|
a. Passionate love |
||
|
b. Emotional restraint |
||
|
c. Revolution against tyranny |
||
|
d. Communion with the natural world |
|
a. The imagination |
||
|
b. Love |
||
|
c. The natural world |
||
|
d. Rationality |
|
a. Workers |
||
|
b. Aristocrats |
||
|
c. Between workers and aristocrats |
||
|
d. Land owners only |
|
a. Celebrates the French Revolution |
||
|
b. Encourages the United States to Support the French Revolution |
||
|
c. Attacks the ideals of the French Revolution |
||
|
d. Champions Napoleon’s political vision |
|
a. Awe and fascination |
||
|
b. Disinterest and disregard |
||
|
c. Resentment and disrespect |
||
|
d. Fear and horror |
|
a. Engage in the Napoleonic Wars |
||
|
b. Change all aspects of French law |
||
|
c. Involve himself directly in affairs in the United States |
||
|
d. Offer landmark political writings calling for peace with other European nations |
|
a. “A Defense of Poetry” |
||
|
b. “The Rights of Man” |
||
|
c. “Advertisement to Lyrical Ballads” |
||
|
d. “An Essay on Dramatic Poetry” |
|
a. 1800 – 1900 |
||
|
b. 1805 – 1827 |
||
|
c. 1798 – 1832 |
||
|
d. 1785 – 1825 |
|
a. France’s war with a foreign nation |
||
|
b. The mass execution of enemies of the revolution |
||
|
c. Napoleon’s rise to power |
||
|
d. The death of the king of France |
|
a. Revolution is inhumane |
||
|
b. Revolution never succeeds |
||
|
c. Revolution is proper when a government does not take care of its people |
||
|
d. Every government should be revolted against |
|
a. The rise of King William |
||
|
b. The execution of King Louis XVI |
||
|
c. The ruling of Bonaparte |
||
|
d. The madness of King George |
|
a. Thomas Paine |
||
|
b. James Mackintosh |
||
|
c. Edmund Burke |
||
|
d. John Locke |
|
a. Samuel Taylor Coleridge |
||
|
b. Edmund Burke |
||
|
c. William Godwin |
||
|
d. John Locke |
|
a. The execution of the King of France |
||
|
b. The battle at Waterloo |
||
|
c. The Reign of Terror |
||
|
d. Napoleon’s coronation as Emperor of France |
|
a. Optimism |
||
|
b. A sense of man being imperfect |
||
|
c. Order and reason |
||
|
d. A belief that art is primarily intellectual |
|
a. “Truth is beauty …” |
||
|
b. “Truth is stranger than fiction …” |
||
|
c. “Familure acts are beautiful through love …” |
||
|
d. “A little learning is a dangerous thing …” |
|
a. Engagement with the natural world |
||
|
b. Rationality |
||
|
c. Emotional restraint |
||
|
d. Political conservatism |
|
a. Celebration of the imagination |
||
|
b. Engagement with nature |
||
|
c. The use of symbolism |
||
|
d. The use of allegory |
|
a. The popularity of Romantic poetry |
||
|
b. The European economy shifting into a global economy |
||
|
c. The population increase in Europe |
||
|
d. Europe’s shift into being a manufacturing economy |
|
a. The essay |
||
|
b. Satire |
||
|
c. Blank verse poetry |
||
|
d. The rhymed couplet |
|
a. His addiction to opium |
||
|
b. His experiences during the French Revolution |
||
|
c. The end of his friendship with Wordsworth |
||
|
d. His physical battle with gout |
|
a. The plight of common, ordinary people |
||
|
b. A celebration of the medieval |
||
|
c. A satirical representation of current events |
