1

HENRY JAMES – THE ART OF FICTION

 Mr. Besant’s lecture at the Royal Institution
 The English novel was not what the French call discutable.
 I possess to intimate that the form of the novel, as Dickens and Thackeray (for
instance) saw it had any taint of incompleteness.
 I have alluded to there was a comfortable, good-humoured feeling abroad that a novel
is a novel, as a pudding is a pudding, and that this was the end of it.
 Art lives upon discussion, upon experiment, upon curiosity, upon variety of attempt,
upon the exchange of views and the comparison of standpoints
 I suspect there has never been a genuine success that has not had a latent core of
conviction. Discussion, suggestion, formulation, these things are fertilizing when they
are frank and sincere
 make believe” (for what else is a “story”?) shall be in some degree apologetic—shall
renounce the pretension of attempting really to compete with life.

  What is the author's primary intention in this passage?

a) To criticize the work of Walter Besant.
b) To discuss the evolution of the English novel and the rise of its theoretical discourse.
c) To discuss the relationship between theory and practical application in fiction.
d) To defend the novel from being considered “wicked.”
Answer: b) To discuss the evolution of the English novel and the rise of its theoretical discourse.
  What does the author suggest about the state of the English novel before the recent interest
in discussion?
a) It was overly theoretical and lacked entertainment value.
b) It had no theory or artistic self-awareness.
c) It was overly focused on being a form of entertainment without depth.
d) It was considered a "make-believe" that did not engage with reality.
Answer: b) It had no theory or artistic self-awareness.
  How does the author view the relationship between the theory of fiction and the practical
art of novel-writing?
a) The theory of fiction is not important as long as the novel is entertaining.
b) A novel can succeed without any underlying theory or conviction.
c) Theory is important and should accompany the practical art of novel-writing.
d) Theories of fiction often hinder the creativity of novelists.
Answer: c) Theory is important and should accompany the practical art of novel-writing.
  What is the author’s opinion on the historical view of fiction in England?
a) The belief that fiction was “wicked” is still widely held.
b) The stigma surrounding fiction has been completely eliminated.
c) Fiction was once seen as only a joke, which it still is today.
d) Fiction has always been taken seriously in England.
Answer: b) The stigma surrounding fiction has been completely eliminated.
  According to the passage, what has caused a recent change in how fiction is perceived?
a) The decline of popular interest in novels.
b) The revival of interest in the theory and discussion of fiction.
c) The shift towards novels being written only for entertainment.
d) The increase in criticisms of contemporary novels.
Answer: b) The revival of interest in the theory and discussion of fiction.
  What is the author’s perspective on the role of discussion and theory in the development of
art?
a) Discussion and theory are unnecessary and only hinder creativity.
b) Art should develop independently of theory and discussion.
c) Discussion and theory are essential for the growth and development of art.
 2

d) Art and theory should always remain separate.

Answer: c) Discussion and theory are essential for the growth and development of art.

 What does the author mean by "the old superstition about fiction being 'wicked'?"
a) Fiction was once believed to be morally corrupting, but that view has died out.
b) Fiction is still considered immoral in England.
c) The superstition about fiction being "wicked" is being revived in the modern era.
d) Fiction has never been considered "wicked" in England.
Answer: a) Fiction was once believed to be morally corrupting, but that view has died out.
 According to the passage, what is the expectation for a novel that is considered "only a 'make
believe'"?
a) It should be serious and compete with real life.
b) It should admit its fictional nature and not try to compete with life.
c) It should be an intellectual exercise rather than entertainment.
d) It should seek to portray reality as accurately as possible.
Answer: b) It should admit its fictional nature and not try to compete with life.
 How does the author describe the current state of the English novel?
a) It is increasingly seen as a joke with little artistic value.
b) It is now recognized as a serious art form with an emerging theory.
c) It is stagnant and lacks any real discussion or interest.
d) It is only focused on entertainment and has no intellectual depth.
Answer: b) It is now recognized as a serious art form with an emerging theory.
 What does the author mean by the phrase "Art lives upon discussion"?
a) Art can only survive if it is constantly debated and critiqued.
b) Art requires formal education and theory to exist.
c) Art thrives in an environment of experimentation and varied viewpoints.
d) Art needs to be protected from outside criticism.
Answer: c) Art thrives in an environment of experimentation and varied viewpoints.
 What is the effect the author expects from the discussions on the theory of fiction?
a) It will make the public more skeptical of fiction.
b) It will discourage novelists from writing new works.
c) It will create a more serious, active, and inquisitive approach to fiction.
d) It will limit the creative freedom of novelists.
Answer: c) It will create a more serious, active, and inquisitive approach to fiction.
 How does the author characterize Mr. Besant’s contribution to the discussion of fiction?
a) Mr. Besant's ideas are irrelevant to modern fiction.
b) Mr. Besant’s pamphlet is a good example of an incomplete discussion on fiction.
c) Mr. Besant’s work contributes to the growth of the theory of fiction by providing a thoughtful
perspective.
d) Mr. Besant’s pamphlet focuses too much on criticism rather than the art of writing.
Answer: c) Mr. Besant’s work contributes to the growth of the theory of fiction by providing a
thoughtful perspective.
 What does the author imply about the role of a novel in society?
a) Novels are merely for entertainment and should not be taken seriously.
b) Novels should aspire to reflect real life and challenge its conventions.
c) Novels should acknowledge their fictional nature without trying to compete with life.
d) Novels should always present an idealized version of society.
Answer: c) Novels should acknowledge their fictional nature without trying to compete with life.
 How does the author view the impact of the theory of fiction on the novelists of the future?
a) The theory of fiction will stifle creativity and artistic expression.
b) The theory will inspire novelists to write more experimental works.
 3

c) The theory will create a more uniform and standardized approach to writing novels.
d) The theory will help future writers balance creativity with artistic conviction.
Answer: d) The theory will help future writers balance creativity with artistic conviction.

 What does the author mean by "the tolerance granted to it on such a condition is only an
attempt to stifle it"?
a) The acceptance of the novel is often disguised as generosity, but it actually limits its creative
freedom.
b) The novel is given too much freedom without any restrictions.
c) The novel is overexposed, leading to its eventual decline.
d) The acceptance of the novel is completely unconditional.
Answer: a) The acceptance of the novel is often disguised as generosity, but it actually limits its
creative freedom.
 How does the author compare the old Evangelical hostility to the novel to its modern view?
a) The modern view is far more insulting than the old Evangelical one.
b) The old Evangelical hostility was more direct and less insidious than modern tolerance.
c) The old Evangelical hostility was less explicit than the modern view.
d) The modern view is more explicit and narrow-minded than the old Evangelical one.
Answer: b) The old Evangelical hostility was more direct and less insidious than modern tolerance.
 What is the fundamental reason for the existence of a novel, according to the author?
a) To entertain readers with humorous content.
b) To compete with life and reflect it.
c) To critique other forms of art like painting.
d) To provide a moral lesson.
Answer: b) To compete with life and reflect it.
 What does the author suggest will happen when the novel ceases to compete with life?
a) It will become irrelevant and lose its purpose.
b) It will become more enjoyable for readers.
c) It will evolve into a new form of art.
d) It will be considered a more acceptable form of entertainment.
Answer: a) It will become irrelevant and lose its purpose.
 How does the author view the relationship between the arts of painting and novel writing?
a) The art of the painter and the novelist are fundamentally different.
b) The art of the painter is more important than the art of the novelist.
c) The arts of painting and novel writing share the same inspiration, process, and success.
d) The arts of painting and novel writing are only superficially similar.
Answer: c) The arts of painting and novel writing share the same inspiration, process, and success.
 What does the author suggest about the mutual relationship between painters and novelists?
a) Painters and novelists should ignore each other's work.
b) Painters and novelists should not learn from one another.
c) Painters and novelists should learn from and support each other, as their causes and honors are the
same.
d) Painters should be given more recognition than novelists.
Answer: c) Painters and novelists should learn from and support each other, as their causes and
honors are the same.
 The Mahometans think a picture an unholy thing, but it is a long time since any
Christian did, and it is therefore the more odd that in the Christian mind the traces
dissimulated though they may be) of a suspicion of the sister art should linger to this
day.
 , as they say in California, it must speak with assurance, with the tone of the historian.
 4

 Certain accomplished novelists have a habit of giving themselves away which must
often bring tears to the eyes of people who take their fiction seriously. - Anthony
Trollope
 Gibbon or Macaulay historian

 What does the author suggest about the Christian view of painting and how it has evolved?
a) The Christian mind still views painting as unholy.
b) The Christian mind once viewed painting as unholy but has since changed its view.
c) The Christian mind has always viewed painting as sacred.
d) The Christian mind believes painting is a form of history.
Answer: b) The Christian mind once viewed painting as unholy but has since changed its view.
 What does the author mean by comparing the novel to history?
a) The novel should only deal with historical events.
b) The novel is a form of storytelling that competes with life, just like history.
c) The novel should apologize for its fictional nature.
d) History is a more credible art form than the novel.
Answer: b) The novel is a form of storytelling that competes with life, just like history.
 What is the author’s view on Anthony Trollope’s approach to fiction?
a) Trollope is praised for being very discreet in his writing.
b) Trollope’s casual admission of the fictionality of his story is seen as a betrayal of the novelist’s
role.
c) Trollope’s approach is an example of the best literary technique.
d) The author believes Trollope’s style is highly successful in convincing readers of the truth.
Answer: b) Trollope’s casual admission of the fictionality of his story is seen as a betrayal of the
novelist’s role.
 How does the author feel about novelists admitting that their stories are "make believe"?
a) The author is indifferent to this approach.
b) The author sees it as a necessary act of humility.
c) The author believes it undermines the novelist’s credibility and purpose.
d) The author thinks it is a modern trend that enhances fiction.
Answer: c) The author believes it undermines the novelist’s credibility and purpose.
 What does the author imply by stating that admitting fiction is “make believe” is a "terrible
crime"?
a) It is a violation of the novelist’s artistic responsibility.
b) It is an insult to readers.
c) It is a modern literary trend that needs to be accepted.
d) It is a harmless convention.
Answer: a) It is a violation of the novelist’s artistic responsibility.
 What does the author believe is the key difference between historians and novelists?
a) Historians have a more difficult task than novelists.
b) Novelists are more focused on presenting the truth than historians.
c) Novelists struggle more in gathering evidence than historians.
d) There is no real difference between the two.
Answer: c) Novelists struggle more in gathering evidence than historians.
 What does the author see as a significant advantage of being a novelist?
a) The novelist can create events that did not happen.
b) The novelist has the same inspiration as the painter and philosopher, combining both disciplines.
c) The novelist's task is less demanding than the historian’s.
d) The novelist’s work is purely literary and detached from reality.
Answer: b) The novelist has the same inspiration as the painter and philosopher, combining both
disciplines.
 What is the "magnificent heritage" the author refers to?
a) The novelist's ability to present fictional narratives.
b) The novelist’s double analogy to both the philosopher and the painter.
 5

c) The novelist's historical accuracy.

