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British American Poems > Midterms > Flashcards

Midterms Flashcards

1
Q

Shall I compare thee to a summer’s day?

A

Shakespearean Sonnet no. 18 (William Shakespeare)

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2
Q

Thou art more lovely and more temperate:

A

Shakespearean Sonnet no. 18 (William Shakespeare)

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3
Q

Round winds do shake the darling buds of May,

A

Shakespearean Sonnet no. 18 (William Shakespeare)

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4
Q

And summer’s lease hath all too short a date:

A

Shakespearean Sonnet no. 18 (William Shakespeare)

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5
Q

Sometime too hot the eye of heaven shines,

A

Shakespearean Sonnet no. 18 (William Shakespeare)

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6
Q

Sometime too hot the eye of heaven shines,

A

Shakespearean Sonnet no. 18 (William Shakespeare)

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7
Q

And often is his gold complexion dimmed,

A

Shakespearean Sonnet no. 18 (William Shakespeare)

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8
Q

And every fair from fair sometime declines,

A

Shakespearean Sonnet no. 18 (William Shakespeare)

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9
Q

By chance, or nature’s changing course untrimmed:

A

Shakespearean Sonnet no. 18 (William Shakespeare)

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10
Q

But thy eternal summer shall not fade,

A

Shakespearean Sonnet no. 18 (William Shakespeare)

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11
Q

Nor lose possession of that fair thou ow’st,

A

Shakespearean Sonnet no. 18 (William Shakespeare)

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12
Q

Nor shall death brag thou wand’rest in his shade,

A

Shakespearean Sonnet no. 18 (William Shakespeare)

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13
Q

When in eternal lines to time thou grow’st

A

Shakespearean Sonnet no. 18 (William Shakespeare)

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14
Q

So long as men can breathe or eyes can see,

A

Shakespearean Sonnet no. 18 (William Shakespeare)

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15
Q

So long lives this, and this gives life to thee.

A

Shakespearean Sonnet no. 18 (William Shakespeare)

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16
Q

Foot:

A

two or more syllables that make up the smallest unit of rhythm in poems.

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17
Q

Iamb

A

a foot that has two syllables. One unstressed followed by one stressed.

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18
Q

Trochee:

A

a foot that has two syllables, one stressed followed by one unstressed.

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19
Q

Anapest:

A

: a foot that has three syllables, two unstressed followed by one stressed

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20
Q

Dactyl:

A

a foot has three syllables, one stressed followed by two unstressed.

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21
Q

Meter:

A

rhythm in a line of a poem made by repetition of a foot.

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22
Q

Let me not to the marriage of true minds

A

Shakespearean Sonnet no.116 (William Shakespeare)

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23
Q

Admit impediments. Love is not love

A

Shakespearean Sonnet no.116 (William Shakespeare)

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24
Q

Which alters when it alternation finds,

A

Shakespearean Sonnet no.116 (William Shakespeare)

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25
Q

Or bends with the remover to remove:

A

Shakespearean Sonnet no.116 (William Shakespeare)

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26
Q

O no; it is an ever-fixed mark,

A

Shakespearean Sonnet no.116 (William Shakespeare)

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27
Q

That looks on tempests, and is never shaken;

A

Shakespearean Sonnet no.116 (William Shakespeare)

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28
Q

It is the star to every wandering bark,

A

Shakespearean Sonnet no.116 (William Shakespeare)

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29
Q

Whose worth’s unknown, although his height be taken.

A

Shakespearean Sonnet no.116 (William Shakespeare)

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30
Q

Love’s not Time’s fool, though rosy lips and cheeks

A

Shakespearean Sonnet no.116 (William Shakespeare)

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31
Q

Within his bending sickle’s compass come;

A

Shakespearean Sonnet no.116 (William Shakespeare)

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32
Q

Love alters not with his brief hours and weeks,

A

Shakespearean Sonnet no.116 (William Shakespeare)

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33
Q

But bears it out even to the edge of doom.

A

Shakespearean Sonnet no.116 (William Shakespeare)

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34
Q

It this be error and upon me proved,

A

Shakespearean Sonnet no.116 (William Shakespeare)

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35
Q

I never writ, nor no man ever loved.

A

Shakespearean Sonnet no.116 (William Shakespeare)

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36
Q

I never writ, nor no man ever loved.

