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A Late Walk
1 When I go up through the mowing field,
2 The headless aftermath,
3 Smooth-laid like thatch with the heavy dew,
4 Half closes the garden path.
5 And when I come to the garden ground,
6 The whir of sober birds
7 Up from the tangle of withered weeds
8 Is sadder than any words
9 A tree beside the wall stands bare,
10 But a leaf that lingered brown,
11 Disturbed, I doubt not, by my thought,
12 Comes softly rattling down.
13 I end not far from my going forth
14 By picking the faded blue
15 Of the last remaining aster flower
16 To carry again to you.
The following is an example of alliteration:
"Withered weeds" (line 7) is an example of alliteration. Alliteration is the repetition of the same sounds at the beginning of words.
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1 In silent night when rest I took,
2 For sorrow near I did not look,
3 I wakened was with thund’ring noise
4 And piteous shrieks of dreadful voice.
5 That fearful sound of “fire” and “fire,”
6 Let no man know is my Desire.
7 I, starting up, the light did spy,
8 And to my God my heart did cry
9 To straighten me in my Distress
10 And not to leave me succourless.
11 Then, coming out, behold a space
12 The flame consume my dwelling place.
13 And when I could no longer look,
14 I blest His name that gave and took,
15 That laid my goods now in the dust.
16 Yea, so it was, and so ‘twas just.
17 It was his own, it was not mine,
18 Far be it that I should repine;
19 He might of all justly bereft
20 But yet sufficient for us left.
21 When by the ruins oft I past
22 My sorrowing eyes aside did cast
23 And here and there the places spy
24 Where oft I sate and long did lie.
25 Here stood that trunk, and there that chest,
26 There lay that store I counted best.
27 My pleasant things in ashes lie
28 And them behold no more shall I.
29 Under thy roof no guest shall sit,
30 Nor at thy Table eat a bit.
31 No pleasant talk shall ‘ere be told
32 Nor things recounted done of old.
33 No Candle e'er shall shine in Thee,
34 Nor bridegroom’s voice e'er heard shall be.
35 In silence ever shalt thou lie,
36 Adieu, Adieu, all’s vanity.
37 Then straight I ‘gin my heart to chide,
38 And did thy wealth on earth abide?
39 Didst fix thy hope on mould'ring dust?
40 The arm of flesh didst make thy trust?
41 Raise up thy thoughts above the sky
42 That dunghill mists away may fly.
43 Thou hast a house on high erect
44 Framed by that mighty Architect,
45 With glory richly furnished,
46 Stands permanent though this be fled.
47 It’s purchased and paid for too
48 By Him who hath enough to do.
49 A price so vast as is unknown,
50 Yet by His gift is made thine own;
51 There’s wealth enough, I need no more,
52 Farewell, my pelf, farewell, my store.
53 The world no longer let me love,
54 My hope and treasure lies above.
(1666)
Which of the following literary devices does the author employ in this poem?
The poem is made up of pairs of lines that rhyme at the end. For example,
"In silent night when rest I took,
For sorrow near I did not look,"
Passage adapted from Anne Bradstreet's "Upon the Burning of our House" (1666)
Compare your answer with the correct one above
Batter my heart (Holy Sonnet 14)
1 Batter my heart, three-person'd God; for you
2 As yet but knock, breathe, shine, and seek to mend;
3 That I may rise, and stand, o'erthrow me, and bend
4 Your force, to break, blow, burn, and make me new.
5 I, like an usurp'd town, to another due,
6 Labour to admit you, but O, to no end.
7 Reason, your viceroy in me, me should defend,
8 But is captived, and proves weak or untrue.
9 Yet dearly I love you, and would be loved fain,
10 But am betroth'd unto your enemy;
11 Divorce me, untie, or break that knot again,
12 Take me to you, imprison me, for I,
13 Except you enthrall me, never shall be free,
14 Nor ever chaste, except you ravish me.
The only example of alliteration throughout this sonnet is .
