Help
Options
Didn't know it?
click below
click below
Knew it?
click below
click below
Don't Know
Remaining cards (0)
Know
retry
shuffle
restart
0:00
Embed Code - If you would like this activity on your web page, copy the script below and paste it into your web page.
Normal Size Small Size show me how
Normal Size Small Size show me how
ENG 304 - Victorian
Victorian Period quotes, authors, dates, etc.
| Question | Answer |
|---|---|
| Origin of Species | Darwin; Published 1859 |
| Victorian Period | Overall 1830-1901; Early Period (A Time of Troubles) 1830-1848; Mid-Victorian Period (Economic prosperity, growth of empire, religious controversy)1848-1870; Late Period (Decay of Victorian values) 1870-1901 |
| Ballad stanza | Quatrains of alternating tetrameter and trimeter; abcb rhyme |
| In Memoriam stanza | quatrain in iambic tetrameter with a rhyme scheme of abba |
| Hedonism | Live for pleasure; Wide spectrum ranging from entirely selfish to more communal |
| Stoicism | Emotions are destructive and should be avoided by replacing them with logic and good judgment |
| Alfred, Lord Tennyson | 1809-1892 Tennyson was thought of as the “Victorian Oracle” Poet Laureate |
| With blackest moss the flower-plots Were thickly crusted, one and all; The rusted nails fell from the knots That held the pear to the gable wall. | Tennyson; "Mariana"; first lines; sets a dark tone for the poem |
| Upon the lonely moated grange. She only said, “My life is dreary, He cometh not,” she said; She said, “I am aweary, aweary, I would that I were dead.” | Tennyson; "Mariana"; Mariana's worries |
| There she weaves by night and day A magic web with colors gay. She has heard a whisper say’ A curse is on her if she stay To look down on Camelot. | Tennyson; "The Lady of Shalott"; The lady spends her time weaving the things she sees in a mirror because she is cursed and must not look out the window |
| But Lancelot mused a little space; He said, “She has a lovely face; God in his mercy send her grace, The Lady of Shalott.” | Tennyson; "The Lady of Shalott"; Lancelot has no idea that she died just so she could get a look at him |
| I am a part of all that I have met; Yet all experience is an arch wherethrough Gleams that untraveled world whose margin fades Forever and forever when I move. How dull it is to make an end, To rust unburnished, not to shine in use! | Tennyson; "Ulysses"; Ulysses muses that he doesn't feel like he belongs settled in Ithaca... he'd rather be experiencing life through travels |
| Old age hath yet his honor and his toil. Death closes all; but something ere the end, Some work of noble note, may yet be done, Not unbecoming men that strove with gods. | Tennyson; "Ulysses"; Ulysses believes that just because he and his men have grown old doesn't mean they can't continue to make something of themselves... they are important people |
| To strive, to seek, to find, and not to yield. | Tennyson; "Ulysses"; Extremely famous final line, Ulysses' purpose in setting sail even in his old age |
| Thou wilt not leave us in the dust; Thou madest man, he knows not why, He thinks he was not made to die; And thou hast made him: thou art just. | Tennyson; "In Memoriam"; Some inklings of doubt here-- speaker recognizes God but also recognizes that man does not understand God's workings |
| I hold it true, whate’r befall; I feel it, when I sorrow most; ‘Tis better to have loved and lost Than never to have loved at all. | Tennyson; "In Memoriam"; Famous lines regarding not romantic love but the speaker's love for a friend who has died |
| Are God and Nature then at strife, That Nature lends such evil dreams? So careful of the type she seems, So careless of the single life. | Tennyson; "In Memoriam"; The world seems to be run by Darwinism, with no care for individuals as long as the species progresses |
| I stretch lame hands of faith, and grope, And gather dust and chaff, and call To what I feel is Lord of all, And faintly trust the larger hope. | Tennyson; "In Memoriam"; After all of the evidence of Darwinism, the speaker attempts to pick up the dust of his faith and cry out to a God he's not sure he believes in |