d) The novelist's role in educating the public.
Answer: b) The novelist’s double analogy to both the philosopher and the painter.
 What does Mr. Besant insist upon regarding fiction?
a) Fiction should not be considered a form of art.
b) Fiction deserves the same recognition as other fine arts.
c) Fiction is inferior to the arts of music, poetry, and painting.
d) Fiction should only be judged for its entertainment value.
Answer: b) Fiction deserves the same recognition as other fine arts.
 What does the author suggest about Mr. Besant's claim that fiction should be considered
highly artistic?
a) The author believes it is an obvious and widely accepted truth.
b) The author thinks Mr. Besant’s claim is a novel idea that some may find surprising.
c) The author agrees but thinks the claim needs further elaboration.
d) The author rejects the idea of considering fiction as an art.
Answer: b) The author thinks Mr. Besant’s claim is a novel idea that some may find surprising.
 How does the author feel about the principle that fiction should be regarded as artistic?
a) The author believes most people would agree with this principle.
b) The author thinks the principle is widely accepted but often goes unspoken.
c) The author believes many people would feel uneasy or mistrustful if this principle were applied.
d) The author is indifferent to the idea of fiction being considered artistic.
Answer: c) The author believes many people would feel uneasy or mistrustful if this principle were
applied.
 What does the author mean by "an indefinable mistrust"?
a) People will have a clear understanding of why they are suspicious.
b) People will have difficulty explaining their hesitation about fiction being considered an art.
c) People will embrace the idea once it is fully explained.
d) People will reject the idea completely.
Answer: b) People will have difficulty explaining their hesitation about fiction being considered an
art.
 What is implied about the view of fiction as an art form in the passage?
a) Fiction has always been considered an art by most people.
b) Fiction is still struggling to be recognized as an art form.
c) Fiction has already achieved the same status as other fine arts.
d) Fiction is often viewed as a less serious form of artistic expression.
Answer: b) Fiction is still struggling to be recognized as an art form.
 What does the author mean by saying Mr. Besant's claim may be a "novelty" to many?
a) The idea of fiction as art is something many people have never considered.
b) Mr. Besant's essay is a new form of literary work.
c) The artistic nature of fiction is well-established in society.
d) Fiction has always been recognized as highly artistic.
Answer: a) The idea of fiction as art is something many people have never considered.
  What is the author's view on fiction's place in comparison to other fine arts?
a) Fiction should be treated as a less important form of art.
b) Fiction deserves equal recognition with music, poetry, painting, and architecture.
c) Fiction should only be seen as entertainment, not art.
d) Fiction is inferior to painting and music.
Answer: b) Fiction deserves equal recognition with music, poetry, painting, and architecture.
  What does the author suggest about the attitude towards fiction before Mr. Besant's
lecture?
a) Fiction was universally accepted as an art form.
b) People had a comfortable, unexamined attitude toward novels.
c) Fiction was primarily seen as a form of history.
 6

d) Fiction had been rejected as an art form.

Answer: b) People had a comfortable, unexamined attitude toward novels.
  What does the author think of Mr. Besant's essay on fiction?
a) The author believes it will not influence readers.
b) The author sees it as a crucial step towards elevating fiction as an art form.
c) The author is critical of Mr. Besant's ideas.
d) The author considers the essay outdated and irrelevant.
Answer: b) The author sees it as a crucial step towards elevating fiction as an art form.
  How does the author view the relationship between fiction and life?
a) Fiction should avoid competing with life.
b) Fiction is meant to compete with life, just as a painting does.
c) Fiction is a trivial pursuit and not related to life.
d) Fiction should apologize for its competition with life.
Answer: b) Fiction is meant to compete with life, just as a painting does.
  What is the author's criticism of novelists like Anthony Trollope?
a) They fail to take fiction seriously.
b) They are too focused on historical accuracy.
c) They abandon the art of storytelling in favor of humor.
d) They do not provide enough literary examples.
Answer: a) They fail to take fiction seriously.
  What does the author suggest happens when a novelist “gives himself away”?
a) It strengthens the credibility of the story.
b) It undermines the serious nature of the fiction.
c) It helps the reader understand the story’s context.
d) It adds humor to the narrative.
Answer: b) It undermines the serious nature of the fiction.
  What does the author believe the novelist shares with historians?
a) The ability to entertain through fictional events.
b) The task of representing and illustrating the past.
c) A greater sense of humor in their works.
d) A focus on imaginary events rather than real history.
Answer: b) The task of representing and illustrating the past.
  How does the author describe the novelist's challenge compared to the historian?
a) The novelist faces fewer difficulties in gathering evidence.
b) The novelist's task is purely literary, unlike the historian's.
c) The novelist has more difficulty because the evidence is not purely literary.
d) The novelist’s task is easier because they deal with invented stories.
Answer: c) The novelist has more difficulty because the evidence is not purely literary.
  What does the author mean by saying the analogy between fiction and painting is
"complete"?
a) Both fiction and painting are purely for entertainment.
b) Both arts are inspired in similar ways and process the same kind of information.
c) Both fiction and painting require the artist to apologize for their creations.
d) Fiction and painting are entirely unrelated forms of art.
Answer: b) Both arts are inspired in similar ways and process the same kind of information.

Here are multiple-choice questions based on the passage:

 What is the general perception of "art" in Protestant communities, according to the author?
a) It is universally celebrated and respected.
b) It is seen as potentially harmful or frivolous.
c) It is believed to have no effect on morality or amusement.
 7

d) It is more acceptable in literature than in painting.

Answer: b) It is seen as potentially harmful or frivolous.
 What is one reason literature is perceived as more dangerous than painting?
a) Literature is often immoral.
b) Literature is less accessible to the masses.
c) Literature’s effects are insidious and harder to detect.
d) Literature lacks visual appeal.
Answer: c) Literature’s effects are insidious and harder to detect.
 What is a common misconception about the artistic preoccupations in literature?
a) They make literature more instructive and amusing.
b) They interfere with the moral and entertaining aspects of novels.
c) They are necessary for the success of any novel.
d) They are universally appreciated by readers.
Answer: b) They interfere with the moral and entertaining aspects of novels.
 What does the author imply about readers who “read novels as an exercise in skipping”?
a) They are deeply engaged with the artistic elements of the text.
b) They dislike artistic preoccupations in novels.
c) They are primarily focused on the moral lessons of the story.
d) They appreciate detailed descriptions and analysis.
Answer: b) They dislike artistic preoccupations in novels.
 Which of the following is NOT a characteristic of a “good” novel, according to the various
critics described in the passage?
a) It should have virtuous and aspiring characters.
b) It should prioritize artistic form over all else.
c) It should have a happy ending.
d) It should be full of incident and movement.
Answer: b) It should prioritize artistic form over all else.
 Why do some readers view the "artistic idea" in novels negatively?
a) They believe it ruins the fun of the story.
b) They think it makes novels more engaging.
c) They feel it simplifies the plot unnecessarily.
d) They argue it enhances the suspense and movement of the story.
Answer: a) They believe it ruins the fun of the story.
 What comparison does the author make between the ending of a novel and a good dinner?
a) Both should include surprises and twists.
b) Both should leave the audience longing for more.
c) Both should conclude with a pleasant and satisfying finale.
d) Both should be structured artistically to please critics.
Answer: c) Both should conclude with a pleasant and satisfying finale.
 How does the author describe the role of the "artist in fiction"?
a) As someone who enhances the moral lessons of the story.
b) As a meddling figure who disrupts reader enjoyment.
c) As a mechanical creator focused solely on plot development.
d) As someone who prioritizes happy endings above all else.
Answer: b) As a meddling figure who disrupts reader enjoyment.
 What is the primary argument of Mr. Besant's conception of the novel, as interpreted by the
author?
a) The novel should cater to readers' desire for entertainment.
b) The novel is a superior and serious form of art.
c) The novel should be purely instructive and moralistic.
d) The novel is an outdated literary form.
Answer: b) The novel is a superior and serious form of art.
 8

 What does the author say is required to emphasize the novel's artistic freedom and
seriousness?
a) Criticism of traditional novelists like Anthony Trollope.
b) Frequent reminders that novels are a less serious branch of literature.
c) An eloquent voice to call attention to the novel's artistic significance.
d) A complete rejection of happy endings and sympathetic characters.
Answer: c) An eloquent voice to call attention to the novel's artistic significance.
 this conception of Mr. Besant’s, of the novel as a superior form, encounters not only a
negative but a positive indifference.

