Self-study
Critic: The idealized world portrayed in romance literature is diametrically opposed to the debased world portrayed in satirical literature. █████████████ ███ █████ ██████████ ██ ████ █████ ██ █████ ████ █████ █████████ ████ ███████ ███ ██████ ██ █████ ████ ███ ██████████ ██████ ███ ████████ ██████████ ███████ ████ ███ █████ █████████ ██ █████ ██████████ ██████ ██████ ███ ██████ ██ ███ ███████ ██████████ ███████ ███████ ███ ██████ ███ ██ ██████████ ██ █████████ ██████████ ██ ███████ ███████████
Summary
The critic concludes that comedy and tragedy cannot be classified as satirical literature or romance literature. She supports this by saying that the moral qualities of major characters change throughout the course of comedies and tragedies.
Missing Connection
The critic concludes that comedy and tragedy can’t be classified as satirical or romance literature, but her premise doesn’t say anything about what classifies something as satirical or romance literature.
To get from her premise to her conclusion, the critic must assume that any work in which major characters’ moral qualities change cannot be classified as a satire or a romance. In other words, she must assume that in satirical and romance literature, major characters’ moral qualities do not change throughout the course of action.
10.
The critic's conclusion follows logically ██ █████ ███ ██ ███ █████████ ██ ████████
a
Some characters in ████████ ███ █████████ ███ ███████ ███████ ███ ██████████
This doesn’t establish whether comedies and tragedies should be classified as satirical or romance literature. (A) fails to prove that if the major characters’ moral qualities change over time, then a work can’t be classified as satirical or romance literature.
b
The visions of ███ █████ █████████ ██ █████ ██ ███████ ███ █████ ██ ██████ ██████ ██████ ███ ██████ ██ ███ ███████
Just because a work’s world changes during the course of action tells us nothing about whether that work can be classified as satirical or romance literature. (B) fails to prove that if characters’ moral qualities change, then the work can’t be classified as satire or romance.
c
If a character ██ █ ███████ ██ █████████ ██ ███ █████████ ██ ███ ██████ ████████ ██ ███ ████████ ██ ██ ███ ████ ██ ███████ ██ ███ ████
This suggests that a character’s moral qualities change throughout a tragedy, but it tells us nothing about whether that tragedy can be classified as satire or romance. (C) fails to prove that a character’s morals changing means that a work can’t be classified as satire or romance.
d
In romance literature ███ █████████ ███████████ ███████████ █████ █████████ ██ ███ ██████ ██████ ███ ██████ ██ ███ ███████
Comedy and tragedy require that the moral qualities of major characters change during the course of the action. If characters’ moral qualities do not change in romance and satire, this guarantees the conclusion that comedy and tragedy cannot be classified as romance or satire.
e
Both comedy and ███████ ███████ ████ ███ █████ █████████ ██ █████ ██████████ ██████ ██████ ███ ██████ ██ ███ ███████
We already know that comedy and tragedy require that the moral qualities of major characters change. The fact that minor characters’ morals also change tells us nothing about whether comedies and tragedies can be classified as romance or satire.