Senior Class WAEC/NECO/UTME Mock Exams(Literature in English) : GATE Academy

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1. The passage below refers explicitly to

I have often noticed that we are inclined to endow our friends with the stability of type that literary characters acquire in the reader’s mind. No matter how many times we reopen “King Lear,” never shall we find the good king banging his tankard in high revelry, all woes forgotten, at a jolly reunion with all three daughters and their lapdogs. Never will Emma rally, revived by the sympathetic salts in Flaubert’s father’s timely tear.
Whatever evolution this or that popular character has gone through between the book covers, his fate is fixed in our minds, and, similarly, we expect our friends to follow this or that logical and conventional pattern we have fixed for them.....
Any deviation in the fates we have ordained would strike us as not only anomalous but unethical. We would prefer not to have known at all our neighbor, the retired hot-dog stand operator, if it turns out he has just produced the greatest book of poetry his age has seen.

Crime and Punishment

Anna Karenina

Madame Bovary

Don Quixote

Faust

2. Read the passage below

Let others better mould the running mass
Of metals, and inform the breathing brass,
And soften into flesh a marble face;
Plead better at the bar; describe the skies,

And when the stars descend, and when they rise.
But, Rome! ’tis thine alone, with awful sway,
To rule mankind, and make the world obey,
Disposing peace and war thy own majestic way;
To tame the proud, the fettered slave to free:
These are imperial arts, and worthy thee.

Which of the following words or phrases has been omitted as understood after “worthy” (line 10) ?

of

beside

as substitutes for

before

according to

3. .................... is achieved when the audience is made aware of a disparity between the facts of a situation and the characters’ understanding of it.

In the question above, select the option that is best.

The pathetic fallacy

Dramatic irony

Aesthetic distance

The dissociation of sensibility

Comic relief

4. Read the passage below

Let others better mould the running mass
Of metals, and inform the breathing brass,
And soften into flesh a marble face;
Plead better at the bar; describe the skies,

And when the stars descend, and when they rise.
But, Rome! ’tis thine alone, with awful sway,
To rule mankind, and make the world obey,
Disposing peace and war thy own majestic way;
To tame the proud, the fettered slave to free:
These are imperial arts, and worthy thee.

The passage is from

Chapman’s translation of Homer

Queen Elizabeth’s translation of Boethius

Sandys’ translation of Ovid

Dryden’s translation of Virgil

Longfellow’s translation of Dante

5. The passage below argues that

I have often noticed that we are inclined to endow our friends with the stability of type that literary characters acquire in the reader’s mind. No matter how many times we reopen “King Lear,” never shall we find the good king banging his tankard in high revelry, all woes forgotten, at a jolly reunion with all three daughters and their lapdogs. Never will Emma rally, revived by the sympathetic salts in Flaubert’s father’s timely tear.
Whatever evolution this or that popular character has gone through between the book covers, his fate is fixed in our minds, and, similarly, we expect our friends to follow this or that logical and conventional pattern we have fixed for them.....
Any deviation in the fates we have ordained would strike us as not only anomalous but unethical. We would prefer not to have known at all our neighbor, the retired hot-dog stand operator, if it turns out he has just produced the greatest book of poetry his age has seen.

we expect humans to act as consistently as fictional characters do

it is a waste of time to reread works of literature

great works of literature written by unknowns often pass unnoticed

“stability of type” is more common in real life than in literature

people never really betray each other the way that fictional characters do

6. The passage appears in a work in which a

I have often noticed that we are inclined to endow our friends with the stability of type that literary characters acquire in the reader’s mind. No matter how many times we reopen “King Lear,” never shall we find the good king banging his tankard in high revelry, all woes forgotten, at a jolly reunion with all three daughters and their lapdogs. Never will Emma rally, revived by the sympathetic salts in Flaubert’s father’s timely tear.
Whatever evolution this or that popular character has gone through between the book covers, his fate is fixed in our minds, and, similarly, we expect our friends to follow this or that logical and conventional pattern we have fixed for them.....
Any deviation in the fates we have ordained would strike us as not only anomalous but unethical. We would prefer not to have known at all our neighbor, the retired hot-dog stand operator, if it turns out he has just produced the greatest book of poetry his age has seen.