 What does the author suggest about the superabundance of written fiction?
a) It proves the principle of fiction is flawed.
b) It permanently discredits the art of the novel.
c) It causes only superficial harm to good novels.
d) It ensures that all novels remain equally relevant.
Answer: c) It causes only superficial harm to good novels.
 What criticism does the author make of Mr. Besant's approach?
a) He underestimates the importance of tradition in writing novels.
b) He prescribes too rigidly what a good novel should be.
c) He ignores the role of freedom in artistic creation.
d) He dismisses the importance of personal impressions in novels.
Answer: b) He prescribes too rigidly what a good novel should be.
 What does the author state is the only obligation of a novel?
a) It must adhere to a predefined structure.
b) It must present virtuous and aspiring characters.
c) It must be interesting.
d) It must have a happy ending.
Answer: c) It must be interesting.
 According to the passage, what gives a novel its value?
a) Its adherence to prescribed traditions.
b) The intensity of the personal impression it conveys.
c) The number of characters and incidents it includes.
d) Its ability to conform to readers' expectations.
Answer: b) The intensity of the personal impression it conveys.
 Why does the author oppose marking out a tone or form for a novel in advance?
a) It limits the freedom essential to the novelist.
b) It ensures that only traditional forms of novels are written.
c) It increases the difficulty of writing interesting novels.
d) It forces the novelist to appeal to critics rather than readers.
Answer: a) It limits the freedom essential to the novelist.
 What does the author say about the execution of a novel?
a) It should follow a universally accepted standard.
b) It is the most personal aspect of the novelist's work.
c) It can easily be taught to aspiring writers.
d) It is less important than the novel's structure.
Answer: b) It is the most personal aspect of the novelist's work.
 How does the author compare novelists and painters?
a) Both have limited freedom in their execution.
b) Painters can teach their techniques more easily than novelists.
c) Novelists can disclose their methods more clearly than painters.
d) Both share the exact same approach to their craft.
Answer: b) Painters can teach their techniques more easily than novelists.
 What is the primary advantage of the novelist, according to the author?
a) The ability to conform to preexisting traditions.
 9

b) Unlimited freedom to experiment and discover.

c) The ease with which they can convey personal impressions.
d) The lack of responsibility for engaging the reader.
Answer: b) Unlimited freedom to experiment and discover.
 What does the author imply about the "grammar of painting"?
a) It is less definite than the grammar of writing.
b) It provides more structure and clarity than the grammar of writing.
c) It limits the freedom of painters compared to novelists.
d) It is irrelevant to the comparison between painting and writing.
Answer: b) It provides more structure and clarity than the grammar of writing.
 What is the author's tone regarding the artistic freedom of novelists?
a) Restrictive and critical.
b) Dismissive and indifferent.
c) Supportive and appreciative.
d) Skeptical and doubtful.
Answer: c) Supportive and appreciative.
  What does the author suggest is essential for the "good health" of the art of the novel?
a) Following established traditions.
b) Receiving positive criticism from readers.
c) Allowing complete freedom in its creation.
d) Adhering to strict guidelines for form and tone.
Answer: c) Allowing complete freedom in its creation.
  How does the author describe the relationship between the novelist and their execution of a
novel?
a) It is a collaborative process that can be easily taught.
b) It is entirely determined by established rules.
c) It is deeply personal and unique to the author.
d) It is guided by the expectations of critics and readers.
Answer: c) It is deeply personal and unique to the author.
  What does the author compare the freedom of a novelist to?
a) The constraints placed on painters.
b) The freedom exercised by painters in their work.
c) The structure required in exact sciences.
d) The limitations of traditional literary criticism.
Answer: b) The freedom exercised by painters in their work.
  According to the passage, what is one way the author measures the value of a novel?
a) Its ability to adhere to a universal formula.
b) Its originality in revealing the author's personal impressions.
c) Its capacity to conform to readers' expectations of entertainment.
d) Its success in presenting virtuous and moral characters.
Answer: b) Its originality in revealing the author's personal impressions.
  What criticism does the author express about pre-defined rules for novels?
a) They undermine the creativity and originality of authors.
b) They make it easier for writers to create engaging stories.
c) They help maintain quality across all works of fiction.
d) They ensure that novels remain relevant to modern audiences.
Answer: a) They undermine the creativity and originality of authors.
  What does the author imply about the comparison between good and bad novels?
a) Bad novels diminish the value of all fiction.
b) Good novels remain significant despite the presence of bad ones.
c) The distinction between good and bad novels has become unclear.
d) All novels are equally accessible to vulgarization.
Answer: b) Good novels remain significant despite the presence of bad ones.
 10

  What does the passage suggest about the "luxury" of being a novelist?
a) Novels are easier to write than other forms of literature.
b) Novelists are free to experiment with limitless possibilities.
c) Novels are less scrutinized than visual art.
d) Writing novels requires less discipline than painting.
Answer: b) Novelists are free to experiment with limitless possibilities.
  Why does the author argue against rigidly defining the form of a good novel?
a) It restricts the novel's ability to reproduce life authentically.
b) It prevents novels from being entertaining.
c) It makes novels indistinguishable from historical accounts.
d) It discourages readers from engaging with complex themes.
Answer: a) It restricts the novel's ability to reproduce life authentically.
  What role does the author assign to the reader when engaging with a novel?
a) To dictate the rules for writing.
b) To analyze and enjoy the execution after the novel is complete.
c) To ensure the author adheres to tradition.
d) To focus solely on entertainment and ignore artistic elements.
Answer: b) To analyze and enjoy the execution after the novel is complete.
  What does the author emphasize about the "personal impression of life" in a novel?
a) It is a secondary element to form and structure.
b) It is the defining factor in the novel's artistic value.
c) It should align with universal themes and ideas.
d) It is irrelevant to the novel's quality.
Answer: b) It is the defining factor in the novel's artistic value.
 The painter is able to teach the rudiments of his practice, and it is possible, from the
study of good work (granted the aptitude), both to learn how to paint and to learn how
to write.

  What does the author imply about the large number of works of fiction produced in his
generation?
a) It proves that fiction is of little value.
b) It superficially damages the reputation of fiction.
c) It shows that all novels are equally valuable.
d) It highlights a decline in literary standards.
Answer: b) It superficially damages the reputation of fiction.
  How does the author describe the difference between good and bad novels?
a) It has become less clear over time.
b) It remains as significant as ever.
c) It is determined by the popularity of the novel.
d) It is based solely on the opinions of critics.
Answer: b) It remains as significant as ever.
  What metaphor does the author use to describe bad novels?
a) They are forgotten treasures.
b) They are swept into a rubbish-yard.
c) They are hidden masterpieces.
d) They are unfinished works of art.
Answer: b) They are swept into a rubbish-yard.
  What is the "single criticism" the author makes of Mr. Besant?
a) He undervalues the role of bad novels.
b) He attempts to define the nature of a good novel too rigidly.
c) He ignores the importance of originality in fiction.
d) He exaggerates the differences between good and bad novels.
Answer: b) He attempts to define the nature of a good novel too rigidly.
 11

  What does the author suggest about the fate of good novels?
a) They are overshadowed by bad ones.
b) They remain enduring and inspire perfection.
c) They are often misunderstood by readers.
d) They lose their value over time.
Answer: b) They remain enduring and inspire perfection.
  How does the author view the "vulgarisation" of literature, including fiction?
a) It has permanently diminished the quality of all writing.
b) It is a temporary and superficial phenomenon.
c) It has made literature inaccessible to the average reader.
d) It has erased the distinctions between different literary genres.
Answer: b) It is a temporary and superficial phenomenon.
  What principle does the author uphold despite the superabundance of fiction?
a) The artistic value of novels is independent of their quantity.
b) All novels contribute equally to literary culture.
c) The best novels are defined by strict guidelines.
d) Quantity and quality are directly related in fiction.
Answer: a) The artistic value of novels is independent of their quantity.
  What does the author believe stimulates our desire for perfection?
a) The overwhelming number of novels produced.
b) The enduring quality of good novels.
c) The criticism of literary experts.
d) The educational aspects of fiction.
Answer: b) The enduring quality of good novels.
  What does the author criticize about defining a "good novel" in advance?
a) It makes it easier for bad novels to dominate the field.
b) It limits the creativity and freedom of the novelist.
c) It confuses readers about what to expect.
d) It undermines the value of established literary traditions.
Answer: b) It limits the creativity and freedom of the novelist.
  What does the author imply is the ultimate measure of a novel's worth?
a) The rules it follows.
b) Its ability to entertain the reader.
c) Its capacity to endure and inspire.
d) The opinions of literary critics.
Answer: c) Its capacity to endure and inspire
 What does the author suggest is the only obligation of a novel?
a) To follow established traditions.
b) To be interesting.
c) To teach moral lessons.
d) To conform to a specific form.
Answer: b) To be interesting.
 What is the author’s view on freedom in novel writing?
a) Freedom should be limited by set rules.
b) Freedom is essential for creativity and value.
c) Freedom leads to disorganization and poor quality.
d) Freedom is only important in the editing phase.
Answer: b) Freedom is essential for creativity and value.
 What does the author compare the novelist to?
a) A musician.
b) A painter.
c) A sculptor.
 12

d) A teacher.
Answer: b) A painter.
 What does the author mean by “a novel is a personal impression of life”?
a) It is a reflection of the reader's expectations.
b) It conveys the author’s unique perspective and experiences.
c) It must strictly adhere to realistic depictions of life.
d) It should follow the temperament of the majority.
Answer: b) It conveys the author’s unique perspective and experiences.
 According to the author, when can the form of a novel be appreciated?
a) Before it is written.
b) After the author has completed it.
c) During its initial conception.
d) While it is being written.
Answer: b) After the author has completed it.
 What is the “luxury” of the novelist according to the author?
a) Having the freedom to explore endless possibilities.
b) Having a clear set of rules to follow.
c) Being able to easily teach others how to write.
d) Having minimal responsibility to the audience.
Answer: a) Having the freedom to explore endless possibilities.
 What does the author imply about teaching the art of novel writing?
a) It is easy and methodical.
b) It is more difficult than teaching painting.
c) It is impossible to teach effectively.
d) It requires adherence to strict grammar.
Answer: b) It is more difficult than teaching painting.
 What does the author imply about the execution of a novel?
a) It should follow a fixed pattern.
b) It is a deeply personal aspect of the author’s work.
c) It can be easily reproduced by others.
d) It is unrelated to the novel's overall value.
Answer: b) It is a deeply personal aspect of the author’s work.
 How does the author describe the difference between exact sciences and exact arts?
a) Both follow strict rules and methodologies.
b) Exact sciences are more flexible than exact arts.
c) Exact arts, like painting, have more definitive grammar.
d) Exact arts are entirely subjective, unlike sciences.
Answer: c) Exact arts, like painting, have more definitive grammar.
 What does the author imply about the “grammar” of writing versus painting?
a) Writing has more rigid rules than painting.
b) Writing’s grammar is less definite and more delicate.
c) Painting is more creative than writing.
d) Painting and writing share the same level of definability.
Answer: b) Writing’s grammar is less definite and more delicate.


