Coleridge
(d) aestheticism
(c) a theory
"Sc
Answer
345 A
346 C
347 D
348 A
349 D
350 D
351 D
352 A
(c) Hardy
(b) Lawrence
(c) Shakespeare
(d) Hardy
(a) Keats
(b) Shelley
(c) Wordsworth
(d) All
(a) 1789
(b) 1798
(c) 1800
(d) 1785
357. “If they be two, they are two so A stiff twin compasses are two; Thy soul, the f
ixed foot, makes
(a) Conceit
(b) Ode
(c) Allusion
(d) Simile
(a) Tennyson
(d) a and c
(a) Elizabethan
(b) Classic
(c) Modern
(d) Jacobean
360. First English Tragedy?
(a) Oedipus
(b) Gorboduc
(c) Aeschylus
(d) Homer
(b) Wordsworth
(c) Shelley
(d) Milton
(c) Marlowe
(a) 1789
(b) 1880
(c) 1889
(d) 1750
366. Who is contemporary of William Shakespeare?
(a) Homer
(b) Tennyson
(c) Popem
"Sc
Answer
360 B
361 B
362 B
363 B
364 A
365 A
366 A
367 B
(a) Poem
(b) epic
(c) Ode
(d) novel
(a) 17 th century
(b) 14 th century
(c) 16 th century
(d) 18 th century
(a) Subjectivity
(b) Naturalism
(a) 1989
(b) 1798
(c) 1998
375. “Water, water, everywhere, And all the boards did shrink; Water, water,
"Sc
Answer
368 D
369 C
370 D
371 B
372 B
373 D
374 B
375 D
(d) Rime of the Ancient Mariner
(a) Keats
(b) Shelley
378. “If winter come can spring be far behind” - quoted from?
(a) Shelley
(b) Wordsworth
(c) Keats
(d) Coleridge
(a) Conceit
(b) Hyperbole
(c) Simile
(d) Metaphor
(a) Poet
(b) Dramatist
(c) Novelist
(d) Essayist
382. “He smiles, he laughs and he roars” - this quotation is an example of?
(a) Conceit
(b) Allusion
(c) Climax
(d) Satire
383. “Life’s but a walking shadow, a poor player That starts and frets his hour upon
the
Answer
376 A
377 B
378 A
379 B
380 B
381 C
382 C
383 B
(b) Macbeth
(d) Othello
(a) Song
(c) Satire
(a) Plot
(b) Character
(c) Spectacles
(d) Diction
(a) Elizabeth J
(b) Charles 2
(c) Charles 1
(d) Victoria J
(a) Tragedy
(b) Comedy
(c) Translation
(d) Prose
390. “Hell hath no limits, nor is circumscribed In one self -place; for where we are
is
hell, And where hell is, there must we ever be.” - this famous quotation is cited fro
m?
(d) Macbeth
'a.
Answer
384 B
385 A
386 B
387 D
388 A
389 A
390 A
391. Who was often been called The Father of English Tragedy?
(a) William Shakespeare
392. “O, beware, my lord, of jealousy; ft is the green-ey’d monster, which doth mock
The meat it
(b) Macbeth
(c) Hamlet
(d) Othello
(a) Edwardian
(b) Georgian
(c) Pope
(d) Augusta
(a) Plot
(b) Character
(c) Spectacles
(d) Diction
(a) G. B. Shaw
(c) R. K. Narayan
'a.
Answer
39J B
392 D
393 B
394 A
395 A
396 B
397 B
398 D
(a) USA
(b) Australia
(c) UK
(d) Canada
(b) poetry
(c) verse
(d) play
(a) R. K. Narayan
(d) H. G. Wells
(a) Macbeth
(c) Tempest
(d) Othello
403. “The fool doth think he is wise but the wise man knows him s elf to be a fool”
quoted from?
(a) Hamlet
(c) Othello
(d) Henry 8
(a) 1616
(b) 1564
(c) 1566
(d) 1604
405. “Blow, blow thou winter wind Thou art not so unkind.” - Example of?
(a) Simile
(b) Conceit
(c) Metaphor
(d) Couplet
- this quotation is
"Sr
Answer
399 C
400 A
401 C
402 A
403 B
404 B
405 D
406. “All the world’s a stage And all the men and women merely players” - quoted from
?
