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American Lit > Eng 2750 Exam 2 > Flashcards

Eng 2750 Exam 2 Flashcards

1
Q

“Marjorie Daw”

A

Thomas Bailey Aldrich

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2
Q

“The Storm”

A

Kate Chopin

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3
Q

“Mrs. Adolphus Smith Sporting the Blue Stocking”

A

Fanny Fern

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4
Q

“Marcia”

A

Rebecca Harding Davis

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5
Q

“A New England Nun”

A

Mary Wilkins Freeman

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6
Q

“The Yellow Wallpaper”

A

Charlotte Perkins Gilman

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7
Q

“Why I Wrote the Yellow Wallpaper”

A

Charlotte Perkins Gilman

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8
Q

“4th of July in Jonesville”

A

Marietta Holley

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9
Q

“The Editor’s Study”

A

W.D. Howells

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10
Q

“Realists Must Wait”

A

W.D. Howells

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11
Q

“Editha”

A

W.D. Howells

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12
Q

The Art of Fiction

A

Henry James

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13
Q

“Her Story”

A

Harriet Prescott Spofford

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14
Q

“The Lady or the Tiger?”

A

Frank Stockton

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15
Q

“Fenimore Cooper’s Literary Offenses”

A

Mark Twain

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16
Q

“Miss Grief”

A

Constance Fenimore Woolson

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17
Q

“The Lady of Little Fishing”

A

Constance Fenimore Woolson

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18
Q
  • Associated with Alfred Bendixen’s Gender & Realism
  • The idea that men see women through an idealized view of what women should be and how women should act
  • “Marjorie Daw” by Thomas Bailey Aldrich is an example
A

Male Gaze

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19
Q
  • Associated with W.D Howells
  • The truth is what is beautiful
  • If something is true it can’t be indecent or corrupt
  • A means to truly use your eyes and see things in their correct proportion
  • The ideal is not true, is ugly
  • Ordinary characters, events, & life
  • Truth to human experience
A

Realism (Howells)

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20
Q
  • Associated with Henry James in The Art of Fiction
  • Reality is infinite/unlimited
  • Base what other experiences are like on your own experiences
  • You can use your own experience to convert a situation into a more realistic scenario
  • Generalizing the idea of human experience
A

Realism (James)

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21
Q
  • Associated with Barbara Welter
  • Based on ideas in women’s magazines and etiquette books
  • 4 cardinal virtues: Piety, Purity, Submissiveness, Domesticity
  • Becomes a model for women of all class
  • Claims that women can create and maintain social order & moral stability through domesticity
A

True Womanhood

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22
Q
  • Associated with Martha J. Cutter
  • Womanhood is public, independent, and autonomous
  • Ideas expanded from virtues of True Womanhood
  • Seen as scary and threatening to men because values complete opposite of True Womanhood
A

New Womanhood

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23
Q

“sombre clouds that were rolling with sinister intention from the west, accompanied by a sullen, threatening roar.”

A

“The Storm” by Kate Chopin

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24
Q

“But she felt very warm and often stopped to mop her face on which the perspiration gathered in beads.”

A

“The Storm” by Kate Chopin

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25
Q

“The rain beat upon the low, shingled roof with a force and clatter that threatened to break an entrance and deluge them from there. They were in the dining room–the sitting room–the general utility room. Adjoining was her bed room, with Bibi’s couch along side her own. The door stood open, and the room with its white, monumental bed, its closed shutters, looked dim and mysterious.”

A

“The Storm” by Kate Chopin

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26
Q

“She went and stood at the window with a greatly disturbed look on her face. She wiped the frame that was clouded with moisture. It was stiflingly hot. Alcee got up and joined her at the window, looking over her shoulder. The rain was coming down in sheets obscuring the view of far-off cabins and enveloping the distant wood in a gray mist. The playing of the lightening was incessant. A bolt struck a tall chinaberry tree at the edge of the field. It filled all visible spaces with a blinding glare and the crash seemed to invade the very boards they stood upon.”

A

“The Storm” by Kate Chopin

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27
Q

“The rain was over; and the sun was turning the glistening green world into a palace of gems.”

A

“The Storm” by Kate Chopin

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28
Q

“So the storm passed and every one was happy.”

A

“The Storm” by Kate Chopin

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29
Q

“Louisa’s feet had turned into a path, smooth maybe under a calm, serene sky, but so straight and unswerving that it could only meet a check at her grave, and so narrow that there was no room for any one at her side.”