A

Shakespearean Sonnet no.116 (William Shakespeare)

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37
Q

Sonnet:

A
  • Characteristics:
     one stanza, 14 line poem, written in iambic pentameter.
     Two-part thematic structure: problem and solution/ question and answer/ proposition and interpretation
     Has volta (turn) which allows one part to transit to the next part.
     Has strict rhyme scheme.
  • Types of sonnets:
     Shakespearen sonnet: rhyme scheme of abab, cdcd, efef (quatrains), gg (couplet)
     Shakespeare’s sonnet sequence: a series of sonnets linked to one another and dealing with a few repeating motifs (love, beauty, and mortality)
     Italian sonnet: original form of sonnect with rhyme of (octet) abba abba (sestet) CDECDE or CDCDCD.
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38
Q

Mark but this flea, mark in this,

A

The Flea (John Donne)

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39
Q

How little that which thou deniest me is;

A

The Flea (John Donne)

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40
Q

It sucked me first, and now it sucks thee.

A

The Flea (John Donne)

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41
Q

And in this flea our two bloods mingled be;

A

The Flea (John Donne)

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42
Q

Thou know’st that this cannot be said

A

The Flea (John Donne)

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43
Q

A sin, nor shame, nor loss of maidenhead,

A

The Flea (John Donne)

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44
Q

Yet this enjoys before it woo,

A

The Flea (John Donne)

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45
Q

And pampered swells with one blood made of two,

A

The Flea (John Donne)

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46
Q

And this, alas, is more than we would do.

A

The Flea (John Donne)

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47
Q

Oh stay, three lives in one flea spare,

A

The Flea (John Donne)

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48
Q

Where we almost, nay more than married are.

A

The Flea (John Donne)

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49
Q

This flea is you and I, and this

A

The Flea (John Donne)

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50
Q

Our marriage bed, and marriage temple is;

A

The Flea (John Donne)

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51
Q

Though parents grudge, and you, w’are met,

A

The Flea (John Donne)

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52
Q

And cloistered in these living walls of jet.

A

The Flea (John Donne)

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53
Q

Though use make you apt to kill me,

A

The Flea (John Donne)

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54
Q

Let not to that, self-murder added be,

A

The Flea (John Donne)

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55
Q

And sacrilege, three sins in killing three.

A

The Flea (John Donne)

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56
Q

Cruel and sudden, hast thou since

A

The Flea (John Donne)

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57
Q

Purpled thy nail, in blood of innocence?

A

The Flea (John Donne)

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58
Q

Wherein could this flea guilty be,

A

The Flea (John Donne)

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59
Q

Except in that drop which it sucked from thee?

A

The Flea (John Donne)

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60
Q

Yet thou triumph’st and say’st that thou

A

The Flea (John Donne)

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61
Q

Find’st not thy self, nor me the weaker now;

A

The Flea (John Donne)

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62
Q

‘Tis true; then learn how false, fears be:

A

The Flea (John Donne)

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63
Q

Just so much honor, when thou yield’st to me,

A

The Flea (John Donne)

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64
Q

Will waste, as this flea’s death took life from thee.

A

The Flea (John Donne)

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65
Q

Metaphysical poetry:

A
  • Marked by elaborate figurative language, paradoxes, philosophical topics, and original conceits.
  • Reacts against the traditional love poems.
  • First written by John Dryden
  • Techniques: extreme comparisons, puns, paradoxes, obscurity, exaggeration.
  • Relaxed previously strict use of meter and explored new ideas.
  • Peak during 17th century in England and Europe.
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66
Q

Dramatic Monologue:

A
  • A dramatic technique employed in poetry: dramatic effect in a poem.
    1) Characters and settings
    2) A speaker utters the entire poem in a specific situation at a critical moment to an implied auditor
    3) There’s a gap between what the speaker says and what he actually reveals about his character.
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67
Q

Neo-Classicism

A
  • Reaction against optimistic, exuberant and enthusiastic
  • Renaissance view of man: fundamentally good/ infinite potential of growth
  • Neo-classical view of man: sinful and limited being, progress through education
  • The enlightment period -> education, reverence for logic, development of science, respect for form, Greek/ roman influence, return to style and form.
  • Epic/ Mock-epic, satire, epigram, heroic couplet, clear and logical, intellect
  • John Dryden, Alexander Pope
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68
Q

Heroic couplet:

A

closed couplet with iambic pentameter. Aa bb cc dd rhymes. Do not extend their sense beyond the line’s end.

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69
Q

Epic:

A

a lengthy narrative poem concerning a serious subject containing details of heroic deeds and events significant to a culture or nation.
 Mock-Epic: epic written about a subject that is not really worthy of an epic.
 Satires or parodies, typically put a fool in the role of the hero or exaggerate the heroic qualities to the extent that they become absurb.
 The poetic effect comes from the gap between the subject matter and the style.

