Many critics of Emily Brontë’s novel Wuthering Heights see its second part as a counter-point that comments on, if it does not reverse, the first part, where a romantic reading receives more confirmation.

Many pundits of the masterpiece written by EB see in her novel - the second part specifically - as a counterpoint to the first part. In other words, the second part is almost the opposite of the first part.


Seeing the two parts as a whole is encouraged by the novel’s sophisticated structure, revealed in its complex use of narrators and time shifts.

So we do have two parts almost in opposite directions. But, the novel has to it a very clever structure that suggests to us to consider the same move as a whole. As a unicum body and NOT two different parts


Granted that the presence of these elements need not argue for an authorial awareness of novelistic construction comparable to that of Henry James, their presence does encourage attempts to unify the novel’s heterogeneous parts.


This is a difficult sentence in its meaning: actually, it means: even though we do have ON ONE HAND the fact that the novel could be considered divided into two parts , and ON THE OTHER HAND that we should for the good consider the same novel as a whole WE DO KNOW FOR SURE that all these elements or characteristics of the same novel are present because the author EB knows how to write a novel itself

"authorial awareness of novelistic construction" means who writes a book in this case EB is perfectly aware of how to write it and turns out the novel is similar to that of James



However, any interpretation that seeks to unify all of the novel’s diverse elements is bound to be somewhat unconvincing.

However, all we said above is somehow inconsistent. We do have difficulty framing the novel itself and its structure


This is not because such an interpretation necessarily stiffens into a thesis (although rigidity in any interpretation of this or of any novel is always a danger), but because Wuthering Heights has recalcitrant elements of undeniable power that, ultimately, resist inclusion in an all-encompassing interpretation. In this respect, Wuthering Heights shares a feature of Hamlet.

WHY, WHY what we analyze about the novel, in the end, is inconsistent? why we do have difficulties understanding its structure?

The reason is NOT that we have a rigid, inflexible interpretation of it - and by the way, any rigid understanding or approach, in general, is almost always detrimental to understanding anything we are analyzing - BUT the real reason WHY we have a difficult to put the novel in a specific and consistent frame is because

"Wuthering Heights has recalcitrant elements of undeniable power that, ultimately, resist inclusion in an all-encompassing interpretation. In this respect, Wuthering Heights shares a feature of Hamlet."

WH has a strong and firm opposition or uncooperative attitude towards the novel itself. In other words, he DOES NOT have a flexible approach to it. Doing so, this UNflexible analysis of the novel, is the same thing he did with Hamlet: a rigid approach to the analysis of the novel.


I hope now is more clear the big picture with the explanation of the entire passage

Please answer question 8th

Many critics of Emily Brontë’s novel see its second part as a counter-point that comments on if it does not reverse, the first part, where a romantic reading receives more confirmation.

The Emily Bronte novel, which is one of the pinnacles in terms of literature of her era nineteenth century is basically viewed into two parts: the second almost reverse what the first part of the novel narrates. The second is more romantic. From this, we could infer that the first is not that much. BTW here at Project Gutenberg the novel which is quite beautiful https://www.gutenberg.org/files/768/768-h/768-h.htm


Seeing the two parts as a whole is encouraged by the novel’s sophisticated structure, revealed in its complex use of narrators and time shifts.

The structure of the book is complex and the structure itself suggests us frame the same novel through the lens of a unique frame. I.E we need to view the novel as a whole. To spot the unitarian picture. Notice for instance how the structure is complex due to several elements such as time shifts

Granted that the presence of these elements need not argue for an authorial awareness of novelistic construction comparable to that of Henry James, their presence does encourage attempts to unify the novel’s heterogeneous parts.

This is probably the most convoluted sentence to address in its meaning. The presence of these elements is not so extreme that we do need an "authorial awareness" . Nonetheless, we need to address the novel, once again, as a whole

However, any interpretation that seeks to unify all of the novel’s diverse elements is bound to be somewhat unconvincing.


