a. demonstrate the importance of the topic. ![]() |
||
b. set up the parody of the pretensions of the characters and their concerns. ![]() |
||
c. reveal the learnedness of the characters. ![]() |
||
d. elicit the sympathy of elite readers. ![]() |
||
e. evoke an emotional response in readers. ![]() |
a. its references to Shakespeare. ![]() |
||
b. its commitment to an elevated taste, its use of classical imagery, and its evocation of classic forms. ![]() |
||
c. its scientific ethos and setting in London. ![]() |
||
d. its refusal to mention Shadwell directly. ![]() |
||
e. its questioning of human perception. ![]() |
a. rejection of Renaissance optimism. ![]() |
||
b. rejection of traditional models. ![]() |
||
c. emphasis on order, logic, and universal truths. ![]() |
||
d. emphasis on the corrupt nature of the aristocracy. ![]() |
||
e. emphasis on individual experience. ![]() |
a. devotion to traditional authority in political and theoretical matters. ![]() |
||
b. emphasis on the world being governed by laws that could be discerned through rational exploration. ![]() |
||
c. reliance on classical scholarship. ![]() |
||
d. defense of violent emotions as natural. ![]() |
||
e. rejection of classical scholarship. ![]() |
a. By suggesting that human knowledge is static and can be captured in one volume ![]() |
||
b. By dismissing all knowledge from outside Europe ![]() |
||
c. By questioning the nature of scientific method ![]() |
||
d. By rejecting the divine right of kings ![]() |
||
e. By emphasizing the idea that gathering knowledge together can lead to human improvement ![]() |
a. The government ![]() |
||
b. Marriage ![]() |
||
c. Organized religion ![]() |
||
d. All of these answers ![]() |
||
e. None of these answers ![]() |
a. The family institution ![]() |
||
b. Ideas about chastity ![]() |
||
c. The institution of marriage ![]() |
||
d. The aristocracy ![]() |
||
e. All of these answers ![]() |
a. England’s power to overcome the recent plague and the great fire of London ![]() |
||
b. The monarch’s ability to squelch continuing Puritan resistance ![]() |
||
c. The church’s potential to unify the populace after the English revolution ![]() |
||
d. Parliament’s ability to restrain the power of the King ![]() |
||
e. The need to close the theatres for their immoral productions ![]() |
a. social contract theory of government. ![]() |
||
b. blank slate or tabula rasa. ![]() |
||
c. divine authority of kings. ![]() |
||
d. natural political rights. ![]() |
||
e. religious toleration. ![]() |
a. its mocking tone. ![]() |
||
b. its absurd response to a real issue. ![]() |
||
c. its sentimental plea to its audience. ![]() |
||
d. its attempt to shock readers into acting. ![]() |
||
e. its undermining of forms and tropes for ulterior purposes. ![]() |
a. his use of the heroic couplet. ![]() |
||
b. an Enlightenment focus on useful knowledge. ![]() |
||
c. a neoclassical emphasis on propriety and knowing limitations. ![]() |
||
d. a radical questioning of revealed religion. ![]() |
||
e. a scientific emphasis on the possibility of gaining knowledge through reason and experience. ![]() |
a. Classification, order, and judgment ![]() |
||
b. Romantic origins ![]() |
||
c. Linguistic indeterminacy ![]() |
||
d. Subjective experience ![]() |
||
e. Political liberty ![]() |
a. The need for linguistic correctness as exemplified in his Dictionary ![]() |
||
b. The promise of universal knowledge as epitomized by the Encyclopédie ![]() |
||
c. The ultimate impossibility of achieving happiness, as espoused in his poem “The Vanity of Human Wishes” ![]() |
||
d. The need for self-sufficiency as detailed in novels like Robinson Crusoe ![]() |
||
e. The emptiness of the aristocracy as suggested by The Rape of the Lock ![]() |
a. A period in the 18th century that celebrated industry ![]() |
||
b. The revelation of religious truths through meditation ![]() |
||
c. The power given to absolute monarchs by God ![]() |
||
d. A period in which reason was celebrated as enabling human knowledge and possibly human perfection ![]() |
||
e. The Renaissance rejection of the “Dark Ages” ![]() |
a. A literary form in which society’s vices are ridiculed ![]() |
||
b. Literature that relies on devices like irony, sarcasm, and humor ![]() |
||
c. A work of literature that attempts to improve society ![]() |
||
d. A text that exposes serious flaws under the veil of comedy ![]() |
||
e. All of these answers ![]() |
a. Two characters in an epic who are romantically involved ![]() |
||
b. Two lines of rhyming verse written in iambic pentameter ![]() |