 What is the author’s attitude toward fixed rules for novel writing?
a) Supportive of their necessity.
b) Ambivalent, as they have some value.
c) Opposed, as they suppress creativity and freedom.
d) Indifferent to their presence.
Answer: c) Opposed, as they suppress creativity and freedom.
 Why does the author value the individuality of the novelist’s approach?
a) It allows the author to conform to audience expectations.
 13

b) It ensures a diverse range of personal impressions in literature.

c) It guarantees commercial success.
d) It simplifies the process of writing a novel.
Answer: b) It ensures a diverse range of personal impressions in literature.
 According to the author, what determines the value of a novel?
a) Its adherence to literary traditions.
b) The intensity and individuality of the author’s impression of life.
c) The presence of a happy ending.
d) Its ability to avoid experimentation.
Answer: b) The intensity and individuality of the author’s impression of life.
 What is the role of experimentation in novel writing, as per the passage?
a) It is unnecessary and often detrimental.
b) It is fundamental to the growth and success of a novelist.
c) It should only be attempted by experienced writers.
d) It distracts from the true purpose of novels.
Answer: b) It is fundamental to the growth and success of a novelist.
 What does the author suggest about the process of appreciating a novel’s form?
a) It should be judged before the novel is written.
b) It can only be done after the novel’s completion.
c) It must follow a strict set of guidelines.
d) It is irrelevant to the novel’s quality.
Answer: b) It can only be done after the novel’s completion.
 What is the primary responsibility of a novel, according to the passage?
a) To provide entertainment.
b) To maintain freedom and engage the reader’s interest.
c) To conform to traditional literary norms.
d) To teach moral lessons.
Answer: b) To maintain freedom and engage the reader’s interest.
 What comparison does the author make between the painter and the novelist?
a) Both rely on similar teaching methods.
b) Both create work that reflects personal expression and style.
c) The novelist’s work is less reliant on personal freedom than the painter’s.
d) The painter’s grammar is less defined than the novelist’s.
Answer: b) Both create work that reflects personal expression and style.
 What does the author mean by “exercise” in relation to novel writing?
a) Physical activity undertaken by the novelist.
b) The practice of writing novels to improve skill.
c) The freedom to experiment and create without limitation.
d) The need for structured guidelines in writing.
Answer: c) The freedom to experiment and create without limitation.
 What does the author say about the limitations of a novelist’s manner or style?
a) It should be clearly defined and easily taught.
b) It is often deliberate and methodical.
c) It is personal and difficult to articulate or teach to others.
d) It is irrelevant to the quality of the novel.
Answer: c) It is personal and difficult to articulate or teach to others.
 What does the passage suggest about literary traditions applied “a priori”?
a) They enhance the freedom and creativity of novelists.
b) They have been beneficial for the development of novels.
c) They have imposed unnecessary limitations on the art of novel writing.
d) They are essential for maintaining the quality of novels.
Answer: c) They have imposed unnecessary limitations on the art of novel writing.
 14

 How does the author describe the process of learning to write novels?
a) It is straightforward and follows a defined set of rules.
b) It is possible through aptitude and studying good works.
c) It requires strict adherence to literary conventions.
d) It is easier than learning to paint.
Answer: b) It is possible through aptitude and studying good works.
 What is the author’s stance on the “laws of fiction” as proposed by Mr. Besant?
a) They are universally applicable and precise.
b) They are suggestive but lack precision and exactness.
c) They are irrelevant to the craft of novel writing.
d) They are overly prescriptive and rigid.
Answer: b) They are suggestive but lack precision and exactness.
 What does the author imply about the “sense of reality” in writing?
a) It can be easily defined and taught.
b) It is a subjective quality influenced by the author’s vision.
c) It is unnecessary for good novel writing.
d) It should always adhere to a fixed standard.
Answer: b) It is a subjective quality influenced by the author’s vision.
 Why does the author find the principle of “writing from experience” inconclusive?
a) It is too broad and difficult to define.
b) It contradicts the purpose of fiction.
c) It discourages creativity in writers.
d) It demands too much from aspiring novelists.
Answer: a) It is too broad and difficult to define.
 What metaphor does the author use to describe “experience”?
a) A complex recipe for success.
b) A huge spider-web that catches particles in its tissue.
c) A treasure chest of ideas and memories.
d) A well-defined rulebook for writers.
Answer: b) A huge spider-web that catches particles in its tissue.
 What does the author say about the value of Mr. Besant’s recommendations?
a) They are exact and universally applicable.
b) Their value depends on the meaning one attaches to them.
c) They are irrelevant and uninspiring.
d) They offer clear and detailed instructions for writing.
Answer: b) Their value depends on the meaning one attaches to them.
 How does the author describe the “reality” of characters like Don Quixote and Mr. Micawber?
a) As a universal standard for writers to emulate.
b) As delicate and coloured by the author’s vision.
c) As unfit examples of literary realism.
d) As examples of fixed rules of fiction.
Answer: b) As delicate and coloured by the author’s vision.
 What is the significance of “liberty of interpretation” in novel writing, according to the
author?
a) It ensures the precision of storytelling rules.
b) It allows for creativity and individuality in writing.
c) It restricts the writer’s sense of reality.
d) It undermines the importance of style and structure.
Answer: b) It allows for creativity and individuality in writing.
 Why does the author refer to Mr. Besant’s rules as “beautiful and vague”?
a) They lack clarity but are inspiring.
b) They are easy to follow and universally applicable.
c) They are irrelevant to aspiring novelists.
 15

d) They are overly complex and prescriptive.

Answer: a) They lack clarity but are inspiring.
 What does the passage suggest about the role of imagination in novel writing?
a) It is secondary to adherence to rules.
b) It enhances the ability to perceive and interpret experience.
c) It should be strictly guided by established principles.
d) It diminishes the importance of reality.
Answer: b) It enhances the ability to perceive and interpret experience.
 What is the author’s opinion on teaching the art of novel writing?
a) It can be taught with the same precision as painting.
b) It is more about guiding and inspiring than exact instructions.
c) It is a futile effort because writing is innate.
d) It requires strict adherence to Mr. Besant’s rules.
Answer: b) It is more about guiding and inspiring than exact instructions.
 What does the author suggest about the young lady from the village writing about the
military?
a) She should avoid writing about the military due to lack of experience.
b) Imagination can allow her to write truthfully about the military.
c) Writing about the military requires firsthand experience.
d) It is impossible for her to write realistically about the military.
Answer: b) Imagination can allow her to write truthfully about the military.
 What example does the author provide to demonstrate how limited experience can lead to
creative output?
a) A young lady writing about garrison life.
b) An English novelist depicting French Protestant youth based on a brief observation.
c) A writer producing a novel based solely on imagination.
d) A country woman writing about city life without visiting a city.
Answer: b) An English novelist depicting French Protestant youth based on a brief observation.
 According to the author, what is the most significant faculty for an artist?
a) Access to unique opportunities for observation.
b) The ability to observe and interpret deeply.
c) Formal education and training.
d) Travel and exposure to different cultures.
Answer: b) The ability to observe and interpret deeply.
 What does the author mean by “the power to guess the unseen from the seen”?
a) A skill developed through formal training.
b) The ability to understand deeper truths from surface observations.
c) A method of storytelling based purely on imagination.
d) A reliance on stereotypes to fill narrative gaps.
Answer: b) The ability to understand deeper truths from surface observations.
 What does the author imply about the nature of experience for a writer?
a) It is limited to direct personal encounters.
b) It is composed of impressions and interpretations.
c) It depends entirely on education and upbringing.
d) It is irrelevant to the quality of fiction.
Answer: b) It is composed of impressions and interpretations.
 What advice does the author give to novice writers?
a) Write only about things they have personally experienced.
b) Be observant and let nothing be lost on them.
c) Avoid using imagination in their writing.
d) Focus exclusively on familiar and local subjects.
Answer: b) Be observant and let nothing be lost on them.
 16

 What does the author mean by “impressions are experience”?

a) Impressions are more important than actual events.
b) Impressions form the basis of creative experience.
c) Only detailed observations can qualify as impressions.
d) Experience is irrelevant if impressions are strong.
Answer: b) Impressions form the basis of creative experience.
 Why does the author find the faculty of interpreting impressions more valuable than social or
geographical position?
a) It allows the artist to create reality from limited experience.
b) It eliminates the need for research or observation.
c) It ensures artistic accuracy in depicting life.
d) It depends solely on formal education and cultural exposure.
Answer: a) It allows the artist to create reality from limited experience.
 What does the author mean by “Try to be one of the people on whom nothing is lost”?
a) Develop the ability to observe and absorb everything.
b) Avoid being influenced by external experiences.
c) Focus only on personal experiences when writing.
d) Disregard imagination and stick to realism.
Answer: a) Develop the ability to observe and absorb everything.
 What is the author’s attitude toward using imagination in writing?
a) It is a substitute for real experience.
b) It complements experience and enhances creative expression.
c) It undermines the authenticity of a story.
d) It is irrelevant to successful novel writing.
Answer: b) It complements experience and enhances creative expression.
 Humanity is immense and reality has a myriad forms; the most one can affirm is that some of the
flowers of fiction have the odour of it, and others have not; as for telling you in advance how your
nosegay should be composed, that is another affair
 That the novelist must write from his experience, that his “characters must be real and such as might
be met with in actual life”;
 that “a young lady brought up in a quiet country village should avoid descriptions of garrison life,”
and
 “a writer whose friends and personal experiences belong to the lower middle-class should carefully
avoid introducing his characters into Society”;
 that one should enter one’s notes in a common-place book;
 that one’s figures should be clear in outline;
 that making them clear by some trick of speech or of carriage is a bad method, and “describing them
at length” is a worse one;
 that English Fiction should have a “conscious moral purpose”; that “it is almost impossible to
estimate too highly the value of careful workmanship—that is, of style”;
 that “the most important point of all is the story,” that “the story is everything”—these are principles
with most of which it is surely impossible not to sympathise.
 What does the author consider to be the "supreme virtue" of a novel?
a) A strong moral purpose.
b) The air of reality or solidity of specification.
c) The complexity of the plot.
d) The use of dialogue and description.
Answer: b) The air of reality or solidity of specification.
 According to the author, what is the novelist’s primary challenge?
a) To take enough notes to ensure authenticity.
b) To compete with life in creating the illusion of reality.
c) To balance description, dialogue, and incident.
 17

d) To adhere to rules and guidelines from handbooks.