"break, blow, burn," (line 4) is the only example of alliteration throughout this sonnet, as each word has the same sound at its beginning.
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1 How do I love thee? Let me count the ways.
2 I love thee to the depth and breadth and height
3 My soul can reach, when feeling out of sight
4 For the ends of Being and ideal Grace.
5 I love thee to the level of everyday's
6 Most quiet need, by sun and candle-light.
7 I love thee freely, as men strive for Right;
8 I love thee purely, as they turn from Praise.
9 I love thee with the passion put to use
10 In my old griefs, and with my childhood's faith.
11 I love thee with a love I seemed to lose
12 With my lost saints – I love thee with the breath,
13 Smiles, tears, of all my life! – and, if God choose,
14 I shall but love thee better after death.
This fourteen-line rhyming lyric poem is a typical .
This fourteen-line rhyming lyric poem is a typical sonnet written in iambic pentameter.
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1 How do I love thee? Let me count the ways.
2 I love thee to the depth and breadth and height
3 My soul can reach, when feeling out of sight
4 For the ends of Being and ideal Grace.
5 I love thee to the level of everyday's
6 Most quiet need, by sun and candle-light.
7 I love thee freely, as men strive for Right;
8 I love thee purely, as they turn from Praise.
9 I love thee with the passion put to use
10 In my old griefs, and with my childhood's faith.
11 I love thee with a love I seemed to lose
12 With my lost saints – I love thee with the breath,
13 Smiles, tears, of all my life! – and, if God choose,
14 I shall but love thee better after death.
"I shall but love thee better after death," (line 14) can be described as .
"I shall but love thee better after death," (line 14) can be described as hyperbole, as it is an exaggerated figure of speech.
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1 Shall I compare thee to a summer’s day?
2 Thou art more lovely and more temperate:
3 Rough winds do shake the darling buds of May,
4 And summer’s lease hath all too short a date:
5 Sometime too hot the eye of heaven shines,
6 And often is his gold complexion dimm’d;
7 And every fair from fair sometime declines,
8 By chance, or nature’s changing course untrimm’d;
9 But thy eternal summer shall not fade,
10 Nor lose possession of that fair thou ow’st,
11 Nor shall death brag thou wander’st in his shade,
12 When in eternal lines to time thou grow’st;
13 So long as men can breathe, or eyes can see,
14 So long lives this, and this gives life to thee.
"Nor shall death brag thou wander’st in his shade," (line 9) is an example of __________
"Nor shall death brag thou wander’st in his shade," (line 9) is an example of personification, as personification is a figure of speech wherein an inanimate object or idea is endowed with human qualities or abilities. In this case, death is said to brag.
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1 Shall I compare thee to a summer’s day?
2 Thou art more lovely and more temperate:
3 Rough winds do shake the darling buds of May,
4 And summer’s lease hath all too short a date:
5 Sometime too hot the eye of heaven shines,
6 And often is his gold complexion dimm’d;
7 And every fair from fair sometime declines,
8 By chance, or nature’s changing course untrimm’d;
9 But thy eternal summer shall not fade,
10 Nor lose possession of that fair thou ow’st,
11 Nor shall death brag thou wander’st in his shade,
12 When in eternal lines to time thou grow’st;
13 So long as men can breathe, or eyes can see,
14 So long lives this, and this gives life to thee.
The speaker's claim that "this gives life to thee" in line 14 is arguably an example of __________.
The speaker's claim that "this gives life to thee" (line 14) is an example of hyperbole, as the speaker is making an exaggerated claim that his or her poetry will give the beloved immortality.
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1 Farewell, thou child of my right hand, and joy;
2 My sin was too much hope of thee, loved boy.
3 Seven years thou wert lent to me, and I thee pay,
4 Exacted by thy fate, on the just day.
5 Oh, could I lose all father now! For why
6 Will man lament the state he should envy?
7 To have so soon 'scaped world's and flesh's rage,
8 And if no other misery, yet age!
9 Rest in soft peace, and, asked, say, "Here doth lie
10 Ben Jonson his best piece of poetry,
11 For whose sake, henceforth, all his vows be such
12 As what he loves may never like too much."
"flesh's rage," (Line 7) is an example of __________.
