Dr. Prinsky

English 1102

First Quiz on Ch. 14/”Words: The Building Blocks of Poetry,” RJ7

Directions: Same as for previous quizzes. References to Roberts and Jacobs may mean editorial material at the beginning or middle of the chapter, comments on poems, questions on poems, or editorial material at the end of the chapter. For questions relating to grammar, don’t forget that your composition handbook is a resource.

1. As pointed out by Roberts and Jacobs, the words of the poem create the poem’s: (a) speaker (b) characters (c) setting (d) rhythm and meter (e) all of the foregoing

2. How words can have multiple meanings, and different meanings of the same word used by the writer, is exemplified by Roberts and Jacobs regarding the use of which word by Mercutio in Shakespeare’s Romeo and Juliet: (a) grave (b) house (c) fall (d) poem (e) tree

3. Mercutio’s (and Shakespeare’s) use of the word — and joke — referred to in the immediately preceding question depend on which action in Shakespeare’s poetic drama: (a) Mercutio has just been asked by Romeo to be best man at the wedding with Juliet (b) Mercutio has just been rejected by yet another potential sweetheart (c) Mercutio has just been fatally stabbed (d) Mercutio has just been enrolled in university studies by his father

4. As pointed out in Roberts and Jacobs, the technical name for word choice in English studies is: (a) lexicon (b) verbiage (c) diction (d) selection

5. According to Roberts and Jacobs, the words and images A.E. Housman uses--"three score years and ten" and "cherry . . . hung with bloom"--in his poem "Loveliest of Trees" illustrate word choice that is: (a) specific/concrete (b) general/abstract (c) formal/high (d) figurative/comparative

6. According to Roberts and Jacobs, the words and images Richard Eberhart uses--"infinite spaces" and "eternal truth"--in his poem "The Fury of Aerial Bombardment" illustrate word choice that is: (a) specific/concrete (b) general/abstract (c) formal/high (d) figurative/comparative

7. According to Roberts and Jacobs, the number of levels of usage is: (a) two (b) three (c) four (d) five

8. As pointed out by Roberts and Jacobs, the speaker’s use in Thomas Hardy’s poem “The Man He Killed” of words and phrases such as “many a nipperkin,” “thought he’d ‘list,” and “off-hand like” constitute which level of usage: (a) high or formal level (b) middle or neutral level (c) low or informal level (d) jargon

9. As indicated by Roberts’ and Jacobs’ discussion of “idiom,” one feature of the idiom of a language (which often gives non-native language-learners difficulty) is: (a) nouns (b) verbs (c) adjectives (d) conjunctions (e) prepositions

10. According to Roberts and Jacobs, the different words used in different areas of the country to refer to the metal object used to carry water, or to refer to soft drinks, illustrate the facet of word choice called: (a) idiom (b) dialect (c) slang (d) jargon

11. As pointed out by Roberts and Jacobs, the speaker in E.E. Cummings’ poem “Buffalo Bill’s Defunct” makes use of what kind of diction in the phrase “blue-eyed boy” in referring to Buffalo Bill, to help convey theme and meaning: (a) high or formal level (b) middle or neutral level (c) slang (d) dialect (e) jargon

12. According to Roberts and Jacobs, the phrases "gives me an A" and "I'm dropping out" from Linda Pastan's poem "Marks" illustrate the facet of word choice called: (a) idiom (b) dialect (c) slang (d) jargon

13. As pointed out in Roberts and Jacobs (as well as in the chapter on word choice in the composition handbook), a word's dictionary meaning is called: (a) denotation (b) connotation (c) genotype (d) sememe

14. Roberts and Jacobs cite in their discussion of the dictionary meaning of the word house how many different meanings of the word: (a) three (b) five (c) seven (d) ten

15. Roberts and Jacobs discuss a shift of meaning from centuries ago to today in the word describing "love" used in Andrew Marvell's poem "To His Coy Mistress": (a) "deep" (b) "vegetable" (c) "sweet" (d) "merry"

16. As pointed out in Roberts and Jacobs, a word's emotional, psychological, or social overtones are called its: (a) denotation (b) genotype (c) connotation (d) sememe

17. With reference to the subject of the immediately preceding question, Roberts and Jacobs discuss at some length the emotional, psychological, and psychological overtones in words used in what area of American life: (a) sports (b) advertising (c) politics (d) romance

18. According to Roberts and Jacobs, the technical term for word order and sentence structure in English studies is: (a) semantics (b) syntax (c) series (d) syllepsis

19. According to Roberts and Jacobs, the effect of Donne's variation of word order and sentence structure in the following example from "Holy Sonnet 14"--"Reason, Your viceroy in me, me should defend"--helps convey the theme of: (a) God's abstract justice (b) human beings' feeling of distance from the Lord (c) the personal aspect in relating to God (d) the apparent irrelevance of language in religious matters

20. As pointed out by Roberts and Jacobs, the lines from Donne's "Holy Sonnet 14" "for I,/ Except You enthrall me, never shall be free,/ Nor [shall I] ever [be] chaste, except You ravish me" embody the A-B-B-A pattern in word order and sentence structure called: (a) syzygy (b) chiasmus (c) apophasis (d) paronomasia

