WEST Bengal ENGLISH SLST MOCK TEST 2025

 WEST BENGAL 2nd SLST MOCK TEST 2025

Sub : English in IX-X Category, 

👉 60 MCQS 

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✔️Section A: Poetry :

1. In "The World is Too Much With Us", Wordsworth condemns mankind’s:

A) Religious indifference

B) War-like tendencies

C) Materialism

D) Political views

2. "To a Skylark" by Shelley portrays the bird as:

A) A symbol of love

B) A night predator

C) A spiritual inspirer

D) A common bird

3. "Ode to the West Wind" ends with a hope for:

A) Destruction

B) Immortality

C) Rebirth

D) Silence

4. Which season is personified in "Ode to Autumn"?

A) Winter

B) Autumn

C) Summer

D) Spring

5. The dominant theme of "Ulysses" is:

A) Domestic joy

B) Heroic restlessness

C) Romantic love

D) Social criticism

6. Browning's "The Last Ride Together" is a blend of:

A) Comedy and satire

B) Tragedy and revenge

C) Passion and philosophy

D) Religion and myth

7. In "The Darkling Thrush", the thrush is a symbol of:

A) Old age

B) Death

C) Hope

D) Futility

8. "The Wild Swans at Coole" reveals Yeats’s:

A) Political views

B) Religious belief

C) Poetic rivalry

D) Emotional aging

9. Wilfred Owen's "Strange Meeting" is set in:

A) A battlefield hospital

B) A dreamlike underworld

C) A churchyard

D) A prison

10. “The Listeners” by Walter de la Mare evokes:

A) Joyful mood

B) Mystery and silence

C) Romantic celebration

D) Allegorical fantasy

11. Wordsworth’s Lucy Poems often represent:

A) Revolutionary thoughts

B) Idealized rural simplicity

C) Political satire

D) Urban chaos

12. “To a Skylark” is a/an:

A) Satire

B) Sonnet

C) Narrative

D) Lyrical apostrophe

13. “Ulysses” ends with the resolve to:

A) Die in peace

B) Continue striving

C) Return to Penelope

D) Settle in Ithaca

14. Shelley invokes the West Wind as:

A) A destroyer and preserver

B) A gentle breeze

C) A healing force

D) A seasonal poem

15. In “Strange Meeting”, Owen uses:

A) Allegory

B) Dramatic monologue

C) Elegy

D) Satire

16. “The Wild Swans at Coole” represents:

A) Political debate

B) Personal loss and aging

C) Satirical tone

D) Comic relief

17. In "The Darkling Thrush", the landscape is depicted as:

A) Lush and thriving

B) Joyous and lively

C) Bleak and wintry

D) Festive and warm

18. Which poetic device is most used in "To a Skylark"?

A) Oxymoron

B) Apostrophe

C) Hyperbole

D) Paradox

19. “The Last Ride Together” reflects:

A) Political ambition

B) Stoic acceptance

C) Mystical denial

D) Marital bliss

20. In “The Listeners,” the Traveller is:

A) Welcomed

B) Banished

C) Ignored

D) Attacked

✔️Section B: Drama :

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21. Who disguises herself in "She Stoops to Conquer"?

A) Mrs. Hardcastle

B) Miss Neville

C) Kate Hardcastle

D) Lady Marlow

22. "Arms and the Man" critiques:

A) British monarchy

B) Romantic ideals of war

C) Courtly manners

D) Education system

23. Raina’s chocolate-cream soldier is actually a:

A) Spy

B) Cook

C) Professional soldier

D) Serbian officer

24. In "Justice", the central issue is:

A) Police brutality

B) Judicial cruelty

C) Prison reform and mercy

D) Political corruption

25. Bluntschli is contrasted with:

A) Catherine

B) Petkoff

C) Sergius

D) Louka

26. In “Justice”, the playwright criticizes:

A) Poverty

B) Hypocrisy

C) Legal system’s inhumanity

D) Democracy

27. “She Stoops to Conquer” is an example of:

A) Romantic drama

B) Farcical comedy

C) Melodrama

D) History play

28. Sergius is often described as:

A) A brave realist

B) A coward

C) A pompous romantic

D) A servant in disguise

29. Galworthy’s tone in "Justice" can be best described as:

A) Sarcastic

B) Melancholic

C) Sympathetic

D) Ironic

30. The subplot in "She Stoops to Conquer" involves:

A) A duel

B) Tony and Miss Neville

C) Kate’s marriage to Hastings

D) Marlow’s father

✔️Section C: Short Story and Essay :

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31. The central theme of “The Gift of the Magi” is:

A) Irony and sacrifice

B) Inheritance

C) Greed and punishment

D) Religion

32. In “The Ox”, the protagonist is:

A) A nursemaid with suppressed anger

B) A bold teacher

C) An abusive aunt

D) A lazy stepmother

33. "The Lotos Eater" by Maugham deals with:

A) British imperialism

B) A man escaping responsibility

C) Greek mythology

D) Drug abuse

34. Conrad’s “Lagoon” is set in:

A) Africa

B) India

C) Malay jungle

D) Pacific islands

35. The narrator in “The Ox” is:

A) The woman’s husband

B) Her child

C) Her employer

D) A neighbor

36. Arsat in "Lagoon" tells the story of:

A) His love and guilt

B) His escape from war

C) British colonizers

D) His merchant life

37. “Dream Children” reflects:

A) Satirical style

B) Humorous commentary

C) Deep personal sorrow

D) Political turmoil

38. In “The Lotos Eater”, the protagonist’s choice leads to:

A) Fame

B) Madness and poverty

C) Redemption

D) Employment

39. O. Henry’s famous style includes:

A) Poetic devices

B) Dramatic endings

C) Twist in the tale

D) Mythical allegory

40. “The Ox” can be seen as:

A) An allegory

B) A horror story

C) A comic tale

D) A psychological study

41. Lamb’s “Dream Children” is:

A) A dramatic monologue

B) A fantasy memoir

C) A satirical parody

D) A travelogue

42. Arsat’s brother dies because:

A) He is betrayed

B) He is old

C) He is greedy

D) He helps Arsat escape

43. “The Gift of the Magi” is set during:

A) Summer

B) Christmas

C) Easter

D) Autumn

44. “The Lotos Eater” originally refers to:

A) Roman myth

B) Irish folklore

C) Homer’s Odyssey

D) Dante’s Inferno

45. In “The Ox”, the woman is likened to:

A) A witch

B) An ox

C) A snake

D) A queen

✔️Section D: Grammar and Usage :

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46. Identify the correct sentence:

A) She don’t like coffee.

B) She doesn’t likes coffee.

C) She doesn’t like coffee.

D) She don’t likes coffee.

47. Choose the correct form: “Each of the boys ___ given a book.”

A) were

B) have

C) has

D) are

48. Identify the relative clause:

A) He runs fast.

B) I met a man who knew you.

C) It rained heavily.

D) She sang loudly.

49. Choose the sentence with correct use of articles:

A) He is an honest man.

B) He is a honest man.

C) He is the honest man.

D) He is honest man.

50. “He said, ‘I am going now.’” Change into indirect speech:

A) He said he is going now.

B) He said he was going then.

C) He said I am going now.

D) He says he went then.

51. Choose the complex sentence:

A) He ran fast and won.

B) Although he was late, he attended the class.

C) He wrote a letter.

D) He came, he saw.

52. Which is a simple sentence?

A) She cooked and he cleaned.

B) Although he was ill, he worked.

C) He laughed.

D) When she came, I was eating.

53. Identify the correct narration:

A) He asked what is my name.

B) He asked what was my name.

C) He asked what my name was.

D) He asked what my name is.

54. Choose the grammatically correct sentence:

A) She sing well.

B) She sings well.

C) She singing well.

D) She sangs well.