||
c. The concluding lines of any poem ![]() |
||
d. Two characters who act as foils in a comedy of manners ![]() |
||
e. Unrhymed verse written in iambic tetrameter ![]() |
a. Witty banter ![]() |
||
b. Epic heroes ![]() |
||
c. Sexual promiscuity ![]() |
||
d. Hidden identities ![]() |
||
e. Convoluted plots and plotting ![]() |
a. Increased individual liberty ![]() |
||
b. Checks and balances ![]() |
||
c. Social contract ![]() |
||
d. Enlightened monarchy ![]() |
||
e. Socialism ![]() |
a. They are somewhat jaded, but all are finally good at heart. ![]() |
||
b. They are almost universally self-absorbed and willing to do anything to get what they want. ![]() |
||
c. They tend to value love above money and honor. ![]() |
||
d. They provide a moral example for the lower classes. ![]() |
||
e. They deal with one another with honesty and honor, but they treat the lower classes poorly. ![]() |
a. They enabled discussion about important literary texts. ![]() |
||
b. They created a space for the exchange of pamphlets. ![]() |
||
c. They offered people a private place in which they could plan political revolts. ![]() |
||
d. Both A and B ![]() |
||
e. Both A and C ![]() |
a. Familiar essays ![]() |
||
b. Comedies of manners ![]() |
||
c. Romanticism ![]() |
||
d. Medievalism ![]() |
||
e. Gothic novels ![]() |
a. Wordsworth’s “We Are Seven” ![]() |
||
b. Pope’s Rape of the Lock ![]() |
||
c. Swift’s “A Modest Proposal” ![]() |
||
d. Benn’s Oroonoko ![]() |
||
e. Bronte’s Jane Eyre ![]() |
a. Immanuel Kant ![]() |
||
b. John Locke ![]() |
||
c. David Hume ![]() |
||
d. Denis Diderot ![]() |
||
e. Rene Descartes ![]() |
a. like a romance, it focuses on an aristocratic character considered superior to average individuals. ![]() |
||
b. like a novel, it tells its story with an emphasis on realistic detail and the everyday passage of time. ![]() |
||
c. like an epic, it involves gods and goddesses. ![]() |
||
d. like a novel, it makes claims to historical realism. ![]() |
||
e. like a novel, it rejects traditional plots for one that supposedly emerges directly from the characters’ situations. ![]() |
a. Reason over emotions ![]() |
||
b. The necessity for an aristocracy ![]() |
||
c. The power of feelings ![]() |
||
d. A sense of adventure ![]() |
||
e. The supernatural ![]() |
a. indicates her longing for the older aristocracy. ![]() |
||
b. suggests her commitment to the Catholic Church. ![]() |
||
c. is at odds with her explicit socialist politics. ![]() |
||
d. implies that contemporary British society has overcome the institutions leading to the horrors its characters experience. ![]() |
||
e. suggests that there is no difference between medieval society and her own. ![]() |
a. traveled to America. ![]() |
||
b. believed in God. ![]() |
||
c. emphasized the importance of human emotions as guiding behavior. ![]() |
||
d. rejected Newton’s view of the universe. ![]() |
||
e. argued in favor of communism. ![]() |
a. revealing his interest in Chaucer. ![]() |
||
b. enabling his 18th-century readers access to a world they would see as less rational. ![]() |
||
c. promoting the rise of museums. ![]() |
||
d. commenting on the French and Indian War. ![]() |
||
e. suggesting his interest in alchemy. ![]() |
a. It focuses on a royal hero. ![]() |
||
b. It denies being imagined in favor of claims of realism. ![]() |
||
c. It focuses on adventures. ![]() |
||
d. It connects to poetry. ![]() |
||
e. It focuses on slavery. ![]() |
a. Like the novel, it focused on romantic relationships. ![]() |
||
b. Like the novel, it foregrounded abstract reason over experience and emotion. ![]() |
||
c. Like the novel, it emphasized the importance of sympathy and individual feelings. ![]() |
||
d. Like the novel, it demonized the aristocracy. ![]() |
||
e. In opposition to the novel, it stressed the innate depravity of humans. ![]() |
a. It provides access to the heroine’s innermost reactions. ![]() |
||
b. It does not cloud the novel with authorial intrusion that confuses the emotions. ![]() |
||
c. It provides a sense of immediacy because the letters are written in the thick of the action. ![]() |
||
d. All of these answers ![]() |
||
e. None of these answers ![]() |
a. A heroine is the central character. ![]() |
||
b. It emphasizes emotion over reason. ![]() |
||
c. It has a didactic moral focus. ![]() |
||
d. There is a focus on a central love story. ![]() |
||
e. All of these answers ![]() |
a. The sublime ![]() |
||
b. The explained supernatural ![]() |
||
c. Its medieval settings ![]() |
||