| “So careful of the type?” but no. From scarped cliff and quarried stone She cries, “A thousand types are gone; I care for nothing, all shall go.” | Tennyson; "In Memoriam"; Beyond Darwinism-- not only will all individuals die, all species will eventually peter out as well |
| Let him, the wiser man who springs Hereafter, up from childhood shape His actions like the greater ape, But I was born to other things. | Tennyson; "In Memoriam"; If some people want to put all of their trust in science, they can, but the speaker chooses to continue having faith in religion |
| That God, which ever lives and loves, One God, one law, one element, And one far-off divine event, To which the whole creation moves. | Tennyson; "In Memoriam"; God's existence |
| Cannon to the right of them, Cannon to the left of them, Cannon behind them Volleyed and thundered; Stormed at with shot and shell While horse and hero fell. | Tennyson; "Charge of the Light Brigade"; Description of the battle scene |
| Nor ever yet had Arthur fought a fight Like this last, dim, weird battle of the west. ...descending they were ware That all the decks were dense with stately forms, Black-stoled, black-hooded, like a dream—by these Three Queens with crowns of gold | Tennyson; "Idylls of the King"; This is the symbolic barge into which Arthur is placed to pass into death |
| Edward Fitzgerald | 1809-1883; Poet of Disillusionment and Despair |
| Come, fill the cup, and in the Fire of Spring The Winter Garment of Repentance fling: The Bird of Time has but a little way To fly—and Lo! The Bird is on the Wing. | Fitzgerald; "The Rubayyat of Omar Khayyam"; Live without wasting time on worry or guilt because time is passing quickly |
| Here with a Loaf of Bread beneath the Bough, A Flask of Wine, A Book of Verse—and Thou Beside me singing in the Wilderness— And Wilderness is Paradise enow. | Fitzgerald; "The Rubayyat of Omar Khayyam"; Gather simple pleasures for yourself |
| Myself when young did eagerly frequent Doctor and Saint, and heard great Argument About it and about: but evermore Came out by the same Door as I went in. | Fitzgerald; "The Rubayyat of Omar Khayyam"; I've tried religion and science but I've never been totally convinced either way |
| ‘Tis all a Chequer-board of Nights and Days Where Destiny with Men for Pieces plays: Hither and thither moves, and mates, and slays, And one by one back in the Closet lays. | Fitzgerald; "The Rubayyat of Omar Khayyam"; Death comes as unexpectedly and randomly as if life were just a checker game |
| The Moving Finger writes; and, having writ, Moves on: nor all thy Piety nor Wit Shall lure it back to cancel half a Line, Nor all thy Tears wash out a Word of it. | Fitzgerald; "The Rubayyat of Omar Khayyam"; You can't do anything to change the past |
| And, strange to tell, among that Earthen Lot Some could articulate, while others not: And suddenly one more impatient cried— “Who is the Potter, pray, and who the Pot?” | Fitzgerald; "The Rubayyat of Omar Khayyam"; Part of a conversation within the potter's shop, this question wondering who exactly God is and what it is that he does |
| Ah Love! Could thou and I with fate conspire To grasp this sorry Scheme of Things entire, Would not we shatter it to bits—and then Re-mould it nearer to the Heart’s Desire! | Fitzgerald; "The Rubayyat of Omar Khayyam"; If we could change the way life and death works, we surely would. |
| Robert Browning | 1812-1889; Master of the dramatic monologue |
| Be sure I looked up at her eyes Happy and proud; at last I knew Porfiria worshipped me: surprise Made my heart swell, and still it grew While I debated what to do. | Browning; "Porphyria's Lover"; The speaker is astonished to see the amount of love in Porphyria's eyes, and must decide how to preserve the moment |
| How go on your flowers? None double? Not one fruit-sort you can spy? Strange!—And I, too, at such trouble, Keep them close-nipped on the sly! | Browning; "Soliloquy of the Spanish Cloister"; Drips with sarcasm toward a character the speaker despises |