"flesh's rage," (Line 7) is an example of personification, giving an inanimate object or abstract idea a living quality.
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1 Farewell, thou child of my right hand, and joy;
2 My sin was too much hope of thee, loved boy.
3 Seven years thou wert lent to me, and I thee pay,
4 Exacted by thy fate, on the just day.
5 Oh, could I lose all father now! For why
6 Will man lament the state he should envy?
7 To have so soon 'scaped world's and flesh's rage,
8 And if no other misery, yet age!
9 Rest in soft peace, and, asked, say, "Here doth lie
10 Ben Jonson his best piece of poetry,
11 For whose sake, henceforth, all his vows be such
12 As what he loves may never like too much."
In lines 9–10, "Rest in soft peace, and, asked, say, 'Here doth lie/Ben Jonson his best piece of poetry,'" the speaker refers to his dead son as a "piece of poetry." This is an example of __________.
When the speaker refers to his dead son as a "piece of poetry," (Line 10), this is an example of metaphor, a comparison made between two essentially unlike things.
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Adapted from "The Author to Her Book" by Anne Bradstreet (1678)
Thou ill-form’d offspring of my feeble brain,
Who after birth didst by my side remain,
Till snatched from thence by friends, less wise than true,
Who thee abroad, expos’d to public view,
Made thee in rags, halting to th’ press to trudge,
Where errors were not lessened (all may judge).
At thy return my blushing was not small,
My rambling brat (in print) should mother call,
I cast thee by as one unfit for light,
Thy visage was so irksome in my sight;
Yet being mine own, at length affection would
Thy blemishes amend, if so I could:
I wash’d thy face, but more defects I saw,
And rubbing off a spot, still made a flaw.
I stretched thy joints to make thee even feet,
Yet still thou run’st more hobling then is meet;
In better dress to trim thee was my mind,
But nought save home-spun cloth, i’ th’ house I find.
In this array ’mongst vulgars mayst thou roam.
In critics' hands, beware thou dost not come;
And take thy way where yet thou art not known,
If for thy father askt, say, thou hadst none:
And for thy mother, she alas is poor,
Which caus’d her thus to send thee out of door.
The literary technique that Bradstreet uses in addressing her book directly as her "offspring" is __________.
Personification, which imbues an inanimate object with human traits, is the most likely answer. Apostrophe involves the address of a personified object which is not present, but Bradstreet's poem implies that her "offspring" is close by.
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1 Stella, whence doth this new assault arise,
2 A conquer’d, yielden, ransack’d heart to win?
3 Whereto long since through my long batter’d eyes,
4 Whole armies of thy beauties entered in.
5 And there long since, Love thy lieutenant lies,
6 My forces raz’d, thy banners rais’d within:
7 Of conquest, do not these effects suffice,
8 But wilt now war upon thine own begin?
9 With so sweet voice, and by sweet Nature so
10 In sweetest strength, so sweetly skill’d withal,
11 In all sweet stratagems sweet Art can show,
12 That not my soul, which at thy foot did fall
13 Long since, forc’d by thy beams, but stone nor tree
14 By Sense’s privilege, can ‘scape from thee.
Which of the following is an example of alliteration?
“Liutenant lies” (line 5) is an example of alliteration. Alliteration is the repetition of the same sounds or same kinds of sounds at the beginning of words.
(Passage adapted from "Astrophil and Stella" by Sir Philip Sydney, XXXVI.1-14 (1591))
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1 O Captain! my Captain! our fearful trip is done,
2 The ship has weather'd every rack, the prize we sought is won,
3 The port is near, the bells I hear, the people all exulting,
4 While follow eyes the steady keel, the vessel grim and daring;
5 But O heart! heart! heart!
6 O the bleeding drops of red,
7 Where on the deck my Captain lies,
8 Fallen cold and dead.
(1865)
In which line is the speaker using foreshadowing?
