Card 0 of 20
Let us go then, you and I,
When the evening is spread out against the sky
Like a patient etherized upon a table;
Let us go, through certain half-deserted streets,
The muttering retreats
Of restless nights in one-night cheap hotels
And sawdust restaurants with oyster-shells:
Streets that follow like a tedious argument
Of insidious intent
To lead you to an overwhelming question . . .
Oh, do not ask, “What is it?”
In which line of the poem is there a radical shift in tone?
This excerpt, from T. S. Eliot's much longer "The Love Song of J. Alfred Prufrock," begins with two rhyming lines that truly do read like a love song, but the third line of the poem "Like a patient etherized upon a table" introduces themes of complacency, impotence, paralysis, and sickness.
Passage adapted from "The Love Song of J. Alfred Prufrock" by T. S. Elliot, 1-11 (1915)
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A)
It is the thirty-first of March,
A gusty evening—half-past seven;
The moon is shining o’er the larch,
A simple shape—a cock’d-up arch,
Rising bigger than a star,
Though the stars are thick in Heaven.
Gentle moon! how canst thou shine
Over graves and over trees,
With as innocent a look
As my own grey eyeball sees,
When I gaze upon a brook?
B)
O intellectual ingurtilations of creeds!
To such I am antiseptic.
I met a man.
Where?
In a gutter. We were at once friends.
O homogeneities of contemporaneous antiloxodromachy!
C)
When hope, love, life itself, are only
Dust - spectral memories - dead and cold -
The unfed fire burns bright and lonely,
Like that undying lamp of old:
And by that drear illumination,
Till time its clay-built home has rent,
Thought broods on feeling's desolation -
The soul is its own monument.
D)
Once upon a midnight chilling, as I held my feet unwilling
O'er a tub of scalding water, at a heat of ninety-four;
Nervously a toe in dipping, dripping, slipping, then out-skipping
Suddenly there came a ripping whipping, at my chamber's door.
"'Tis the second-floor," I muttered, "flipping at my chamber's door—
Wants a light—and nothing more!"
Which is a parody written in the style of William Wordsworth?
A is a parody of the kinds of poems Wordsworth wrote and included in Lyrical Ballads (1798).
The ballad-like form, the apostrophe to nature (moon and brook), the serene scene (the moon shining over the larch) and the idolization of innocence are all features found in many of Wordsworth's poems.
A: Adapted from _Peter Bell: A Tale in Verse_by William Wordsworth (1819)
B: Adapted from a parody in Once a Week(London, December 12th, 1868). Can be found in Volume 5 of Parodies of the Works of English & American Authors (1888; ed. Reeves and Turner)
C: Adapted from Nightmare Abbey by Thomas Love Peacock (1818)
D: Adapted from "The Vulture: An Ornithological Study" in Graham's Magazine (1853)
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A Late Walk
1 When I go up through the mowing field,
2 The headless aftermath,
3 Smooth-laid like thatch with the heavy dew,
4 Half closes the garden path.
5 And when I come to the garden ground,
6 The whir of sober birds
7 Up from the tangle of withered weeds
8 Is sadder than any words
9 A tree beside the wall stands bare,
10 But a leaf that lingered brown,
11 Disturbed, I doubt not, by my thought,
12 Comes softly rattling down.
13 I end not far from my going forth
14 By picking the faded blue
15 Of the last remaining aster flower
16 To carry again to you.
The tone of the poem can best be described as .
The elegiac style of the poem, as it is literally about the passing of a growing season and the coming of winter, depicts nostalgia.
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A Late Walk
1 When I go up through the mowing field,
2 The headless aftermath,
3 Smooth-laid like thatch with the heavy dew,
4 Half closes the garden path.
5 And when I come to the garden ground,
6 The whir of sober birds
7 Up from the tangle of withered weeds
8 Is sadder than any words
9 A tree beside the wall stands bare,
10 But a leaf that lingered brown,
11 Disturbed, I doubt not, by my thought,
12 Comes softly rattling down.
13 I end not far from my going forth
14 By picking the faded blue
15 Of the last remaining aster flower
16 To carry again to you.
The speaker in the poem is very probably addressing .
The speaker in the poem is very probably addressing a loved one as he picks "again" for him or her, in the last stanza, the last remaining aster flower.