55. Identify the sentence with a mood of suggestion:

A) Go and study now.

B) You might do better.

C) I wish I were rich.

D) Let’s go out.

56. "He is taller than ___ in the class." Choose the correct pronoun.

A) any

B) all

C) everyone

D) anyone else

57. Combine: “He failed. He worked hard.”

A) Although he worked hard, he failed.

B) He failed and worked hard.

C) He failed when he worked hard.

D) He failed as he worked hard.

58. Direct to indirect: “She said, ‘Do it now.’”

A) She told me to do it then.

B) She said me do it now.

C) She asked me did it then.

D) She says do it now.

59. Choose the correct voice:

A) The song sung by her.

B) The song was sung by her.

C) The song were sung by her.

D) The song was sing by her.

60. Choose the sentence in passive voice:

A) They completed the task.

B) The task was completed.

C) She is cooking.

D) He sings.

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Answer Key:

1. C 2. C 3. C 4. B 5. B 6. C 7. C 8. D 9. B 10. B  

11. B 12. D 13. B 14. A 15. B 16. B 17. C 18. B 19. B 20. C  

21. C 22. B 23. C 24. C 25. C 26. C 27. B 28. C 29. C 30. B  

31. A 32. A 33. B 34. C 35. C 36. A 37. C 38. B 39. C 40. D  

41. B 42. D 43. B 44. C 45. B  

46. C 47. C 48. B 49. A 50. B 51. B 52. C 53. C 54. B 55. D  

56. D 57. A 58. A 59. B 60. B

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Critical commentary on Ode to Autumn by John Keats

 John Keats' *To Autumn* is one of his most celebrated odes, composed in 1819, and demonstrates complete mastery over the materials of the Romantic tradition. It is a richly sensory and deeply reflective ode to autumn. The following is a critical interpretation of the poem, focused on its themes, structure, language, and philosophical undercurrents.

### **Celebration of Autumn and the Natural World**

Keats's To Autumn is a meditation on the season as the moment of ripeness, completion, and the gentle transition into another season. While other poems describe spring or summer as the pinnacle of natural beauty, Keats attests to autumn's less showy, more mature phase in the cycle. For him, there is no rot but rather the absolute fullness of nature.

Season of mists and mellow fruitfulness," the poem starts, immediately grounding the reader in an atmosphere of richness and fulfillment. The fruits are heavy with ripeness, the fields full of harvested grain, and even the small creatures like bees are intoxicated by the late-blooming flowers. In this way, *To Autumn* is a hymn to the fullness and fruitfulness of nature: tasting the ripeness of life before it falls into decline in winter.

### Themes of Time and Transience

Behind Keats' paean to autumn lies a consciousness of time and evanescence. The season of ripeness marks also the end of the growing season, foreshadowing the advent of winter. However, Keats does not pessimistically stay in decay; instead, he sees beauty in the cyclical pattern of life. Autumn ripeness, after all does yield to decline; but Keats has that turn toward decay into a positive direction: change and transition as elements within life's eternal cycle.

This acknowledgment of transience aligns with Keats' broader philosophical vision, sometimes described using the term "negative capability"—his belief in his ability to bear uncertainty and mystery and not to be overmuch resolved into convictions of what is right or wrong. *In To Autumn*, Keats celebrates the ephemeral beauty of the season, in full awareness of its impermanence, but finds pleasure in this perfect moment of its being.

### **Imagery and Sensory Experience**

Poem *To Autumn* has many characteristics; one is its rich, sensory imagery. Keats engages all the senses while describing the visible images of the season. All are involved: the sights and sounds, even the feel of the season, in his rich vocabulary and keen detail to draw pictures of the fruit, the gourds swollen with ripeness, and the "budding more" that stretches out the bees' life. This first stanza is especially focused on aspects of sight and touch, portrayals of the natural world at its prime.