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70
Q

When my mother died I was very young,

A

The Chimney Sweeper (from Innocence) (William Blake)

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71
Q

And my father sold me while yet my tongue,

A

The Chimney Sweeper (from Innocence) (William Blake)

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72
Q

Could scarcely cry weep weep weep weep,

A

The Chimney Sweeper (from Innocence) (William Blake)

73
Q

So your chimneys I sweep & in soot I sleep.

A

The Chimney Sweeper (from Innocence) (William Blake)

74
Q

Theres little Tom Dacre, who cried when his head

A

The Chimney Sweeper (from Innocence) (William Blake)

75
Q

That curled like a lambs back was shay’d, so I said,

A

The Chimney Sweeper (from Innocence) (William Blake)

76
Q

Hush Tom never mind it, for when your head’s bare,

A
77
Q

You know that the sot cannot spoil your white hair

A

The Chimney Sweeper (from Innocence) (William Blake)

78
Q

And so he was quite. & that very night.

A

The Chimney Sweeper (from Innocence) (William Blake)

79
Q

As Tom was a sleeping he had such a sight

A

The Chimney Sweeper (from Innocence) (William Blake)

80
Q

That htousands of sweepers Dick, Joe, Ned, & Jack

A

The Chimney Sweeper (from Innocence) (William Blake)

81
Q

Were all of them lock’d up in coffins of black,

A

The Chimney Sweeper (from Innocence) (William Blake)

82
Q

And by came an Angel who had a bright key

A

The Chimney Sweeper (from Innocence) (William Blake)

83
Q

And he open’d the coffins & set them all free.

A

The Chimney Sweeper (from Innocence) (William Blake)

84
Q

Then down a green plain leaping laughing they run

A

from innocence

85
Q

And wash in a river and shine in the Sun.

A

The Chimney Sweeper (from Innocence) (William Blake)

86
Q

Then naked & white, all their bags left behind.

A

The Chimney Sweeper (from Innocence) (William Blake)

87
Q

They rise upon clouds, and sport in the wind.

A

The Chimney Sweeper (from Innocence) (William Blake)

88
Q

And the Angel told Tom, if he’d be a good boy,

A

The Chimney Sweeper (from Innocence) (William Blake)

89
Q

He’d have God for his father & never want joy.

A

The Chimney Sweeper (from Innocence) (William Blake)

90
Q

And so Tom awoke and we rose in the dark

A

The Chimney Sweeper (from Innocence) (William Blake)

91
Q

And got with our bags & our brushes to work.

A

The Chimney Sweeper (from Innocence) (William Blake)

92
Q

Tho’ the morning was cold, Tom was happy & warm

A

The Chimney Sweeper (from Innocence) (William Blake)

93
Q

So if all do their duty, they need not fear harm.

A

The Chimney Sweeper (from Innocence) (William Blake)

94
Q

A little black thing among the snow,

A

The Chimney-Sweeper (from Experience) (William Blake)

95
Q

Crying ‘weep! Weep!’ in notes of woe!

A

The Chimney-Sweeper (from Experience) (William Blake)

96
Q

‘Where are thy father and mother? Say!’ –

A

The Chimney-Sweeper (from Experience) (William Blake)

97
Q

‘They are both gone up to the church to pray

A

The Chimney-Sweeper (from Experience) (William Blake)

98
Q

‘Because I was happy upon the heath.

A

The Chimney-Sweeper (from Experience) (William Blake)

99
Q

And smiled among the winter’s snow,

A

The Chimney-Sweeper (from Experience) (William Blake)

100
Q

They clothed me in the clothes of death,

A

The Chimney-Sweeper (from Experience) (William Blake)

101
Q

And taught me to sing the notes of woe.

A

The Chimney-Sweeper (from Experience) (William Blake)

102
Q

‘And because I am happy and dance and sing.

A

The Chimney-Sweeper (from Experience) (William Blake)

103
Q

They think they have done me no injury,

A

The Chimney-Sweeper (from Experience) (William Blake)

104
Q

Who made up a heaven of our misery.’