||
|
d. A warm remembrance of childish idealism |
|
a. The French Revolution |
||
|
b. Man’s relationship to nature |
||
|
c. The experience of common people |
||
|
d. A celebration of the aristocratic |
|
a. Samuel Taylor Coleridge |
||
|
b. John Keats |
||
|
c. William Blake |
||
|
d. Lord Byron |
|
a. Politics |
||
|
b. Literature |
||
|
c. Relations with France |
||
|
d. All of the above |
|
a. Beautiful |
||
|
b. Sublime |
||
|
c. Terrifying |
||
|
d. Romantic |
|
a. Guilt |
||
|
b. Disbelief |
||
|
c. Hatred |
||
|
d. Love |
|
a. Demonstrate how the human imagination is fragile |
||
|
b. Demonstrate how the human mind comprehends and perceives truth |
||
|
c. Demonstrate the power of the French Revolution on the British Romantic consciousness |
||
|
d. Demonstrate the intrinsic connection between imagination and death |
|
a. A hawk |
||
|
b. A nightingale |
||
|
c. A dove |
||
|
d. An albatross |
|
a. Life-in-Death |
||
|
b. The Ancient Mariner |
||
|
c. The Wedding Guest |
||
|
d. The ship’s captain |
|
a. The beauty of the natural world |
||
|
b. The pains of love |
||
|
c. Political and philosophical conservatism |
||
|
d. The nature of artistic creation |
|
a. His odes |
||
|
b. His wild lifestyle |
||
|
c. His popularity with readers |
||
|
d. His extensive writings |
|
a. How nature can render someone good |
||
|
b. How nature can corrupt someone |
||
|
c. Eternal youth |
||
|
d. A dark voyage into madness |
|
a. A powerful, sublime force |
||
|
b. A peaceful force |
||
|
c. Depressing and miserable |
||
|
d. Controlled by gods |
|
a. The sublime |
||
|
b. Death |
||
|
c. Childhood |
||
|
d. A lost lover |
|
a. The passion between a husband and wife |
||
|
b. The loss of innocence |
||
|
c. The horrors of the French Revolution |
||
|
d. How poets can bring about political revolution |
|
a. Sincere and heartfelt |
||
|
b. Mocking and satirical |
||
|
c. Mournful and dark |
||
|
d. Polemic and dry |
|
a. Dramatic and dark |
||
|
b. Ironic and satirical |
||
|
c. Strange and haunting |
||
|
d. Humorless and stark |
|
a. Coleridge |
||
|
b. Dorothy Wordsworth |
||
|
c. The Wedding Guest |
||
|
d. Life-in-Death |
|
a. An expression of love for common man. |
||
|
b. Mockery toward William Wordsworth. |
||
|
c. An expression of doubt and angst. |
||
|
d. Dark humor. |
|
a. Use of common, everyday language |
||
|
b. Engagement with the natural world |
||
|
c. Mockery of political figures |
||
|
d. Psychological insight |
|
a. William Blake |
||
|
b. John Keats |
||
|
c. Samuel Taylor Coleridge |
||
|
d. William Wordsworth |
|
a. William Wordsworth |
||
|
b. Samuel Taylor Coleridge |
||
|
c. William Blake |
||
|
d. John Keats |
|
a. Lord Byron |
||
|
b. William Wordsworth |
||
|
c. Samuel Taylor Coleridge |
||
|
d. William Blake |
|
a. William Blake |
||
|
b. Lord Byron |
||
|
c. Samuel Taylor Coleridge |
||
|
d. William Wordsworth |
|
a. Lord Byron |
||
|
b. Percy Shelley |
||
|
c. John Keats |
||
|
d. William Blake |
|
a. John Keats |
||
|
b. William Blake |
||
|
c. Lord Byron |
||
|
d. Samuel Taylor Coleridge |
|
a. Fanny Brawne |
||
|
b. Dorothy Wordsworth |
||
|
c. Mary Shelley |
||
|
d. Mary Keats |