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A Late Walk
1 When I go up through the mowing field,
2 The headless aftermath,
3 Smooth-laid like thatch with the heavy dew,
4 Half closes the garden path.
5 And when I come to the garden ground,
6 The whir of sober birds
7 Up from the tangle of withered weeds
8 Is sadder than any words
9 A tree beside the wall stands bare,
10 But a leaf that lingered brown,
11 Disturbed, I doubt not, by my thought,
12 Comes softly rattling down.
13 I end not far from my going forth
14 By picking the faded blue
15 Of the last remaining aster flower
16 To carry again to you.
The following is an example of alliteration:
"Withered weeds" (line 7) is an example of alliteration. Alliteration is the repetition of the same sounds at the beginning of words.
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A Late Walk
1 When I go up through the mowing field,
2 The headless aftermath,
3 Smooth-laid like thatch with the heavy dew,
4 Half closes the garden path.
5 And when I come to the garden ground,
6 The whir of sober birds
7 Up from the tangle of withered weeds
8 Is sadder than any words
9 A tree beside the wall stands bare,
10 But a leaf that lingered brown,
11 Disturbed, I doubt not, by my thought,
12 Comes softly rattling down.
13 I end not far from my going forth
14 By picking the faded blue
15 Of the last remaining aster flower
16 To carry again to you.
The following connotes the imagery of warfare:
An aftermath is the consequence of a disaster, like a war. The imagery of "headless aftermath" implies a farmer who has, in some way, defeated the fields.
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A Late Walk
1 When I go up through the mowing field,
2 The headless aftermath,
3 Smooth-laid like thatch with the heavy dew,
4 Half closes the garden path.
5 And when I come to the garden ground,
6 The whir of sober birds
7 Up from the tangle of withered weeds
8 Is sadder than any words
9 A tree beside the wall stands bare,
10 But a leaf that lingered brown,
11 Disturbed, I doubt not, by my thought,
12 Comes softly rattling down.
13 I end not far from my going forth
14 By picking the faded blue
15 Of the last remaining aster flower
16 To carry again to you.
The phrase "sober birds" (line 6) implies that even the birds are .
The "sober birds" (line 6) are serious and sad. The poet, Robert Frost, even calls their busy "whir" (line 6) "sadder than any words" (line 8). Their sobriety indicates a clarity of vision and purpose in the face of winter.
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A Late Walk
1 When I go up through the mowing field,
2 The headless aftermath,
3 Smooth-laid like thatch with the heavy dew,
4 Half closes the garden path.
5 And when I come to the garden ground,
6 The whir of sober birds
7 Up from the tangle of withered weeds
8 Is sadder than any words
9 A tree beside the wall stands bare,
10 But a leaf that lingered brown,
11 Disturbed, I doubt not, by my thought,
12 Comes softly rattling down.
13 I end not far from my going forth
14 By picking the faded blue
15 Of the last remaining aster flower
16 To carry again to you.
If the speaker feels that his life is nearing an end, what most strongly makes that argument?
The lingering brown leaf that "Comes softly rattling down" (line 12) from the bare standing tree connotes more than the other choices that the speaker might believe his life is nearing an end (i.e., it is falling like the last leaf of Autumn).
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A Late Walk
1 When I go up through the mowing field,
2 The headless aftermath,
3 Smooth-laid like thatch with the heavy dew,
4 Half closes the garden path.
5 And when I come to the garden ground,
6 The whir of sober birds
7 Up from the tangle of withered weeds
8 Is sadder than any words
9 A tree beside the wall stands bare,
10 But a leaf that lingered brown,
11 Disturbed, I doubt not, by my thought,
12 Comes softly rattling down.
13 I end not far from my going forth
14 By picking the faded blue
15 Of the last remaining aster flower
16 To carry again to you.
What does the speaker believe caused the "leaf that lingered brown" (line 10) to come "softly rattling down" (line 12)?
In line 11, the speaker expresses the belief that it fell as a result of his thoughts: "Disturbed, I doubt not, by my thought."
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A Late Walk
1 When I go up through the mowing field,
2 The headless aftermath,
3 Smooth-laid like thatch with the heavy dew,
4 Half closes the garden path.
5 And when I come to the garden ground,
6 The whir of sober birds
7 Up from the tangle of withered weeds
8 Is sadder than any words
9 A tree beside the wall stands bare,
10 But a leaf that lingered brown,
11 Disturbed, I doubt not, by my thought,
12 Comes softly rattling down.
13 I end not far from my going forth
14 By picking the faded blue
15 Of the last remaining aster flower
16 To carry again to you.
Which of the following is a simile?