Answer: b) To compete with life in creating the illusion of reality.
 Why does the author believe that the novelist’s task cannot be simplified?
a) Because novelists often misunderstand the rules of fiction.
b) Because rendering reality requires personal intuition and effort.
c) Because handbooks do not provide enough examples.
d) Because every novel is judged based on its moral purpose.
Answer: b) Because rendering reality requires personal intuition and effort.
 What does the author suggest about taking notes as part of the novelist's work?
a) A novelist can take too many notes and confuse their purpose.
b) Note-taking is essential but selecting the right details is key.
c) Notes are more important for dialogue than for description.
d) Note-taking diminishes the creativity of a novelist.
Answer: b) Note-taking is essential but selecting the right details is key.
 What does the author believe about the relationship between description, dialogue, and
incident in a novel?
a) They are separate and distinct elements of a novel.
b) They overlap and merge, contributing to a unified effort of expression.
c) Dialogue is more important than description in creating realism.
d) Incident and description are secondary to a strong plot.
Answer: b) They overlap and merge, contributing to a unified effort of expression.
 What metaphor does the author use to describe a novel?
a) A composition existing in a series of blocks.
b) A handbook filled with rules and guidelines.
c) A living organism, continuous and interconnected.
d) A detailed map with clear boundaries.
Answer: c) A living organism, continuous and interconnected.
 Why does the author criticize critics who try to trace specific elements in a finished work?
a) Because they fail to appreciate the author’s style.
b) Because they impose artificial distinctions on an integrated whole.
c) Because they undervalue the role of moral purpose in fiction.
d) Because they overemphasize the importance of dialogue and description.
Answer: b) Because they impose artificial distinctions on an integrated whole.
 What does the author imply about the relationship between different parts of a novel?
a) Each part exists independently of the others.
b) Each part contributes to and contains aspects of the others.
c) Dialogue and description are in conflict with one another.
d) Incidents are the sole focus of a successful novel.
Answer: b) Each part contributes to and contains aspects of the others.
 How does the author view the role of description in a novel?
a) As purely descriptive, with no connection to narrative.
b) As narrative in intention, contributing to the overall story.
c) As secondary to dialogue and incident.
d) As the primary way to ensure the success of a novel.
Answer: b) As narrative in intention, contributing to the overall story.
 What does the author suggest is the ultimate goal of a novel as a work of art?
a) To follow specific precepts outlined by critics.
b) To achieve success through moral purpose.
c) To illustrate life through an integrated and continuous effort.
d) To distinguish between its descriptive and narrative parts.
Answer: c) To illustrate life through an integrated and continuous effort.
 What does the author believe about the distinction between the novel of character and the
novel of incident?
 18

a) It is a meaningful and essential distinction.

b) It is outdated and irrelevant.
c) It highlights the primary difference between novels and romances.
d) It helps classify novels into good and bad categories.
Answer: b) It is outdated and irrelevant.
 What does the author suggest about the relationship between character and incident?
a) They are completely independent elements in a novel.
b) They are deeply interconnected and inseparable.
c) Character is more important than incident in storytelling.
d) Incident is more important than character in storytelling.
Answer: b) They are deeply interconnected and inseparable.
 How does the author define an incident?
a) A major event that drives the plot forward.
b) A startling and extraordinary occurrence.
c) Any action or expression that illustrates character.
d) A moment designed to create suspense for the reader.
Answer: c) Any action or expression that illustrates character.
 What example does the author provide to illustrate the inseparability of character and
incident?
a) A young man deciding not to enter the Church.
b) A woman standing with her hand on a table and looking out.
c) A painter attempting to depict a dramatic scene.
d) A novelist debating the importance of moral purpose.
Answer:a) and b) A woman standing with her hand on a table and looking out.
 According to the author, what determines the degree of interest in an incident?
a) The intrinsic importance of the incident.
b) The skill of the artist or novelist in portraying it.
c) The presence of moral purpose in the story.
d) The novelty of the event being described.
Answer: b) The skill of the artist or novelist in portraying it.
 How does the author propose novels should be classified?
a) As novels of character or novels of incident.
b) As novels or romances.
c) As interesting or uninteresting.
d) As moral or amoral works.
Answer: c) As interesting or uninteresting.
 What does the author imply about extraordinary or startling incidents in novels?
a) They are essential for creating engaging stories.
b) They are less significant than ordinary expressions of character.
c) Their importance depends on the novelist's talent.
d) They are the defining feature of a romance.
Answer: c) Their importance depends on the novelist's talent.
 What is the author's tone toward the old-fashioned distinction between novels of character and
incident?
a) Critical and dismissive.
b) Supportive and approving.
c) Neutral and dispassionate.
d) Curious and exploratory.
Answer: a) Critical and dismissive.
 What is the relationship between a painter and a novelist as described by the author?
a) Both focus primarily on creating startling incidents.
b) Both aim to portray character through their chosen medium.
c) Painters rely on incidents, while novelists rely on dialogue.
 19

d) Novelists have a greater ability to explore character than painters.

Answer: b) Both aim to portray character through their chosen medium.
 What does the author suggest about the act of defining "character" in a novel?
a) It is unrelated to the novel’s incidents.
b) It is intertwined with incidents, as they define and illustrate each other.
c) It is achieved through dialogue rather than description.
d) It is less important than creating a compelling plot.
Answer: b) It is intertwined with incidents, as they define and illustrate each other.
 One can speak best from one’s own taste, and I may therefore venture to say that the air of reality
(solidity of specification) seems to me to be the supreme virtue of a novel—the merit on which all its
other merits (including that conscious moral purpose of which Mr. Besant speaks) helplessly and
submissively depend. If it be not there, they are all as nothing, and if these be there, they owe their
effect to the success with which the author has produced the illusion of life.
 Mr. Besant is well inspired when he bids him take notes. He cannot possibly take too many, he
cannot possibly take enough.
 “must be clear in outline,” as Mr. Besant says—he feels that down to his boots; but how he shall
make them so is a secret between his good angel and himself.
  What does the author think about the distinction between the novel and the romance?
a) It is a helpful and important distinction.
b) It is a superficial and unnecessary distinction.
c) It is a historical categorization that has become outdated.
d) It is a distinction only important for the artist.
Answer: b) It is a superficial and unnecessary distinction.
  What is the author's view on the concept of the "modern English novel"?
a) It is an essential category that helps define contemporary literature.
b) It is an unclear and problematic label that does not serve a practical purpose.
c) It is a term that can be useful in identifying specific trends in literature.
d) It is a term that limits the scope of artistic expression in English literature.
Answer: b) It is an unclear and problematic label that does not serve a practical purpose.
  How does the author compare the novel and the romance?
a) Novels are about character, while romances are about incidents.
b) The novel and romance are both types of fiction with the same standards of execution.
c) Romance has a lower standard of execution than novels.
d) Novels are always more serious and realistic than romances.
Answer: b) The novel and romance are both types of fiction with the same standards of execution.
  According to the author, what should be the focus of criticism in evaluating a novel?
a) The artist's choice of subject or theme.
b) The artistic execution of the idea or subject.
c) The originality of the plot or narrative.
d) The moral or political message conveyed by the novel.
Answer: b) The artistic execution of the idea or subject.
  What does the author mean by "art derives a considerable part of its beneficial exercise
from flying in the face of presumptions"?
a) Artists should always follow established norms to succeed.
b) Art thrives when it challenges common expectations or assumptions.
c) Art must always conform to preconceived ideas to be effective.
d) Artists should avoid experimenting with unfamiliar or unconventional ideas.
Answer: b) Art thrives when it challenges common expectations or assumptions.
  What is the significance of the examples of Flaubert's and Turgénieff's stories?
a) They illustrate the different outcomes of artists challenging presumptions.
b) They demonstrate how stories about common subjects always fail.
c) They show that one should never experiment with unusual themes.
 20

d) They argue that some themes are inherently more interesting than others.
Answer: a) They illustrate the different outcomes of artists challenging presumptions.
  What does the author believe about the importance of the subject or idea of a work of art?
a) The subject is irrelevant to the overall success of a work.
b) The subject should always be original and unique.
c) The subject matters gre
  What does the author mean when he says “execution” is the only point of a novel that is
open to contention?
a) The execution is the only part of a novel that can be critiqued, as the subject is fixed.
b) The execution is irrelevant as long as the theme is strong.
c) The execution refers only to the moral message, not the artistic quality.
d) The execution is more important than the artist's choice of theme or subject.
Answer: a) The execution is the only part of a novel that can be critiqued, as the subject is fixed.
  What does the author suggest about novels written with ordinary subjects, such as
Flaubert’s story about a servant-girl and a parrot?
a) Ordinary subjects are always unsuccessful in literature.
b) Novels with ordinary subjects are interesting experiments, even if they fail.
c) Only extraordinary subjects should be explored in novels.
d) Ordinary subjects should be avoided in favor of more serious themes.
Answer: b) Novels with ordinary subjects are interesting experiments, even if they fail.
  How does the author describe the relationship between character and incident in a novel?
a) Character and incident are separate elements, and each should be treated independently.
b) Character and incident are interconnected, and each illustrates the other.
c) Incident is more important than character in a novel.
d) Character is irrelevant to the progression of the plot.
Answer: b) Character and incident are interconnected, and each illustrates the other.
  What does the author mean by “one writes the novel, one paints the picture, of one’s
language and of one’s time”?
a) Novels should be written only about contemporary subjects, and pictures should focus on
historical themes.
b) Both novels and pictures are defined by the language and era in which they are created, not by
artificial labels.
c) Novels should be written in a language that transcends the current time period.
d) A novel’s language should be timeless, and its time period should not be relevant.
Answer: b) Both novels and pictures are defined by the language and era in which they are created,
not by artificial labels.
  What does the author mean when he says “nothing will ever take the place of the good old
fashion of ‘liking’ a work of art or not liking it”?
a) Personal preference remains an important aspect of evaluating art, regardless of critical trends.
b) Critics should always rely on historical context to judge a work.
c) The artist’s intention is more important than the audience’s response to a work.
d) Works of art should never be judged based on personal opinions.
Answer: a) Personal preference remains an important aspect of evaluating art, regardless of critical
trends.
  According to the author, what is the role of critics in evaluating art?
a) Critics should only focus on how well an artist follows established guidelines.
b) Critics must allow the artist to have freedom in choosing their subject and then judge the
execution.
c) Critics should choose which subjects artists should work on.
d) Critics should focus solely on whether the subject matter is interesting.
Answer: b) Critics must allow the artist to have freedom in choosing their subject and then judge the
execution.
 21