|
a. Cantos |
||
|
b. Stanzas |
||
|
c. Lines |
||
|
d. Chapters |
|
a. Influenza |
||
|
b. Tuberculosis |
||
|
c. Fever |
||
|
d. Suicide |
|
a. William Blake |
||
|
b. Lord Byron |
||
|
c. William Wordsworth |
||
|
d. John Keats |
|
a. Psyche |
||
|
b. Cupid |
||
|
c. The author of the poem |
||
|
d. Shelley’s childhood self |
|
a. The little girl refuses to cast the dead out of her life. |
||
|
b. The little girl is insane or delusional |
||
|
c. The little girl’s siblings have not died |
||
|
d. The little girl herself is dead |
|
a. Percy Shelley |
||
|
b. John Keats |
||
|
c. Lord Byron |
||
|
d. Samuel Taylor Coleridge |
|
a. The nature of death |
||
|
b. The French Revolution |
||
|
c. The relationship between truth and beauty |
||
|
d. The author’s childhood experience |
|
a. A celebration of the city’s beauty |
||
|
b. A protest against social inequality |
||
|
c. An examination of the city’s past |
||
|
d. An attack on William Wordsworth |
|
a. The possibility of sudden death |
||
|
b. The expansion of consciousness |
||
|
c. The relationship between art and humanity |
||
|
d. The death of Byron |
|
a. Superman |
||
|
b. Dr. House |
||
|
c. Luke Skywalker |
||
|
d. Yoda |
|
a. William Wordsworth |
||
|
b. John Keats |
||
|
c. Percy Shelley |
||
|
d. William Blake? |
|
a. John Clare’s “To Elia” |
||
|
b. Wordsworth “Peter Bell” |
||
|
c. Byron’s “Don Juan” |
||
|
d. Coleridge’s “Kubla Kahn” |
|
a. Arrogance |
||
|
b. Nihilism |
||
|
c. Good spirits |
||
|
d. Dark humor |
|
a. Lord Byron |
||
|
b. Percy Shelley |
||
|
c. John Keats |
||
|
d. Samuel Taylor Coleridge |
|
a. Lord Byron |
||
|
b. Samuel Taylor Coleridge |
||
|
c. William Blake |
||
|
d. William Wordsworth |
|
a. William Wordsworth |
||
|
b. John Keats |
||
|
c. Samuel Taylor Coleridge |
||
|
d. Lord Byron |
|
a. William Wordsworth |
||
|
b. Lord Byron |
||
|
c. Percy Shelley |
||
|
d. John Keats |
|
a. Lord Byron |
||
|
b. Percy Shelley |
||
|
c. Samuel Taylor Coleridge |
||
|
d. William Blake |
|
a. William Wordsworth |
||
|
b. William Blake |
||
|
c. John Keats |
||
|
d. Percy Shelley |
|
a. Lord Byron |
||
|
b. Percy Shelley |
||
|
c. William Hazlitt |
||
|
d. Samuel Taylor Coleridge |
|
a. Lord Byron |
||
|
b. Bob Southey |
||
|
c. Don Juan |
||
|
d. A nameless narrator |
|
a. The abolition of slavery |
||
|
b. The equality of all people |
||
|
c. The innate brilliance of children |
||
|
d. The beauty of common language |
|
a. Simple |
||
|
b. Violent |
||
|
c. Satirical |
||
|
d. Mythological |
|
a. The loss of childhood and discovery of the adult world |
||
|
b. The fall of Satan |
||
|
c. The life of Blake |
||
|
d. The history of London |
|
a. The way in which one’s psychological state changes over time |
||
|
b. The failures of Romanticism |
||
|
c. The beauty of the natural world |
||
|
d. Coleridge’s addiction to drugs |
|
a. How pleasures are fleeting and life cannot continue forever |
||
|
b. The fall of man into sin |
||
|
c. The futility of artistic creation |
||
|
d. The unfortunate conclusion of the French Revolution |
|
a. Beauty can be understood only through metaphysics |
||
|
b. Anything that is intellectual cannot be beautiful |