| She had A heart—how shall I say?—too soon made glad, Too easily impressed | Browning; "My Last Duchess"; The speaker is jealous of his former lover's apparent flirtatiousness |
| E’en then would be some stooping; and I choose Never to stoop. | Browning; "My Last Duchess"; Arrogance of the speaker, who chooses to "give commands" rather than stoop to understand his lover's perspective |
| This grew; I gave commands; Then all smiles stopped together. There she stands As if alive. Will ‘t please you rise? | Browning; "My Last Duchess"; the speaker had his wife executed for supposed flirtatiousness |
| Just for a handful of silver he left us, Just for a riband to stick in his coat— | Browning; "The Lost Leader"; First lines; Is this a good enough reason to continue? |
| I shut my eyes and turned them on my heart. As a man calls for wine before he fights, I asked one draught of earlier, happier sights, | Browning; "Childe Roland to the Dark Tower Came"; Happy memories help to strengthen Childe Roland for the rest of his journey |
| Burningly it came on me all at once, This was the place! Those two hills on the right, Crouched like two bulls locked horn in horn in fight; | Browning; "Childe Roland to the Dark Tower Came"; Childe Roland has reached his destination and scolds himself for not realizing it sooner |
| There they stood, ranged along the hillsides, met To view the last of me, a living frame For one more picture! In a sheet of flame I saw them, and I knew them all. | Browning; "Childe Roland to the Dark Tower Came;" Childe Roland sees all his lost friends lined up, which gives him courage to fight |
| Matthew Arnold | 1822-1888; Doubt, Struggle, Melancholy, and a Critique of Victorian Culture |
| Yes! in the sea of life enisled, With echoing straits between us thrown, Dotting the shoreless watery wild, We mortal millions live alone. | Arnold; "To Marguerite"; Dually comments on human isolation and the lack of a god |
| A God, a God their severance ruled! And bade betwixt their shores to be The unplumbed, salt, estranging sea. | Arnold; "To Marguerite"; Blames a God for the human isolation discussed in the poem |
| But they course on forever unexpressed. And long we try in vain to speak and act Our hidden self, and what we say and do Is eloquent, is well—but ‘tis not true! | Arnold; "The Buried Life"; Our true feelings continue within us, but we never let them show |
| Sophocles long ago Hear it on the Aegean, and it brought Into his mind the turbid ebb and flow Of human misery | Arnold; "Dover Beach"; Sophocles heard the "eternal note of sadness" which is part of human life |
| And we are here as on a darkling plain Swept with confused alarms of struggle and flight, Where ignorant armies clash by night. | Arnold; "Dover Beach"; Humanity lives in confusion, facing the clash of faith and doubt |
| Wandering between two worlds, one dead, The other powerless to be born, With nowhere yet to rest my head, Like these, on earth I wait forlorn. | Arnold; "Stanzas from the Grande Chartreuse"; Speaker is stuck between faith and doubt |
| How can we flower in foreign air? --Pass, banners, pass, and bugles, cease; And leave our desert to its peace! | Arnold; "Stanzas from the Grande Chartreuse"; Putting words in the monks' mouths, who could not carry on their faith in a real-world setting |
| George Meredith | 1828-1909; Part of the Victorian Backlash |
| Like sculptured effigies they might be seen Upon their marriage tomb, the sword between; Each wishing for the sword that severs all. | Meredith; "Modern Love #1"; The couple is compared to an image of death with a medieval twist, representing the end of their happiness in marriage |
| We waken envy of our happy lot. Fast, sweet, and golden, shows the marriage knot. Dear guests, you now have seen Love’s corpse-light shine. | Meredith; "Modern Love #17"; The dinner guests truly believe the host/hostess' love is genuine, but in reality they are seeing two very unhappy people |
| Dante Gabriel Rossetti | 1828-1882; Part of the Victorian Backlash |
