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30 Oct 2020, 01:21
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Question 1
C
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
5%
(low)
Question Stats:
85% (02:29) correct
15%
(02:32) wrong
based on 247
sessions
History
Date
Time
Result
Not Attempted Yet
Question 2
D
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
45%
(medium)
Question Stats:
50% (00:57) correct 50%
(01:02) wrong
based on 245
sessions
History
Date
Time
Result
Not Attempted Yet
Question 3
B
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
85%
(hard)
Question Stats:
29% (01:19) correct 71%
(01:32) wrong
based on 236
sessions
History
Date
Time
Result
Not Attempted Yet
The picture of England’s King Richard III that most people conjure comes from the Shakespeare “history” play that bears his name. In that drama, “evil psychopath” is one way to sum up Shakespeare’s portrayal of Richard III’s personality. Shakespeare’s storyline includes Richard’s murder of his nephews, by suffocation, so that he could steal the crown of England. Moreover, Shakespeare uses physiological symbols to portray Richard’s vile nature, including a disabling hunched back and a withered arm.
However, Shakespeare was not writing history; he was creating drama. For that, the author dipped his quill frequently into the dark ink of his imagination, ever mindful of his plot’s narrative arc toward an uplifting ending: the glorious ascension to the throne of the historically brighter, lighter Henry VII and the era of political stability that his reign issued in. That Shakespeare’s plays were literary rather than factual works should not be in doubt, for just as no one ever sold a pound of flesh, so, too, Richard probably did not commit the bulk of the misdeeds that Shakespeare attributes to him.
Furthermore, as a result of the discovery of Richard III’s remains under a parking lot a few years ago, we now also know that Richard’s real body is not the one in which Shakespeare has him strut his hour upon the stage. Using Richard’s remains, archaeologists have confirmed that he had a curvature of the spine, but no hunch back and no withered arm. Using his skull, they have also projected the visage of a pleasing young man just 32 when he died in battle against Henry Tudor rather than that of a villain.
However, Shakespeare was not writing history; he was creating drama. For that, the author dipped his quill frequently into the dark ink of his imagination, ever mindful of his plot’s narrative arc toward an uplifting ending: the glorious ascension to the throne of the historically brighter, lighter Henry VII and the era of political stability that his reign issued in. That Shakespeare’s plays were literary rather than factual works should not be in doubt, for just as no one ever sold a pound of flesh, so, too, Richard probably did not commit the bulk of the misdeeds that Shakespeare attributes to him.
Furthermore, as a result of the discovery of Richard III’s remains under a parking lot a few years ago, we now also know that Richard’s real body is not the one in which Shakespeare has him strut his hour upon the stage. Using Richard’s remains, archaeologists have confirmed that he had a curvature of the spine, but no hunch back and no withered arm. Using his skull, they have also projected the visage of a pleasing young man just 32 when he died in battle against Henry Tudor rather than that of a villain.
1. With which of the following statements would the author of the passage most likely agree?
(A) In Richard III, Shakespeare portrays the king as more noble than he actually was.
(B) The dramatic presentations of historical figures in literature should always strain credibility.
(C) Richard III was not the villainous king that Shakespeare leads us to believe.
(D) Richard III may have had a justifiable reason for suffocating his nephews.
(E) Shakespeare’s political leanings were aligned with those of Henry Tudor.
(A) In Richard III, Shakespeare portrays the king as more noble than he actually was.
(B) The dramatic presentations of historical figures in literature should always strain credibility.
(C) Richard III was not the villainous king that Shakespeare leads us to believe.
(D) Richard III may have had a justifiable reason for suffocating his nephews.
(E) Shakespeare’s political leanings were aligned with those of Henry Tudor.
2. The author of the passage refers to Shakespeare’s “physiological symbolism” (Highlighted) most probably in order to
(A) gently criticize typical audience gullibility.
(B) roundly repudiate recent archaeological findings.
(C) contrast literal and representational symbols.
(D) further ground his analysis in a literary context.
(E) refute the stereotypes of physical limitations.
(A) gently criticize typical audience gullibility.
(B) roundly repudiate recent archaeological findings.
(C) contrast literal and representational symbols.
(D) further ground his analysis in a literary context.
(E) refute the stereotypes of physical limitations.
3. It can be inferred from the passage that Shakespeare strove for a “narrative arc” (Highlighted) that
(A) rose to a moment of intense conflict before reaching an ambiguous and ironic conclusion.