  What does the author suggest about the artistic process when facing presumptions?
a) Artists should avoid confronting presumptions and instead follow well-established rules.
b) Artists must be cautious when going against presumptions, as it might not lead to success.
c) Artists often find their greatest successes by challenging or ignoring common presumptions.
d) Artists should always conform to presumptions to ensure the success of their work.
Answer: c) Artists often find their greatest successes by challenging or ignoring common
presumptions.
  How does the author view the separation between different genres of fiction, such as the
“novel of character” and “novel of incident”?
a) The separation is essential for understanding different kinds of literature.
b) The separation is useful but ultimately unnecessary and artificial.
c) The distinction is clear and should be strictly followed.
d) The separation is irrelevant, and all fiction can be categorized under a single label.
Answer: b) The separation is useful but ultimately unnecessary and artificial.
  What does the author believe about the subject of a novel?
a) The subject of a novel is not as important as how it is executed.
b) The subject should always be historical or have significant moral implications.
c) The subject should be chosen based on popularity or trends in society.
d) The subject does not matter as long as the novel has good structure and plot.
Answer: a) The subject of a novel is not as important as how it is executed.
 work of one’s fellow artist a romance—unless it be, of course, simply for the pleasantness of the
thing, as, for instance, when Hawthorne gave this heading to his story of Blithedale.
 Subject or Idea ->donnée,
 What is the author’s perspective on the concept of "taste" in fiction?
a) Taste should be the primary determinant in judging a work of fiction.
b) Taste is secondary to ingenuity in fiction writing.
c) Taste is irrelevant when it comes to writing fiction.
d) Taste, when used with ingenuity, helps bring out the sense of reality in a story.
Answer: d) Taste, when used with ingenuity, helps bring out the sense of reality in a story.
 What does the author believe is the main motive behind people's selection of art and fiction?
a) A desire to follow the conventions of art.
b) A deep, personal preference for what feels most real to them.
c) A wish to conform to societal norms.
d) A desire for a completely idealized and superficial depiction of life.
Answer: b) A deep, personal preference for what feels most real to them.
 What does the author think of Mr. Besant’s idea of "selection" in art?
a) The author fully agrees with Mr. Besant’s definition of art as selection.
b) The author criticizes Mr. Besant for oversimplifying the concept of selection.
c) The author believes that Mr. Besant’s idea of selection is irrelevant to the art of fiction.
d) The author thinks Mr. Besant's idea of selection is outdated.
Answer: b) The author criticizes Mr. Besant for oversimplifying the concept of selection.
 According to the author, what is the danger of viewing art solely as selection?
a) It leads to repetitive, shallow works that lack depth.
b) It restricts the freedom of artists and limits their creativity.
c) It disregards the importance of the artist's personal vision.
d) It prevents the inclusion of real, life-like experiences.
Answer: a) It leads to repetitive, shallow works that lack depth.
 What does the author mean by saying that the "province of art is all life, all feeling, all
observation, all vision"?
a) Art should only represent idealized versions of life.
b) Art should cover a broad range of human experiences, including the painful and unpleasant.
c) Art should be restricted to pleasant, superficial depictions of life.
d) Art is best when it is confined to specific, safe topics.
 22

Answer: b) Art should cover a broad range of human experiences, including the painful and
unpleasant.
 What is the author's view on restricting what fiction can depict, as suggested by some critics
(e.g., "the ugly" or "the painful")?
a) The author supports the idea of restricting certain topics in fiction for artistic purposes.
b) The author believes these restrictions are absurd and limit the scope of art.
c) The author agrees that some topics, such as the ugly, should not be depicted in fiction.
d) The author suggests that fiction should only focus on morally uplifting themes.
Answer: b) The author believes these restrictions are absurd and limit the scope of art.
 How does the author view the relationship between "taste" and "ingenuity" in fiction writing?
a) Taste is more important than ingenuity for creating compelling fiction.
b) Ingenuity is the most important quality for writing fiction, with taste being irrelevant.
c) Both taste and ingenuity are important, with taste guiding the creative process and ingenuity
serving as a secondary aid.
d) Neither taste nor ingenuity matters in fiction writing.
Answer: c) Both taste and ingenuity are important, with taste guiding the creative process and
ingenuity serving as a secondary aid.
 What is the author’s perspective on the concept of "taste" in fiction?
a) Taste should be the primary determinant in judging a work of fiction.
b) Taste is secondary to ingenuity in fiction writing.
c) Taste is irrelevant when it comes to writing fiction.
d) Taste, when used with ingenuity, helps bring out the sense of reality in a story.
Answer: d) Taste, when used with ingenuity, helps bring out the sense of reality in a story.
 What does the author believe is the main motive behind people's selection of art and fiction?
a) A desire to follow the conventions of art.
b) A deep, personal preference for what feels most real to them.
c) A wish to conform to societal norms.
d) A desire for a completely idealized and superficial depiction of life.
Answer: b) A deep, personal preference for what feels most real to them.
 What does the author think of Mr. Besant’s idea of "selection" in art?
a) The author fully agrees with Mr. Besant’s definition of art as selection.
b) The author criticizes Mr. Besant for oversimplifying the concept of selection.
c) The author believes that Mr. Besant’s idea of selection is irrelevant to the art of fiction.
d) The author thinks Mr. Besant's idea of selection is outdated.
Answer: b) The author criticizes Mr. Besant for oversimplifying the concept of selection.
 According to the author, what is the danger of viewing art solely as selection?
a) It leads to repetitive, shallow works that lack depth.
b) It restricts the freedom of artists and limits their creativity.
c) It disregards the importance of the artist's personal vision.
d) It prevents the inclusion of real, life-like experiences.
Answer: a) It leads to repetitive, shallow works that lack depth.
 What does the author mean by saying that the "province of art is all life, all feeling, all
observation, all vision"?
a) Art should only represent idealized versions of life.
b) Art should cover a broad range of human experiences, including the painful and unpleasant.
c) Art should be restricted to pleasant, superficial depictions of life.
d) Art is best when it is confined to specific, safe topics.
Answer: b) Art should cover a broad range of human experiences, including the painful and
unpleasant.
 What is the author's view on restricting what fiction can depict, as suggested by some critics
(e.g., "the ugly" or "the painful")?
a) The author supports the idea of restricting certain topics in fiction for artistic purposes.
b) The author believes these restrictions are absurd and limit the scope of art.
 23

c) The author agrees that some topics, such as the ugly, should not be depicted in fiction.
d) The author suggests that fiction should only focus on morally uplifting themes.
Answer: b) The author believes these restrictions are absurd and limit the scope of art.
 How does the author view the relationship between "taste" and "ingenuity" in fiction writing?
a) Taste is more important than ingenuity for creating compelling fiction.
b) Ingenuity is the most important quality for writing fiction, with taste being irrelevant.
c) Both taste and ingenuity are important, with taste guiding the creative process and ingenuity
serving as a secondary aid.
d) Neither taste nor ingenuity matters in fiction writing.
Answer: c) Both taste and ingenuity are important, with taste guiding the creative process and
ingenuity serving as a secondary aid.
 What is the author's view on Mr. Besant's distinction between "the story" and other elements
of a novel?
a) The author agrees with Mr. Besant's distinction and finds it useful in understanding novels.
b) The author believes Mr. Besant’s distinction is ambiguous and difficult to understand.
c) The author fully supports Mr. Besant’s idea of separating the story from other aspects of a novel.
d) The author thinks that the distinction is irrelevant to understanding a novel.
Answer: b) The author believes Mr. Besant’s distinction is ambiguous and difficult to understand.
 How does the author describe the relationship between the story and the novel in a successful
work?
a) The story is secondary to the form, and the form should dominate the narrative.
b) The story and the novel are separate elements that function independently.
c) The story and the novel are interconnected, with the story permeating and informing every part of
the work.
d) The story is merely a framework upon which the novel is built.
Answer: c) The story and the novel are interconnected, with the story permeating and informing
every part of the work.
 What does the author compare the relationship between the story and the novel to?
a) A painter choosing a subject and painting the picture.
b) A needle and thread, where both are necessary for the creation of a successful work.
c) The artist and the critic, where the artist provides the vision and the critic evaluates it.
d) The writer and the reader, where the reader interprets the story while the writer creates it.
Answer: b) A needle and thread, where both are necessary for the creation of a successful work.
 What does the author think about the statement "The story is the thing!" made in the Pall
Mall Gazette article?
a) The author agrees with the statement and thinks it encapsulates the essence of a good novel.
b) The author finds the statement too simplistic and believes that there is more to a novel than just
the story.
c) The author believes that the statement is accurate in all cases and that the story should be the sole
focus.
d) The author believes that the statement dismisses the importance of the novel’s form and structure.
Answer: b) The author finds the statement too simplistic and believes that there is more to a novel
than just the story.
 What does the author suggest about the process of creating a successful novel?
a) The writer should focus exclusively on the story and ignore the form of the novel.
b) The writer should carefully choose a subject and then focus on perfecting the structure.
c) The writer should focus on creating a story and form that complement each other seamlessly.
d) The writer should use conventional subjects and structures to create a predictable novel.
Answer: c) The writer should focus on creating a story and form that complement each other
seamlessly.
 According to the author, how should the idea in a novel influence its form?
a) The idea should remain independent of the form, as the form is secondary.
b) The idea should shape and guide the form, ensuring the novel expresses the story fully and
 24

effectively.
c) The idea should be developed only after the form of the novel is established.
d) The idea should be flexible and adaptable, with no clear influence on the novel’s form.
Answer: b) The idea should shape and guide the form, ensuring the novel expresses the story fully
and effectively.
 What is the author's view on "schools" of thought that argue a novel should be all treatment
and no subject?
a) The author agrees with this idea and believes that a novel’s treatment should be more important
than its subject.
b) The author finds this idea illogical, as every novel must have something to treat—an idea or a
subject.
c) The author believes that treatment is secondary, and the subject of a novel is irrelevant.
d) The author believes that this approach leads to the creation of more innovative and engaging
novels.
Answer: b) The author finds this idea illogical, as every novel must have something to treat—an idea
or a subject.
 What does the author suggest about the importance of the subject (or "story") in a novel?
a) The subject is irrelevant as long as the form is well executed.
b) The subject is critical and must be carefully chosen to ensure the novel’s success.
c) The subject is less important than the treatment and style of the novel.
d) The subject should be neglected in favor of more abstract themes and ideas.
Answer: b) The subject is critical and must be carefully chosen to ensure the novel’s success.