||
|
c. Beauty is missing from the world |
||
|
d. The source of beauty cannot be known, and that beauty can only be felt |
|
a. Reason |
||
|
b. Fear |
||
|
c. Illogic |
||
|
d. Indifference |
|
a. Revolutionize France |
||
|
b. Expose the nature of reality |
||
|
c. Expose how intimate relationships inform political realities |
||
|
d. Change sexual morals |
|
a. Shelley himself dismissed the poem |
||
|
b. The poem was incomplete |
||
|
c. Shelley recognizes the power of sexual transgression in it |
||
|
d. Shelley writes about Byron’s sexuality in it |
|
a. William Wordsworth |
||
|
b. William Blake |
||
|
c. Percy Shelley |
||
|
d. Lord Byron |
|
a. Death |
||
|
b. Perception |
||
|
c. Exhaustion |
||
|
d. Love |
|
a. William Wordsworth |
||
|
b. William Blake |
||
|
c. Lord Byron |
||
|
d. Percy Shelley |
|
a. Write stories |
||
|
b. Resist understanding poetry |
||
|
c. Reproduce rhythm and order |
||
|
d. Strive to express love |
|
a. The intellect |
||
|
b. The author’s personal pain |
||
|
c. Strong feeling |
||
|
d. Rewriting Homer |
|
a. Lord Byron and John Clare |
||
|
b. William Wordsworth and Samuel Taylor Coleridge |
||
|
c. John Keats and William Blake |
||
|
d. Lord Byron and William Blake |
|
a. Shelley’s political beliefs |
||
|
b. Shelley’s sexuality |
||
|
c. Shelley’s love of Shakespeare |
||
|
d. Shelley’s relationship with Byron |
|
a. Not an atheist |
||
|
b. In love with Lord Byron |
||
|
c. Suicidal |
||
|
d. Fiercely anti-war |
|
a. No sense of reality |
||
|
b. A desire to make the world into a better place |
||
|
c. A dark and twisted outlook on the world |
||
|
d. A strong dislike of women |
|
a. Most Romantic poets were politicians |
||
|
b. Poets have no actual effect upon the world |
||
|
c. Poets actually help the world grow and develop |
||
|
d. Hardly anyone actually reads Romantic poetry |
|
a. William Wordsworth |
||
|
b. Samuel Taylor Coleridge |
||
|
c. William Blake |
||
|
d. Lord Byron |
|
a. “The Prelude” |
||
|
b. “Don Juan” |
||
|
c. “Childe Harold’s Pilgrimage” |
||
|
d. “Rime of the Ancient Mariner” |
|
a. “The Prelude” |
||
|
b. “We Are Seven” |
||
|
c. “Lines Written a few miles above Tintern Abbey” |
||
|
d. “Lines Written in Early Spring” |
|
a. “Lyrical Ballads” |
||
|
b. “The Prelude” |
||
|
c. “We Are Seven” |
||
|
d. “Lines Written in Early Spring” |
|
a. William Hazlitt |
||
|
b. William Wordsworth |
||
|
c. Percy Shelley |
||
|
d. Lord Byron |
|
a. Percy Shelley |
||
|
b. John Keats |
||
|
c. William Wordsworth |
||
|
d. Samuel Taylor Coleridge |
|
a. Lord Byron |
||
|
b. Percy Shelley |
||
|
c. William Blake |
||
|
d. William Wordsworth |
|
a. William Blake |
||
|
b. Samuel Taylor Coleridge |
||
|
c. Lord Byron |
||
|
d. Percy Shelley |
|
a. Kings and queens |
||
|
b. Poets and artists |
||
|
c. Dictators and Tyrants |
||
|
d. All people equally |
|
a. Lord Byron |
||
|
b. William Blake |
||
|
c. William Hazlitt |
||
|
d. Percy Shelley |
|
a. Percy Shelley |
||
|
b. Samuel Taylor Coleridge |
||
|
c. William Hazlitt |
||
|
d. William Wordsworth |
|
a. Courtly love and modern-seeming emotion |
||
|
b. Violence |
||
|
c. Nature |
||
|
d. Death and disease |