In lines 3 and 4, the speaker is subtly telling the reader that something undesirable is going to happen ("the port is near . . . the vessel grim and daring"). All of the other lines dictate what is happening in the present, not what is to come.
(Passage adapted from "O Captain! My Captain!" by Walt Whitman, ln. 1-8, 1865)
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1 In silent night when rest I took,
2 For sorrow near I did not look,
3 I wakened was with thund’ring noise
4 And piteous shrieks of dreadful voice.
5 That fearful sound of “fire” and “fire,”
6 Let no man know is my Desire.
7 I, starting up, the light did spy,
8 And to my God my heart did cry
9 To straighten me in my Distress
10 And not to leave me succourless.
11 Then, coming out, behold a space
12 The flame consume my dwelling place.
13 And when I could no longer look,
14 I blest His name that gave and took,
15 That laid my goods now in the dust.
16 Yea, so it was, and so ‘twas just.
17 It was his own, it was not mine,
18 Far be it that I should repine;
19 He might of all justly bereft
20 But yet sufficient for us left.
21 When by the ruins oft I past
22 My sorrowing eyes aside did cast
23 And here and there the places spy
24 Where oft I sate and long did lie.
25 Here stood that trunk, and there that chest,
26 There lay that store I counted best.
27 My pleasant things in ashes lie
28 And them behold no more shall I.
29 Under thy roof no guest shall sit,
30 Nor at thy Table eat a bit.
31 No pleasant talk shall ‘ere be told
32 Nor things recounted done of old.
33 No Candle e'er shall shine in Thee,
34 Nor bridegroom’s voice e'er heard shall be.
35 In silence ever shalt thou lie,
36 Adieu, Adieu, all’s vanity.
37 Then straight I ‘gin my heart to chide,
38 And did thy wealth on earth abide?
39 Didst fix thy hope on mould'ring dust?
40 The arm of flesh didst make thy trust?
41 Raise up thy thoughts above the sky
42 That dunghill mists away may fly.
43 Thou hast a house on high erect
44 Framed by that mighty Architect,
45 With glory richly furnished,
46 Stands permanent though this be fled.
47 It’s purchased and paid for too
48 By Him who hath enough to do.
49 A price so vast as is unknown,
50 Yet by His gift is made thine own;
51 There’s wealth enough, I need no more,
52 Farewell, my pelf, farewell, my store.
53 The world no longer let me love,
54 My hope and treasure lies above.
(1666)
"Farewell, my pelf, farewell, my store" is an example of __________________.
"Apostrophe" is an address to an imaginary character, often non-human. In this line, the speaker addresses the things she has lost.
Passage adapted from Anne Bradstreet's "Upon the Burning of our House" (1666)
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1 O Captain! my Captain! our fearful trip is done,
2 The ship has weather'd every rack, the prize we sought is won,
3 The port is near, the bells I hear, the people all exulting,
4 While follow eyes the steady keel, the vessel grim and daring;
5 But O heart! heart! heart!
6 O the bleeding drops of red,
7 Where on the deck my Captain lies,
8 Fallen cold and dead.
(1865)
What literary technique is used in the first line of the poem?
An apostrophe is a figure of speech in which someone absent or dead or something nonhuman is addressed as if that person or thing were alive, present, and able to reply. Here, the speaker is talking to his captain, who is longer alive.
(Passage adapted from "O Captain! My Captain!" by Walt Whitman, ln. 1-8, 1865)
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1 Go, wiser thou! and in thy scale of sense
2 Weigh thy Opinion against Providence;
3 Call Imperfection what thou fancy'st such,
4 Say, here he gives too little, there too much;
5 Destroy all creatures for thy sport or gust,
6 Yet cry, If Man's unhappy, God's unjust;
7 If Man alone engross not Heav'n's high care,
8 Alone made perfect here, immortal there:
9 Snatch from his hand the balance and the rod,
10 Re-judge his justice, be the GOD of GOD!
11 In Pride, in reasoning Pride, our error lies;
12 All quit their sphere, and rush into the skies.
13 Pride still is aiming at the blest abodes,
14 Men would be Angels, Angels would be Gods.
15 Aspiring to be Gods, if Angels fell,
16 Aspiring to be Angels, Men rebel;
17 And who but wishes to invert the laws
18 Of ORDER, sins against th' Eternal Cause.
(1734)
Which of the following is an example of a slant rhyme (also called "half rhyme")?