"Smooth-laid like thatch" (line 3) is the simile; a simile is a figure pf speech in which two seemingly unlike things are compared using "like" or "as." Usually the words indicate two things that have some similar quality, however, although this may not be immediately evident. In this instance, the "mowing field" (line 1) is like "thatch" (line 3).
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A Late Walk
1 When I go up through the mowing field,
2 The headless aftermath,
3 Smooth-laid like thatch with the heavy dew,
4 Half closes the garden path.
5 And when I come to the garden ground,
6 The whir of sober birds
7 Up from the tangle of withered weeds
8 Is sadder than any words
9 A tree beside the wall stands bare,
10 But a leaf that lingered brown,
11 Disturbed, I doubt not, by my thought,
12 Comes softly rattling down.
13 I end not far from my going forth
14 By picking the faded blue
15 Of the last remaining aster flower
16 To carry again to you.
In line 14, the adjective "faded" contributes to what?
The "faded blue" of line 14 contributes to the poems overall elegiac style (that is, its mournful design). For the speaker, even the blue of the aster flower has been dulled.
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A Late Walk
1 When I go up through the mowing field,
2 The headless aftermath,
3 Smooth-laid like thatch with the heavy dew,
4 Half closes the garden path.
5 And when I come to the garden ground,
6 The whir of sober birds
7 Up from the tangle of withered weeds
8 Is sadder than any words
9 A tree beside the wall stands bare,
10 But a leaf that lingered brown,
11 Disturbed, I doubt not, by my thought,
12 Comes softly rattling down.
13 I end not far from my going forth
14 By picking the faded blue
15 Of the last remaining aster flower
16 To carry again to you.
One theme of the poem is .
One theme of the poem is the passing of time is something sorrwoful, as the poem treats the arrival of winter with weighty vocabulary ("withered weeds"), despondent imagery (such as a falling leaf), and straight-forwardly states that the business of "sober birds" is "sadder than any words."
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Adapted from "The Author to Her Book" by Anne Bradstreet (1678)
Thou ill-form’d offspring of my feeble brain,
Who after birth didst by my side remain,
Till snatched from thence by friends, less wise than true,
Who thee abroad, expos’d to public view,
Made thee in rags, halting to th’ press to trudge,
Where errors were not lessened (all may judge).
At thy return my blushing was not small,
My rambling brat (in print) should mother call,
I cast thee by as one unfit for light,
Thy visage was so irksome in my sight;
Yet being mine own, at length affection would
Thy blemishes amend, if so I could:
I wash’d thy face, but more defects I saw,
And rubbing off a spot, still made a flaw.
I stretched thy joints to make thee even feet,
Yet still thou run’st more hobling then is meet;
In better dress to trim thee was my mind,
But nought save home-spun cloth, i’ th’ house I find.
In this array ’mongst vulgars mayst thou roam.
In critics' hands, beware thou dost not come;
And take thy way where yet thou art not known,
If for thy father askt, say, thou hadst none:
And for thy mother, she alas is poor,
Which caus’d her thus to send thee out of door.
The first two lines of this poem imply all but which of the following?
The first two lines imply that Bradstreet feels her book (the "offspring") is "ill-formed" and the product of a "feeble mind," which indicates she did not think her writing was strong and did not want it seen by anyone else. The fact that it remained "by her side" after she wrote it indicates that she had no plans to publish it.
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Adapted from "The Author to Her Book" by Anne Bradstreet (1678)
Thou ill-form’d offspring of my feeble brain,
Who after birth didst by my side remain,
Till snatched from thence by friends, less wise than true,
Who thee abroad, expos’d to public view,
Made thee in rags, halting to th’ press to trudge,
Where errors were not lessened (all may judge).
At thy return my blushing was not small,
My rambling brat (in print) should mother call,
I cast thee by as one unfit for light,
Thy visage was so irksome in my sight;
Yet being mine own, at length affection would
Thy blemishes amend, if so I could:
I wash’d thy face, but more defects I saw,
And rubbing off a spot, still made a flaw.
I stretched thy joints to make thee even feet,
Yet still thou run’st more hobling then is meet;
In better dress to trim thee was my mind,
But nought save home-spun cloth, i’ th’ house I find.
In this array ’mongst vulgars mayst thou roam.
In critics' hands, beware thou dost not come;
And take thy way where yet thou art not known,
If for thy father askt, say, thou hadst none:
And for thy mother, she alas is poor,
Which caus’d her thus to send thee out of door.
