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english 4 final
| Question | Answer |
|---|---|
| Robert Burns | Born January 25, 1759 in Alloway, United Kingdom on the coast of Scotland. |
| Burns stanza | The style of poetry created by Robert Burns. |
| Occupation of Robert Burns | Farmer while being a writer. |
| Pre-Romantic era | The era Robert Burns is considered to be part of. |
| Scottish Dialect | The language Robert Burns' poetry was mainly written in. |
| To A Mouse | A poem written by Robert Burns after accidentally destroying a mouse's nest. |
| Symbolism of the mouse in To A Mouse | The poor or powerless. |
| Tone of To A Mouse | Pity. |
| Blessing of the mouse | The mouse has to worry about the present, unlike the speaker who worries about the past and future. |
| Theme of To A Mouse | The heartbreaking futility of planning for the future in an uncertain world and the extreme difficulty of life for poor people. |
| Bonnie Lass | A Scottish term of endearment used by the speaker in A Red, Red Rose. |
| Original purpose of A Red, Red Rose | Originally supposed to be a song. |
| Main theme of A Red, Red Rose | The enduring nature of true love. |
| Symbols in A Red, Red Rose | Red Roses, June, Summer, the sea. |
| Tone of A Red Red Rose | Affectionate and celebratory with a bit of bitter sweetness in the final stanza. |
| William Blake | Born November 28th, 1757 in Soho, London and the 3rd of seven children. |
| Main collection of poetry by William Blake | Songs of Innocence and Experience. |
| William Blake's views on religion | Complex and unconventional combining elements of Christianity with his own mystical and visionary interpretations. |
| Other careers of William Blake | Painter and Printmaker (Engraver). |
| Major themes in Blake's poetry and art | The tension between innocence and experience, the power of imagination, critique of oppressive social structures, exploration of spiritual and religious ideas, love, nature, and the human condition. |
| The Lamb: From Songs of Innocence | The speaker is a child. |
| Representation of the lamb in The Lamb | Innocence and the goodness of society. |
| Tone of The Lamb | Reverent, positive, light. |
| Connection between the speaker and the lamb | Christ is called the Lamb of God, and the speaker is a child of God. |
| The Tyger: From Songs of Experience | A poetic metaphor or allegory using the symbol of the tiger, mythological allusions, and images of Creation, Heaven, and Hell. |
| Theme of The Tyger | The juxtaposition of the beautiful and the terrifying within the creation of God, and the exploration of the nature of evil. |
| Imagery associated with The Tyger | Fire, violence, blacksmith. |
| Link of The Tyger to experience | The tyger represents the world beyond the naive understanding of childhood. |
| Common theme in The Tyger and The Lamb | Duality in creation, contrasting innocence and experience. |
| The Chimney Sweeper From Songs Of Innocence | The speaker is a young, unnamed chimney sweep. |
| Tom Dacre | represents the innocence and vulnerability of children exploited in harsh labor. |
| Angel's reassurance | promises Tom a future of heavenly bliss if he's a good boy and a father figure in God. |
| Moral lesson from Tom's dream | Through hard work and good behavior, one can find solace and perhaps even salvation in this life and in the next. |
| Clothes of death | refers to the chimney sweeps' uniform, which is both literally soiled with soot and figuratively associated with the hardship and premature mortality of their lives. |
| Speakers in the second poem | an adult and a child. |
| Blake's use of colors | White, often associated with purity and innocence, contrasts with darker colors like black, which signify experience, sorrow, and mortality. |
| Chimney sweep's blame | his parents and, more broadly, organized religion for his misery. |
| Contrast between Songs of Innocence and Experience The Songs of Innocence poem presents a more hopeful, albeit naive, view of child labor, highlighting the potential for religious reward and a future where children can return to a state of innocence. | |
| William Wordsworth's birth | April 7, 1770, Cockermouth, United Kingdom. |
| Major influence on Wordsworth | Samuel Coleridge and his sister, Dorothy Wordsworth. |
| Wordsworth's poetry reflection | deeply reflects his personal experiences and beliefs, particularly his profound connection with nature, his interest in the human mind and its power, and his fascination with childhood. |
| Wordsworth's poetry and social issues | reflects and engages with the social and political issues of his time, particularly the French Revolution and its aftermath. |
| Wordsworth's connection to nature | significant because he saw it as a source of inspiration, solace, and spiritual guidance. |
| Phrase 'The world is too much with us' | Criticises the world of the First Industrial Revolution for being absorbed in materialism and distancing itself from nature. |
| Criticism of humanity's relationship with nature | suggests that modern life, driven by materialism and consumerism, has led to a disconnection from the natural world and a loss of appreciation for its beauty and inherent goodness. |
| Tone of Wordsworth's poetry | One of disappointment and despair with modern society's materialism and disconnection from nature. |