Keats becomes more centered upon sound as the poem progresses. In the second stanza, autumn is personified as a figure lying or laboring in the fields, and, in the third, he introduces the "music" of autumn, that is, the soft, mournful sounds of the season: the "wailful choir" of gnats, the bleating lambs, and the singing crickets. This sense chronology illustrates the languid draining of the season, as summer's mad energies give up to autumn's more sedate and contemplative rhythm.

### Anthropomorphism of Autumn

Keats anthropomorphizes autumn in the second stanza quite dramatically. He represents this season as an "out-door laborer,/ Sitting careless on a granary floor," resting after a long season of labor, or lying asleep in a field in which he has gathered in the harvest. Keats has given human-like qualities to the autumn season, thus breathing life and personality into it. Therefore, autumn was not only a natural phenomenon; it is that can be felt and viewed intimately, almost as an acquaintance.

This personification also evokes the sense that autumn is, like a man, experiencing his cycles of work, repose, and a silent, slow existence. This adds layers to Keats' description of the season as being more than a simple phase of the year but as metaphorical expression for life's rhythms of action and repose.

### Structure and Form

*To Autumn* consists of three stanzas with eleven lines each. In this regard it is a poetically balanced and controlled piece that mirrors the poem's calm and well-balanced mood. The rhyme scheme - ABAB CDE DCCE enhances this further sense of harmony and order. Keats' exactly controlled form very much reflects the completeness and fulfillment of the season of autumn. The stanzaic structure mirrors the natural cycles and rhythms of life that Keats celebrates.

### **Philosophical Implication**

More profoundly, *To Autumn* is a meditation in mortality or the embracing of impermanence. As autumn commemorates winter's approach and the end of the year is at hand, Keats does not treat it with something melancholy or regretful. He rather evokes the beauty of it in its own self. This reflects a bigger concern with the fleeting nature of human existence involved in the search for meaning and beauty within that transience.

Therefore, the poem is often viewed as mature reflection on life and death. Rather than lamenting the lost time, Keats holds some peace in the cycle of life in which every existence comes to be, grows, and then declines. The quiet and reflective rhythm of the poem underscores acceptance of this natural process and even an element of satisfaction in the knowledge that just as autumn stands still, so too does life.

### **Conclusion**

*To Autumn* is a rich, textured poem that catches the whole warmth and beauty of the season. Deeply and vividly using sensory imagery, the poem reflects on life and time with reverberations of personification and philosophical undertones in this fruitfulness of time and inevitable passage of life. Keats's ode is finally an ode to the existing moment, urging the reader to revel in the richness of the world even as it readies itself for its disappearance. It is his acceptance of transience and ability to find beauty within the mundane aspects of nature that form the words of the lovely lines, which make this a profound and most long-lasting piece of work.

Critical Commentary On The Rape of the Lock By Pope

 Alexander Pope's *The Rape of the Lock* (1712, revised 1714) is a mock-epic that satirizes the trivialities of upper-class society, particularly their preoccupation with appearances and superficial matters. Here’s a critical commentary on some of the poem’s themes, techniques, and its social context:

### **Mock Epic Form**

Pope's *The Rape of the Lock* is written in the form of a mock epic, a literary form that uses the grand, elevated style of classical epics to describe a trivial or absurd subject. In this case, the poem recounts the cutting of a lock of hair from the protagonist, Belinda, by the Baron, an event treated with the same reverence as great battles in *The Iliad* or *The Aeneid*. The mock epic is used here to highlight the absurdity of how the aristocracy overvalues minor events while remaining indifferent to significant societal issues.

Pope’s imitation of epic conventions—such as the invocation to the muse, the use of supernatural forces (sylphs), and the description of "heroic" battles (the card game Ombre)—underscores the emptiness of the concerns of fashionable society. This structural parody exposes the misplaced priorities of the people he criticizes.

### **Satire of 18th Century Society**

Pope's poem critiques the vanity, materialism, and triviality of the 18th-century aristocracy. Belinda, for example, is more concerned with her appearance and social standing than with anything of substance. The Baron, too, covets Belinda’s lock of hair not out of love but for the sake of possessing something rare and beautiful, highlighting the objectification of women.