d. Its use of mysterious events to spur readers’ interests and emotional responses ![]() |
||
e. Its suggestion of aristocratic immorality ![]() |
a. His relationship to God and Christianity ![]() |
||
b. His understanding of the basis of economics ![]() |
||
c. His ability to identify with the slaves he has sold ![]() |
||
d. Both A and B ![]() |
||
e. Both A and C ![]() |
a. Their imperialist settings reflect the interest in faraway lands that led to adventure novels. ![]() |
||
b. Both emphasize romantic relationships that play up the importance of women readers. ![]() |
||
c. Both focus on the struggles of lower or middle-class characters, mirroring the development of a large middle-class readership as consumers. ![]() |
||
d. Their epistolary forms reflect an increasing political interest in subjective feelings. ![]() |
||
e. Both emphasize intense attention to natural details that parallel scientific empiricism. ![]() |
a. the emergence of a powerful and literate middle class. ![]() |
||
b. scientific emphasis on detailed observation. ![]() |
||
c. the political focus on individuals and their rights. ![]() |
||
d. philosophical theories of sympathy and human emotions. ![]() |
||
e. the continuing importance of mythological stories. ![]() |
a. Pamela’s attempt to seduce her employer ![]() |
||
b. Pamela’s parents’ attempt to marry her to a wealthy landowner ![]() |
||
c. Pamela’s struggle to overcome her poverty through hard-work ![]() |
||
d. Pamela’s attempts to protect her chastity from the advances of her employer ![]() |
||
e. Pamela’s adventures as a prostitute and actress in London ![]() |
a. Its use of a medieval setting to reflect on rational progress ![]() |
||
b. Its focus on having readers vicariously experience the dangers that a heroine faces ![]() |
||
c. Its ambivalent treatment of its leading villain ![]() |
||
d. Its use of the sublime ![]() |
||
e. Its use of Gothic architecture to suggest unconscious feelings ![]() |
a. A refusal to emphasize the innate goodness of humanity ![]() |
||
b. An emphasis on the power of sympathy to allow individuals to feel others’ pain and joy ![]() |
||
c. A sense of awe in the power of the natural world ![]() |
||
d. A parody of the interest in emotion that developed out of the Enlightenment interest in reason ![]() |
||
e. A pleasure that comes from sympathizing with those experiencing terror ![]() |
a. Where Oroonoko foregrounds supernatural agents, Robinson Crusoe avoids religion completely. ![]() |
||
b. Both are largely set in South America, reflecting the relationship between empire and the early English novel. ![]() |
||
c. Oroonoko seems to defend the aristocracy, where Robinson Crusoe elaborates the struggles of the middle class. ![]() |
||
d. Both make claims to historical veracity. ![]() |
||
e. Both attempt to individuate their main characters as living in a distinct place and time ![]() |
a. Nonfiction ![]() |
||
b. Travel memoir ![]() |
||
c. Detective story ![]() |
||
d. Biography ![]() |
||
e. Memoir ![]() |
a. The relationship between the sublime and terror ![]() |
||
b. The effect of the sublime on the physical body ![]() |
||
c. The distinction between the sublime and beauty ![]() |
||
d. An aesthetic explanation of the sublime through painting ![]() |
||
e. The important role surprise plays in creating pleasure ![]() |
a. Its recapitulation of a traditional story ![]() |
||
b. Its larger-than-life hero ![]() |
||
c. Its lack of attention to time ![]() |
||
d. Its defense of the aristocracy ![]() |
||
e. Its focus on the individual and his psychological and moral development ![]() |
a. Samuel Richardson ![]() |
||
b. Laurence Sterne ![]() |
||
c. Daniel Defoe ![]() |
||
d. Charles Dickens ![]() |
||
e. Henry Fielding ![]() |
a. Terror ![]() |
||
b. Horror ![]() |
||
c. The sublime ![]() |
||
d. Suspense ![]() |
||
e. Picaresque ![]() |
a. Pope’s The Rape of the Lock ![]() |
||
b. Swift’s “A Modest Proposal” ![]() |
||
c. Richardson’s Pamela ![]() |
||
d. Lewis’s The Monk ![]() |
||
e. Radcliffe’s The Mysteries of Udolpho ![]() |
a. Congreve’s The Way of the World ![]() |
||
b. Richardson’s Pamela ![]() |
||
c. Radcliffe’s The Mysteries of Udolpho ![]() |
||
d. Walpole’s The Castle of Otranto ![]() |
||
e. Lewis’s The Monk ![]() |
a. through the personal, direct appeal enabled by his epistolary form. ![]() |
||
b. by emphasizing the character’s fright. ![]() |
||
c. by emphasizing sexual morality. ![]() |
||
d. through the sentimental attempt to make readers strongly identify with the character’s feelings. ![]() |
||
e. by ascribing deep and important feelings to a lower-class character. ![]() |
