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Q5

Which of the following stylistic features is the most significant to the passage?

Repetition: 'wise' and 'wisdom'

"Oh, Creon! Creon! This is not the first time that my reputation has hurt me enormously. The wise man must never bring up his children to be too wise. Because, not only will the crowds call them “useless” but that same crowd will also turn their back on them and treat them with envy and hostility. If you were to teach the uneducated something new and beautiful, not only will they not appreciate it but they'll call you “good for nothing.” And if those who think themselves to be wise, consider you even wiser than them, then you'll hurt them most awfully. And that's where my own suffering stems from: They call me “wise” yet, in reality I am not very “wise” at all. Some people scorn me, others simply hate me and you are now afraid that I might do you some enormous harm! Have no fear, though, Creon! I'm not capable of hurting kings! In any case, how did you ever hurt me? You simply married your daughter off to the man you liked. I hate my husband whereas what you did, you did with your mind intact. So, on my part now, I do not at all envy your good luck. By all means, have the wedding and may you rejoice by them. But let me stay here, in this land and, even though I've been dishonoured, I'll say no more of it because you are by far my superior."

ut_exam_1_te241_a.txt

Q5

Which of the following stylistic features is the most significant to the passage?

Word Choice: 'Envy,' 'hate,' and 'suffering'

"Oh, Creon! Creon! This is not the first time that my reputation has hurt me enormously. The wise man must never bring up his children to be too wise. Because, not only will the crowds call them “useless” but that same crowd will also turn their back on them and treat them with envy and hostility. If you were to teach the uneducated something new and beautiful, not only will they not appreciate it but they'll call you “good for nothing.” And if those who think themselves to be wise, consider you even wiser than them, then you'll hurt them most awfully. And that's where my own suffering stems from: They call me “wise” yet, in reality I am not very “wise” at all. Some people scorn me, others simply hate me and you are now afraid that I might do you some enormous harm! Have no fear, though, Creon! I'm not capable of hurting kings! In any case, how did you ever hurt me? You simply married your daughter off to the man you liked. I hate my husband whereas what you did, you did with your mind intact. So, on my part now, I do not at all envy your good luck. By all means, have the wedding and may you rejoice by them. But let me stay here, in this land and, even though I've been dishonoured, I'll say no more of it because you are by far my superior."

ut_exam_1_te241_a.txt

Q5

Which of the following stylistic features is the most significant to the passage?

Repetition: ‘wise’ is used six times in the passage

"Oh, Creon! Creon! This is not the first time that my reputation has hurt me enormously. The wise man must never bring up his children to be too wise. Because, not only will the crowds call them “useless” but that same crowd will also turn their back on them and treat them with envy and hostility. If you were to teach the uneducated something new and beautiful, not only will they not appreciate it but they'll call you “good for nothing.” And if those who think themselves to be wise, consider you even wiser than them, then you'll hurt them most awfully. And that's where my own suffering stems from: They call me “wise” yet, in reality I am not very “wise” at all. Some people scorn me, others simply hate me and you are now afraid that I might do you some enormous harm! Have no fear, though, Creon! I'm not capable of hurting kings! In any case, how did you ever hurt me? You simply married your daughter off to the man you liked. I hate my husband whereas what you did, you did with your mind intact. So, on my part now, I do not at all envy your good luck. By all means, have the wedding and may you rejoice by them. But let me stay here, in this land and, even though I've been dishonoured, I'll say no more of it because you are by far my superior."

ut_exam_1_te241_h.txt

Q5

Which of the following stylistic features is the most significant to the passage?

Diction: ‘Some people scorn me, others simply hate me and you are now afraid that I might do you some enormous harm!’

"Oh, Creon! Creon! This is not the first time that my reputation has hurt me enormously. The wise man must never bring up his children to be too wise. Because, not only will the crowds call them “useless” but that same crowd will also turn their back on them and treat them with envy and hostility. If you were to teach the uneducated something new and beautiful, not only will they not appreciate it but they'll call you “good for nothing.” And if those who think themselves to be wise, consider you even wiser than them, then you'll hurt them most awfully. And that's where my own suffering stems from: They call me “wise” yet, in reality I am not very “wise” at all. Some people scorn me, others simply hate me and you are now afraid that I might do you some enormous harm! Have no fear, though, Creon! I'm not capable of hurting kings! In any case, how did you ever hurt me? You simply married your daughter off to the man you liked. I hate my husband whereas what you did, you did with your mind intact. So, on my part now, I do not at all envy your good luck. By all means, have the wedding and may you rejoice by them. But let me stay here, in this land and, even though I've been dishonoured, I'll say no more of it because you are by far my superior."

ut_exam_1_te241_h.txt

Q8

Which of the following contextual information is the most significant to the passage?

Cultural: Divorced women in ancient Greece typically relied on male relatives for support, yet Medea, being exiled, defied this norm.

"Oh, Creon! Creon! This is not the first time that my reputation has hurt me enormously. The wise man must never bring up his children to be too wise. Because, not only will the crowds call them “useless” but that same crowd will also turn their back on them and treat them with envy and hostility. If you were to teach the uneducated something new and beautiful, not only will they not appreciate it but they'll call you “good for nothing.” And if those who think themselves to be wise, consider you even wiser than them, then you'll hurt them most awfully. And that's where my own suffering stems from: They call me “wise” yet, in reality I am not very “wise” at all. Some people scorn me, others simply hate me and you are now afraid that I might do you some enormous harm! Have no fear, though, Creon! I'm not capable of hurting kings! In any case, how did you ever hurt me? You simply married your daughter off to the man you liked. I hate my husband whereas what you did, you did with your mind intact. So, on my part now, I do not at all envy your good luck. By all means, have the wedding and may you rejoice by them. But let me stay here, in this land and, even though I've been dishonoured, I'll say no more of it because you are by far my superior."

ut_exam_1_te241_h.txt

Q8

Which of the following contextual information is the most significant to the passage?