| Slowly their souls swam up again, though gleams Of watered light and dull drowned waifs of day; Till from some wonder of new woods and streams He woke, and wondered more: for there she lay. | Dante Gabriel Rossetti; "Nuptial Sleep"; The man in the couple awakes and finds the woman he is in bed with amazing |
| Christina Rossetti | 1830-1894; Part of the Victorian Backlash |
| Not as she is, but was when hope shone bright; Not as she is, but as she fills his dreams. | Christina Rossetti; "In an Artist's Studio"; The artist paints the same woman over and over again, but she is highly idealized |
| I wear my mask for warmth: who ever shows His nose to Russian snows To be pecked at by every wind that blows? | Christina Rossetti; "Winter: My Secret"; She hides her secret behind a mask-- she's not going to reveal it to just everyone that prompts her |
| Algernon Charles Swinburne | 1837-1909; The Defiant Pagan; Part of the Victorian Backlash |
| New gods are crowned in the city; their flowers have broken your rods; They are merciful, clothed with pity, the young compassionate gods. But for me their new device is barren, the days are bare. | Swinburne; "Hymn to Proserpine"; The Christian God took over the Roman gods, but the speaker feels that this new God is too boring |
| Though these that were gods are dead, and thou being dead art a god, Though before thee the throned Cytherean be fallen, and hidden her head, Yet thy kingdom shall pass, Galilean, thy dead shall go down to thee dead. | Swinburne; "Hymn to Proserpine"; Jesus died, taking the Roman gods with him, but all of his followers will die with him as well |
| Gerard Manley Hopkins | 1844-1889; Part of the Victorian Backlash |
| The world is charged with the grandeur of God. It will flame out, like shining from shook foil; It gathers to a greatness, like the ooze of oil Crushed. Why do men not then now reck his rod? | Hopkins; "God's Grandeur"; The contrasting evidence of God's presence in the world which should cause people to fear Him |
| And though the last lights off the black West went Oh, morning, at the brown brink eastward, springs— Because the Holy ghost over the bent World broods with warm breast and with ah! Bright wings. | Hopkins; "God's Grandeur"; God is responsible for night changing to day |
| All things counter, original, spare, strange; Whatever is fickle, freckled (who knows how?) With swift, slow; sweet, sour; adazzle, dim; He fathers-forth whose beauty is past change: Praise him. | Hopkins; "Pied Beauty"; Praise God for the interesting, beautiful things |
| Ah! as the heart grows older It will come to such sights colder By and by, nor spare a sigh Though worlds of wanwood leafmeal lie. | Hopkins; "Spring and Fall"; Young Margaret will see worse things than the falling of the leaves as she grows older |
| It is the blight man was born for. It is Margaret you mourn for. | Hopkins; "Spring and Fall"; The speaker believes that young Margaret is really mourning the death that approaches everyone, symbolized in the falling of the leaves |
| Charles Darwin | 1809-1882 |
| Analogy would lead me one step further, namely, to the belief that all animals and plants are descended from some one prototype. | Darwin; The Origin of Species; On evolution |
| When I view all beings not as special creations, but as the lineal descendants of some few beings which lived long before the first bed of the Cambrian system was deposited, they seem to me to become ennobled. | Darwin; The Origin of Species; all life is just as noble as the rest because it has all survived the evolutionary process |
| There is grandeur in this view of life, having been originally breathed by the Creator into a few forms or into one; and that, whilst this planet has gone cycling on, from so simple a beginning endless forms are being evolved. | Darwin; The Origin of Species; It is amazing how complex the world's life-forms have become after so simple a beginning |
| We thus learn that man is descended from a hairy quadruped, furnished with a tail and pointed ears, probably arboreal in its habits, and an inhabitant of the Old World. | Darwin; The Descent of Man; Darwin's image of the creature from which he believed humans evolved |
Created by:
prisms
Popular Literature sets