a. the ultimate expression of humankind’s ability to control its own destiny. ![]() |
||
b. a misguided attempt to overthrow human nature by rejecting tradition. ![]() |
||
c. a necessary change that was beginning to go astray. ![]() |
||
d. an event that had little consequence to England. ![]() |
||
e. the proper development of the ideas behind the American Revolution. ![]() |
a. certain people are simply incapable of understanding poetry. ![]() |
||
b. the true poet must be comfortable with balancing conflicting ideas. ![]() |
||
c. the poet cannot express anything beyond his own experience. ![]() |
||
d. it is only in the absence of experience that true poetry can emerge. ![]() |
||
e. poetry must come from deep learning unaffected by personal bias. ![]() |
a. its focus on his lost love. ![]() |
||
b. its rejection of scientific progress. ![]() |
||
c. its elaboration of the intersecting importance of nature and the imagination. ![]() |
||
d. its development of elements from national folklore. ![]() |
||
e. its focus on a Byronic hero. ![]() |
a. rejection of traditional form. ![]() |
||
b. portrayal of the power of art to speak truth. ![]() |
||
c. rejection of art’s political role. ![]() |
||
d. attempt to link poetry with music. ![]() |
||
e. defense of poetry as the greatest expression of the imagination. ![]() |
a. always fighting for good against evil. ![]() |
||
b. fortunate in always coming out victorious. ![]() |
||
c. nearly superhuman in his powers but tortured by a psychological weight. ![]() |
||
d. devoted to religion above all things. ![]() |
||
e. always seeking to protect the community. ![]() |
a. Walton, a failed poet who is attempting to discover the North Pole. ![]() |
||
b. the creature, after he has killed Victor Frankenstein. ![]() |
||
c. Victor Frankenstein’s diary. ![]() |
||
d. Mrs. Saville, Frankenstein’s cousin. ![]() |
||
e. the bride of the monster. ![]() |
a. folklore. ![]() |
||
b. nationalism. ![]() |
||
c. parody. ![]() |
||
d. exoticism. ![]() |
||
e. popular art. ![]() |
a. he stood to inherit a great deal due to the laws of Primogeniture. ![]() |
||
b. his brothers died in their youth. ![]() |
||
c. he was endowed with a great poetic talent. ![]() |
||
d. he was given special educational opportunities. ![]() |
||
e. he feels especially connected to nature due to his experience as a youth. ![]() |
a. a radical break with 18th-century rules on elevated diction. ![]() |
||
b. a continuity with poets such as Alexander Pope. ![]() |
||
c. a rejection of nature in favor of society. ![]() |
||
d. a defense of the use of elaborate figurative language. ![]() |
||
e. an important part of his emphasis on religious feeling. ![]() |
a. To help drive his ideas across the universe ![]() |
||
b. To help him reach the afterlife ![]() |
||
c. To help him hear nature’s music ![]() |
||
d. To help him start a new revolutionary war ![]() |
||
e. To help him escape from his present state of mind ![]() |
a. Nature as mirroring the human mind and its imagination ![]() |
||
b. The limits of scientific attempts to understand and control the world ![]() |
||
c. The poet as special interpreter of the world ![]() |
||
d. The centrality of subjective experience to apprehending the world ![]() |
||
e. The importance of national identity ![]() |
a. reason can help man understand beauty. ![]() |
||
b. civilization comes through beauty. ![]() |
||
c. language shows humanity’s impulse towards order. ![]() |
||
d. poetry has no effect on society. ![]() |
||
e. poetry is both of its time and eternal. ![]() |
a. An emphasis on the relationship between a natural setting and the imagination as in Wordsworth’s poems ![]() |
||
b. A focus on the poet as seer as in some of Keats’s poems ![]() |
||
c. A call for social and political reform as in some of Shelley’s works ![]() |
||
d. A nod to the poet as outcast as in some of Byron’s poems ![]() |
||
e. An experience of innocence as seen in Blake’s poems ![]() |
a. His Promethean striving to exceed human limitations as explored by Byron and Percy Shelley ![]() |
||
b. Its suggestion that the natural order has laws beyond human control ![]() |
||
c. His desire to create a political revolution ![]() |
||
d. Both A and B ![]() |
||
e. Both A and C ![]() |
a. An identical rhyme structure ![]() |
||
b. The belief that a person is incapable of change, even as he or she ages ![]() |
||
c. The sense of hope that death will come soon ![]() |
||
d. A shared theme that nature exposes the pain in human life ![]() |
||
e. The form of an ode ![]() |