Shift in the argument due to the word "However". Even though the right way to follow is to unify the different elements of the novel to obtain a complete yet clear wide-breath view, this effort MAYBE is a waste of time

This is not because such an interpretation necessarily stiffens into a thesis (although rigidity in any interpretation of this or of any novel is always a danger),

Why perhaps this is wrong ?? Well, it is wrong NOT THAT MUCH because this process leads us to crystallize or freeze making rigid our process and turns out this could bring us to a bias position (in fact manage any novel in this way is dangerous)


but because Wuthering Heights has recalcitrant elements of undeniable power that, ultimately, resist inclusion in an all-encompassing interpretation.

BUT BECAUSE the novel is so powerful, so wild, the writing itself is so energetic that try to contain it in a unified yet single frame does not work. Think this banal example: In the movie, Jurassic park did the scientist contained the T-Rex into a fence ?' no way because the dinosaur was indeed SO POWERFUL. Nature overcame any obstacles. The novel by Bronte is this of a kind. In fact, it is one of the spotlight of the literature in the entire human history


In this respect, Wuthering Heights shares a feature of Hamlet.

This is like a side note: there is a similarity between Bronte's novel and the Hamlet: the wilderness


I hope my explanation teaches you how to read a passage

1. According to the passage, which of the following is a true statement about the first and second parts of Wuthering Heights?

A. The second part has received more attention from critics.
B. The second part has little relation to the first part.
C. The second part annuls the force of the first part.
D. The second part provides less substantiation for a romantic reading.
E. The second part is better because it is more realistic.

sol A more attention . eliminate no where stated
B little relation. eliminate as second part use to counter point the first
C eliminate. no where stated or can ve infered that it annuled or weaken the 1st part
D correct. as second part counterpoint the first part which mention romantic reading. thus 2nd part will be less or not at allof romantic reading

2. Which of the following inferences about Henry James’s awareness of novelistic construction is best supported by the passage?

A. James, more than any other novelist, was aware of the difficulties of novelistic construction.
B. James was very aware of the details of novelistic construction.
C. James’s awareness of novelistic construction derived from his reading of Brontë.
D. James’s awareness of novelistic construction has led most commentators to see unity in his individual novels.
E. James’s awareness of novelistic construction precluded him from violating the unity of his novels.

sol:
see where has been james mentioned
it state about james as " comparable authorial awareness of novelistic construction" which b clearly state. so correct ans is B

3. The author of the passage would be most likely to agree that an interpretation of a novel should

A. not try to unite heterogeneous elements in the novel
B. not be inflexible in its treatment of the elements in the novel
C. not argue that the complex use of narrators or of time shifts indicates a sophisticated structure
D. concentrate on those recalcitrant elements of the novel that are outside the novel’s main structure
E. primarily consider those elements of novelistic construction of which the author of the novel was aware
SOL:
we can clearly eliminate OPTION c,d,e. now we are left with a and b.
though A is mentioned in the passage but it is in respect with this novel not in general
and option B is stated in general for every novel . so i will be more inclined toward B

4. The author of the passage suggests which of the following about Hamlet?

A. Hamlet has usually attracted critical interpretations that tend to stiffen into theses.
B. Hamlet has elements that are not amenable to an all-encompassing critical interpretation.
C. Hamlet is less open to an all-encompassing critical interpretation than is Wuthering Heights.

sol:
see last line.clearly hint toward B

1. According to the passage, which of the following is a true statement about the first and second parts of Wuthering Heights?

A. The second part has received more attention from critics.
B. The second part has little relation to the first part.
C. The second part annuls the force of the first part.
D. The second part provides less substantiation for a romantic reading.
E. The second part is better because it is more realistic.

Imo D
A Incorrect. Second part has not received more attention than first part.
B Incorrect It is related to first part. Read the following lines carefully"Many critics of Emily Brontë’s novel Wuthering Heights see its second part as a counter-point that comments on, if it does not reverse, the first part, where a romantic reading receives more confirmation. "
C No it does not annual the first part.
D correct
E Irrelevant

2. Which of the following inferences about Henry James’s awareness of novelistic construction is best supported by the passage?

A. James, more than any other novelist, was aware of the difficulties of novelistic construction.
B. James was very aware of the details of novelistic construction.
C. James’s awareness of novelistic construction derived from his reading of Brontë.
D. James’s awareness of novelistic construction has led most commentators to see unity in his individual novels.
E. James’s awareness of novelistic construction precluded him from violating the unity of his novels.