Mythological: Medea’s reference to her reputation and wisdom draws from her association with magic and her ancestry as the granddaughter of Helios.

"Oh, Creon! Creon! This is not the first time that my reputation has hurt me enormously. The wise man must never bring up his children to be too wise. Because, not only will the crowds call them “useless” but that same crowd will also turn their back on them and treat them with envy and hostility. If you were to teach the uneducated something new and beautiful, not only will they not appreciate it but they'll call you “good for nothing.” And if those who think themselves to be wise, consider you even wiser than them, then you'll hurt them most awfully. And that's where my own suffering stems from: They call me “wise” yet, in reality I am not very “wise” at all. Some people scorn me, others simply hate me and you are now afraid that I might do you some enormous harm! Have no fear, though, Creon! I'm not capable of hurting kings! In any case, how did you ever hurt me? You simply married your daughter off to the man you liked. I hate my husband whereas what you did, you did with your mind intact. So, on my part now, I do not at all envy your good luck. By all means, have the wedding and may you rejoice by them. But let me stay here, in this land and, even though I've been dishonoured, I'll say no more of it because you are by far my superior."

ut_exam_1_te241_h.txt

Q5

Which of the following stylistic features is the most significant to the passage?

Allusion: Medea's bad reputation is referenced implicitly.

"Oh, Creon! Creon! This is not the first time that my reputation has hurt me enormously. The wise man must never bring up his children to be too wise. Because, not only will the crowds call them “useless” but that same crowd will also turn their back on them and treat them with envy and hostility. If you were to teach the uneducated something new and beautiful, not only will they not appreciate it but they'll call you “good for nothing.” And if those who think themselves to be wise, consider you even wiser than them, then you'll hurt them most awfully. And that's where my own suffering stems from: They call me “wise” yet, in reality I am not very “wise” at all. Some people scorn me, others simply hate me and you are now afraid that I might do you some enormous harm! Have no fear, though, Creon! I'm not capable of hurting kings! In any case, how did you ever hurt me? You simply married your daughter off to the man you liked. I hate my husband whereas what you did, you did with your mind intact. So, on my part now, I do not at all envy your good luck. By all means, have the wedding and may you rejoice by them. But let me stay here, in this land and, even though I've been dishonoured, I'll say no more of it because you are by far my superior."

ut_exam_1_te241_k.txt

Q5

Which of the following stylistic features is the most significant to the passage?

Praise: Praise of Creon at the end of the passage.

"Oh, Creon! Creon! This is not the first time that my reputation has hurt me enormously. The wise man must never bring up his children to be too wise. Because, not only will the crowds call them “useless” but that same crowd will also turn their back on them and treat them with envy and hostility. If you were to teach the uneducated something new and beautiful, not only will they not appreciate it but they'll call you “good for nothing.” And if those who think themselves to be wise, consider you even wiser than them, then you'll hurt them most awfully. And that's where my own suffering stems from: They call me “wise” yet, in reality I am not very “wise” at all. Some people scorn me, others simply hate me and you are now afraid that I might do you some enormous harm! Have no fear, though, Creon! I'm not capable of hurting kings! In any case, how did you ever hurt me? You simply married your daughter off to the man you liked. I hate my husband whereas what you did, you did with your mind intact. So, on my part now, I do not at all envy your good luck. By all means, have the wedding and may you rejoice by them. But let me stay here, in this land and, even though I've been dishonoured, I'll say no more of it because you are by far my superior."

ut_exam_1_te241_k.txt

Q5

Which of the following stylistic features is the most significant to the passage?

Repetition: The concept of being wise or 'too wise' is repeatedly mentioned.

"Oh, Creon! Creon! This is not the first time that my reputation has hurt me enormously. The wise man must never bring up his children to be too wise. Because, not only will the crowds call them “useless” but that same crowd will also turn their back on them and treat them with envy and hostility. If you were to teach the uneducated something new and beautiful, not only will they not appreciate it but they'll call you “good for nothing.” And if those who think themselves to be wise, consider you even wiser than them, then you'll hurt them most awfully. And that's where my own suffering stems from: They call me “wise” yet, in reality I am not very “wise” at all. Some people scorn me, others simply hate me and you are now afraid that I might do you some enormous harm! Have no fear, though, Creon! I'm not capable of hurting kings! In any case, how did you ever hurt me? You simply married your daughter off to the man you liked. I hate my husband whereas what you did, you did with your mind intact. So, on my part now, I do not at all envy your good luck. By all means, have the wedding and may you rejoice by them. But let me stay here, in this land and, even though I've been dishonoured, I'll say no more of it because you are by far my superior."

ut_exam_1_te241_k.txt

Q8

Which of the following contextual information is the most significant to the passage?

Mythological: The background of Jason and Medea, where Medea aids Jason in retrieving the Golden Fleece and her betrayal by Jason leads to her revenge and the tragic events of the myth.