a. Industrial Revolution ![]() |
||
b. French Revolution ![]() |
||
c. Scientific Revolution ![]() |
||
d. Technological Revolution ![]() |
||
e. Enlightenment ![]() |
a. He thought it did not go far enough in granting women rights. ![]() |
||
b. He opposed it in favor of supporting the king and the ancien régime. ![]() |
||
c. He favored its democratic impulses but was appalled by its destructive nature. ![]() |
||
d. He did not think it concerned him and his relationship to nature. ![]() |
||
e. He thought the British should invade France. ![]() |
a. The common man ![]() |
||
b. The promises of technology ![]() |
||
c. The outcast figure ![]() |
||
d. The movement of time ![]() |
||
e. The power of the imagination ![]() |
a. The poems defend the industrial revolution as helping England’s economy. ![]() |
||
b. The poems criticize religious institutions for not helping the oppressed. ![]() |
||
c. The poems reject experience in favor of innocence. ![]() |
||
d. The poems reject innocence in favor of experience. ![]() |
||
e. The poems focus on Blake’s personal experience and growth from innocence to experience. ![]() |
a. Nature loses its ability to affect human emotion over time. ![]() |
||
b. Sensitivity to nature’s message comes with age. ![]() |
||
c. Life experience does not have to power to alter human opinions. ![]() |
||
d. It is not possible to appreciate beauty once one has aged. ![]() |
||
e. Man exerts power over nature. ![]() |
a. Romanticism continued the Enlightenment’s focus on a universal order best apprehended through reason. ![]() |
||
b. Romanticism challenged the Enlightenment’s emphasis on objectivity as the basis of truth. ![]() |
||
c. Romanticism largely abandoned the Enlightenment’s hope in progressive political change. ![]() |
||
d. Unlike the Enlightenment, Romanticism deemed the natural world unimportant. ![]() |
||
e. Like the Enlightenment, Romanticism readily envisioned scientific progress as solving humankind’s problems. ![]() |
a. In a lyric poem, the speaker expresses emotion. ![]() |
||
b. The lyric poem is a popular form in the Romantic era. ![]() |
||
c. The lyric poem has a song-like quality. ![]() |
||
d. The lyric poem creates a personal sense of emotion. ![]() |
||
e. The lyric poem focuses on action. ![]() |
a. Ann Radcliffe ![]() |
||
b. William Wordsworth ![]() |
||
c. John Keats ![]() |
||
d. Alfred Lord Tennyson ![]() |
||
e. Charlotte Bronte ![]() |
a. The poet’s changing relationship to nature as fount of meaning and significance ![]() |
||
b. The falsity of human art as opposed to the immediate truth of nature ![]() |
||
c. The failure of the poet when a youth to imagine his future ![]() |
||
d. The utter rejection of youthful folly in favor of mature rationality ![]() |
||
e. The insignificance of youthful experience compared to adult relationships ![]() |
a. inheriting his father’s fortune. ![]() |
||
b. hard work as a blacksmith. ![]() |
||
c. saving the life of a rich heiress. ![]() |
||
d. through the wealth of a convict he once helped. ![]() |
||
e. betting on horse races. ![]() |
a. are an example of antithesis to suggest the falcon’s contradictory nature. ![]() |
||
b. use alliterative language to draw attention to the falcon’s importance as a symbol of Christ. ![]() |
||
c. refer to the speaker’s heart. ![]() |
||
d. indicate the speaker’s lack of faith. ![]() |
||
e. suggest that darkness is about to fall. ![]() |
a. a sonnet expressing his devotion to his wife. ![]() |
||
b. a dramatic monologue spoken by a murderer. ![]() |
||
c. a dramatic monologue spoken by Browning. ![]() |
||
d. an epic describing a great romance. ![]() |
||
e. a commentary on Queen Victoria. ![]() |
a. neoclassical emphasis on traditional form and romantic subjectivism. ![]() |
||
b. romantic rejection of science and neoclassical use of mythology. ![]() |
||
c. romantic emphasis on personal feelings combined with a neoclassical focus on social context. ![]() |
||
d. romantic critique of industrialization and neoclassical use of satire. ![]() |
||
e. neoclassical focus on order and decorum and romantic celebration of nature. ![]() |
a. The loss of the American colonies turned people off to the idea of expansion. ![]() |
||
b. Competition between European rivals forced the British to find new trading partners. ![]() |
||
c. Colonizers were no longer necessarily interested in reforming indigenous populations. ![]() |
||
d. People found ways to justify expansion by claiming national superiority. ![]() |
||
e. All of these answers ![]() |