The third and fourth lines of the poem imply all but which of the following?
Nothing in these lines indicates that Bradstreet had any knowledge that her friends were publishing her book "abroad," and the fact that she charaterizes them as "less wise than true" indicates that she found their actions unwise and deceitful.
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Adapted from "The Author to Her Book" by Anne Bradstreet (1678)
Thou ill-form’d offspring of my feeble brain,
Who after birth didst by my side remain,
Till snatched from thence by friends, less wise than true,
Who thee abroad, expos’d to public view,
Made thee in rags, halting to th’ press to trudge,
Where errors were not lessened (all may judge).
At thy return my blushing was not small,
My rambling brat (in print) should mother call,
I cast thee by as one unfit for light,
Thy visage was so irksome in my sight;
Yet being mine own, at length affection would
Thy blemishes amend, if so I could:
I wash’d thy face, but more defects I saw,
And rubbing off a spot, still made a flaw.
I stretched thy joints to make thee even feet,
Yet still thou run’st more hobling then is meet;
In better dress to trim thee was my mind,
But nought save home-spun cloth, i’ th’ house I find.
In this array ’mongst vulgars mayst thou roam.
In critics' hands, beware thou dost not come;
And take thy way where yet thou art not known,
If for thy father askt, say, thou hadst none:
And for thy mother, she alas is poor,
Which caus’d her thus to send thee out of door.
Which of the following is the most likely meaning of the underlined fifth and sixth lines of the poem?
Bradstreet's book was published using an uncorrected rough draft of her poems, since she herself did not know it was being published, and thus she feels its "errors were not lessened" by editing.
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Adapted from "The Author to Her Book" by Anne Bradstreet (1678)
Thou ill-form’d offspring of my feeble brain,
Who after birth didst by my side remain,
Till snatched from thence by friends, less wise than true,
Who thee abroad, expos’d to public view,
Made thee in rags, halting to th’ press to trudge,
Where errors were not lessened (all may judge).
At thy return my blushing was not small,
My rambling brat (in print) should mother call,
I cast thee by as one unfit for light,
Thy visage was so irksome in my sight;
Yet being mine own, at length affection would
Thy blemishes amend, if so I could:
I wash’d thy face, but more defects I saw,
And rubbing off a spot, still made a flaw.
I stretched thy joints to make thee even feet,
Yet still thou run’st more hobling then is meet;
In better dress to trim thee was my mind,
But nought save home-spun cloth, i’ th’ house I find.
In this array ’mongst vulgars mayst thou roam.
In critics' hands, beware thou dost not come;
And take thy way where yet thou art not known,
If for thy father askt, say, thou hadst none:
And for thy mother, she alas is poor,
Which caus’d her thus to send thee out of door.
Lines 7-10 imply all but which of the following?
There's nothing in these lines to indicate that Bradstreet immediately acknowledged authorship of the book, given that she finds it "rambling" and in need of tighter editing, and the fact that she "blushes" at its publication implies she does not feel the book was ready to be seen by the public.
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Adapted from "The Author to Her Book" by Anne Bradstreet (1678)
Thou ill-form’d offspring of my feeble brain,
Who after birth didst by my side remain,
Till snatched from thence by friends, less wise than true,
Who thee abroad, expos’d to public view,
Made thee in rags, halting to th’ press to trudge,
Where errors were not lessened (all may judge).
At thy return my blushing was not small,
My rambling brat (in print) should mother call,
I cast thee by as one unfit for light,
Thy visage was so irksome in my sight;
Yet being mine own, at length affection would
Thy blemishes amend, if so I could:
I wash’d thy face, but more defects I saw,
And rubbing off a spot, still made a flaw.
I stretched thy joints to make thee even feet,
Yet still thou run’st more hobling then is meet;
In better dress to trim thee was my mind,
But nought save home-spun cloth, i’ th’ house I find.
In this array ’mongst vulgars mayst thou roam.
In critics' hands, beware thou dost not come;
And take thy way where yet thou art not known,
If for thy father askt, say, thou hadst none:
And for thy mother, she alas is poor,
Which caus’d her thus to send thee out of door.
Lines 11–14 imply all but which of the following?
These lines indicate that Bradstreet did not feel her revisions improved the book, which she saw as hers and therefore necessary to revise. The fact that she says she saw more "spots" after "wash\[ing its\] face" indicates that she both found more errors and that she felt her revisions made the poems worse somehow.