"Oh, Creon! Creon! This is not the first time that my reputation has hurt me enormously. The wise man must never bring up his children to be too wise. Because, not only will the crowds call them “useless” but that same crowd will also turn their back on them and treat them with envy and hostility. If you were to teach the uneducated something new and beautiful, not only will they not appreciate it but they'll call you “good for nothing.” And if those who think themselves to be wise, consider you even wiser than them, then you'll hurt them most awfully. And that's where my own suffering stems from: They call me “wise” yet, in reality I am not very “wise” at all. Some people scorn me, others simply hate me and you are now afraid that I might do you some enormous harm! Have no fear, though, Creon! I'm not capable of hurting kings! In any case, how did you ever hurt me? You simply married your daughter off to the man you liked. I hate my husband whereas what you did, you did with your mind intact. So, on my part now, I do not at all envy your good luck. By all means, have the wedding and may you rejoice by them. But let me stay here, in this land and, even though I've been dishonoured, I'll say no more of it because you are by far my superior."

ut_exam_1_te241_m.txt

Q5

Which of the following stylistic features is the most significant to the passage?

Repetition: Oh, Creon! Creon!

"Oh, Creon! Creon! This is not the first time that my reputation has hurt me enormously. The wise man must never bring up his children to be too wise. Because, not only will the crowds call them “useless” but that same crowd will also turn their back on them and treat them with envy and hostility. If you were to teach the uneducated something new and beautiful, not only will they not appreciate it but they'll call you “good for nothing.” And if those who think themselves to be wise, consider you even wiser than them, then you'll hurt them most awfully. And that's where my own suffering stems from: They call me “wise” yet, in reality I am not very “wise” at all. Some people scorn me, others simply hate me and you are now afraid that I might do you some enormous harm! Have no fear, though, Creon! I'm not capable of hurting kings! In any case, how did you ever hurt me? You simply married your daughter off to the man you liked. I hate my husband whereas what you did, you did with your mind intact. So, on my part now, I do not at all envy your good luck. By all means, have the wedding and may you rejoice by them. But let me stay here, in this land and, even though I've been dishonoured, I'll say no more of it because you are by far my superior."

ut_exam_1_te241_q.txt

Q5

Which of the following stylistic features is the most significant to the passage?

Opposition: 'not wise' and 'mind intact'

"Oh, Creon! Creon! This is not the first time that my reputation has hurt me enormously. The wise man must never bring up his children to be too wise. Because, not only will the crowds call them “useless” but that same crowd will also turn their back on them and treat them with envy and hostility. If you were to teach the uneducated something new and beautiful, not only will they not appreciate it but they'll call you “good for nothing.” And if those who think themselves to be wise, consider you even wiser than them, then you'll hurt them most awfully. And that's where my own suffering stems from: They call me “wise” yet, in reality I am not very “wise” at all. Some people scorn me, others simply hate me and you are now afraid that I might do you some enormous harm! Have no fear, though, Creon! I'm not capable of hurting kings! In any case, how did you ever hurt me? You simply married your daughter off to the man you liked. I hate my husband whereas what you did, you did with your mind intact. So, on my part now, I do not at all envy your good luck. By all means, have the wedding and may you rejoice by them. But let me stay here, in this land and, even though I've been dishonoured, I'll say no more of it because you are by far my superior."

ut_exam_1_te241_q.txt

Q5

Which of the following stylistic features is the most significant to the passage?

Rhythm: 'envy and hostility' and 'new and beautiful'

"Oh, Creon! Creon! This is not the first time that my reputation has hurt me enormously. The wise man must never bring up his children to be too wise. Because, not only will the crowds call them “useless” but that same crowd will also turn their back on them and treat them with envy and hostility. If you were to teach the uneducated something new and beautiful, not only will they not appreciate it but they'll call you “good for nothing.” And if those who think themselves to be wise, consider you even wiser than them, then you'll hurt them most awfully. And that's where my own suffering stems from: They call me “wise” yet, in reality I am not very “wise” at all. Some people scorn me, others simply hate me and you are now afraid that I might do you some enormous harm! Have no fear, though, Creon! I'm not capable of hurting kings! In any case, how did you ever hurt me? You simply married your daughter off to the man you liked. I hate my husband whereas what you did, you did with your mind intact. So, on my part now, I do not at all envy your good luck. By all means, have the wedding and may you rejoice by them. But let me stay here, in this land and, even though I've been dishonoured, I'll say no more of it because you are by far my superior."

ut_exam_1_te241_q.txt

Q5

Which of the following stylistic features is the most significant to the passage?

Tone shift: 'Have no fear, though, Creon!'

"Oh, Creon! Creon! This is not the first time that my reputation has hurt me enormously. The wise man must never bring up his children to be too wise. Because, not only will the crowds call them “useless” but that same crowd will also turn their back on them and treat them with envy and hostility. If you were to teach the uneducated something new and beautiful, not only will they not appreciate it but they'll call you “good for nothing.” And if those who think themselves to be wise, consider you even wiser than them, then you'll hurt them most awfully. And that's where my own suffering stems from: They call me “wise” yet, in reality I am not very “wise” at all. Some people scorn me, others simply hate me and you are now afraid that I might do you some enormous harm! Have no fear, though, Creon! I'm not capable of hurting kings! In any case, how did you ever hurt me? You simply married your daughter off to the man you liked. I hate my husband whereas what you did, you did with your mind intact. So, on my part now, I do not at all envy your good luck. By all means, have the wedding and may you rejoice by them. But let me stay here, in this land and, even though I've been dishonoured, I'll say no more of it because you are by far my superior."

ut_exam_1_te241_q.txt

Q5

Which of the following stylistic features is the most significant to the passage?