a. It reiterates the class divisions that kept both men and women from social mobility. ![]() |
||
b. It suggests that women were increasingly accepted as professionals. ![]() |
||
c. It indicates that British society had become much more egalitarian. ![]() |
||
d. It reveals the stern consequences of the Industrial Revolution. ![]() |
||
e. It accentuates the impact of imperial structures on the domestic sphere. ![]() |
a. Women should wear more makeup in order to attract husbands. ![]() |
||
b. Women should make sure to receive an education in order to secure their own futures. ![]() |
||
c. Women should take pains to remain generous, modest, and capable. ![]() |
||
d. Women should be given the right to vote immediately. ![]() |
||
e. Women should stop being “girls” and see themselves as independent adults. ![]() |
a. The Protestant Reformation ![]() |
||
b. Religious interpretations of changes to the oceans ![]() |
||
c. The decline of religion’s importance in the modern West ![]() |
||
d. His lover’s betrayal ![]() |
||
e. Faith in the British Empire ![]() |
a. He created a radically new form. ![]() |
||
b. He used unusual, arcane words. ![]() |
||
c. He made obscure allusions. ![]() |
||
d. All of these answers ![]() |
||
e. None of these answers ![]() |
a. Their conservative poetics ![]() |
||
b. Their frank depiction of sexuality ![]() |
||
c. Their radical politics ![]() |
||
d. Their nationalistic tone ![]() |
||
e. Their defense of Christianity ![]() |
a. it works as a dramatic monologue. ![]() |
||
b. it thematizes the importance of choosing action over complacency. ![]() |
||
c. it reflects a Victorian attitude of continuing to fight against loss of hope or faith. ![]() |
||
d. it uses Greek mythology to comment on contemporary questions. ![]() |
||
e. it emphasizes the internal life of the mind over social action. ![]() |
a. A return to neoclassical aesthetics ![]() |
||
b. Disassociating painting and poetry ![]() |
||
c. Lavish attention to the sensuous elements of life ![]() |
||
d. Rejecting English poetic tradition ![]() |
||
e. Decorum and logic ![]() |
a. It functions as a metaphor for the women’s rights movement. ![]() |
||
b. It foreshadows a negative shift in mood. ![]() |
||
c. It symbolizes the increase in scientific knowledge. ![]() |
||
d. It acts as an allusion to the importance of nature in the Romantic period. ![]() |
||
e. It implies that women should remain indoors. ![]() |
a. They raised the question of whether women should be able to vote. ![]() |
||
b. They allowed new colonization and imperialism efforts. ![]() |
||
c. They established new standards for Victorian morality. ![]() |
||
d. They allowed women to divorce their husbands. ![]() |
||
e. They allowed women to own property for the first time. ![]() |
a. The pressure of conforming to preexisting social conventions ![]() |
||
b. The burden of white colonizers who are forced to learn to live in new lands ![]() |
||
c. The Eurocentric idea that the colonizer has a social responsibility to civilize other nations ![]() |
||
d. The concept that all white men do not share the same imperial duties ![]() |
||
e. The white man’s experience of defending his land from being occupied ![]() |
a. A historical discussion prompted by the Reform Bills of 1832 and 1867 ![]() |
||
b. A debate about whether women should be able to vote ![]() |
||
c. A discussion of women’s roles inside and outside the home ![]() |
||
d. A conversation about women’s work as a product of the Industrial Revolution ![]() |
||
e. All of these answers ![]() |
a. Improved printing machines ![]() |
||
b. More magazines on the market ![]() |
||
c. The rise in serialized fiction ![]() |
||
d. Lower prices for magazines ![]() |
||
e. The passage of the Reform Bills ![]() |
a. There should be more missionary work in less civilized parts of the world. ![]() |
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b. Concerts in the parks that were attended by ordinary people should be banned. ![]() |
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c. Civil servants should talk more openly and publicly about their moral work. ![]() |
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d. Members of the Jewish and Catholic faiths should be excluded from public office. ![]() |
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e. There should be more laws to criminalize sex. ![]() |
a. Like Great Expectations, Jane Eyre addresses the power of wealth and class. ![]() |
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b. Like “Dover Beach,” Jane Eyre mourns the diminishing power of Christian faith. ![]() |
