501 Critical Reading Questions

Critical Reading Questions
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257.
b. In lines 3–4, Wharton makes it clear that she will be refuting the
statement in the first two lines: but it is certainly a misleading [prem-
ise] on which to build any general theory. In lines 8–9, she states that a
subject is suited to a short story or a novel, and in lines 9–10, if it
appears to be adapted to both the chances are that it is inadequate in
either. This firmly refutes the opening statement.
258.
d. After making it clear that subjects are not equally suitable for
short stories and novels, Wharton explains what makes a particu-
lar subject suitable for the novel form (paragraphs 4 and 5) and
how the elements of time and length are different in the short
story (paragraph 6).
259.
b. In lines 15–18, Wharton writes that rules in art are useful mainly
for the sake of the guidance they give, but it is a mistake [ . . . ] to be too
much in awe of them. Thus, they should be used only as a general
guide.
260.
a. Wharton compares general rules in art to both a lamp in a mine and
a handrail down a black stairwell.
261.
c. In paragraph 4, Wharton states the two chief reasons a subject
should find expression in novel-form: first, the gradual unfolding of the
inner life of its characters and second the need of producing in the
reader’s mind the sense of the lapse of time (lines 25–27).
262.
b. Wharton uses this paragraph to clarify the “rules” she established
in the previous paragraph by describing more specifically that if a
subject can be dealt with in a single retrospective flash it is suitable
for a short story while those that justify elaboration or need to sug-
gest the lapse of time require the novel form.
263.
e. In lines 39–42, Wharton writes that short stories observe two ‘uni-
ties’: that of time, which is limited to achieve the effect of compactness
and instantaneity, and that of point of view, telling the story through
only one pair of eyes.
264.
b. This paragraph expands on the final idea of the previous para-
graph, that of the limited point of view. In line 44, Wharton refers
to the character who serves as reflector—thus in line 46, this reflecting
mind is that same person, the one who tells the story.
265.
d. As the introduction states, Higgins is a professor, and he contrasts
the life of the gutter with Science and Literature and Classical Music
and Philosophy and Art (lines 9–10). Thus, his life is best described
as the life of a scholar.
266.
e. The answer to this question is found in Liza’s statement in lines
22–24: You think I must go back to Wimpole Street because I have
nowhere else to go but father’s. This statement indicates that Wim-
pole Street is probably where Liza grew up.
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