"Abodes" / "gods" (lines 13/14) is an example of a slant rhyme. Slant rhymes are words that come close to rhyming, but are not full rhymes.
(Passage adapted from "An Essay on Man" by Alexander Pope, I.IV.1-18)
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1 Stella, whence doth this new assault arise,
2 A conquer’d, yielden, ransack’d heart to win?
3 Whereto long since through my long batter’d eyes,
4 Whole armies of thy beauties entered in.
5 And there long since, Love thy lieutenant lies,
6 My forces raz’d, thy banners rais’d within:
7 Of conquest, do not these effects suffice,
8 But wilt now war upon thine own begin?
9 With so sweet voice, and by sweet Nature so
10 In sweetest strength, so sweetly skill’d withal,
11 In all sweet stratagems sweet Art can show,
12 That not my soul, which at thy foot did fall
13 Long since, forc’d by thy beams, but stone nor tree
14 By Sense’s privilege, can ‘scape from thee.
"Conquer’d, yielden, ransack’d" (line 2) and "my forces raz’d, thy banners rais’d within" (line 6) are examples of __________.
"Conquer’d, yielden, ransack’d" (line 2) and "my forces raz’d, thy banners rais’d within" (line 6) are examples of asyndetons. An asyndeton is a figure of speech where one or several conjunctions are intentionally left out of the sentence.
(Passage adapted from "Astrophil and Stella" by Sir Philip Sydney, XXXVI.1-14 (1591))
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1 Whoever comes to shroud me, do not harm
2 Nor question much
3 That subtle wreath of hair, which crowns my arm;
4 The mystery, the sign, you must not touch,
5 For 'tis my outward soul,
6 Viceroy to that, which then to heaven being gone,
7 Will leave this to control
8 And keep these limbs, her provinces, from dissolution.
9 For if the sinewy thread my brain lets fall
10 Through every part
11 Can tie those parts, and make me one of all,
12 Those hairs which upward grew, and strength and art
13 Have from a better brain,
14 Can better do'it; except she meant that I
15 By this should know my pain,
16 As prisoners then are manacled, when they'are condemn'd to die.
17 Whate'er she meant by'it, bury it with me,
18 For since I am
19 Love's martyr, it might breed idolatry,
20 If into other hands these relics came;
21 As 'twas humility
22 To afford to it all that a soul can do,
23 So, 'tis some bravery,
24 That since you would have none of me, I bury some of you.
(1633)
Which of the following are exhibit rhyme that is both slant rhyme and an end rhyme?
"Gone" (line 6) and "dissolution" (line 8) are examples of a slant rhyme and an end rhyme. "Slant rhymes" are rhymes with similar but not exactly the same sounds, and "end rhymes" are rhymes of the final syllables in two lines of poetry.
(Passage adapted from "The Funeral" by John Donne)
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1 In silent night when rest I took,