A

“A New England Nun” by Mary Wilkins Freeman

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30
Q

“That afternoon she sat with her needle-work at the window, and felt fairly steeped in peace. Lily Dyer, tall and erect and blooming, went past; but she felt no qualm. If Louisa Ellis had sold her birthright she did not know it, the taste of the pottage was so delicious, and had been her sole satisfaction for so long. Serenity and placid narrowness had become to her as the birthright itself. She gazed ahead through a long reach of future days strung together like pearls in a rosary, every one like the others, and all smooth and flawless and innocent, and her heart went up in thankfulness. Outside was the fervid summer afternoon; the air was filled with the sounds of the busy harvest of men and birds and bees; there were halloos, metallic clatterings, sweet calls, and long hummings. Louisa sat, prayerfully numbering her days, like an uncloistered nun.

A

“A New England Nun” by Mary Wilkins Freeman

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31
Q

“John laughs at me, of course, but one expects that in a marriage.”

A

“The Yellow Wall-Paper” by Charlotte Perkins Gilman

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32
Q

“John is practical in the extreme. He has no patience with faith, an intense horror of superstition, and he scoffs openly at any talk of things not to be felt and seen and put down in figures.”

A

“The Yellow Wall-Paper” by Charlotte Perkins Gilman

33
Q

“I sometimes fancy that in my condition if I had less opposition and more society and stimulus–but John says the very worst thing I can do is to think about my condition, and I confess it always makes me feel bad. So I will let it alone and talk about the house.”

A

“The Yellow Wall-Paper” by Charlotte Perkins Gilman

34
Q

“I get unreasonably angry with John sometimes. I’m sure I never used to be so sensitive. I think it is due to this nervous condition. But John says if I feel so, I shall neglect proper self-control; so I take pains to control myself–before him, at least, and that makes me very tired.”

A

“The Yellow Wall-Paper” by Charlotte Perkins Gilman

35
Q

“One of those sprawling flamboyant patterns committing every artistic sin. It is dull enough to confuse the eye in following, pronounced enough to constantly irritate and provoke study, and when you follow the lame uncertain curves for a little distance they suddenly commit suicide–plunge off at outrageous angles, destroy themselves in unheard of contradictions. The color is repellent, almost revolting; a smouldering unclean yellow, strangely faded by the slow-turning sunlight. It is a dull yet lurid orange in some places, a sickly sulphur tint in others. No wonder the children hated it!”

A

“The Yellow Wall-Paper” by Charlotte Perkins Gilman

36
Q

“I get positively angry with the impertinence of it and the everlastingness. Up and down and sideways they crawl, and those absurd, unblinking eyes are everywhere. There is one place where two breadths didn’t match and the eyes go all up and down the line, one a little higher than the other.”

A

“The Yellow Wall-Paper” by Charlotte Perkins Gilman

37
Q

“I’m getting really fond of the room in spite of the wall-paper. Perhaps because of the wall-paper.”

A

“The Yellow Wall-Paper” by Charlotte Perkins Gilman

38
Q

“Looked at in one way each breadth stands alone, the bloated curves and flourishes–a kind of ‘debased Romanesque’ with delirium tremens–go waddling up and down in isolated columns of fatuity. But, on the other hand, they connect diagonally, and the sprawling outlines run off in great slanting waves of opting horror, like a lot of wallowing seaweeds in full chase.”

A

“The Yellow Wall-Paper” by Charlotte Perkins Gilman

39
Q

“The whole thing goes horizontally, too, at least it seems so, and I exhaust myself in trying to distinguish the order of its going in that direction. They have used a horizontal breadth for a frieze, and that adds wonderfully to the confusion. There is one end of the room where it is almost intact, and there, when the crosslights fade and low sun shines directly upon it, I can almost fancy radiation after all–the interminable grotesques seem to form around a common centre and rush off in headlong plunges of equal distraction. It makes me tired to follow it. I will take a nap I guess.”

A

“The Yellow Wall-Paper” by Charlotte Perkins Gilman

40
Q

“You think you have mastered it, but just as you get well underway in following, it turns a back-somersault and there you are. It slaps you in the face, knocks you down, and tramples upon you. It is like a bad dream.”

A

“The Yellow Wall-Paper” by Charlotte Perkins Gilman

41
Q

“can it be helped if one happens to be young, well and strong, passably good-looking, with some money that one has inherited and more that one has earned–in all, enough to make life comfortable–and if upon this foundation rests also the pleasant superstructure of a literary success?

A

“Miss Grief” by Constance Fenimore Woolson

42
Q

“one day I happened to be at home in the afternoon, owing to a pouring rain and a fit of doubt concerning Miss Abercrombie. For I had constructed a careful theory of that young lady’s characteristics in my own mind, and she had lived up to it delightfully until the previous evening, when with one word she had blown it to atoms and taken flight, leaving me standing, as it were, on a desolate shore, with nothing but a handful of mistaken inductions wherewith to console myself.”