 What is the author's view on distinguishing between "story" and "no-story"?

a) There is a clear rule that separates a story from a no-story.
b) The distinction between story and no-story is arbitrary and cannot be easily defined.
c) The rejection of a duke is always considered a story, while psychological reasons are not.
d) Stories can only be about grand heroic events, not psychological reasons.
Answer: b) The distinction between story and no-story is arbitrary and cannot be easily defined.
 What is the author's reaction to the Pall Mall critic's reference to the novel of Margot la
Balafrée?
a) The author is indifferent to the mention of the novel.
b) The author feels disappointed by the critic's failure to name the author of the novel.
c) The author is angry that the critic misinterprets the content of the novel.
d) The author feels that the novel is irrelevant to the discussion.
Answer: b) The author feels disappointed by the critic's failure to name the author of the novel.
 Why does the author feel "inconsolable" about not being acquainted with the episode of
Margot la Balafrée?
a) The author is intrigued by the story and wants to know more.
b) The author is frustrated because the novel seems to be widely known.
c) The author feels that the story is unimportant but still wishes to know about it.
d) The author is indifferent to the episode and doesn’t care for it.
Answer: a) The author is intrigued by the story and wants to know more.
 What does the author question about the Pall Mall critic’s distinction between the stories
involving the rejection of a duke and Margot la Balafrée?
a) Why is a psychological reason not considered a valid subject for a story?
b) Why are stories about psychological reasons considered trivial?
c) Why is the episode about a lady’s scar considered more important than the rejection of a duke?
d) Why is the plot about a duke always considered a story, while psychological reasons are not?
Answer: a) Why is a psychological reason not considered a valid subject for a story?
 25

 What does the author imply about the relationship between physical events and psychological
reasons in a story?
a) Physical events are always more important than psychological reasons in storytelling.
b) Psychological reasons should never be considered valid subjects for a story.
c) The distinction between physical events and psychological reasons is irrelevant in judging a
story's worth.
d) Psychological reasons are only valid when combined with physical events.
Answer: c) The distinction between physical events and psychological reasons is irrelevant in
judging a story's worth.
 What is the author's attitude towards the Pall Mall critic’s comments on stories involving
psychological reasons?
a) The author supports the critic’s views on psychological stories.
b) The author questions the critic's reasoning and believes psychological stories can be valuable.
c) The author agrees with the critic but feels the psychological reason should be more clearly stated.
d) The author does not mention the critic’s views after this passage.
Answer: b) The author questions the critic's reasoning and believes psychological stories can be
valuable.
 What point does the author make by contrasting Margot la Balafrée’s scar with the rejection
of an English duke for psychological reasons?
a) The author argues that physical scars are more important than psychological motivations in a
story.
b) The author suggests that any reason—psychological or physical—can be a valid subject for a
story.
c) The author implies that only psychological reasons are significant in modern storytelling.
d) The author believes that stories about physical scars are less compelling than those about
psychological reasons.
Answer: b) The author suggests that any reason—psychological or physical—can be a valid subject
for a story.
 Here are multiple MCQs based on the passage tailored for a master's-level English student:


 Content and Themes

 What does the author argue about the essence of a novel?
A. It must consist of adventurous events.
B. It is an artificial construct.
C. It should represent life truthfully.
D. It should avoid psychological exploration.
Answer: C
 Why does the author criticize Mr. Besant’s perspective on adventure in novels?
A. Adventure is a minor aspect of storytelling.
B. Adventure cannot be defined clearly.
C. Adventure is less significant than marriage or celibacy.
D. Adventure limits the novel’s correspondence with life.
Answer: D
 Which aspect of life does the author find as valuable as adventure in a novel?
A. Matrimony.
B. The moral consciousness of a child.
C. Hydropathy.
 26

D. Buried treasures.
Answer: B
 What distinction does the author draw between Treasure Island and Chérie?
A. One is a novel, the other is not.
B. Both depict the same level of life’s truth.
C. Treasure Island succeeds in its attempt, while Chérie does not.
D. Chérie is more entertaining than Treasure Island.
Answer: C
 What does the author imply about “psychological reasons” in a novel?
A. They are less engaging than adventures.
B. They are pictorially rich and inspiring.
C. They lack surprises.
D. They are unrelated to the novel’s truth.
Answer: B
 Why does the author mention George Eliot?
A. To highlight a preference for stories about childhood.
B. To exemplify successful portrayal of life’s truth.
C. To contrast Eliot’s style with M. de Goncourt’s.
D. To argue for realism in novels.
Answer: B
 What rhetorical technique does the author use when discussing “adventure”?
A. Repetition to emphasize its importance.
B. Enumeration of alternatives to question its necessity.
C. Allegory to illustrate its triviality.
D. Hyperbole to exaggerate its significance.
Answer: B
 Why does the author reference the “Bostonian nymph” rejecting an English duke?
A. To satirize unrealistic plotlines in novels.
B. To illustrate how ordinary events can be adventurous.
C. To criticize English literature’s clichés.
D. To propose new novelistic themes.
Answer: B
 What does the comparison of the two novels suggest about the author’s view of storytelling?
A. Success lies in aligning with a specific formula.
B. Truthfulness is more significant than subject matter.
C. Moral tales are superior to adventure stories.
D. Historical narratives are inherently flawed.
Answer: B
 What does the author mean by the phrase “immense and exquisite correspondence with life”?
A. Novels should mirror life in its totality.
B. Novels must explore multiple genres.
C. Novels should idealize life’s complexities.
D. Novels should avoid adventure altogether.
Answer: A
 What is the significance of the author’s personal preference for saying “Yes” to certain
depictions?
A. It underscores the subjectivity of artistic judgment.
B. It reveals a bias toward certain literary traditions.
C. It dismisses experimental storytelling.
 27

D. It promotes the universality of adventure.

Answer: A
 How does the author view “adventure” as a concept in literature?
A. It is the defining element of a good novel.
B. It is one among many ways to explore truth in fiction.
C. It is overvalued in contemporary criticism.
D. It is irrelevant to the artistic quality of a novel.
Answer: B
 What is the author's criticism of Mr. Besant’s idea that a novel must consist of "adventures" to
be a story?
a) The author agrees with Mr. Besant's idea, as adventure is essential to the novel.
b) The author questions why adventure is considered essential and argues that many things can
constitute a story, such as psychological reasons.
c) The author believes that adventure should be the only subject of novels.
d) The author believes that only fictional adventures should be considered real stories.
Answer: b) The author questions why adventure is considered essential and argues that many things
can constitute a story, such as psychological reasons.
 How does the author describe a psychological reason in a novel?
a) As a boring and unnecessary element that distracts from the plot.
b) As something that can inspire great artistic effort, even on the level of classical painters like
Titian.
c) As a trivial reason that doesn’t add to the depth of a story.
d) As an irrelevant detail that detracts from the excitement of the story.
Answer: b) As something that can inspire great artistic effort, even on the level of classical painters
like Titian.
 What is the author’s opinion on the novels Treasure Island and Chérie?
a) Treasure Island is more successful because it deals with action, while Chérie is less engaging due
to its focus on emotions.
b) Both novels are equally enjoyable, despite their different subjects.
c) Chérie is better than Treasure Island because it delves into the moral consciousness of a child.
d) Both novels fail to succeed in their respective goals.
Answer: a) Treasure Island is more successful because it deals with action, while Chérie is less
engaging due to its focus on emotions.
 What does the author suggest about the “story” in both Treasure Island and Chérie?
a) Chérie lacks a proper story because it doesn’t have action or adventure.
b) Both novels have a story and are equally valid as novels, despite their different themes and
approaches.
c) Treasure Island is not a story because it doesn’t focus on real-life situations.
d) Chérie is not a real novel due to its lack of moral depth.
Answer: b) Both novels have a story and are equally valid as novels, despite their different themes
and approaches.
 How does the author describe their personal preference between Treasure Island and Chérie?
a) The author prefers Treasure Island because of its thrilling plot.
b) The author prefers Chérie because it explores deep moral questions.
c) The author prefers Chérie because it deals with a more personal experience they can relate to.
d) The author finds Treasure Island more enjoyable because of its exciting adventures.
Answer: c) The author prefers Chérie because it deals with a more personal experience they can
relate to.
 What does the author mean when they mention "Yes or No" in relation to the artist’s depiction
of the child’s experience?
a) The author finds the depiction of the child’s experience too predictable and uninspiring.
b) The author feels they can easily relate to the depiction, agreeing or disagreeing with each step in
 28

the story.
c) The author struggles to understand the artist’s portrayal and feels disconnected.
d) The author believes the depiction of the child’s experience is too abstract to relate to.
Answer: b) The author feels they can easily relate to the depiction, agreeing or disagreeing with each
step in the story.
 What does the author think about George Eliot’s depiction of a child’s experience?
a) The author disagrees with George Eliot’s depiction, finding it unrealistic.
b) The author is moved by George Eliot’s portrayal, feeling a deep connection to it.
c) The author is indifferent to George Eliot’s portrayal and finds it too simplistic.
d) The author believes George Eliot’s depiction is too idealized and not relatable.
Answer: b) The author is moved by George Eliot’s portrayal, feeling a deep connection to it.
 What is the author’s criticism of Mr. Besant's view on the "conscious moral purpose" of the
novel?
a) The author agrees with Mr. Besant's views and finds them well-developed.
b) The author feels that Mr. Besant’s brief mention of the moral purpose is insufficient and unclear.
c) The author believes Mr. Besant has adequately explained the concept of a moral purpose in
fiction.
d) The author argues that Mr. Besant has exaggerated the importance of the moral purpose in novels.
Answer: b) The author feels that Mr. Besant’s brief mention of the moral purpose is insufficient and
unclear.
 What does the author think is problematic about mixing questions of art and morality in the
novel?
a) The author believes morality should be the primary focus of all novels.
b) The author argues that the questions of art and morality are distinct and should not be confused.
c) The author believes that art should never be considered moral.
d) The author finds no issue in mixing art and morality, as they are intertwined in the novel.
Answer: b) The author argues that the questions of art and morality are distinct and should not be
confused.
 How does the author view the moral approach of most English novelists, in contrast to Mr.
Besant’s view?
a) The author sees English novelists as boldly addressing moral issues, in line with Mr. Besant's
view.
b) The author believes English novelists are often morally timid and avoid confronting difficult
subjects.
c) The author thinks English novelists focus exclusively on moral issues without considering artistic
merit.
d) The author believes English novelists shy away from art to focus solely on moral considerations.
Answer: b) The author believes English novelists are often morally timid and avoid confronting
difficult subjects.
 What does the author suggest about the traditional difference in English novels between what
is known and what is acknowledged?
a) The author believes this difference is essential for honest storytelling.
b) The author sees this difference as a sign of moral timidity in English fiction.
c) The author thinks the difference is exaggerated and should be eliminated.
d) The author believes this difference helps authors focus solely on morality.
Answer: b) The author sees this difference as a sign of moral timidity in English fiction.
 How does the author view the purpose of the English novel today, particularly in relation to
"young people"?
a) The author believes the English novel today has a clear and strong moral purpose.
b) The author sees the purpose as negative, as it avoids discussing difficult topics for fear of young
readers.
c) The author feels the English novel is excessively focused on adventure and excitement for young
readers.
 29