The poem ridicules a culture where personal slights, such as the theft of a lock of hair, are blown out of proportion, while larger moral and societal issues are neglected. It mirrors a world where outward beauty and reputation are prized above intelligence or integrity, reflecting Pope's critique of a society deeply invested in superficial social rituals.

### **Supernatural Elements**

The sylphs and other supernatural beings in the poem are Pope’s playful nod to the classical epic tradition, but they also serve a satirical purpose. These spirits, led by Ariel, are tasked with protecting Belinda's honor, which is reduced to ensuring the perfection of her beauty. Their involvement elevates the trivial matter of the stolen lock to the level of divine intervention, further mocking the values of the society Pope is critiquing. The sylphs' concern with preserving Belinda’s beauty rather than her virtue hints at the hollow preoccupations of the time.

### **Treatment of Gender and Sexual Politics**

Pope’s portrayal of women in *The Rape of the Lock* reflects both satire and critique. While Belinda is vain and frivolous, the social environment she inhabits pressures women to define their worth based on appearance and desirability. Through Belinda, Pope critiques how women’s power in 18th-century society was largely constrained to physical beauty and social influence. The Baron’s theft of the lock can also be read as a metaphor for how men often took liberties with women’s autonomy.

Though the poem’s tone is light and playful, Pope's mock-heroic treatment of the event subtly critiques how women’s honor and virtue were tied disproportionately to their outward appearance and social reputation, while their agency in serious matters was limited.

### **Language and Wit**

Pope’s masterful use of heroic couplets is one of the defining features of *The Rape of the Lock*. His tight control of form and his playful yet biting wit enhance the satirical nature of the poem. Pope’s ability to combine high-flown, grandiose language with trivial subject matter creates an amusing and ironic contrast, underscoring the absurdity of the social mores he critiques.

His famous lines, such as "What mighty contests rise from trivial things," encapsulate the core irony of the poem—the significant consequences placed on the trivial actions of the aristocracy, mocking the disproportionate attention given to superficial issues.

### **Social Commentary**

The poem provides a critical lens through which Pope observes the values of his contemporary society. He targets both the aristocracy's obsession with material wealth and the artificial nature of their lives, which is filled with meaningless rituals and concerns. Through Belinda and the Baron's conflict, Pope reveals a society where individuals are caught in cycles of vanity, self-importance, and idle pleasure.

### Conclusion

*The Rape of the Lock* is a brilliant example of satire in the mock-epic genre, using humor, parody, and wit to highlight the absurdities of 18th-century aristocratic society. Pope’s careful blend of classical allusion, satire, and elegant poetic form enables him to critique the trivial preoccupations of the wealthy and the way they disregard more substantial moral and social concerns. Despite its lighthearted tone, the poem remains a pointed commentary on the values and behaviors of the time.

compare and contrast between the poem Ulysses by Tennyson and the novel Ulysses by James Joyce

 While both Ulysses by Alfred, Lord Tennyson and Ulysses by James Joyce share the same title and draw inspiration from the mythological figure of Odysseus/Ulysses, they differ significantly in their content, style, and thematic concerns.

1. Style and Structure:

Tennyson's poem follows a traditional and formal poetic structure, utilizing blank verse and a consistent rhyme scheme. The language is elevated and lyrical, with a clear narrative structure and a focus on the inner thoughts and aspirations of Ulysses. In contrast, Joyce's Ulysses is a modernist novel characterized by its experimental narrative techniques and stream-of-consciousness writing. The novel is divided into 18 chapters, each employing a distinct narrative style and exploring the thoughts, experiences, and perspectives of various characters over the course of a single day.