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Thou ill-form’d offspring of my feeble brain,
Who after birth didst by my side remain,
Till snatched from thence by friends, less wise than true,
Who thee abroad, expos’d to public view,
Made thee in rags, halting to th’ press to trudge,
Where errors were not lessened (all may judge).
At thy return my blushing was not small,
My rambling brat (in print) should mother call,
I cast thee by as one unfit for light,
Thy visage was so irksome in my sight;
Yet being mine own, at length affection would
Thy blemishes amend, if so I could:
I wash’d thy face, but more defects I saw,
And rubbing off a spot, still made a flaw.
I stretched thy joints to make thee even feet,
Yet still thou run’st more hobling then is meet;
In better dress to trim thee was my mind,
But nought save home-spun cloth, i’ th’ house I find.
In this array ’mongst vulgars mayst thou roam.
In critics' hands, beware thou dost not come;
And take thy way where yet thou art not known,
If for thy father askt, say, thou hadst none:
And for thy mother, she alas is poor,
Which caus’d her thus to send thee out of door.
The underlined lines "I stretched thy joints to make thee even feet, / Yet still thou run'st more hobbling than is meet" most likely refers to what?
The word "feet" is the clue here: the meter of poems is measured in metrical feet, different combinations of stressed and unstressed syllables, and here, Bradstreet is using the image of stretching the "joints" of her "offspring" to even up the meter.
Passage adapted from "The Author to Her Book" by Anne Bradstreet (1678)
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Adapted from "The Author to Her Book" by Anne Bradstreet (1678)
Thou ill-form’d offspring of my feeble brain,
Who after birth didst by my side remain,
Till snatched from thence by friends, less wise than true,
Who thee abroad, expos’d to public view,
Made thee in rags, halting to th’ press to trudge,
Where errors were not lessened (all may judge).
At thy return my blushing was not small,
My rambling brat (in print) should mother call,
I cast thee by as one unfit for light,
Thy visage was so irksome in my sight;
Yet being mine own, at length affection would
Thy blemishes amend, if so I could:
I wash’d thy face, but more defects I saw,
And rubbing off a spot, still made a flaw.
I stretched thy joints to make thee even feet,
Yet still thou run’st more hobling then is meet;
In better dress to trim thee was my mind,
But nought save home-spun cloth, i’ th’ house I find.
In this array ’mongst vulgars mayst thou roam.
In critics' hands, beware thou dost not come;
And take thy way where yet thou art not known,
If for thy father askt, say, thou hadst none:
And for thy mother, she alas is poor,
Which caus’d her thus to send thee out of door.
In the lines "In better dress to trim thee was my mind, / But nought save homespun cloth i' th' house I find," Bradstreet is using the image of dressing a child in better clothes to symbolize __________.
Given the context of these lines and the double-meaning of trim, meaning both "to dress" and "to cut in length," the image of dressing a child in better clothes probably refers to her desire to revise the poems into better forms and her inability to do so (because she has only "homespun cloth").
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Adapted from "The Author to Her Book" by Anne Bradstreet (1678)
Thou ill-form’d offspring of my feeble brain,
Who after birth didst by my side remain,
Till snatched from thence by friends, less wise than true,
Who thee abroad, expos’d to public view,
Made thee in rags, halting to th’ press to trudge,
Where errors were not lessened (all may judge).
At thy return my blushing was not small,
My rambling brat (in print) should mother call,
I cast thee by as one unfit for light,
Thy visage was so irksome in my sight;
Yet being mine own, at length affection would
Thy blemishes amend, if so I could:
I wash’d thy face, but more defects I saw,
And rubbing off a spot, still made a flaw.
I stretched thy joints to make thee even feet,
Yet still thou run’st more hobling then is meet;
In better dress to trim thee was my mind,
But nought save home-spun cloth, i’ th’ house I find.
In this array ’mongst vulgars mayst thou roam.
In critics' hands, beware thou dost not come;
And take thy way where yet thou art not known,
If for thy father askt, say, thou hadst none:
And for thy mother, she alas is poor,
Which caus’d her thus to send thee out of door.
The lines "In critic's hands beware thou dost not come, / And take thy way where yet thou art not known" implies all but which of the following?
"Take thy way" is an older way of saying "be careful," so in essence Bradstreet is warning her book to be careful with strangers (i.e., new readers in places where her work is not known) and critics.
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