(B) manipulated audience reaction over a continuum of emotional response from horror to relief.
(C) employed plot twists and reversals in order to create the surprise ending of a new political order.
(D) provided a high degree of verisimilitude with the actual events of English his- tory.
(E) capitalized on the dramatic tension supplied by evildoing and eventual atonement for it.
(A) rose to a moment of intense conflict before reaching an ambiguous and ironic conclusion.
(B) manipulated audience reaction over a continuum of emotional response from horror to relief.
(C) employed plot twists and reversals in order to create the surprise ending of a new political order.
(D) provided a high degree of verisimilitude with the actual events of English his- tory.
(E) capitalized on the dramatic tension supplied by evildoing and eventual atonement for it.
28 Nov 2020, 06:22
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I'll answer the toughest of the lot.
3. It can be inferred from the passage that Shakespeare strove for a “narrative arc” (Highlighted) that
(A) rose to a moment of intense conflict before reaching an ambiguous and ironic conclusion.
(B) manipulated audience reaction over a continuum of emotional response from horror to relief.
(C) employed plot twists and reversals in order to create the surprise ending of a new political order.
(D) provided a high degree of verisimilitude with the actual events of English his- tory.
(E) capitalized on the dramatic tension supplied by evildoing and eventual atonement for it.
We can easily come down to B,C and E. Now here is where the fun begins - they all look correct!
How do we deal with this? Usually look at each individual words and try to critic their usage.
In this question, the phrase - "narrative arc" is used. ARC. Think about how an arc looks like -- a quarter circle is an arc! So an arc is continuous which is in line with the word "continuum" in B. Also it does not frequently changes its course - it goes from one state to the other. But in C, the usage of "plot twists" means this does not really relate to an arc. Then the fatal word "reversal" is also used which is enforcing the fact that this is not a narrative arc. Furthermore, the author states - "narrative arc toward an uplifting ending" which means the narrative of the story goes from BAD --> GOOD (1 state change, not multiple). We can eliminate C.
E is slightly easier to eliminate as when you are quick-reading E, it seems like this is a good choice. However the word "atonement" is used. It would have made perfect sense if Richard III after killing his nephews (BAD) did a good deed (something what Ashoka did for example). But in this passage there was no atonement of any kind, as he was succeeded by another bloke Henry VII.
B is the winner.
3. It can be inferred from the passage that Shakespeare strove for a “narrative arc” (Highlighted) that
(A) rose to a moment of intense conflict before reaching an ambiguous and ironic conclusion.
(B) manipulated audience reaction over a continuum of emotional response from horror to relief.
(C) employed plot twists and reversals in order to create the surprise ending of a new political order.
(D) provided a high degree of verisimilitude with the actual events of English his- tory.
(E) capitalized on the dramatic tension supplied by evildoing and eventual atonement for it.
We can easily come down to B,C and E. Now here is where the fun begins - they all look correct!
How do we deal with this? Usually look at each individual words and try to critic their usage.
In this question, the phrase - "narrative arc" is used. ARC. Think about how an arc looks like -- a quarter circle is an arc! So an arc is continuous which is in line with the word "continuum" in B. Also it does not frequently changes its course - it goes from one state to the other. But in C, the usage of "plot twists" means this does not really relate to an arc. Then the fatal word "reversal" is also used which is enforcing the fact that this is not a narrative arc. Furthermore, the author states - "narrative arc toward an uplifting ending" which means the narrative of the story goes from BAD --> GOOD (1 state change, not multiple). We can eliminate C.
E is slightly easier to eliminate as when you are quick-reading E, it seems like this is a good choice. However the word "atonement" is used. It would have made perfect sense if Richard III after killing his nephews (BAD) did a good deed (something what Ashoka did for example). But in this passage there was no atonement of any kind, as he was succeeded by another bloke Henry VII.
B is the winner.
ricardorr04
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Joined: 05 Nov 2020
Last visit: 29 May 2021
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08 Dec 2020, 17:15
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all correct in 5:30 mins. Thought it was pretty straightforward. For question 3 I was able to get to the right answer thru PoE by identifying part of the other answer choices that were out of scope.
Choices C and E are out of scope bc we are only told that the story went from dark to uplifting in the passage. Only answer that fits this parameter is choice B (other choices mention plot twists and atonement which are never suggested in the passage).
Choices C and E are out of scope bc we are only told that the story went from dark to uplifting in the passage. Only answer that fits this parameter is choice B (other choices mention plot twists and atonement which are never suggested in the passage).
