| 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. | ||
| b. Concerts in the parks that were attended by ordinary people should be banned. | ||
| c. Civil servants should talk more openly and publicly about their moral work. | ||
| d. Members of the Jewish and Catholic faiths should be excluded from public office. | ||
| e. There should be more laws to criminalize sex. |
| a. Like Great Expectations, Jane Eyre addresses the power of wealth and class. | ||
| b. Like "Dover Beach," Jane Eyre mourns the diminishing power of Christian faith. | ||
| c. Through Rochester, Jane Eyre develops a Byronic hero. | ||
| d. Like Great Expectations, Jane Eyre can be read as a bildungsroman. | ||
| e. Like Goblin Market, Jane Eyre explores the ambivalence of sexuality for Victorian women. |
| a. It is a dramatic monologue. | ||
| b. Like earlier Romantic lyrics, it takes a natural setting as an occasion for philosophical reflection. | ||
| c. It has a melancholic tone. | ||
| d. It envisions Christianity as eternal. | ||
| e. It concludes by shifting its focus to personal relationships. |
| a. Repeal of the corn laws | ||
| b. Opium Wars | ||
| c. Great Exhibition | ||
| d. French Revolution | ||
| e. Railway mania |
| a. The dangers of sensuality to women | ||
| b. The links between sexuality and economics | ||
| c. The importance of sisterly bonds | ||
| d. All of these answers | ||
| e. None of these answers |
| a. It has a speaker as well as an implied reader. | ||
| b. It includes elements of parody. | ||
| c. There is a "spontaneous overflow of emotion." | ||
| d. It is written in common, ordinary language. | ||
| 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. | ||
| b. Darwin's work was almost universally accepted from its first appearance. | ||
| c. Darwin's work had little initial influence on Victorian society and culture. | ||
| d. Almost all religious authorities rejected Darwin's work completely. | ||
| e. Darwin's work thoroughly reflected Victorian notions of moral uplift and progress. |
| a. Penal reform | ||
| b. Educational reform | ||
| c. The role of the monarchy | ||
| d. Both A and B | ||
| e. Both B and C |
| a. Sonnet 43 is similar to most other sonnets in its focus on love. | ||
| b. Sonnet 43 is part of a sonnet sequence "Sonnets from the Portuguese." | ||
| c. Sonnet 43 consists of fourteen lines, like other sonnets. | ||
| d. Sonnet 43 is a romantic poem in the same way Wordsworth's "Tintern Abbey" is a romantic poem. | ||
| e. Sonnet 43 suggests changing Victorian attitudes about women's sexuality. |
| a. Alexander Pope | ||
| b. Percy Shelley | ||
| c. Samuel Taylor Coleridge | ||
| d. Alfred Tennyson | ||
| e. Gerard Manley Hopkins |
| a. William Congreve | ||
| b. Ann Radcliffe | ||
| c. Matthew Lewis | ||
| d. Charles Dickens | ||
| e. Charlotte Brontë |