2. Perspective and Characterization:

Tennyson's Ulysses presents a heroic and mythological figure. Ulysses is depicted as a restless adventurer yearning for new experiences, symbolizing the spirit of exploration and individualism. The poem primarily focuses on Ulysses' perspective and portrays him as a heroic protagonist. In contrast, Joyce's Ulysses presents a more complex and realistic portrayal of everyday life in early 20th-century Dublin. The novel features multiple characters, including Leopold Bloom, Stephen Dedalus, and Molly Bloom, and delves into their mundane routines, desires, and inner thoughts. The characters in Joyce's novel are flawed, ordinary individuals, offering a more nuanced and relatable portrayal of humanity.

3. Themes and Concerns:

Tennyson's Ulysses explores themes of adventure, nostalgia, the passage of time, and individualism. It reflects the Victorian fascination with progress, exploration, and the longing for a romanticized past. The poem celebrates the pursuit of personal fulfillment and the desire to break away from societal expectations. On the other hand, Joyce's Ulysses delves into themes of identity, sexuality, religion, politics, and the complexities of human relationships. It provides a critical and satirical commentary on Dublin society and engages with modernist concerns, such as fragmentation, uncertainty, and the exploration of the human psyche.

4. Reception and Influence:

Tennyson's Ulysses was well-received during the Victorian era and has remained a celebrated poem in English literature. It has influenced subsequent works and has been quoted and referenced in various contexts. Joyce's Ulysses, on the other hand, initially faced controversy and censorship due to its explicit content and experimental style. However, it has since become recognized as one of the greatest novels of the 20th century. Joyce's novel revolutionized the form of the novel and has had a profound impact on modernist literature and narrative experimentation.

In conclusion, while both works bear the name Ulysses and draw inspiration from the same mythological figure, they diverge significantly in their style, structure, perspective, themes, and reception. Tennyson's poem is a lyrical celebration of adventure and individualism, while Joyce's novel is an experimental exploration of everyday life and human consciousness. Both works, however, demonstrate the enduring fascination with the mythological figure of Ulysses and his relevance as a symbol of human desires, struggles, and aspirations.

Critical comment on Ulysses by Tennyson in the Victorian Age

 Ulysses by Alfred, Lord Tennyson is undoubtedly a celebrated and influential poem in the realm of English literature. However, it is not immune to critical examination. While the poem displays Tennyson's skillful craftsmanship and eloquent use of language, there are certain aspects that warrant a critical comment.

One notable critique of Ulysses is its portrayal of the titular character. Ulysses, or Odysseus as he is known in Greek mythology, is depicted as a heroic figure seeking new adventures and yearning for the excitement of his youth. Tennyson's Ulysses is presented as restless and dissatisfied with the mundane responsibilities of ruling his kingdom. While this portrayal may be seen as a romanticized and poetic interpretation, it can also be seen as a glorification of a selfish and reckless character.

Furthermore, the poem seems to downplay the importance of Ulysses' responsibilities as a leader and a king. His desire to abandon his kingdom and set sail once again is presented as a noble pursuit of personal fulfillment. This neglects the responsibilities and duties that come with leadership and may undermine the importance of stability and governance.

Another critical point to consider is the poem's tone, which is often viewed as overly idealistic. Ulysses' determination to pursue new experiences at any cost can be interpreted as an endorsement of an individualistic and self-centered mindset. This romanticized perspective neglects the potential consequences of such actions, both for Ulysses himself and for those he leaves behind.

Lastly, it is worth mentioning that Ulysses is often criticized for its lack of diversity and limited perspective. The poem revolves around the thoughts and aspirations of an aging white male protagonist, failing to explore other voices and experiences. This narrow focus can limit the poem's relevance and exclude the perspectives of marginalized groups.

In conclusion, while Ulysses by Tennyson is undeniably a masterpiece of Victorian poetry, it is not immune to criticism. The glorification of a restless and selfish character, the downplaying of leadership responsibilities, the idealistic tone, and the limited perspective all invite critical examination. By engaging with these aspects, we can better understand the poem's limitations and appreciate its strengths in a more nuanced manner.