woman is made to wear a red letter on her bodice

man falsely believes himself to be a medieval knight

man wakes up to find that he has become a giant insect

man remains youthful while a portrait of him ages

man becomes obsessed with his landlady’s twelve-year-old daughter

7. Read the passage below

Let others better mould the running mass
Of metals, and inform the breathing brass,
And soften into flesh a marble face;
Plead better at the bar; describe the skies,

And when the stars descend, and when they rise.
But, Rome! ’tis thine alone, with awful sway,
To rule mankind, and make the world obey,
Disposing peace and war thy own majestic way;
To tame the proud, the fettered slave to free:
These are imperial arts, and worthy thee.

As used in line 6, “sway” most nearly means

tact

cruelty

power

resolve

wisdom

8. Read the passage below

Let others better mould the running mass
Of metals, and inform the breathing brass,
And soften into flesh a marble face;
Plead better at the bar; describe the skies,

And when the stars descend, and when they rise.
But, Rome! ’tis thine alone, with awful sway,
To rule mankind, and make the world obey,
Disposing peace and war thy own majestic way;
To tame the proud, the fettered slave to free:
These are imperial arts, and worthy thee.

Which of the following most accurately describes the passage?

The speaker compliments Greek culture for its achievements in art and science, and singles out administration as a Roman art

The speaker defends himself as a loyal citizen but expresses regret over the state of the arts in Rome.

The speaker claims that Roman culture is superior to all others in the range and diversity of its achievements.

The speaker argues that the fate of empires can be discovered by interpreting celestial events.

The speaker deplores the widespread use of slaves in the ancient world

9. Read the passage below

Let others better mould the running mass
Of metals, and inform the breathing brass,
And soften into flesh a marble face;
Plead better at the bar; describe the skies,

And when the stars descend, and when they rise.
But, Rome! ’tis thine alone, with awful sway,
To rule mankind, and make the world obey,
Disposing peace and war thy own majestic way;
To tame the proud, the fettered slave to free:
These are imperial arts, and worthy thee.

Line 9 presents an example of

zeugma

apostrophe

periphrasis

chiasmus

anaphora

10. The passage below calls into question the concept of

I have often noticed that we are inclined to endow our friends with the stability of type that literary characters acquire in the reader’s mind. No matter how many times we reopen “King Lear,” never shall we find the good king banging his tankard in high revelry, all woes forgotten, at a jolly reunion with all three daughters and their lapdogs. Never will Emma rally, revived by the sympathetic salts in Flaubert’s father’s timely tear.
Whatever evolution this or that popular character has gone through between the book covers, his fate is fixed in our minds, and, similarly, we expect our friends to follow this or that logical and conventional pattern we have fixed for them.....
Any deviation in the fates we have ordained would strike us as not only anomalous but unethical. We would prefer not to have known at all our neighbor, the retired hot-dog stand operator, if it turns out he has just produced the greatest book of poetry his age has seen.

catharsis

mimesis

deus ex machina

hamartia

in medias res

11. Read the passage below

Let others better mould the running mass
Of metals, and inform the breathing brass,
And soften into flesh a marble face;
Plead better at the bar; describe the skies,

And when the stars descend, and when they rise.
But, Rome! ’tis thine alone, with awful sway,
To rule mankind, and make the world obey,
Disposing peace and war thy own majestic way;
To tame the proud, the fettered slave to free:
These are imperial arts, and worthy thee.

Which line of the translated passage is an Alexandrine?

2

10

5

3

8

Senior Class WAEC/NECO/UTME Mock Exams(Literature in English)

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