(a) A Midsummer Night’s Dream
(a) 154
(b) 38
(c) 29
(d) 26
(a) Tragedy
(b) Tragicomedy
(c) Romantic
(d) Comedy
409. “not of an age, but for all time”- was told about Shakespeare by whom?
(a) Marlowe
(a) Comedy
(b) Tragedy
(c) Historical
(d) Tragicomedy
(d) Richard 2
(d) a and c
Answer
406 D
407 B
408 D
409 B
410 D
411 A
412 D
413 C
(a) 1592
(b) 1616
(c) 1638
(d) 1632
(a) 151
(b) 148
(c) 128
(d) 154
(a) Othello
(b) Macbeth
(d) Henry 8
(a) 1601-1699
(b) 1701-1799
(c) 1801-1899
(d) 1901-1999
(b) D. H. Lawrence
(c) William Butler Yeats
(d) E. M. Lorster
(d) Philanderer
(b) Tennyson
(d) Thackeray
Answer
414 B
415 D
416 B
417 C
418 C
419 A
420 B
421 C
(b) Stability
(c) Doubtless
(d) Immorality
(a) 1801
(b) 1901
(c) 1885
(d) 1832
425. “Who trusted God was love indeed And love creation’s final law”
taken from?
(a) Ulysses
(b) In Memoriam
(a) E. M. Forster
(a) Epic
(b) Poem
(c) Novel
"Sc
Answer
422 B
423 A
424 D
425 B
426 D
427 B
428 C
429 B
(d) Drama
(a) 1913
(b) 1923
(c) 1937
(d) 1919
431. W. B. Yeats was a/an?
432. The poem ‘The Love Song of J. Alfred Prufrock’ is composed by?
(c) W. B. Yeats
(a) Shakespeare
(b) Milton
(c) Coleridge
(d) Keats
434. ‘Essays of Elia’ was written by -
Answer
430 B
431 A
432 B
433 B
434 D
435 C
436 D
437 B
(c) Orhan Pamuk
(d) none
(c) G. B. Shaw
"Sc
Answer
438 C
439 B
440 A
441 C
442 C
443 B
444 D
(a) Hardy
(b) Blake
(c) Joyce
(d) Thackeray
(a) Newton
(c) Galileo
(a) Romantic
(b) national
(c) love
(d) mystic
Answer
445 B
446 D
447 B
448 D
449 B
450 D
451 B
452 A
(a) poet
(b) dramatist
(c) artist
(d) none
455. One of the following was a Romantic Poet - letCh <11 (TYfoEMrEl VafVbTb) f*KdM -
^oio]
(a) Tennyson
(b) Arnold
(c) Shelley
(d) Browning
(a) Shelley
(b) Keats
(c) Byron
(d) Blake
(d) Adonais
459. Who is the father of English Novel? pT^lft ^^I'Vsjl^ (YhVEKN CdV-SiTI) - ^ooo]
(a) Shakespeare
(d) R. L. Stevenson
Answer
453 A
454 D
455 C
456 B
457 B
458 C
459 B
460. ‘Twelfth Night’ is a - (^<rig wffal) ’lINf - i>oiO]
(a) A Comedy
(b) an Elegy
(c) a Novel
(d) a Tragedy
%?im - *oio]