A

“Miss Grief” by Constance Fenimore Woolson

43
Q

“I drove homeward in a vixenish temper: it was foggy without, and very foggy within. What Ethelind really was, now that she had broken through my elaborately-built theories, I was not able to decide.”

A

“Miss Grief” by Constance Fenimore Woolson

44
Q

“Here and there was radiance like the flash of a diamond, but each poem, almost each verse and line, was marred by some fault or lack which seemed willful perversity, like the work of an evil sprite. It was like a case of jeweler’s wares set before you, with each ring unfinished, each bracelet too large or too small for its purpose, each breast pin without its fastening, each necklace purposely broken.”

A

“Miss Grief” by Constance Fenimore Woolson

45
Q

“he was so closely interwoven with every part of the tale that to take him out was like taking out one especial figure in a carpet: that is impossible unless you unravel the whole. At last I did unravel the whole, and then the story was no longer good, or Aaronna’s: it was weak, and mine.”

A

“Miss Grief” by Constance Fenimore Woolson

46
Q

“Not that poor Aaronna’s poems were evil: they were simply unrestrained, large, vast, like the skies or the wind. Ethelind was bounded on all sides, like a violet in a garden-bed.”

A

“Miss Grief” by Constance Fenimore Woolson

47
Q

“She, with the greater power, failed–I, with the less, succeeded. But no praise is due to me for that. When I die ‘Armor’ is to be destroyed unread: not even Ethelind is to see it. For women will misunderstand each other; and, dear and precious to me as my sweet wife is, I could not bear that she or any one should cast so much as a thought of scorn upon the memory of the writer”

A

“Miss Grief” by Constance Fenimore Woolson

48
Q

“Half a dozen poems or a story–a blur of sunsets, duchesses, violets, bad French, and worse English; not a solid grain of common-sense, not a hint of reality or even of possibility, in the whole of it. The letter–truth in every word: formal, hard, practical, and the meaning of it a woman’s cry for bread for her hungry children.”

A

“Marcia” by Rebecca Harding Davis

49
Q

“My father thinks women are like mares–only useful to bring forth children. My mother’s children all died in babyhood but me. There she has lived all her life, with the swamp on one side and the forest of live-oak on the other: nothing to do, nothing to think of. Oh, it was frightful! With a mind like hers, any woman would go mad, with that eternal forest and swamp, and the graves of her dead babies just in sight! She rubbed snuff a good deal to quiet herself, but of late years she has taken opium.”

A

“Marcia” by Rebecca Harding Davis

50
Q

“The spelling was atrocious; the errors of grammar in every line beyond remedy. The lowest pupil in our public schools would have detected her ignorance on the first page.”

A

“Marcia” by Rebecca Harding Davis

51
Q

“woman’s purifying passionless love bringing an erring man back to Christ.”

A

“The Cult of True Womanhood” by Barbara Welter

52
Q

“‘hers is a pious mind. Her confiding nature leads her more readily than men to accept the proffered grace of the Gospel.’”

A

“The Cult of True Womanhood” by Barbara Welter

53
Q

“irreligion was almost to awful to contemplate. Women were warned not to let their literary or intellectual pursuits take them away from God. Sarah Josepha Hale spoke darkly of those who, like Margaret Fuller, threw away the ‘One True Book’ for others, open to error.”

A

“The Cult of True Womanhood” by Barbara Welter

54
Q

“all True Women were urged, in the strongest possible terms, to maintain their virtue, although men, being by nature more sensual than they, would try to assault it.”

A

“The Cult of True Womanhood” by Barbara Welter

55
Q

“William Alcott, guiding young men in their relations with the opposite sex, told them that ‘Nothing is better calculated to preserve a young man from contamination of low pleasures and pursuits than frequent intercourse with the more refined and virtuous of the other sex.’”

A

“The Cult of True Womanhood” by Barbara Welter

56
Q

“‘working like nature, in secret’ her love goes forth to the world ‘to regulate its pulsation, and send forth from its heart, in pure and temperate flow, the life-giving current.’”

A

“The Cult of True Womanhood” by Barbara Welter

57
Q

“‘the true dignity and beauty of the female character seem to consist in a right understanding and faithful and cheerful performance of social and family duties.’”

A

“The Cult of True Womanhood” by Barbara Welter

58
Q

“‘There is composure at home; there is something sedative in the duties which home involves. It affords security not only from the world, but from delusions and errors of every kind.’”

A

“The Cult of True Womanhood” by Barbara Welter

59
Q

“the domestic fireside is the great guardian of society against the excesses of human passions.’”

A

“The Cult of True Womanhood” by Barbara Welter

60
Q

“‘even if we cannot reform the world in a moment, we can begin the work by reforming ourselves and our households”

A

“The Cult of True Womanhood” by Barbara Welter

61
Q

“Real women often felt they did not live up to the ideal of True Womanhood: some of them blamed themselves, some challenged the standard, some tried to keep the virtues and enlarge the scope of womanhood.”

