| 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 |