(a) Hamlet
(b) Macbeth
(a) play
(b) novel
(c) essay
(d) poem
463. Who is the author of ‘The Taming of the Shrew’? pTK-Cdler^fa - ^ooi]
(a) Shaw
(b) Shakespeare
(c) Ibsen
(d) Jonson
464. What was the name of Isabella’s brother in the ‘Measure for Measure’?
(a) Angelo
(b) Cladio
(c) Vincentio
(d) Viola
(a) Brutus
(b) Ophelia
(c) Benvolio
(d) Olivia
(c) Hamlet
(a) Macbeth
(b) Hamlet
"Sc
Answer
460 A
461 A
462 A
463 B
464 B
465 C
466 A
467 B
(a) Plato
(b) Aristotle
(c) Hobbes
(d) Aesop
469. The poet of ‘Romantic Age’ is - 9 lRt>l 5 14 5 9 lfN 5 t - ^ooo]
(c) Gladstone
(d) Aesop
472. A Protagonist is the. . ..character in a play or novel.
(a) villain
(b) leading
(c) important
(d) comedy
(a) a poet
(b) a novelist
(c) an essayist
(d) a dramatist
(b) W. B. Yeats
(c) G. B. Shaw
478. Poet Alexander Pope’s famous work - pT^lft ‘ 5 lRt>l s 14 5 '5T^ C H=TT1) - ^ooo
]
(a) Spectator
(a) poet
(b) dramatist
(c) artist
(d) scientist
wfi^ra) - ^ooo]
(c) Macbeth
(d) Hamlet
(a) poems
(b) essays
"Sc
Answer
475 B
476 D
477 B
478 B
479 A
480 C
48 J A
482 D
(c) novels
(d) dramas
(b) psycho-analysis
(a) W. B. Yeats
(b) T. S. Eliot
(d) E. M. Forster
(a) Nature
(a) Wordsworth
(a) To a skylark
Answer
483 C
484 A
485 D
486 C
487 C
488 C
489 A
(a) accident
(b) tuberculosis
(c) drowned in the sea
(a) Ulysses
(d) On Liberty
(a) Dora
(b) Ulysses
(d) In Memorium
(a) P. B. Shelly
(a) play
(b) satire
(c) prose
(d) translation
(a) Shakespeare
(c) G. B. Shaw
"Sc
Answer
490 B
491 B
492 C
493 D
494 D
495 B
496 B
497 B
498. “The music in my heart I bore, Long after it was heard no more.
(a) 1556
(b) 1566
(c) 1576
(d) 1586
(a) 1340-1385
(b) 1240-1300
(c) 1340-1400
(d) 1340-1399
"Sc
Answer
498 A
499 C
500 C
501 D
502 A
503 C
504 C
(a) Epic
(b) Sonnet
(c) Drama
(d) Comedy
(b) Comedy
(c) Poem
(d) Novel
(b) psycho-analysis
"Sc
Answer
505 A
506 C
507 B
508 A
509 A
510 C
511 B
512 A
514. ‘Exiles’ is a -
(b) Novel
(c) Play
(d) Poem
515. Charles Dickens is not the novelist for one of the following - pT^lft (^TS®rTOT“
l
- ^ooo]
(a) A Tale of Two Cities
513 C
514 C
515 B
516 C
517 A
518 D
519 A
520 C
522. The Descent of Man is by Charles Darwin, The Confidence-Man : his Masquerade is
by -
(a) 1867
(b) 1876
(c) 1887
(d) 1878
(d) R. L. Stevenson
(b) W. M. Thackery
(d) R. L. Stevenson
Endnotes
novel.
iv) By birth he was an Irish but wrote in English and French. So answer depends on th
e question.
vi) Opinion can be different man to man for this theoretical matter.
ix) These two terms are different. The given answer is applicable to Catharsis.
xv) Iambic pentameter contains five metres in a line. One metre contains two syllable
s.
xviii) Gunter Grass, in frill Gunter Wilhelm Grass (born October 16, 1927, Danzig [no
w Gdansk, Poland] died
April 13, 2015, Liibeck, Germany), German poet, novelist, playwright, sculptor, and p
rintmaker who, with
his extraordinary first novel Die Blechtrommel (1959; The Tin Drum), became the liter
ary spokesman for
the German generation that grew up in the Nazi era and survived the war. In 1999, he
was awarded the
Nobel Prize for Literature. Notable works of Gunter grass The Tin Drum (1959) Cat and
Mouse (1961) Dog
xix) Robinson Crusoe was first published in 1719 and that of Pamela in 1747.
Works
Authors
Samuel Beckett
Dubliners, Finnegans Wake, Ulysses
James Joyce
Naked Lunch
William S. Burroughs
Allen Ginsberg
Harold Pinter
Omeros
Derek Walcott
Toni Morrison
William Falkner
Eugene O’Neill
Mo Yan
Orhan Pamuk
Gunter Grass
Saul Bellow
Life of Pie
Yann Martel
Animal Farm
George Orwell
Jungle Book
Rudyard Kipling
The Lowland
Jhumpa Lahidi
Some Resemblance in English Literature
Shakespeare
The End