Sidney, Dryden, Johnson, Coleridge, Arnold and Eliot - One Line Questions

1. In 'Biographia Literaria', Samuel Taylor Coleridge distinguishes between imagination and fancy, defining imagination as: — A creative, unifying power that dissolves and fuses
2. Matthew Arnold, in 'The Study of Poetry', defines poetry as: — A criticism of life under the conditions fixed for such a criticism by the laws of poetic truth and poetic beauty
3. Matthew Arnold's view of 'criticism' in 'The Function of Criticism at the Present Time' is that it should be: — A disinterested endeavor to learn and propagate the best that is known and thought
4. T.S. Eliot's concept of 'tradition' in 'Tradition and the Individual Talent' implies: — A dynamic, continuous interaction between the past and the present, influencing both
5. Coleridge's critique of 'fancy' in 'Biographia Literaria' suggests it is: — A mode of memory emancipated from the order of time and space
6. Samuel Johnson, in 'Preface to Shakespeare', argues that Shakespeare's characters are enduring because they: — Accurately reflect the general passions and principles of human nature
7. Coleridge's definition of the 'secondary imagination' implies it is: — An echo of the primary imagination, working upon the same material
8. Dryden, in 'An Essay of Dramatic Poesy', discusses the 'ancients' and 'moderns' debate. He generally shows respect for the ancients but: — Argues that moderns have surpassed them in certain respects
9. In 'Defence of Poesie', Sidney praises the 'lyric' poet for: — Bringing forth the soul's conceits with admirable speed and skill
10. Sir Philip Sidney argues that poetry is superior to history and philosophy because it: — Can create moral exemplars and move the reader more effectively
11. Coleridge's concept of the 'secondary imagination' in 'Biographia Literaria' refers to its ability to: — Co-exist with the conscious will and modify external nature
12. Matthew Arnold's emphasis on 'poetic truth and poetic beauty' in 'The Study of Poetry' suggests that poetry should: — Convey profound insights in an aesthetically pleasing manner
13. Sir Philip Sidney argues that the poet is a 'maker' or 'copier' who: — Creates a 'second nature' that is more perfect than the first
14. Dryden's 'An Essay of Dramatic Poesy' is structured as a: — Dialogue between several characters
15. John Dryden, in 'An Essay of Dramatic Poesy', defends the use of rhyme in English tragedy, arguing it: — Elevates the subject matter and distinguishes tragedy from comedy
16. T.S. Eliot's concept of the 'objective correlative' (though not explicitly named in 'Tradition and the Individual Talent') relates to the idea that: — Emotion is conveyed through a specific set of objects, situations, or events
17. Matthew Arnold advocates for the 'touchstone method' in 'The Study of Poetry' as a way to: — Evaluate the quality and authenticity of poetry by comparing it to great works
18. Samuel Johnson argues that Shakespeare's adherence to nature, rather than strict classical rules, is a strength because it allows for: — Greater emotional resonance and universal appeal
19. Sidney categorizes poetry in 'Defence of Poesie' into three main types:: — Heroical, Lyrical, and Comical-Historical
20. Samuel Johnson's 'Preface to Shakespeare' defends Shakespeare against contemporary criticisms, particularly concerning: — His disregard for the classical unities of time, place, and action
21. T.S. Eliot's concept of the 'individual talent' suggests that a poet's significance lies in: — How their work relates to and modifies the existing tradition
22. Coleridge's concept of the 'shaping spirit of imagination' in 'Biographia Literaria' implies: — Imagination actively shapes and transforms perception and experience
23. Sir Philip Sidney defends poetry against charges of being a 'mother of lies' by emphasizing its: — Imitative nature and its ability to represent universal truths
24. T.S. Eliot, in 'Tradition and the Individual Talent', argues that the poet's primary goal is to: — Impersonally express emotion and contribute to the ongoing tradition
25. The debate over the 'unities' of dramatic action, time, and place is a significant theme in the work of which critic? — John Dryden
26. The concept of 'negative capability' is most famously associated with which literary figure, though discussed implicitly by others? — John Keats (as a concept explored by critics like Eliot)
27. Samuel Johnson's 'Preface to Shakespeare' defends Shakespeare's mixture of tragedy and comedy, arguing that: — Life itself is a mixture of joy and sorrow
28. Which critic argued for poetry as a 'criticism of life' and advocated for a 'touchstone method' to assess poetic quality? — Matthew Arnold
29. According to Matthew Arnold, the decline of religion necessitates the rise of poetry as a means to: — Provide moral guidance and spiritual solace
30. In his 'Defence of Poesie', Sir Philip Sidney argues that poetry's primary function is to: — Provide moral instruction and delight
31. Johnson praises Shakespeare's characters for being: — Representatives of the general human nature
32. Samuel Johnson's defense of Shakespeare's language in 'Preface to Shakespeare' focuses on its: — Richness, variety, and ability to convey complex human experience
33. Which critic is associated with the concept of the 'poetic diction' and its importance in elevating poetic language above the vernacular? — Samuel Johnson
34. The idea that literature should 'instruct and delight' is a central tenet associated with which critic? — Sir Philip Sidney
35. Sir Philip Sidney's 'Defence of Poesie' is often considered a response to which contemporary criticism? — Stephen Gosson's 'The School of Abuse'
36. Which critic emphasized the 'impersonality' of the poet and the 'extinction of personality' in the creative process? — T.S. Eliot
37. Dryden's characters in 'An Essay of Dramatic Poesy' engage in a debate, with Neander often seen as representing Dryden's own views. Neander supports: — The 'moderns' and their innovations in English drama
38. What does T.S. Eliot mean by 'negative capability' in relation to the poet? — The ability to exist in uncertainties, mysteries, doubts, without any irritable reaching after fact and reason
39. Matthew Arnold's concept of 'culture' in 'Culture and Anarchy' is presented as: — The best that has been known and thought in the world
40. T.S. Eliot's 'Tradition and the Individual Talent' advocates for a shift in focus from the individual poet's genius to: — The impersonal process of artistic creation and its place in literary history
41. Coleridge's 'primary imagination' in 'Biographia Literaria' is described as: — The living power and prime agent of all human perception
42. What is the central debate in John Dryden's 'An Essay of Dramatic Poesy'? — The merits of English versus French drama, and the use of rhyme
43. In 'Tradition and the Individual Talent', T.S. Eliot asserts that 'the progress of an artist is a continual self-sacrifice, a continual extinction of personality.' This refers to: — The poet's need to subordinate their individual feelings to the demands of the art
44. Coleridge's distinction between imagination and fancy is crucial for understanding his view of: — The Romantic poet as a divine creator
45. In 'The Study of Poetry', Arnold uses the example of Dante's lines on meeting Ulysses to illustrate: — The sublime power and authenticity of great poetry
46. Which of the following is a key argument made by John Dryden in 'An Essay of Dramatic Poesy'? — The superiority of English drama to French and classical forms
47. Matthew Arnold's 'The Study of Poetry' criticizes: — The tendency to overvalue mediocre poetry due to historical or personal connections
48. Samuel Johnson's 'Preface to Shakespeare' defends Shakespeare's plots, even those that seem improbable, by stating that: — The ultimate goal is to represent human nature, not to contrive perfectly logical events
49. In 'An Essay of Dramatic Poesy', Eugenius argues for the superiority of English drama by highlighting its: — Variety, flexibility, and richness of language
50. T.S. Eliot's essay 'Hamlet and His Problems' introduces the concept of the 'objective correlative' to explain: — Why Hamlet's emotions seem disproportionate to the events, suggesting a failure in artistic expression
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