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 |