Repetition: 'wise'

"Oh, Creon! Creon! This is not the first time that my reputation has hurt me enormously. The wise man must never bring up his children to be too wise. Because, not only will the crowds call them “useless” but that same crowd will also turn their back on them and treat them with envy and hostility. If you were to teach the uneducated something new and beautiful, not only will they not appreciate it but they'll call you “good for nothing.” And if those who think themselves to be wise, consider you even wiser than them, then you'll hurt them most awfully. And that's where my own suffering stems from: They call me “wise” yet, in reality I am not very “wise” at all. Some people scorn me, others simply hate me and you are now afraid that I might do you some enormous harm! Have no fear, though, Creon! I'm not capable of hurting kings! In any case, how did you ever hurt me? You simply married your daughter off to the man you liked. I hate my husband whereas what you did, you did with your mind intact. So, on my part now, I do not at all envy your good luck. By all means, have the wedding and may you rejoice by them. But let me stay here, in this land and, even though I've been dishonoured, I'll say no more of it because you are by far my superior."

ut_exam_1_te241_q.txt

Q5

Which of the following stylistic features is the most significant to the passage?

Descriptive details: "worms never cease gnawing" and "fires never are extinguished"

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_a.txt

Q5

Which of the following stylistic features is the most significant to the passage?

Allegory: "fiery lake"

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_a.txt

Q8

Which of the following contextual information is the most significant to the passage?

Literary: The story draws inspiration from The Ramayana and Dante’s Inferno, blending Indian and Western ideas of sin and punishment.

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_a.txt

Q8

Which of the following contextual information is the most significant to the passage?

Cultural: The punishments reflect Hindu beliefs about karma and the consequences of actions after death.

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_a.txt

Q10

Please identify the stylistic feature that the following literary information best helps to contextualize: The story draws inspiration from The Ramayana and Dante’s Inferno, blending Indian and Western ideas of sin and punishment.

Allegory: "fiery lake"

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_a.txt

Q10

Please identify the stylistic feature that the following cultural information best helps to contextualize: The punishments reflect Hindu beliefs about karma and the consequences of actions after death.

Descriptive details: "worms never cease gnawing" and "fires never are extinguished"

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_a.txt

Q10

Please identify the stylistic feature that the following biographical information best helps to contextualize: Madhusudan was a proto-nationalist who appreciated classical works and sought to create a Bengali retelling.

Repetition: "forever", "never", "perpetually"

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_b.txt

Q10

Please identify the stylistic feature that the following literary information best helps to contextualize: Meghanada is a direct appropriation of the Aeneid 6 but with traditional Bengali gods and characters.

Imagery: "fiery", "hot", "fire"

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_b.txt

Q10

Please identify the stylistic feature that the following narrative information best helps to contextualize: The main character journeys to the underworld to meet his father and seek a way to resurrect his brother.

Opposition: "heroic and a gem of Raghus" and "sinners" and "pitiable"

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_b.txt

Q10

Please identify the stylistic feature that the following literary information best helps to contextualize: Madhusudan draws direct comparisons with the Iliad and its characters like Agamemnon, Hector, and Achilles.

Personification: "fate’s rage"

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_b.txt

Q10

Please identify the stylistic feature that the following historical information best helps to contextualize: Madhusudan wrote the Maghanada in Bengali around 1860, at a time when British Imperialism forced Indian students to learn Latin and English.

Imagery: "fiery lake", "Here the fires never are extinguished", "Fate's rage, assuming fire's form burns here perpetually"

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_c.txt

Q10

Please identify the stylistic feature that the following cultural information best helps to contextualize: Madhusudan used the Greco-Roman tradition to enhance Indian cultural expressions and glorify Indian mythology in his work.

Structure: "I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil."

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_c.txt

Q10

Please identify the stylistic feature that the following biographical information best helps to contextualize: Madhusudan adopted Christianity and admired Milton, which adds complexity to his status as a proto-nationalist promoting Indian culture.

Epithet: "gem of Raghus", "charioteer, best of Raghus"

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_c.txt

Q10

Please identify the stylistic feature that the following biographical information best helps to contextualize: Dutt was influenced by both his European education and his Indian cultural roots, blending Greco-Roman narratives with Hindu mythology.

Allusion: "Characters from traditional Hindi mythology, such as Raghava"

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_d.txt

Q10

Please identify the stylistic feature that the following cultural information best helps to contextualize: Dutt integrates themes from John Milton's Paradise Lost and other Western canonical works with traditional Hindi mythology and Sanskrit traditions.

Katabasis: “dark pits eluded to as the next progression in the journey through the afterlife”

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_d.txt

Q10

Please identify the stylistic feature that the following historical information best helps to contextualize: Dutt's work connects to debates about British colonial education in India, contrasting Western-centric 'Anglicists' and local-oriented 'Orientalists.'

Imagery: "fiery lake" and references to "hot oil"

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_d.txt

Q10

Please identify the stylistic feature that the following biographical information best helps to contextualize: Madhusudan was raised in colonial India, belonged to a middle-class family, and received a British education, learning about classic Western works such as Dante's Divine Comedy.

Allusion: Maya acts as a guide through hell, similar to Vergil in Dante's Inferno.

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_e.txt

Q10

Please identify the stylistic feature that the following intertextual information best helps to contextualize: This particular passage is directly influenced by Dante's Inferno from the Divine Comedy, specifically its depiction of guided tours through hell and varying punishments for sin.

Allusion: Fate's rage, assuming fire's form, burns here perpetually...fry sinners in hot oil.

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_e.txt

Q10

Please identify the stylistic feature that the following intertextual information best helps to contextualize: This particular passage is directly influenced by Dante's Inferno from the Divine Comedy, specifically its depiction of guided tours through hell and varying punishments for sin.

Allusion: Base-minded ones who steal another's riches remain here forever.

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_e.txt

Q10

Please identify the stylistic feature that the following literary information best helps to contextualize: Madhusudan was inspired by Dante Alighieri's imagery and character dynamics.

Symbolism: fire/burning/hell(fire)

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_h.txt

Q5

Which of the following stylistic features is the most significant to the passage?