A

The Chimney-Sweeper (from Experience) (William Blake)

105
Q

And are gone to praise God and His priest and king,

A

The Chimney-Sweeper (from Experience) (William Blake)

106
Q

She walks in beauty, like the night

A

She Walks In Beauty (Lord George Gordon Byron)

107
Q

Of cloudless climes and starry skies:

A

She Walks In Beauty (Lord George Gordon Byron)

108
Q

And all that’s best of dark and bright

A

She Walks In Beauty (Lord George Gordon Byron)

109
Q

Meet in her aspect and her eyes;

A

She Walks In Beauty (Lord George Gordon Byron)

110
Q

Thus mellowed to that tender light

A

She Walks In Beauty (Lord George Gordon Byron)

111
Q

Which heaven to gaudy day denies.

A

She Walks In Beauty (Lord George Gordon Byron)

112
Q

One shade the more, one ray the less,

A

She Walks In Beauty (Lord George Gordon Byron)

113
Q

Had half impaired the nameless grace

A

She Walks In Beauty (Lord George Gordon Byron)

114
Q

Which waves in every raven trees,

A

She Walks In Beauty (Lord George Gordon Byron)

115
Q

Or softly lightens o’er her face;

A

She Walks In Beauty (Lord George Gordon Byron)

116
Q

Where thoughts serenely sweet express,

A

She Walks In Beauty (Lord George Gordon Byron)

117
Q

How pure, how dear their dwelling-place.

A

She Walks In Beauty (Lord George Gordon Byron)

118
Q

And on that cheek, and o’er that brow,

A

She Walks In Beauty (Lord George Gordon Byron)

119
Q

So soft, so calm, yet eloquent,

A

She Walks In Beauty (Lord George Gordon Byron)

120
Q

The smiles that win, the tints that glow,

A

She Walks In Beauty (Lord George Gordon Byron)

121
Q

But tell of days in goodness spent.

A

She Walks In Beauty (Lord George Gordon Byron)

122
Q

A mind at peace with all below,

A

She Walks In Beauty (Lord George Gordon Byron)

123
Q

A heart whose love is innocent.

A

She Walks In Beauty (Lord George Gordon Byron)

124
Q

Byronic Hero

A
  • Bryon and other many characters in romantic novels (e.g. Rochester in Jane Eyre)
     Intelligent and well-educated
     Sophisticated
     Attractive and charming
     Prone to mood swings
     Disrespectful to authority
     Arrogant and cynical
     Indulging in self-destructive behavior
     Getting into trouble
125
Q

Lyrical Ballads

A

1) Poetry is the expression or overflow of feeling, or emerges from a process of imagination in which feelings play the crucial part (<-> imitation of nature, reason, judgment)
2) Poetry originated in primitive utterances of passion which, through organic causes, where naturally rhythmic and figurative. It is essential to poetry that its language be the spontaneous and genuine, not the contrived and simulated, expression of the emotion state of the poet <-> poetic diction.
3) The born poet is distinguished from other men particularly by his inheritance of an intense sensibility and a susceptibility to passion. <–> poet as a maker
4) The most important function of poetry is, by its pleasurable resources, to foster and subtilize the sensibility, emotions, and sympathies of the reader.<–> instruct and correct

126
Q

A nature poet:

A
  • Children’s spiritual communication with nature
  • Poems often present an instant when nature speaks to him and he responds by speaking for nature
  • Sight/ memory/ imagination
127
Q

Romanticism:

A
  • Literary and intellectual movement that originated in Europe toward the end of 18th C.
  • Revolt against the aristocratic social and political norms of the age of enlightenment and a reaction against the scientific rationalization of nature.
128
Q

That floats on high o’er values and hills,

A

I Wandered Lonely as a Cloud (William Wordsworth)

129
Q

When all at once I saw a crowd.

A

I Wandered Lonely as a Cloud (William Wordsworth)

130
Q

A host, of golden daffodils;

A

I Wandered Lonely as a Cloud (William Wordsworth)

131
Q

Beside the lake, beneath the trees;

A

I Wandered Lonely as a Cloud (William Wordsworth)

132
Q

Fluttering and dancing in the breeze.

A

I Wandered Lonely as a Cloud (William Wordsworth)

133
Q

Continuous as the stars that shine

A

I Wandered Lonely as a Cloud (William Wordsworth)

134
Q

And twinkle on the milky way,

A

I Wandered Lonely as a Cloud (William Wordsworth)

135
Q

They stretched in never-ending line

A

I Wandered Lonely as a Cloud (William Wordsworth)

136
Q

Along the margin of a bay:

A

I Wandered Lonely as a Cloud (William Wordsworth)

137
Q

Ten thousand saw I at a glance,

A

I Wandered Lonely as a Cloud (William Wordsworth)

138
Q

Tossing their heads in sprightly dance.