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c. Through Rochester, Jane Eyre develops a Byronic hero. ![]() |
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d. Like Great Expectations, Jane Eyre can be read as a bildungsroman. ![]() |
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e. Like Goblin Market, Jane Eyre explores the ambivalence of sexuality for Victorian women. ![]() |
a. It is a dramatic monologue. ![]() |
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b. Like earlier Romantic lyrics, it takes a natural setting as an occasion for philosophical reflection. ![]() |
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c. It has a melancholic tone. ![]() |
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d. It envisions Christianity as eternal. ![]() |
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e. It concludes by shifting its focus to personal relationships. ![]() |
a. Repeal of the corn laws ![]() |
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b. Opium Wars ![]() |
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c. Great Exhibition ![]() |
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d. French Revolution ![]() |
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e. Railway mania ![]() |
a. The dangers of sensuality to women ![]() |
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b. The links between sexuality and economics ![]() |
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c. The importance of sisterly bonds ![]() |
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d. All of these answers ![]() |
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e. None of these answers ![]() |
a. It has a speaker as well as an implied reader. ![]() |
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b. It includes elements of parody. ![]() |
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c. There is a “spontaneous overflow of emotion.” ![]() |
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d. It is written in common, ordinary language. ![]() |
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e. The speaker attempts to evoke a sense of terror in the reader. ![]() |
a. Darwin’s work echoed Victorian thought with its emphasis on struggle while disrupting Victorian faith by decentering humans. ![]() |
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b. Darwin’s work was almost universally accepted from its first appearance. ![]() |
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c. Darwin’s work had little initial influence on Victorian society and culture. ![]() |
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d. Almost all religious authorities rejected Darwin’s work completely. ![]() |
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e. Darwin’s work thoroughly reflected Victorian notions of moral uplift and progress. ![]() |
a. Penal reform ![]() |
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b. Educational reform ![]() |
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c. The role of the monarchy ![]() |
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d. Both A and B ![]() |
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e. Both B and C ![]() |
a. Sonnet 43 is similar to most other sonnets in its focus on love. ![]() |
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b. Sonnet 43 is part of a sonnet sequence “Sonnets from the Portuguese.” ![]() |
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c. Sonnet 43 consists of fourteen lines, like other sonnets. ![]() |
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d. Sonnet 43 is a romantic poem in the same way Wordsworth’s “Tintern Abbey” is a romantic poem. ![]() |
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e. Sonnet 43 suggests changing Victorian attitudes about women’s sexuality. ![]() |
a. Alexander Pope ![]() |
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b. Percy Shelley ![]() |
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c. Samuel Taylor Coleridge ![]() |
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d. Alfred Tennyson ![]() |
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e. Gerard Manley Hopkins ![]() |
a. William Congreve ![]() |
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b. Ann Radcliffe ![]() |
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c. Matthew Lewis ![]() |
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d. Charles Dickens ![]() |
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e. Charlotte Brontë ![]() |