Imagery: This fiery lake is known as Raurava...Here the fires never are extinguished.

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_i.txt

Q5

Which of the following stylistic features is the most significant to the passage?

Contrast: 'gem of raghus'...'best of raghus'

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_i.txt

Q8

Which of the following contextual information is the most significant to the passage?

Historical: The author Madhusudan was educated in Western literature, which influenced the inclusion of classical western traditions such as katabasis in the text.

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_i.txt

Q8

Which of the following contextual information is the most significant to the passage?

Intertextual: The description of hell in Dante's Inferno, where there were different types of punishment for different sins.

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_i.txt

Q8

Which of the following contextual information is the most significant to the passage?

Intertextual: The description of hell draws on Greek mythology and the Aeneid, including the western classical tradition of katabasis and the river Styx.

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_i.txt

Q10

Please identify the stylistic feature that the following intertextual information best helps to contextualize: The description of hell in Dante's Inferno, where there were different types of punishment for different sins.

Imagery: This fiery lake is known as Raurava...Here the fires never are extinguished.

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_i.txt

Q10

Please identify the stylistic feature that the following historical information best helps to contextualize: The author Madhusudan was educated in Western literature, which influenced the inclusion of classical western traditions such as katabasis in the text.

Contrast: 'gem of raghus'...'best of raghus'

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_i.txt

Q5

Which of the following stylistic features is the most significant to the passage?

Imagery/Figurative language: "This fiery lake"

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_j.txt

Q5

Which of the following stylistic features is the most significant to the passage?

Figurative language: "Flagrant sins"

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_j.txt

Q5

Which of the following stylistic features is the most significant to the passage?

Tone: The tone is informative and fearful, explaining the consequences of sins to Raghava.

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_j.txt

Q5

Which of the following stylistic features is the most significant to the passage?

Word choice: "suicide", "burn", "hell"

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_j.txt

Q8

Which of the following contextual information is the most significant to the passage?

Biographical: Michael Madhusdan Datta's background as a Bengali writer influenced by both traditional Indian and Western education, as well as his conversion to Christianity, shaped his writing style and thematic explorations.

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_j.txt

Q8

Which of the following contextual information is the most significant to the passage?

Literary: The passage is an adaptation of the ancient Ramayana, blending Indian mythology with Western epic styles to retell the story of Meghanada's fall.

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_j.txt

Q10

Please identify the stylistic feature that the following biographical information best helps to contextualize: Michael Madhusdan Datta's background as a Bengali writer influenced by both traditional Indian and Western education, as well as his conversion to Christianity, shaped his writing style and thematic explorations.

Imagery/Figurative language: "This fiery lake"

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_j.txt

Q10

Please identify the stylistic feature that the following literary information best helps to contextualize: The passage is an adaptation of the ancient Ramayana, blending Indian mythology with Western epic styles to retell the story of Meghanada's fall.

Word choice: "suicide", "burn", "hell"

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_j.txt

Q8

Which of the following contextual information is the most significant to the passage?

Personal: Madhusudan Datta being a proto-nationalist and Christian convert, which informed his goals and perspective in writing the poem.

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_k.txt

Q8

Which of the following contextual information is the most significant to the passage?

Literary: References to Classical works such as the Homeric Epics, Dante's Inferno, Virgil's Aeneid, and the Ramayan.

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_k.txt

Q10

Please identify the stylistic feature that the following literary information best helps to contextualize: References to Classical works such as the Homeric Epics, Dante's Inferno, Virgil's Aeneid, and the Ramayan.

Epithets: Charioteer, Best of the Raghus, gem of the Raghus, hero

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_k.txt

Q10

Please identify the stylistic feature that the following literary information best helps to contextualize: References to Classical works such as the Homeric Epics, Dante's Inferno, Virgil's Aeneid, and the Ramayan.

Characterization: Maya is described as possessing mystic powers, which she uses to plug Rama's nostrils, showing she is supernatural and guiding Rama through Hell.

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_k.txt

Q5

Which of the following stylistic features is the most significant to the passage?

Imagery: "This fiery lake is / known as Raurava, listen, gem of Raghus. Base-minded / ones who steal another's riches remain here forever."

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_l.txt

Q8

Which of the following contextual information is the most significant to the passage?

Religious: Yama is the god of the underworld in Hindu religious tradition.

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_l.txt

Q8

Which of the following contextual information is the most significant to the passage?

Literary: The Slaying of Meghanada is a reinterpretation of the Ramayana, told from a different perspective.

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_l.txt

Q8

Which of the following contextual information is the most significant to the passage?

Biographical: Madhusudan wanted to bring prestige to his culture by incorporating prestigious ideas from Western classical poets into his work.

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_l.txt

Q10

Please identify the stylistic feature that the following cultural information best helps to contextualize: The concept of different areas and punishments relating to sins is similar to Dante's Inferno.

Imagery: "This fiery lake is / known as Raurava, listen, gem of Raghus. Base-minded / ones who steal another's riches remain here forever."

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_l.txt

Q10

Please identify the stylistic feature that the following religious information best helps to contextualize: Yama is the god of the underworld in Hindu religious tradition.

Character Mention: Two characters, Māyā and Rāghava, are objectively present in the passage.

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_l.txt

Q5

Which of the following stylistic features is the most significant to the passage?

Imagery: "never extinguished...burns here perpetually"

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_m.txt

Q5

Which of the following stylistic features is the most significant to the passage?

Epithets: "best of Raghus"

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_m.txt

Q5

Which of the following stylistic features is the most significant to the passage?

Tone: "sadly", "loathsome", "sound of crying", "dark" and "pitiably"

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_m.txt

Q8

Which of the following contextual information is the most significant to the passage?