A

“The Cult of True Womanhood” by Barbara Welter

62
Q

“Some of the most interesting recent feminist criticism focuses on the idea of the ‘male gaze,’ on the way men look at women without really seeing complete individuals, on the way men can turn women into imaginative constructs that actually reflect male desires and fantasies. Many of the works of fiction that established realism as a powerful mode focus on the ways men imagine women in terms of their own psychic needs and desires, instead of honestly confronting women as real human beings with their own individual needs and desires.”

A

“Imagining Gender” by Alfred Bendixen

63
Q

“Write me more about that little girl in the hammock. That was very pretty, all that about the Dresden china shepherdess and the pond-lily; the imagery a little mixed, perhaps, but very pretty.”

A

“Marjorie Daw” by Thomas Bailey Aldrich

64
Q

“The conversation again turned on you, and again I remarked that inexplicable look of interest which had lighted up her face the previous evening. Since then, I have seen Miss Daw perhaps ten times, perhaps oftener, and on each occasion I found that when I was not speaking of you, or your sister, or some person or place associated with you, I was not holding her attention.”

A

“Marjorie Daw” by Thomas Bailey Aldrich

65
Q

“Humanity is immense, and reality has a myriad forms”

A

The Art of Fiction by Henry James

66
Q

“It is equally excellent and inconclusive to say that one must write from experience.”

A

The Art of Fiction by Henry James

67
Q

“It is the very atmosphere of the mind; and when the mind is imaginative–much more when it happens to be that of a man of genius–it takes to itself the faintest hints of life, it converts the very pulses of the air into revelations.”

A

The Art of Fiction by Henry James

68
Q

“There is a sort of fascination in it. I suppose that at the bottom of his heart every man would like at times to have his courage tested, to see how he would act.”

A

“Editha” by W.D. Howells

69
Q

“It is rather morbid. Still, that’s what it comes to, unless you’re swept away by ambition, or driven by conviction. I haven’t the conviction or the ambition, and the other thing is what it comes to with me. I ought to have been a preacher, after all; then I couldn’t have asked it of myself, as I must, now I’m a lawyer. And you believe it’s a holy war, Editha?’ he suddenly addressed her. ‘Oh, I know you do! But you wish me to believe so, too?’”

A

“Editha” by W.D. Howells

70
Q

“‘There is no honor above America with me. In this great hour there is no higher honor.’”

A

“Editha” by W.D. Howells

71
Q

“‘Well, you must call me Captain, now; or Cap, if you prefer; that’s what the boys call me. Yes, we’ve had a meeting at the town hall, and everybody has volunteered; and they selected me for captain, and I’m going to the war, the big war, the glorious war, the holy war ordained by the pocket Providence that blesses butchery.”

A

“Editha” by W.D. Howells

72
Q

“a lapse into depths out of which it seemed as if she never could rise again; then a lift into clouds far above all grief, black clouds, that blotted out the sun, but where she soared with him, with George, George! She had the fever that she expected of herself, but she did not die in it”

A

“Editha” by W.D. Howells

73
Q

“‘Yes,’ the lady said, looking at Editha’s lips in nature and then at her lips in art, and giving an empirical touch to them in the picture. ‘But how dreadful of her! How

A

“Editha” by W.D. Howells

74
Q

“‘Yes,’ the lady said, looking at Editha’s lips in nature and then at her lips in art, and giving an empirical touch to them in the picture. ‘But how dreadful of her! How perfectly–excuse me–how vulgar!”

A

“Editha” by W.D. Howells

75
Q

“Henry James spoke of the ‘documentary’ value of Howell’s work, thereby calling attention to realism’s preoccupation with the physical surfaces, the particularities of the sensate world in which fictional characters lived. Characters in Howell’s novels were ‘representative’ or ordinary characters–people much like the readers themselves, without fame or huge fortunes, without startling accomplishments or immense abilities.”

A

“Forms of Realism” by Nina Baym

76
Q

“I make truth the prime test of a novel. If I do not find that it is like life, then it does not exist for me as art; it is ugly, it is ludicrous, it is impossible.”

A

Novel-Writing and Novel-Reading: An Impersonal Explanation by W.D. Howells

77
Q

“the truth which is the only beauty, is truth to human experience, and human experience is so manifold and so recondite, that no scheme can be too remote, too airy for the test.”

A

Novel-Writing and Novel-Reading: An Impersonal Explanation by W.D. Howells

78
Q

“It isn’t very much like a real grasshopper, but it’s a great deal nicer, and it’s served to represent the notion of a grasshopper ever since man emerged from barbarism.”

A

“The Editor’s Study” by W.D. Howells

American Lit (2 decks)

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