d) The author believes the English novel is perfect for young readers and addresses important issues.
Answer: b) The author sees the purpose as negative, as it avoids discussing difficult topics for fear of
young readers.
 What does the author suggest is the essence of moral energy in a work of art?
a) Moral energy in art should be focused only on positive subjects.
b) The essence of moral energy is to engage with the entire spectrum of life, not avoid difficult
issues.
c) Moral energy should be suppressed to maintain artistic integrity.
d) The essence of moral energy is to avoid any controversial subjects.
Answer: b) The essence of moral energy is to engage with the entire spectrum of life, not avoid
difficult issues.
 What does the author imply about the relationship between purpose and art in the English
novel?
a) The author believes a strong purpose improves the artistic quality of the novel.
b) The author views purpose in a novel as potentially corrupting the artistic expression.
c) The author thinks the purpose of a novel should always focus on entertainment.
d) The author believes that the primary purpose of a novel is to convey moral lessons.
Answer: b) The author views purpose in a novel as potentially corrupting the artistic expression.
 What does the author think of Mr. Besant’s view of the purpose of the English novel?
a) The author agrees with Mr. Besant’s assessment, finding it an admirable trait.
b) The author thinks Mr. Besant’s view oversimplifies the role of morality in the English novel.
c) The author supports the idea that the English novel has a bold moral purpose.
d) The author believes Mr. Besant’s view is irrelevant to the current state of English fiction.
Answer: b) The author thinks Mr. Besant’s view oversimplifies the role of morality in the English
novel.
 How does the author view the purpose of the English novel in the context of “young people”?
a) The author believes the English novel is designed specifically for young readers to avoid
controversial topics.
b) The author argues that novels for young people should address moral and difficult issues directly.
c) The author feels that novels should avoid presenting moral problems to young readers.
d) The author sees novels as primarily a means of providing entertainment for young people.
Answer: a) The author believes the English novel is designed specifically for young readers to avoid
controversial topics.
 What does the author suggest about the treatment of reality in English novels?
a) English novels often ignore reality in favor of purely moral themes.
b) English novels tend to gloss over the complexities of reality, avoiding difficult topics.
c) English novels embrace reality and tackle difficult subjects head-on.
d) English novels only deal with fictional or invented realities, avoiding real-life topics.
Answer: b) English novels tend to gloss over the complexities of reality, avoiding difficult topics.
 What criticism does the author have about the traditional view of English fiction?
a) The author feels that English fiction overemphasizes controversial issues and neglects artistry.
b) The author believes English fiction is too focused on artistic beauty and neglects social issues.
c) The author argues that English fiction has a traditional reluctance to address difficult moral or
social issues directly.
d) The author sees English fiction as overly explicit in its moral teachings and too didactic.
Answer: c) The author argues that English fiction has a traditional reluctance to address difficult
moral or social issues directly.
 What advice does the author give to the young novelist regarding life and art?
a) To focus on optimism and avoid pessimism.
b) To limit their scope and only focus on select aspects of life.
c) To embrace all aspects of life and explore it to its fullest.
d) To avoid exploring the darker sides of life.
Answer: c) To embrace all aspects of life and explore it to its fullest.
 30

 What is the author's critique of Emile Zola's work?

a) Zola's work is too optimistic.
b) Zola's work lacks energy.
c) Zola's work is impressive but limited by a narrow, pessimistic view.
d) Zola’s work is not respected by English readers.
Answer: c) Zola's work is impressive but limited by a narrow, pessimistic view.
 How does the author view shallow optimism in English fiction?
a) As an admirable quality.
b) As something that is often respected in literature.
c) As a flaw that leads to shallow and brittle conclusions.
d) As a key aspect of creating a successful novel.
Answer: c) As a flaw that leads to shallow and brittle conclusions.
 What is the author’s perspective on the novelist’s duty?
a) To focus solely on creating a moral message.
b) To create a work of fiction with as much optimism as possible.
c) To make the work as complete and perfect as possible.
d) To focus on delivering a conclusion that suits the narrative.
Answer: c) To make the work as complete and perfect as possible.
 How does the author suggest the young novelist should approach their craft?
a) By focusing solely on technical aspects.
b) By being generous, delicate, and striving for perfection.
c) By focusing on pessimism to reflect the reality of life.
d) By avoiding engagement with the larger aspects of life.
Answer: b) By being generous, delicate, and striving for perfection.
 What does the phrase “go in” mean in the context of the advice given to the novelist?
a) To focus only on the negative aspects of life.
b) To approach the task of writing with energy and commitment.
c) To avoid making any moral or philosophical conclusions.
d) To take a cautious approach and avoid taking risks.
Answer: b) To approach the task of writing with energy and commitment.
 What does the author suggest about the diversity of styles in novel writing?
a) Only one style should be adopted by all writers.
b) Different styles of writing, like those of Dumas, Austen, Dickens, and Flaubert, can all succeed in
the field of fiction.
c) All writers should focus on a single, unified style.
d) Only pessimistic and dark styles are acceptable in novel writing.
Answer: b) Different styles of writing, like those of Dumas, Austen, Dickens, and Flaubert, can all
succeed in the field of fiction.
 According to the author, what should a novelist focus on in their work?
a) Addressing specific moral purposes and teaching lessons.
b) Adhering strictly to a particular philosophical viewpoint.
c) Ensuring the work is as complete and perfect as possible, with generous and delicate execution.
d) Writing a story with a clear beginning, middle, and end.
Answer: c) Ensuring the work is as complete and perfect as possible, with generous and delicate
execution.
 What is the author's view of novels that are overly optimistic or pessimistic?
a) They are both equally valuable in literature.
b) Optimism and pessimism should be avoided altogether.
c) Overly optimistic or pessimistic works lack the depth of a well-rounded narrative.
d) Only pessimism can reveal the true nature of life.
Answer: c) Overly optimistic or pessimistic works lack the depth of a well-rounded narrative.
 What is the author's opinion about the relationship between art and life in fiction?
a) Art should avoid depicting real life too closely.
 31

b) Fiction should only depict idealized versions of life.

c) The novel should be a representation of life in all its forms, capturing all impressions and
experiences.
d) Art should ignore reality and focus on abstract concepts.
Answer: c) The novel should be a representation of life in all its forms, capturing all impressions and
experiences.
 How does the author describe the process of creating a novel?
a) As a highly restrictive task that requires strict adherence to conventions.
b) As a task that requires the novelist to focus on a singular message or theme.
c) As an art form with immense freedom, offering the opportunity to explore all aspects of life.
d) As an activity that should avoid any form of artistic experimentation.
Answer: c) As an art form with immense freedom, offering the opportunity to explore all aspects of
life.
 In the author's view, what is the ultimate purpose of a work of fiction?
a) To be moral and instructive.
b) To portray life in a perfect, complete, and truthful way.
c) To create a sense of false optimism or pessimism.
d) To focus solely on the psychological depth of characters.
Answer: b) To portray life in a perfect, complete, and truthful way.
 What does the author imply about the role of the novelist in relation to life and society?
a) The novelist should be a passive observer of life.
b) The novelist should reject life and its complexities in favor of pure abstraction.
c) The novelist should engage with all aspects of life, even those that are uncomfortable or difficult.
d) The novelist should ignore societal issues and focus only on personal experiences.
Answer: c) The novelist should engage with all aspects of life, even those that are uncomfortable or
difficult.
 What does the critic in the Pall Mall Gazette warn about in discussing the art of fiction?
a) The danger of generalizing too much.
b) The danger of particularizing too much.
c) The importance of sticking to one narrative style.
d) The need to focus exclusively on moral issues.
Answer: b) The danger of particularizing too much.
 What is the author's response to the critic's concern about generalizing in fiction?
a) The author agrees that generalizing is a great risk.
b) The author believes the true danger lies in particularizing too much.
c) The author completely disagrees with the critic’s view.
d) The author does not consider the issue important.
Answer: b) The author believes the true danger lies in particularizing too much.
 What does the author intend to offer in addition to Mr. Besant’s remarks?
a) Personal criticisms of the critic’s article.
b) General and comprehensive remarks that would help the student.
c) A detailed breakdown of moral purpose in fiction.
d) Specific instructions on how to write a novel.
Answer: b) General and comprehensive remarks that would help the student.
 What is the author’s critique of M. Zola's approach?
 a) M. Zola reasons powerfully but fails to represent his ideas well.
 b) M. Zola attempts to impose a specific taste on people.
 c) M. Zola fully reconciles himself to the absoluteness of taste.
 d) M. Zola believes that people should only like what they are told to like.
 Answer: b) M. Zola attempts to impose a specific taste on people.

 What does the author say about the nature of liking or taste?
 a) Liking is an absolute, and people should only like certain things.
 32

 b) Taste is flexible, and it cannot be dictated.

 c) Liking is arbitrary and should not be discussed.
 d) Taste is not important in the context of fiction.
 Answer: b) Taste is flexible, and it cannot be dictated.
 no good novel will ever proceed from a superficial mind; that seems to me an axiom which, for the
artist in fiction, will cover all needful moral ground