Cultural: A cultural movement of proto-nationalism emerged as resistance against British colonization, celebrating native culture and heritage.

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_m.txt

Q10

Please identify the stylistic feature that the following biographical information best helps to contextualize: The author, Madhusudan, was a Bengali who received a Western education and was influenced by Classical authors, particularly Dante and Milton.

Allusion: The author alludes to Dante’s 'Inferno' by paralleling Maya’s guidance of Raghava in Hell to Vergil’s guidance of Dante.

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_m.txt

Q10

Please identify the stylistic feature that the following cultural information best helps to contextualize: The Indian mythological tradition is relevant as the Meghanadad was heavily influenced by the Ramayana, an Indian epic.

Tone: "sadly", "loathsome", "sound of crying", "dark" and "pitiably"

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_m.txt

Q5

Which of the following stylistic features is the most significant to the passage?

Epithets: ‘gem of Raghus’, ‘best of Raghus’

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_n.txt

Q5

Which of the following stylistic features is the most significant to the passage?

Personification: ‘Fate’s rage’

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_n.txt

Q5

Which of the following stylistic features is the most significant to the passage?

Frequent direct address: Māyā consistently addresses Rāghava while speaking, ensuring his involvement and emphasizing their interaction.

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_n.txt

Q8

Which of the following contextual information is the most significant to the passage?

Allusion: The depiction of hell and its many chambers alludes to Dante's Inferno, with parallels in its structure and characters.

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_n.txt

Q10

Please identify the stylistic feature that the following allusion information best helps to contextualize: The depiction of hell and its many chambers alludes to Dante's Inferno, with parallels in its structure and characters.

Frequent direct address: Māyā consistently addresses Rāghava while speaking, ensuring his involvement and emphasizing their interaction.

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_n.txt

Q10

Please identify the stylistic feature that the following religious information best helps to contextualize: Many souls are in the process of reincarnation, consistent with concepts in Eastern religions.

Repetition: ‘never stops’, ‘perpetually’

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_n.txt

Q5

Which of the following stylistic features is the most significant to the passage?

Word Choice: fiery, fry, burn, and fire's form

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_o.txt

Q5

Which of the following stylistic features is the most significant to the passage?

Word Choice: sadly

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_o.txt

Q8

Which of the following contextual information is the most significant to the passage?

Literary: The epic poem contains imagery and description of hell similar to Dante's 'Inferno' and Milton's 'Paradise Lost' and portrays hell as a realm of eternal punishment.

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_o.txt

Q8

Which of the following contextual information is the most significant to the passage?

Literary: The poem adapts the story of 'Ramayana' by focusing on the antagonist, similar to how 'Paradise Lost' focuses on Lucifer's perspective of Genesis.

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_o.txt

Q10

Please identify the stylistic feature that the following literary information best helps to contextualize: The epic poem contains imagery and description of hell similar to Dante's 'Inferno' and Milton's 'Paradise Lost' and portrays hell as a realm of eternal punishment.

Word Choice: fiery, fry, burn, and fire's form

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_o.txt

Q10

Please identify the stylistic feature that the following narrative information best helps to contextualize: Raghava's unique purpose in the underworld is to retrieve Lakshmana, distinguishing it from other underworld journeys like Lucifer's banishment or Dante's journey to witness paradise.

Word Choice: sadly

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_o.txt

Q5

Which of the following stylistic features is the most significant to the passage?

Repetition: Mention of fire or high temperatures is repeated throughout the passage.

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_q.txt

Q5

Which of the following stylistic features is the most significant to the passage?

Word Choice: 'ever captive,' or burns here perpetually'

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_q.txt

Q5

Which of the following stylistic features is the most significant to the passage?

Imagery: The narrator uses more than just sight by calling for Rāghava to listen and blocking his nostrils.

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_q.txt

Q5

Which of the following stylistic features is the most significant to the passage?

Personification: Fate's rage, assuming fire's form, burns here perpetually.

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_q.txt

Q8

Which of the following contextual information is the most significant to the passage?

Biographical: Madhusudan was influenced by his colonial education, where he likely encountered works such as Dante's Inferno.

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_q.txt

Q10

Please identify the stylistic feature that the following biographical information best helps to contextualize: Madhusudan was influenced by his colonial education, where he likely encountered works such as Dante's Inferno.

Word Choice: 'ever captive,' or burns here perpetually'

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_q.txt

Q10

Please identify the stylistic feature that the following cultural information best helps to contextualize: Understanding Christian belief systems and how they compare to Bengali/Indian belief systems.

Repetition: Mention of fire or high temperatures is repeated throughout the passage.

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_q.txt

Q8

Which of the following contextual information is the most significant to the passage?

Historical: Bengal was under British dominion, and the education system heavily relied on Greco-Roman classical texts that influenced the literature and education of young Bengali writers like Madhusudan.

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_r.txt

Q8

Which of the following contextual information is the most significant to the passage?

Intertextual: The Divine Comedy inspired the depiction of the underworld and the character of Maya as a guide, paralleling Virgil in Dante's work.

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_r.txt

Q10

Please identify the stylistic feature that the following historical information best helps to contextualize: Bengal was under British dominion, and the education system heavily relied on Greco-Roman classical texts that influenced the literature and education of young Bengali writers like Madhusudan.

Epithet: "best of Raghus"

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_r.txt

Q10

Please identify the stylistic feature that the following intertextual information best helps to contextualize: The Divine Comedy inspired the depiction of the underworld and the character of Maya as a guide, paralleling Virgil in Dante's work.

Imagery: Repetition of fire imagery to describe the city of the dead, emphasizing the punishments of the condemned.

