Question

mberley in a mode of aesthetic appreciation; this is of course just how one would take in a great country house one is visiting as a tourist. She views the house and its contents as one would a work of art. But this mode of vision keeps passing over into one involving character, ethics, and a judgment on a whole way of life. Elizabeth knows herself to be no connoisseur of art. In reacting to the paintings that adorn Pemberley, she finds herself instead drawn to the portraits of people she knows. A set of miniature paintings on one wall, for instance, surprises her because it contains a miniature of someone Darcy despises. Why is it there in Darcy’s own house? Why hasn’t Darcy removed it? The answer is that Darcy’s father was fond of the person. The fact that this painting has been left on the wall thus has a larger significance: it is a sign of Darcy’s duty to his father. The author’s purpose is most likely to: Read the following passage and respond to the question below: Throughout the opening part of the scene, Elizabeth experiences Pemberley in a mode of aesthetic appreciation; this is of course just how one would take in a great country house one is visiting as a tourist. She views the house and its contents as one would a work of art. But this mode of vision keeps passing over into one involving character, ethics, and a judgment on a whole way of life. Elizabeth knows herself to be no connoisseur of art. In reacting to the paintings that adorn Pemberley, she finds herself instead drawn to the portraits of people she knows. A set of miniature paintings on one wall, for instance, surprises her because it contains a miniature of someone Darcy despises. Why is it there in Darcy’s own house? Why hasn’t Darcy removed it? The answer is that Darcy’s father was fond of the person. The fact that this painting has been left on the wall thus has a larger significance: it is a sign of Darcy’s duty to his father.
The author’s purpose is most likely to:


Read the following passage and respond to the question below:



Throughout the opening part of the scene, Elizabeth experiences Pemberley in a mode of aesthetic appreciation; this is of course just how one would take in a great country house one is visiting as a tourist. She views the house and its contents as one would a work of art. But this mode of vision keeps passing over into one involving character, ethics, and a judgment on a whole way of life. Elizabeth knows herself to be no connoisseur of art. In reacting to the paintings that adorn Pemberley, she finds herself instead drawn to the portraits of people she knows. A set of miniature paintings on one wall, for instance, surprises her because it contains a miniature of someone Darcy despises. Why is it there in Darcy’s own house? Why hasn’t Darcy removed it? The answer is that Darcy’s father was fond of the person. The fact that this painting has been left on the wall thus has a larger significance: it is a sign of Darcy’s duty to his father.



The author’s purpose is most likely to:


Explain why the artist continues to keep pictures up around the Pemberley country home.


Explain how the main character, Elizabeth, reacts to the portraits on the wall while using a literary lens.


Determine why the main character is so disgusted with the art at Pemberley Hall.


Determine who Darcy’s father really is, and why he is so important to the main character.

Answer 1

Answer:

Jane Austen is an author readers think they know. At least one reader of Austen

has described heaven as a place where you would habitually engage in conversation with her. There are Austen societies in England and in the United

States. Some readers concern themselves with every detail of her novels and

their social settings, down to the cut of dresses and the recipes for the food

consumed in them. There is indeed a name for such people, “Janeites.” Henry

James objected to all this, writing disparagingly of those who, for commercial

gain, in his view distorted her actual (and considerable) achievement by inviting readers to think of her as “their ‘dear,’ our dear, everybody’s dear, Jane.”1

Rudyard Kipling, by contrast, wrote a story celebrating a particular group of

Janeites – a group of World War I soldiers who kept their sanity intact by engaging in an elaborate ritual of giving the military objects around them names

drawn from the persons and places depicted in “Jane’s” novels, and testing each

other on their details. The palpable realities of her world, its men and women

and settings, were apparently sufficient to ward off the horrific realities of trench

warfare, if anything could.

The idea that novels contain real people and are told to us directly by their

authors is one that teachers of the novel often find themselves combating –

usually for good reasons. Readers who think of characters as if they were real

people living in the real world have a way of remaking those characters

according to the logic of the familiar world they themselves inhabit, which can

be a way of short-circuiting a more difficult but in the end more rewarding

kind of reading that takes into account historical, cultural, and ideological

differences between the present and the past, and is alive to the novelist’s craft.

Similar problems can arise if we think of a novel as being told by a real-life

author. As we have discussed more fully in the introduction, the voice readers

of novels are faced with is not that of the author, but that of the narrator,

who has been crafted to tell the story in a certain way for certain purposes.

Explanation:

C i think is ur answer