Imo B
Granted that the presence of these elements need not argue for an authorial awareness of novelistic construction comparable to that of Henry James, their presence does encourage attempts to unify the novel’s heterogeneous parts.
A Incorrect. There is no comparison.
B Correct.
C there is no casual relationship.
D No such thing in the passage.
E Out of scope.

3. The author of the passage would be most likely to agree that an interpretation of a novel should

A. not try to unite heterogeneous elements in the novel
B. not be inflexible in its treatment of the elements in the novel
C. not argue that the complex use of narrators or of time shifts indicates a sophisticated structure
D. concentrate on those recalcitrant elements of the novel that are outside the novel’s main structure
E. primarily consider those elements of novelistic construction of which the author of the novel was aware

Imo B
However, any interpretation that seeks to unify all of the novel’s diverse elements is bound to be somewhat unconvincing. This is not because such an interpretation necessarily stiffens into a thesis (although rigidity in any interpretation of this or of any novel is always a danger),
A is wrong. Passage does not say that rather it says do no be rigid.
B is correct.
C there is no link to passage.
D Irrelevant
E No such observation.

4. The author of the passage suggests which of the following about Hamlet?

A. Hamlet has usually attracted critical interpretations that tend to stiffen into theses.
B. Hamlet has elements that are not amenable to an all-encompassing critical interpretation.
C. Hamlet is less open to an all-encompassing critical interpretation than is Wuthering Heights.

Imo B
A is incorrect. There is no information
B correct.
C there is no comparison.

­To solve the questions with accuracy and speed, let us deploy IMS's TAM approach while reading. After reading the passage, we should be able to tell ourselves the Topic (T), Argument (A) and Main Idea (M) of the passage.

Topic is what the passage deals with. We should know what it is after having read the first two sentences.

Argument is anything about the topic found in the passage.

Main Idea is what the author wants us to believe. In purely descriptive passages, there might not be a main idea. We may then need to know the purpose of coming up with the passage.

To understand the passage, we need to read it actively. And to actively read, we must ask ourselves questions as we read. Let us now read and note the role of each of the sentences as we read.



SENTENCE #1: Many critics of Emily Brontë’s novel Wuthering Heights see its second part as a counter-point that comments on, if it does not reverse, the first part, where a romantic reading receives more confirmation. | This sentence states a fact and lets us know the point of view of many critics of Emily Brontë’s novel Wuthering Heights. What is their point of view exactly? They see the second part of Wuthering Heights as a counterpoint (a contrasting but parallel element) that comments on the first part. We can also infer that the second part does not reverse or nullify the first part, nonetheless. It is also inferable that the first part has more elements of romance and that in comparison to the first part, the second part of the novel provides less confirmation for romantic reading.

SENTENCE #2: Seeing the two parts as a whole is encouraged by the novel’s sophisticated structure, revealed in its complex use of narrators and time shifts. | This sentence states the author's conviction. The author says that the novel's complex use of narrators and time shifts makes its sophisticated structure known, and this very structure is what inspires one to see the two parts as a whole.

PAUSE AND FIGURE OUT THE TOPIC

Let us now pause and ask ourselves what the topic of the passage could be. Since the passage deals with the structure of Wuthering Heights, an apt topic could be Wuthering Heights's Structure.

SENTENCE #3: Granted that the presence of these elements need not argue for an authorial awareness of novelistic construction comparable to that of Henry James, their presence does encourage attempts to unify the novel’s heterogeneous parts. | This sentence states the author's conviction. The word 'granted' means 'it is true' in this context. 'Argue for' means 'to serve as evidence to support something'. The author means that while it is true that the presence of the contrasting elements need not serve as an evidence to support an authorial awareness of novelistic construction comparable to that of Henry James, the presence of these elements encourages attempts to unify the novel’s heterogeneous parts. In short, the sentence indicates that while Emily Brontë might not have been as meticulous or self-aware as Henry James, the elements within her novel still drive efforts to create a unified narrative from its diverse components.

SENTENCE #4: However, any interpretation that seeks to unify all of the novel’s diverse elements is bound to be somewhat unconvincing. | This sentence states the author's conviction. The author means that any single, cohesive interpretation explaining all the different and diverse elements of Wuthering Heights is destined to have little credibility.