| Proteus | A Greek sea god known for his ability to change shape and his prophetic abilities. |
| Imagery in Wordsworth's poetry | Wordsworth uses vivid nature imagery to contrast it with the materialistic focus of industrial society. |
| Speaker's address in the poem | The deceased poet John Milton, using the literary device of apostrophe. |
| Contrast between Milton's virtues and England's decline | Used to highlight the nation's moral and spiritual decay. |
| Values lost by England | Virtue, freedom, and power. |
| Nature symbolically describing Milton | Contrasts the vibrant, powerful spirit of John Milton with the stagnant, corrupted state of England in 1802. |
| Meaning of 'England hath need of thee' | Means that England is experiencing a decline in moral and intellectual virtue. |
| Speaker's action at the beginning of 'I Wandered Lonely as a Cloud' | The speaker is walking aimlessly. |
| Connection between nature and memory | Highlighting how the beauty of nature can be stored in the mind and revisited later. |
| Speaker's recall of the scene later | The speaker vividly recalls the scene later through his 'inward eye' when alone. |
| Significance of the setting in the poem | Crucial for the poem's themes of nature, memory, and the power of beauty to uplift the spirit. |
| Effect of daffodils on the speaker's mood | The daffodils have a profoundly positive effect on the speaker's mood. |
| Lord Byron's birth date | January 22, 1788. |
| Lord Byron's birthplace | London, United Kingdom. |
| Byronic hero | Arrogant, intelligent, educated outcasts who balance cynicism and self-destructive tendencies with a mysterious magnetism. |
| Lord Byron's full name | Not provided in the notes. |
| George Gordon Byron | 6th Baron Byron |
| Key themes in Byron's poetry | individualism and rebellion, the sublime in nature, the passionate nature of love, loss, and the struggle for liberty and the human condition. |
| Controversial aspects of Byron's personal life | His numerous affairs, rumors of bisexuality, and the scandal surrounding his relationship with his half-sister, Augusta Leigh. |
| Significance of the title 'She Walks in Beauty' | Emphasizes the profound and captivating nature of the woman's beauty, highlighting how it transcends mere physical appearance and extends to her inner character. |
| Speaker's tone in 'She Walks in Beauty' | Contemplative, reverent, and deeply admiring. |
| Main theme of 'She Walks in Beauty' | Describes the woman's beauty in comparison to the night sky with its clear, starry expanse, emphasizing the harmony between her dark and light features. |
| Description of the woman's beauty in 'She Walks in Beauty' | He describes her eyes as gentle and 'Heaven to gaudy day denies,' implying a heavenly quality and a serene light. |
| Reason for the initial conception of 'She Walks in Beauty' | The poem may have been written after seeing a beautiful girl dressed in black at a party. |
| Meaning of the poem 'So We'll Go No More a Roving' | It serves as a farewell to youthful wildness by a poet whose youth was scandalously wild. |
| Structure of 'So We'll Go No More a Roving' | AB rhyme scheme. |
| Symbolism of 'we'll go no more roving' | The moon, love, and physical limitations convey the speaker's realization that their time for 'roving' is over. |
| Symbolism of 'sword' and 'sheath' in 'Though the sword outwears its sheath' | The 'sword' represents the male's body, and the 'sheath' represents the female's body or partner. |
| Poetic devices used in 'So We'll Go No More a Roving' | Metaphor, personification, and assonance contribute to the poem's melancholy tone and exploration of aging and loss. |
| Context added by the title 'When We Two Parted' | Establishes a personal and introspective tone by highlighting the speaker's recollection of a past relationship's end. |
| Meaning of 'Pale grew thy cheek and cold,/ Colder thy kiss' | Represents the fading away of love and the onset of a new, more somber reality. |
| Mood and tone in 'When We Two Parted' | Deep sorrow, regret, and bitterness. |
| Central idea of 'When We Two Parted' | The profound sorrow and betrayal felt after a romantic relationship ends. |
| Literary and poetic devices in 'When We Two Parted' | Alliteration, consonance, imagery, metaphor, and rhyme scheme enhance the poem's central theme of grief and loss. |
| Percy Bysshe Shelley birth date and place | 4 August 1792 at Field Place, Warnham, Sussex, England. |
| Main themes of Shelley's poetry | The power of nature, the human imagination, and political and social reform. |
| Iconic author Shelley had an affair with | Mary Shelley, author of Frankenstein. |
| Percy Shelley religious belief | Called himself an atheist. |
| Percy Shelley Called himself an atheist, which significantly impacted his poetry, | particularly his focus on the natural world, the human capacity for imagination, and his critique of societal injustices. |
| Ozymandias | A poem that could be read as a political statement because the statue of Ramses the II boasted of his life, glory and works, yet all rulers eventually die and fade away. |
| Speakers in Ozymandias | Three: The traveler, statue, and the main narrator. |
| Nature's relationship with humanity in Ozymandias | Portrayed as having a neutral relationship, indicating that eventually, all humans will die, while nature lives on. |