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_r.txt

Q10

Please identify the stylistic feature that the following intertextual information best helps to contextualize: The author was inspired by the Iliad, with the story being told in a manner similar to the Trojan War, focusing on the defenders of the city rather than the attackers.

Dialogue: "I have blocked your nostrils, otherwise you could not stand here"

Sadly, Māyā spoke to Rāghava, "This fiery lake is known as Raurava, listen, gem of Raghus. Base-minded ones who steal another's riches remain here forever. If those who judge are partial to injustice, they too end up in this lake, as do all other beings guilty of such flagrant sins. Here the fires never are extinguished, the worms never cease gnawing. I tell you, this is no common conflagration which consumes these spirits in this loathsome hell, best of Raghus. Fate's rage, assuming fire's form, burns here perpetually. Come along, charioteer, I shall show you Kumbhīpāka, the hell in which Yama's henchmen fry sinners in hot oil. Listen, O hero, not far off that is their sound of crying. By my māyā power I have blocked your nostrils, otherwise you could not stand it here, O charioteer, best of Raghus. But let us go to where in dark pits those who have committed suicide moan pitiably, ever captive."

ut_exam_2_te242_r.txt

Q5

Which of the following stylistic features is the most significant to the passage?

Contrast: Sweet Bella speaking for the first time and Jason saying he feels like he can't speak are juxtaposed.

SWEET BELLA Jason. . . CREON Me daughter speak! PERSIS, FAUSTINA AND CROWD Sweet Bella, the Silent, speak! JASON What sound is this! SWEET BELLA Jason! Jason! CREON AND ALL She speak again! JASON I ain't never hear a sound so. It like bird! It like bell! It like music! It like Heaven! SWEET BELLA Jason! CREON AND ALL Miracle! Is a miracle! CREON The man make me daughter speak! He make she speak! She ain't never 'fore utter sound and she speak when he and she eye meet up. He done bruck the spell cast on she. The man, a prince! Better than a prince. Him a God! JASON It feel like I can't speak. It feel like I can't make rhyme. Confusion runnin' wild in me head and elsewhere. Me breath gone! Is like I seein' woman for the first time in me life.

ut_exam_3_te243_b.txt

Q5

Which of the following stylistic features is the most significant to the passage?

Metaphor: It feel like I can't speak. It feel like I can't make rhyme. Confusion runnin' wild in me head and elsewhere. Me breath gone! Is like I seein' woman for the first time in me life.

SWEET BELLA Jason. . . CREON Me daughter speak! PERSIS, FAUSTINA AND CROWD Sweet Bella, the Silent, speak! JASON What sound is this! SWEET BELLA Jason! Jason! CREON AND ALL She speak again! JASON I ain't never hear a sound so. It like bird! It like bell! It like music! It like Heaven! SWEET BELLA Jason! CREON AND ALL Miracle! Is a miracle! CREON The man make me daughter speak! He make she speak! She ain't never 'fore utter sound and she speak when he and she eye meet up. He done bruck the spell cast on she. The man, a prince! Better than a prince. Him a God! JASON It feel like I can't speak. It feel like I can't make rhyme. Confusion runnin' wild in me head and elsewhere. Me breath gone! Is like I seein' woman for the first time in me life.

ut_exam_3_te243_b.txt

Q5

Which of the following stylistic features is the most significant to the passage?

Dialect: For example, the word before is instead shortened to 'fore' or the characters never refer to themselves using 'I' or 'my' but use 'me' instead.

SWEET BELLA Jason. . . CREON Me daughter speak! PERSIS, FAUSTINA AND CROWD Sweet Bella, the Silent, speak! JASON What sound is this! SWEET BELLA Jason! Jason! CREON AND ALL She speak again! JASON I ain't never hear a sound so. It like bird! It like bell! It like music! It like Heaven! SWEET BELLA Jason! CREON AND ALL Miracle! Is a miracle! CREON The man make me daughter speak! He make she speak! She ain't never 'fore utter sound and she speak when he and she eye meet up. He done bruck the spell cast on she. The man, a prince! Better than a prince. Him a God! JASON It feel like I can't speak. It feel like I can't make rhyme. Confusion runnin' wild in me head and elsewhere. Me breath gone! Is like I seein' woman for the first time in me life.

ut_exam_3_te243_b.txt

Q5

Which of the following stylistic features is the most significant to the passage?

Repetition: The only words Sweet Bella speaks are Jason's name.

SWEET BELLA Jason. . . CREON Me daughter speak! PERSIS, FAUSTINA AND CROWD Sweet Bella, the Silent, speak! JASON What sound is this! SWEET BELLA Jason! Jason! CREON AND ALL She speak again! JASON I ain't never hear a sound so. It like bird! It like bell! It like music! It like Heaven! SWEET BELLA Jason! CREON AND ALL Miracle! Is a miracle! CREON The man make me daughter speak! He make she speak! She ain't never 'fore utter sound and she speak when he and she eye meet up. He done bruck the spell cast on she. The man, a prince! Better than a prince. Him a God! JASON It feel like I can't speak. It feel like I can't make rhyme. Confusion runnin' wild in me head and elsewhere. Me breath gone! Is like I seein' woman for the first time in me life.

ut_exam_3_te243_b.txt

Q5

Which of the following stylistic features is the most significant to the passage?

Hyperbole: Creon refers to Jason as a prince but quickly corrects himself and calls Jason a god.