PAUSE AND FIGURE OUT THE ARGUMENT

-> Wuthering Heights has two parts, with the first part receiving more confirmation for a romantic reading.
-> Any single, cohesive interpretation explaining all the different and diverse elements of Wuthering Heights is destined to have little credibility even though the elements in the novel drive efforts to form a unified narrative from the diverse elements.

SENTENCE #5: This is not because such an interpretation necessarily stiffens into a thesis (although rigidity in any interpretation of this or of any novel is always a danger), but because Wuthering Heights has recalcitrant elements of undeniable power that, ultimately, resist inclusion in an all encompassing interpretation. | This sentence states the conviction of the author. The author says that a single, cohesive interpretation explaining all the different and diverse elements of Wuthering Heights is destined to have little credibility not because it necessarily becomes a thesis but because the book has recalcitrant (contrary) elements of undeniable power that actually resist (oppose) inclusion in an all encompassing (inclusive) interpretation. Now, a question that should pop up in our heads is this: What exactly has the author conveyed within the brackets? The author has stated that rigidity (stubbornness) in any interpretation of this or of any novel is always a danger. We can therefore infer that the author is not for any kind of rigidity in interpretation.

SENTENCE #6: In this respect, Wuthering Heights shares a feature of Hamlet. | Last but not least, this sentence states the conviction of the author. It tells us that Hamlet too has contrary elements of undeniable power that actually oppose inclusion in an all encompassing interpretation.

PAUSE AND FIGURE OUT THE MAIN IDEA

Wuthering Heights contains strong, stubborn elements that ultimately cannot be fully integrated into a single, all-encompassing interpretation.

Let us now proceed to the questions.

1. According to the passage, which of the following is a true statement about the first and second parts of Wuthering Heights?

QUESTION REQUIREMENT: Which sentence states a true fact about the first and second parts of Wuthering Heights as per the passage?
LOCATOR CLUE: first and second parts of Wuthering Heights
WHAT WE NEED TO REREAD: Sentence #1 and Sentence #2



SHADOW ANSWER: The first part receives more confirmation for a romantic reading, and seeing the two parts as a whole is encouraged by the novel’s sophisticated structure.

Options that do not match the shadow answer or go with the portion we have reread can be eliminated.

A. The second part has received more attention from critics. | NOT A MATCH | We cannot infer this from the portion we have reread because it does not discuss which part of Wuthering Heights has received more attention. | We cannot determine if this statement is true from the passage. | ELIMINATE

B. The second part has little relation to the first part. | NOT A MATCH | We know that the second part is seen as a counter-point that comments on the first part; hence, it does have a relation to the first part. | This statement is false. | ELIMINATE

C. The second part annuls the force of the first part. | NOT A MATCH | The portion we have reread indicates that the second part does not reverse the first part. So, it inferably does not annul (nullify) the force of the first part. | This statement is false. | ELIMINATE

D. The second part provides less substantiation for a romantic reading. | MATCHES THE SHADOW ANSWER | If the first part receives more confirmation for a romantic reading, it obviously means that the second part provides less substantiation for a romantic reading. | This statement is true as per the passage. | KEEP

E. The second part is better because it is more realistic. | NOT A MATCH | Again, the reread portion does not tell us which part is more realistic. | We cannot determine if this statement is true from the passage. | ELIMINATE

Hence, (D) is the correct answer.

2. Which of the following inferences about Henry James’s awareness of novelistic construction is best supported by the passage?

QUESTION REQUIREMENT: Which option draws an inference about Henry James’s awareness of novelistic construction that is supported by the passage?
LOCATOR CLUE: Henry James
WHAT WE NEED TO REREAD: Sentence #3



SHADOW ANSWER: Henry James possessed an authorial awareness of novelistic construction.

Options that do not match the shadow answer or go with the portion we have reread can be eliminated.