A

I Wandered Lonely as a Cloud (William Wordsworth)

139
Q

The waves beside them danced; but they

A

I Wandered Lonely as a Cloud (William Wordsworth)

140
Q

Out-did the sparkling waves in glee:

A

I Wandered Lonely as a Cloud (William Wordsworth)

141
Q

A poet cloud not but be gay,

A

I Wandered Lonely as a Cloud (William Wordsworth)

142
Q

In such a jocund company:

A

I Wandered Lonely as a Cloud (William Wordsworth)

143
Q

I gazed —and gazed —but little thought

A

I Wandered Lonely as a Cloud (William Wordsworth)

144
Q

What wealth the show to me had brought:

A

I Wandered Lonely as a Cloud (William Wordsworth)

145
Q

For oft, when on my couch I lie

A

I Wandered Lonely as a Cloud (William Wordsworth)

146
Q

In vacant or in pensive mood,

A

I Wandered Lonely as a Cloud (William Wordsworth)

147
Q

They flash upon that inward eye

A

I Wandered Lonely as a Cloud (William Wordsworth)

148
Q

Which is the bliss of solitude;

A

I Wandered Lonely as a Cloud (William Wordsworth)

149
Q

And then my heart with pleasure fills,

A

I Wandered Lonely as a Cloud (William Wordsworth)

150
Q

And dances with the daffodils.

A

I Wandered Lonely as a Cloud (William Wordsworth)

151
Q

Soliloquy:

A

a poem, discourse, or utterance of a character in a drama that has the form of a monologue or gives the illusion of being a series of unspoken reflections

152
Q

The gray sea and the long black land;

A

Meeting at Night (Robert Browning)

153
Q

And the yellow half-moon large and low;

A

Meeting at Night (Robert Browning)

154
Q

And the startled little waves that leap

A

Meeting at Night (Robert Browning)

155
Q

In fiery ringlets from their sleep,

A

Meeting at Night (Robert Browning)

156
Q

As I gain the cove with pushing prow,

A

Meeting at Night (Robert Browning)

157
Q

And quench its speed I’ the slushy sand.

A

Meeting at Night (Robert Browning)

158
Q

Then a mile of warm sea-scented beach

A

Meeting at Night (Robert Browning)

159
Q

Three fields to cross till a farm appears;

A

Meeting at Night (Robert Browning)

160
Q

A tap at the pane, the quick sharp scratch

A

Meeting at Night (Robert Browning)

161
Q

And blue spurt of a lighted match,

A

Meeting at Night (Robert Browning)

162
Q

And a voice less loud, through its joys and fears,

A

Meeting at Night (Robert Browning)

163
Q

Than the two hearts beating each to each!

A

Meeting at Night (Robert Browning)

164
Q

I met a traveler from an antique land

A

Ozymandias (Percy Bysshey Shelley)

165
Q

Who said: Two vast and trunkless legs of stone

A

Ozymandias (Percy Bysshey Shelley)

166
Q

Stand in the desert… Near them, on the sand,

A

Ozymandias (Percy Bysshey Shelley)

167
Q

Half, sunk, a shattered visage lies, whose frown,

A

Ozymandias (Percy Bysshey Shelley)

168
Q

And wrinkled lip, and sneer of cold command,

A

Ozymandias (Percy Bysshey Shelley)

169
Q

Tell that its sculptor well those passions read

A

Ozymandias (Percy Bysshey Shelley)

170
Q

Which yet survive, stamped on these lifeless things.

A

Ozymandias (Percy Bysshey Shelley)

171
Q

The hand that mocked them, and the heart that fed;

A

Ozymandias (Percy Bysshey Shelley)

172
Q

And on the pedestal these words appear:

A

Ozymandias (Percy Bysshey Shelley)

173
Q

“My name is Ozymandias, king of kings:

A

Ozymandias (Percy Bysshey Shelley)

174
Q

Look on my works ye Mighty and despair!”

A

Ozymandias (Percy Bysshey Shelley)

175
Q

Nothing beside remains, Round the decay

A

Ozymandias (Percy Bysshey Shelley)

176
Q

Of that colossal wreck, boundless and bare

A

Ozymandias (Percy Bysshey Shelley)

177
Q

The lone and level sands stretch far away.

A

Ozymandias (Percy Bysshey Shelley)

178
Q
  • Anaphora
A

repetition of a word or expression at the beginning of successive phrases, clauses, sentences, or verses especially for rhetorical or poetic effect

British American Poems (2 decks)

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