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02 Mar 2020, 12:38
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Unlike other forms of narrative art, a play, to be successful, must give pleasure to its immediate audience by reflecting the concerns and values of that audience. A novel can achieve success over months or even years, but a play must be a hit or perish. The successful drama of the Restoration period, therefore, is a good index to the typical tastes and attitudes of its time.
The author of the passage above assumes that
(A) plays written for Restoration audiences do not appeal to modern audiences
(B) plays are superior to novels as a form of narrative art
(C) Restoration audiences were representative of the whole population of their time
(D) playgoers and novel readers are typically distinct and exclusive groups
(E) Restoration drama achieved popular success at the expense of critical success
Kudos for the right answer and explanation
The author of the passage above assumes that
(A) plays written for Restoration audiences do not appeal to modern audiences
(B) plays are superior to novels as a form of narrative art
(C) Restoration audiences were representative of the whole population of their time
(D) playgoers and novel readers are typically distinct and exclusive groups
(E) Restoration drama achieved popular success at the expense of critical success
Kudos for the right answer and explanation
11 Mar 2020, 01:05
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Conclusion: The successful drama of the Restoration period, therefore, is a good index to the typical tastes and attitudes of its time.
The author seems to assume that the audience of the restoration period is representative of all the audience at that time.
(A) plays written for Restoration audiences do not appeal to modern audiences- out of scope- the argument doesn't talk about the audience in different time periods- just the restoration period
(B) plays are superior to novels as a form of narrative art- there is absolutely no mention of which type of narrative art is better
(C) Restoration audiences were representative of the whole population of their time- if we negate this: restoration audiences were NOT representative of the whole population of their time- if such audience were not representative of their time then : the Restoration period, therefore, is NOT a good index to the typical tastes and attitudes of its time.- breaks the conclusion
(D) playgoers and novel readers are typically distinct and exclusive groups- okay but this has no impact on the conclusion
(E) Restoration drama achieved popular success at the expense of critical success- out of scope: type of success doesn't really matter - just that the narrative art is successful if it meets a certain condition
The author seems to assume that the audience of the restoration period is representative of all the audience at that time.
(A) plays written for Restoration audiences do not appeal to modern audiences- out of scope- the argument doesn't talk about the audience in different time periods- just the restoration period
(B) plays are superior to novels as a form of narrative art- there is absolutely no mention of which type of narrative art is better
(C) Restoration audiences were representative of the whole population of their time- if we negate this: restoration audiences were NOT representative of the whole population of their time- if such audience were not representative of their time then : the Restoration period, therefore, is NOT a good index to the typical tastes and attitudes of its time.- breaks the conclusion
(D) playgoers and novel readers are typically distinct and exclusive groups- okay but this has no impact on the conclusion
(E) Restoration drama achieved popular success at the expense of critical success- out of scope: type of success doesn't really matter - just that the narrative art is successful if it meets a certain condition
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