A. James, more than any other novelist, was aware of the difficulties of novelistic construction. | NOT A MATCH | The portion 'more than any other novelist' makes this option out of scope. | ELIMINATE

B. James was very aware of the details of novelistic construction. | MATCHES THE SHADOW ANSWER | Possessing an authorial awareness of novelistic construction means being well aware of the details of novelistic construction. | KEEP

C. James’s awareness of novelistic construction derived from his reading of Brontë. | NOT A MATCH | The portion we have reread does not tell us if Henry James read Brontë or not. | ELIMINATE

D. James’s awareness of novelistic construction has led most commentators to see unity in his individual novels. | NOT A MATCH | The phrase 'most commentators' makes this option out of scope. This sentence is a conviction of the author, and it does not tell us anything about the opinion of most commentators. | ELIMINATE

E. James’s awareness of novelistic construction precluded him from violating the unity of his novels. | NOT A MATCH | We do not know from the reread portion whether or not James's awareness of novelistic construction prevented him from violating the unity of his novels. | ELIMINATE

Hence, (B) is the correct answer.

3. The author of the passage would be most likely to agree that an interpretation of a novel should

QUESTION REQUIREMENT: What would the author of the passage most likely to agree with about the interpretation of a novel (any novel)?
LOCATOR CLUE: interpretation of a novel
WHAT WE NEED TO REREAD: Sentence #4 and Sentence #5



SHADOW ANSWER: The interpretation of a novel should not be rigid as rigidity in any interpretation of any novel is always a danger.

Options that do not match the shadow answer or go with the portion we have reread can be eliminated.

A. not try to unite heterogeneous elements in the novel | NOT A MATCH | Sentence #4 mentions that any interpretation that seeks to unify all of the novel’s diverse elements is bound to be somewhat unconvincing. What is important to note here is that this sentence deals with Wuthering Heights. However, the question asks us to select an option that the author of the passage would most likely agree with about the interpretation of any novel. | ELIMINATE

B. not be inflexible in its treatment of the elements in the novel | MATCHES THE SHADOW ANSWER | Based on our shadow answer, this is our best bet. | KEEP

C. not argue that the complex use of narrators or of time shifts indicates a sophisticated structure | NOT A MATCH | This option is beyond the scope of the portion we have reread. | ELIMINATE

D. concentrate on those recalcitrant elements of the novel that are outside the novel’s main structure | NOT A MATCH | Nothing about recalcitrant elements outside the novel’s main structure is mentioned; hence, we cannot be sure if the author would agree with this. | ELIMINATE

E. primarily consider those elements of novelistic construction of which the author of the novel was aware | NOT A MATCH | The word 'primarily' makes this option extreme, and there is nothing in the reread portion that indicates that the author of the passage would believe that the interpretation of a novel should primarily consider those elements of novelistic construction of which the author of the novel was aware. While this option does a great job of including a lot of words from the passage, the idea stated in this option does not match the intent of the author. | ELIMINATE

Hence, (B) is the correct answer.

4. The author of the passage suggests which of the following about Hamlet?

QUESTION REQUIREMENT: What does the author suggest about Hamlet? (More than one option can be correct.)
LOCATOR CLUE: Hamlet
WHAT WE NEED TO REREAD: Sentence #5 and Sentence #6



SHADOW ANSWER: Hamlet, like Wuthering Heights, has contrary elements of undeniable power that actually oppose inclusion in an all encompassing interpretation.

Options that do not match the shadow answer or go with the portion we have reread can be eliminated.

A. Hamlet has usually attracted critical interpretations that tend to stiffen into theses. | NOT A MATCH | This option recycles words from the passage and links two unrelated portions: Hamlet and "stiffen into thesis". Based on our understanding of the passage, we know that both these portions cannot be related, and if they are somehow related, that is something a perfectly wrong answer option would do. | ELIMINATE

B. Hamlet has elements that are not amenable to an all-encompassing critical interpretation. | MATCHES THE SHADOW ANSWER | "Amenable" means "receptive". And our shadow answer indicates that Hamlet has contrary elements that oppose (meaning the elements are not receptive to) an all encompassing interpretation. | KEEP

C. Hamlet is less open to an all-encompassing critical interpretation than is Wuthering Heights. | NOT A MATCH | There is no such comparison between Hamlet and Wuthering Heights in the reread portion. In other words, nothing in the portion we have reread tells us which of the two novels is more open to an all-encompassing critical interpretation. | ELIMINATE

Hence, (B) is the correct answer.