SWEET BELLA Jason. . . CREON Me daughter speak! PERSIS, FAUSTINA AND CROWD Sweet Bella, the Silent, speak! JASON What sound is this! SWEET BELLA Jason! Jason! CREON AND ALL She speak again! JASON I ain't never hear a sound so. It like bird! It like bell! It like music! It like Heaven! SWEET BELLA Jason! CREON AND ALL Miracle! Is a miracle! CREON The man make me daughter speak! He make she speak! She ain't never 'fore utter sound and she speak when he and she eye meet up. He done bruck the spell cast on she. The man, a prince! Better than a prince. Him a God! JASON It feel like I can't speak. It feel like I can't make rhyme. Confusion runnin' wild in me head and elsewhere. Me breath gone! Is like I seein' woman for the first time in me life.

ut_exam_3_te243_b.txt

Q8

Which of the following contextual information is the most significant to the passage?

Literary: This drama is an appropriation of Euripides' Medea with Caribbean elements.

SWEET BELLA Jason. . . CREON Me daughter speak! PERSIS, FAUSTINA AND CROWD Sweet Bella, the Silent, speak! JASON What sound is this! SWEET BELLA Jason! Jason! CREON AND ALL She speak again! JASON I ain't never hear a sound so. It like bird! It like bell! It like music! It like Heaven! SWEET BELLA Jason! CREON AND ALL Miracle! Is a miracle! CREON The man make me daughter speak! He make she speak! She ain't never 'fore utter sound and she speak when he and she eye meet up. He done bruck the spell cast on she. The man, a prince! Better than a prince. Him a God! JASON It feel like I can't speak. It feel like I can't make rhyme. Confusion runnin' wild in me head and elsewhere. Me breath gone! Is like I seein' woman for the first time in me life.

ut_exam_3_te243_b.txt

Q8

Which of the following contextual information is the most significant to the passage?

Cultural Custom: Pecong is a rapping competition centered on insulting and degrading opponents.

SWEET BELLA Jason. . . CREON Me daughter speak! PERSIS, FAUSTINA AND CROWD Sweet Bella, the Silent, speak! JASON What sound is this! SWEET BELLA Jason! Jason! CREON AND ALL She speak again! JASON I ain't never hear a sound so. It like bird! It like bell! It like music! It like Heaven! SWEET BELLA Jason! CREON AND ALL Miracle! Is a miracle! CREON The man make me daughter speak! He make she speak! She ain't never 'fore utter sound and she speak when he and she eye meet up. He done bruck the spell cast on she. The man, a prince! Better than a prince. Him a God! JASON It feel like I can't speak. It feel like I can't make rhyme. Confusion runnin' wild in me head and elsewhere. Me breath gone! Is like I seein' woman for the first time in me life.

ut_exam_3_te243_b.txt

Q10

Please identify the stylistic feature that the following conflict information best helps to contextualize: Medea lost her magical powers when she fell in love with Jason.

Hyperbole: Creon refers to Jason as a prince but quickly corrects himself and calls Jason a god.

SWEET BELLA Jason. . . CREON Me daughter speak! PERSIS, FAUSTINA AND CROWD Sweet Bella, the Silent, speak! JASON What sound is this! SWEET BELLA Jason! Jason! CREON AND ALL She speak again! JASON I ain't never hear a sound so. It like bird! It like bell! It like music! It like Heaven! SWEET BELLA Jason! CREON AND ALL Miracle! Is a miracle! CREON The man make me daughter speak! He make she speak! She ain't never 'fore utter sound and she speak when he and she eye meet up. He done bruck the spell cast on she. The man, a prince! Better than a prince. Him a God! JASON It feel like I can't speak. It feel like I can't make rhyme. Confusion runnin' wild in me head and elsewhere. Me breath gone! Is like I seein' woman for the first time in me life.

ut_exam_3_te243_b.txt

Q10

Please identify the stylistic feature that the following cultural custom information best helps to contextualize: Pecong is a rapping competition centered on insulting and degrading opponents.

Repetition: The only words Sweet Bella speaks are Jason's name.

SWEET BELLA Jason. . . CREON Me daughter speak! PERSIS, FAUSTINA AND CROWD Sweet Bella, the Silent, speak! JASON What sound is this! SWEET BELLA Jason! Jason! CREON AND ALL She speak again! JASON I ain't never hear a sound so. It like bird! It like bell! It like music! It like Heaven! SWEET BELLA Jason! CREON AND ALL Miracle! Is a miracle! CREON The man make me daughter speak! He make she speak! She ain't never 'fore utter sound and she speak when he and she eye meet up. He done bruck the spell cast on she. The man, a prince! Better than a prince. Him a God! JASON It feel like I can't speak. It feel like I can't make rhyme. Confusion runnin' wild in me head and elsewhere. Me breath gone! Is like I seein' woman for the first time in me life.

ut_exam_3_te243_b.txt

Q8

Which of the following contextual information is the most significant to the passage?

Cultural: Pecong takes place in a very patriarchal society where the Pecong contest determines the manliest man on the island.

SWEET BELLA Jason. . . CREON Me daughter speak! PERSIS, FAUSTINA AND CROWD Sweet Bella, the Silent, speak! JASON What sound is this! SWEET BELLA Jason! Jason! CREON AND ALL She speak again! JASON I ain't never hear a sound so. It like bird! It like bell! It like music! It like Heaven! SWEET BELLA Jason! CREON AND ALL Miracle! Is a miracle! CREON The man make me daughter speak! He make she speak! She ain't never 'fore utter sound and she speak when he and she eye meet up. He done bruck the spell cast on she. The man, a prince! Better than a prince. Him a God! JASON It feel like I can't speak. It feel like I can't make rhyme. Confusion runnin' wild in me head and elsewhere. Me breath gone! Is like I seein' woman for the first time in me life.

ut_exam_3_te243_c.txt