There is substantial evidence that by 1926, with the publication of

1. The author mentions which one of the following as an example of the influence of Black folk culture on Hughes’s poetry? Relevant text: Most of his folk poems have the distinctive marks of this folk culture’s oral tradition: they contain many instances of naming and enumeration, considerable hyperbole and understatement, and a strong infusion of street-talk rhyming.
(A) his exploitation of ambiguous and deceptive meanings very unlikely: it seems pray upon the word "deceptive veil of"
(B) his care and craft in composing poems not part of the traditional fold poetry
(C) his use of naming and enumeration correct
(D) his use of first-person narrative not given, and, if anything, this is narratives are common among all literature: "In his folk poetry we find features common to all folk literature, such as dramatic ellipsis, narrative compression <...>"
(E) his strong religious beliefs not given

2. The author suggests that the “deceptive veil” (line 42) in Hughes’s poetry obscures Relevant text: There is a deceptive veil of artlessness in these poems. Hughes prided himself on being an impromptu and impressionistic writer of poetry. His, he insisted, was not an artfully constructed poetry. Yet an analysis of his dramatic monologues and other poems reveals that his poetry was carefully and artfully crafted.
(A) evidence of his use of oral techniques in his poetry those were oral traditions, not techniques, and the veil refers to artlessness, which turned out to be not the case
(B) evidence of his thoughtful deliberation in composing his poems He claimed that his writings were more like improvisations than deliberate creation, but the evidence shows on the contrary
(C) his scrupulous concern for representative details in his poetry if anything, "considerable hyperbole and understatement" seem to contradict this
(D) his incorporation of Western European literary techniques in his poetry the passage talks about he broke this tradition - so incorrect
(E) his engagement with social and political issues rather than aesthetic ones not given - a stretch

3. With which one of the following statements regarding Jubilee Songs of the United States would the author be most likely to agree? <...>Hurry T. Burleigh, the Black baritone soloist at New York’s ultrafashionable Saint George’s Episcopal Church, had published Jubilee Songs of the United States, with every spiritual arranged so that a concert singer could sing it “in the manner of an art song.” Clearly, the artistic work of Black people could be used to promote racial acceptance and integration only on the condition that it became Europeanized.
(A) Its publication marked an advance in the intrinsic quality of African American art. Hughes's art was novel not the one that followed the same old tradition
(B) It paved the way for publication of Hughes’s The Weary Blues by making African American art fashionable. the author broke the tradition, and this choice is unlikely correct
(C) It was an authentic replication of African American spirituals and “sorrow songs”. not given whether the author simply collected or created all or some of the spirituals by his or her own
(D) It demonstrated the extent to which spirituals were adapted in order to make them more broadly accepted. correct
(E) It was to the spiritual what Hughes’s The Weary Blues was to secular songs and stories. a stretch

4. The author most probably mentions the reactions of northern White writers to non-Europeanized “sorrow songs” in order to Relevant text: It might be pointed out that even the spirituals or “sorrow songs” of the slaves—as distinct from their secular songs and stories—had been Europeanized to make them acceptable within these African American traditions after the Civil War. In 1862 northern White writers had commented favorably on the unique and provocative melodies of these “sorrow songs” when they first heard them sung by slaves in the Carolina sea islands. But by 1916
(A) indicate that modes of expression acceptable in the context of slavery in the South were acceptable only to a small number of White writers in the North after the Civil War if anything, how big or small the number was is not given
(B) contrast White writers earlier appreciation of these songs with the growing tendency after the Civil War to regard Europeanized versions of the songs as more acceptable correct - the songs were favoured even though they were not Europeanized
(C) show that the requirement that such songs be Europeanized was internal to the African American tradition and was unrelated to the literary standards or attitudes of White writers very tempting, but probably incorrect because it's too specific and not explictly stated in terms of the underlined portion, especially White writers - the Europeanized formsof the literature sought universal acceptance
(D) demonstrate that such songs in their non-Europeanized form were more imaginative "the spirituals or “sorrow songs” of the slaves—as distinct from their secular songs and stories" - contradicts this idea of being imaginative
(E) suggest that White writers benefited more from exposure to African American art forms than Black writers did from exposure to European art forms there's no information to infer that - the writers just favoured on the melodies

5. The passage suggests that the author would be most likely to agree with which one of the following statements about the requirement that Black writers employ Western European literary techniques? Note: not Hughes. Relevant text: <...> the traditions that decreed that African American literature must promote racial acceptance and integration, and that, in order to do so, it must reflect an understanding and mastery of Western European literary techniques and styles.
(A) The requirement was imposed more for social than for aesthetic reasons. correct
(B) The requirement was a relatively unimportant aspect of the African American tradition. the word "must" indicates quite the opposite
(C) The requirement was the chief reason for Hughes’s success as a writer. Hughes actually broke the tradition
(D) The requirement was appropriate for some forms of expression but not for others. not given
(E) The requirement was never as strong as it may have appeared to be. the end of the first paragraphs proves the contrary: even though White writers favoured non-Europeanized literature, it was still made to fit the European standards to be more acceptable

6. Which one of the following aspects of Hughes’s poetry does the author appear to value most highly? Relevant text: <...>Hughes’s expression of the vibrant folk culture of Black people established his writing as a landmark in the history of African American literature.
(A) its novelty compared to other works of African American literature while it was novel, the passage doesn't compare the work to other works of African Americans
(B) its subtle understatement compared to that of other kinds of folk literature not compared in that regard
(C) its virtuosity in adapting musical forms to language
(D) its expression of the folk culture of Black people correct
(E) its universality of appeal achieved through the adoption of colloquial expressions