A. A romantic awaiting true love
B. A cynic awaiting the world’s destruction
C. A delusional girl with no grasp on reality
D. A young girl with a particularly dark mindset
A. The sublime
B. The supernatural
C. Love
D. The manners and traditions of the upper classes
A. Traditional literary criticism is mainly focused on exploring gender issues.
B. Traditional literary criticism only examines pre-20th-century literary texts.
C. Traditional literary criticism focused on tracking influences and textual allusions and considering the historical contexts of literary texts.
D. Traditional literary criticism attempted to consider the psychological aspects of literary texts.
A. The political and social meanings of literary texts
B. Characters who are sympathetic to issues facing the working classes
C. The relationship between economics and the production of literary texts
D. All of these
A. A historical narrative and a historical novel are the same thing.
B. A historical narrative tells only part of the story surrounding a historical event; a historical novel tells the whole story.
C. A historical novel focuses on providing the reader with only the central truth of a historical event, while a historical narrative attempts to tell the entire truth of a historical event.
D. Faruqi actually argues that historical novels do not exist.
A. A story of one person’s fall from grace and into destruction
B. A story of one person’s growth and development within a particular social order
C. A story of one person’s success within a capitalistic economic system
D. A story of one person’s selfrealization and attempt to return to innocence
A. Begins at the apparent end of the story.
B. Introduces the characters of the play one by one.
C. Opens by plunging the viewer into a crucial series of events.
D. Begins with a preview of the play’s conclusion.
A. A novel set in the past
B. A novel that consists entirely of dialogue
C. A novel that is set in the countryside of europe
D. A novel that consists of a series of documents, such as diary entries, letters, and newspaper articles
A. Hamlet desires his mother, not ophelia.
B. Hamlet desires revenge, not ophelia.
C. Hamlet desires ophelia, but only when she is unattainable.
D. Hamlet desires attaining the throne of denmark, of which ophelia is a symbol.
A. Hamlet’s father’s ghost is not really a ghost.
B. Hamlet feels a sense of desire for both his mother and his father.
C. Hamlet is truly insane in the play.
D. Hamlet is an impossible play to truly understand.