2 For sorrow near I did not look,
3 I wakened was with thund’ring noise
4 And piteous shrieks of dreadful voice.
5 That fearful sound of “fire” and “fire,”
6 Let no man know is my Desire.
7 I, starting up, the light did spy,
8 And to my God my heart did cry
9 To straighten me in my Distress
10 And not to leave me succourless.
11 Then, coming out, behold a space
12 The flame consume my dwelling place.
13 And when I could no longer look,
14 I blest His name that gave and took,
15 That laid my goods now in the dust.
16 Yea, so it was, and so ‘twas just.
17 It was his own, it was not mine,
18 Far be it that I should repine;
19 He might of all justly bereft
20 But yet sufficient for us left.
21 When by the ruins oft I past
22 My sorrowing eyes aside did cast
23 And here and there the places spy
24 Where oft I sate and long did lie.
25 Here stood that trunk, and there that chest,
26 There lay that store I counted best.
27 My pleasant things in ashes lie
28 And them behold no more shall I.
29 Under thy roof no guest shall sit,
30 Nor at thy Table eat a bit.
31 No pleasant talk shall ‘ere be told
32 Nor things recounted done of old.
33 No Candle e'er shall shine in Thee,
34 Nor bridegroom’s voice e'er heard shall be.
35 In silence ever shalt thou lie,
36 Adieu, Adieu, all’s vanity.
37 Then straight I ‘gin my heart to chide,
38 And did thy wealth on earth abide?
39 Didst fix thy hope on mould'ring dust?
40 The arm of flesh didst make thy trust?
41 Raise up thy thoughts above the sky
42 That dunghill mists away may fly.
43 Thou hast a house on high erect
44 Framed by that mighty Architect,
45 With glory richly furnished,
46 Stands permanent though this be fled.
47 It’s purchased and paid for too
48 By Him who hath enough to do.
49 A price so vast as is unknown,
50 Yet by His gift is made thine own;
51 There’s wealth enough, I need no more,
52 Farewell, my pelf, farewell, my store.
53 The world no longer let me love,
54 My hope and treasure lies above.
(1666)
By what metrical unit is the poem structured?
An iamb is made of an unstressed syllable followed by a stressed syllable. The lines of the poem are written in iambic tetrameter (4 iambs per line).
Passage adapted from Anne Bradstreet's "Upon the Burning of our House" (1666)
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Glory be to God for dappled things –
For skies of couple-colour as a brinded cow;
For rose-moles all in stipple upon trout that swim;
Fresh-firecoal chestnut-falls; finches’ wings;
Landscape plotted and pieced – fold, fallow, and plough;
And all trades, their gear and tackle and trim.
All things counter, original, spare, strange;
Whatever is fickle, freckled (who knows how?)
With swift, slow; sweet, sour; adazzle, dim;
He fathers-forth whose beauty is past change:
Praise him.
Which of the following literary techniques is used most frequently in this poem?
Alliteration is used most frequently in the poem. Alliteration is the repetition of the same sounds or same kinds of sounds at the beginning of words. The following are some of the examples of alliteration in the poem:
"Fresh-firecoal . . . finches" (line 4)
"Plotted and pieced . . . plough" (line 5)
"Fold, fallow" (line 5)
"tackle and trim" (line 6)
"spare, strange" (line 7)
"fickle, freckled" (line 8)
"swift, slow; sweet, sour" (line 9)
"adazzle, dim" ("d" sound) (line 9)
"fathers-forrth" (line 10)
(Passage adapted from "Pied Beauty" by Gerard Manley Hopkins (1918))
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Glory be to God for dappled things –
For skies of couple-colour as a brinded cow;
For rose-moles all in stipple upon trout that swim;
Fresh-firecoal chestnut-falls; finches’ wings;
Landscape plotted and pieced – fold, fallow, and plough;
And all trades, their gear and tackle and trim.
All things counter, original, spare, strange;
Whatever is fickle, freckled (who knows how?)
With swift, slow; sweet, sour; adazzle, dim;
He fathers-forth whose beauty is past change:
Praise him.
“Gear and tackle and trim” (line 6) is an example of a(n) __________, while " "counter, original, spare, strange" (line 7) is an example of a(n) __________.
“Gear and tackle and trim” (line 6) is an example of polysyndeton, while "counter, original, spare, strange" (line 7) is an example of an asyndeton. A polysyndeton is a figure of speech where conjunctions are repeated frequently in a sequence, while an asyndeton is a figure of speech where one or several conjunctions are intentionally left out of the sentence.
(Passage adapted from "Pied Beauty" by Gerard Manley Hopkins)
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