| Reason for writing Ozymandias | A competitive sonnet inspired by a description of a statue of Ramesses II found in Diodorus Siculus's writings and later by the arrival of a similar statue at the British Museum. |
| Theme of Ozymandias | The inevitable decline of rulers and their hubris. |
| Mutability | A poem that explores the constant state of change and impermanence in human life and the world around us, emphasizing that the only constant is change itself. |
| Tone of Mutability | Melancholic but ultimately hopeful. |
| Human change in Mutability | Conveyed by comparing humans to clouds, emphasizing their fleeting and dynamic nature. |
| Literary devices in Mutability | Includes simile, metaphor, personification, repetition, enjambment, alliteration, paradox, and consonance. |
| Central theme of Mutability | Change is one of the most powerful forces in the world: changeless and eternal itself, it leaves every human being at the mercy of their own endlessly mutable feelings. |
| John Keats | Born on October 31, 1795, in Moorgate, London, United Kingdom. |
| Influence of early life on Keats' poetry | Experiences with his father's death at age eight and his mother's death from tuberculosis at age 14 shaped his understanding of mortality and grief. |
| Dominant themes in Keats' poetry | Beauty, mortality, and the power of imagination. |
| Main events shaping Keats' life | The death of his father and mother, his apprenticeship as a surgeon, and his later move to become a full-time poet. |
| Romantic ideals in Keats' poetry | Reflects the subjective experience of beauty, intense emotions, and the celebration of individual imagination. |
| Speaker's fear in When I have Fears That I May Cease to Be | Fears premature death and the unfinished business of life. |
| Natural imagery in Keats' poetry | Frequently uses natural imagery to represent his poetic ambitions, associating nature with inspiration, beauty, and creativity. |
| What the speaker fears losing | Fears losing both his creative potential and his beloved, worrying about not fulfilling his artistic ambitions. |
| The magic hand of chance | Signifies the speaker's fear that fate, or chance, will prevent him from fully experiencing life and achieving his potential, particularly his poetic ambitions. |
| Tension between ambition and mortality | Depicted through the speaker's intense fear of dying before achieving his creative aspirations. |
| Validity of professed love | The speaker directly questions the validity of their lover's professed love, implying a discrepancy between the words the lover uses and the actions they exhibit. |
| Difference between words and actions in love | Contrasts the lover's spoken words of love with their actions, highlighting the inconsistency between what they say and what they do. |
| Metaphor of fire | Used to describe true love, particularly in the final lines of the poem, contrasting with superficial 'love' that lacks intensity and passion. |
| Effect of repetition of 'If' | Emphasizes the speaker's desire for a stronger, more passionate expression of love from his beloved, creating a sense of questioning and longing. |
| Valued kind of love | The speaker appears to value showing and experiencing love, particularly physical and emotional expressions, over mere words or promises. |
| Romantic Period Began roughly around | 1798 and lasted until 1837, influenced by the political and economic atmosphere, particularly the French Revolution. |
| Major poets of Romanticism | William Wordsworth, Samuel Taylor Coleridge, Percy Bysshe Shelley, John Keats, Lord Byron, William Blake, and Victor Hugo. |
| Key themes in Romantic literature | Importance of nature, individualism, emotion, and imagination, exploring beauty and power of the natural world. |
| Humans and nature in Romanticism | Portrayed as profoundly intertwined, emphasizing nature's power to inspire, soothe, and influence human emotions and actions. |
| Ideas of the sublime | Used to evoke awe and a sense of the vastness and power of nature. |
| Ideas of the supernatural I | ntroduces the unknown and the mysterious, challenging rationalist perspectives. |
| Romantic writers' exploration of nature Often depicted through | imagery, symbolism, and the portrayal of nature as a living, breathing force. |
| Influence of the French Revolution | Many writers found inspiration from the political and economic changes during this period. |
| Significant figures in Romanticism | Robert Burns and Edgar Allan Poe are also considered significant figures. |
| Prominent artists in Romanticism | Caspar David Friedrich and Francisco Goya are prominent examples. |
| to a mouse author | Robert burns |
| a red red rose author | Robert burns |
| the lamb author | William Blake |
| the tyger author | William Blake |
| the chimney sweeper author | William Blake |
| The World Is Too Much With Us author | William wordsworth |
| London 1812 author | William wordsworth |
| I wandered lonely as a cloud author | William wordsworth |
| she walks in beauty author | Lord byron |
| so well go no more a roving author | Lord byron |
| when we two ported author | Lord byron |
| ozymandians author | Percy shelley |
| mutability authour | Percy shelley |
| When I have Fears That I May Cease to Be author | John Keats |
| you say you love author | John Keats |
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