21. Roberts and Jacobs point out that the lines in E.A. Robinson's poem "Richard Cory" "So on we worked, and waited for the light,/ And went without the meat, and cursed the bread" illustrate the facet of word order and sentence structure: (a) complexity (b) ambiguity (c) comma splice (d) parallelism

22. Although not noted by Roberts and Jacobs, the phrase “So on we worked” in E.A. Robinson’s poem “Richard Cory” represents (with regard to word order and sentence structure): (a) regular word order (b) Latinate word order (c) inverted word order (d) Greek word order

23. The stylistic element referred to in the immediately preceding question helps convey or suggest: (a) the lengthiness of the work (b) the straightforwardness of the work (c) the easiness of the work (d) the joyousness of the work

Particular Questions on Robert Graves’ Poem “The Naked and the Nude”

24. In Robert Graves' poem "The Naked and the Nude," the word lexicographers means: (a) sea voyagers (b) dictionary makers (c) map designers (d) machinery repairmen

25. In Graves' poem "The Naked and the Nude," the word construed means: (a) fastened (b) built (c) verified (d) interpreted

26. In Graves' poem "The Naked and the Nude," the word dishabille means: (a) not trustworthy (b) partly dressed (c) without property (d) broken plates

27. With regard to whether a stanza refers to “the naked” or “the nude” or both “the naked” and “the nude” (this poem — especially some of its words — illustrates why English 1102 and Humanities are superior in subject matter to all your other courses on campus), the structure or organization of the poem is: (a) stanza 1 vs. stanzas 2-4 (two parts) (b) stanzas 1 and 4 vs. stanzas 2-3 (two main parts, or three parts, with the third part looping back to the first part) (c) stanza 2 vs. stanzas 1, 3, and 4 (two parts) (d) four separate stanzas (four parts)

28. Roberts and Jacobs note that word choice in Graves's poem "The Naked and the Nude" helps convey its theme of the contrast between: (a) truthful and deceitful (b) sexual and chaste (c) male and female (d) Christian culture and pagan culture

29. As pointed out by Roberts and Jacobs, a grammatical element that helps impart the philosophical depth or breadth of Graves’s “The Naked and the Nude” is the: (a) infinitive (b) gerund (c) article (d) preposition (e) conjunction

30. As pointed out by Roberts and Jacobs in chapter material, the words such as “lexicographers” and “construed” in Robert Graves’ poem “The Naked and the Nude” are easily classifiable as: (a) high or formal level (b) middle or neutral level (c) low or informal level (d) dialect (e) jargon

31. In Graves’s “The Naked and the Nude,” the speaker’s use of polysyllabic or fancy words such as “lexicographers” and “construed” and “deficiency” (vs. “dictionary makers,” “understood,” and “lack”) [lines 2-4] helps convey or suggest, especially in context, with reference to dictionary makers: (a) satire (b) neutrality (c) praise (d) indifference

32. As pointed out by Roberts and Jacobs more than once (though they don’t use the technical term) in chapter material and questions, Graves’ poem “The Naked and the Nude” draws on a contrast in what other component of words: (a) antonyms (b) pronunciation (c) etymology (d) spelling

33. With a focus on the two words naked and nude, the latter word (nude) would seem to most thoughtful users of English, with reference to the word naked: (a) less sophisticated (b) about the same in sophistication (c) more sophisticated (d) all of the foregoing

34. With a focus on the two words naked and nude, the latter word (nude) comes from a language and civilization, prior to its introduction into the English language, which was, with reference to the language and civilization from which the word naked was drawn: (a) less sophisticated (b) about the same in sophistication (c) more sophisticated (d) all of the foregoing

35. With reference to the two words naked and nude, the words have a connotation or have connotations: (a) substantially different (b) about the same (c) as lacking as in scientific language (e.g., “human female parent” vs. “mother”) (d) foreign to users of the language

Particular Questions on William Blake’s Poem “The Lamb”

36. In William Blake's poem "The Lamb," the word mead (line 4) means: (a) paper (b) merit (c) meadow (d) wandering

37. In Blake's poem "The Lamb," the word vales (line 8) means: (a) coverings (b) low-lying geography (c) precious objects (d) bills of purchase

38. The clear organization or structure of William Blake's poem "The Lamb" is into the two parts (each stanza being one main part) of: (a) good and evil (b) human and animal (c) artificial and natural (d) question and answer (e) naked and nude

39. As indicated by Prinsky’s study questions on the poem, another aspect of the poem’s structure (from elements of the opening and closing of each stanza, as well as the syllable-count of lines) is the: (a) envelope (b) intaglio (c) parabola (d) spiral (d) triangle

40. The aspect of structure referred to in the immediately preceding question helps convey the idea or notion that: (a) creation has its twists and turns (b) beings with very different exteriors have the same interior (c) the Holy Trinity dominates all creation (d) beings with very different interiors have the same exterior

41. A good question that R & J ask about the poem in the study questions is who the speaker is: (a) lamb (b) God (c) adult (d) child (e) reader

42. A good question that R & J ask about the poem in the study questions is who the listener is: (a) lamb (b) God (c) adult (d) child (e) reader

43. The reading skill tested in the immediately two questions (and tested on the reading portion of the University of Georgia Regents’ Exam) is: (a) inferential (the answer is implied but not stated in the reading material) (b) literal (the answer is explicitly stated in the reading material) (c) literary analysis (a matter of figures of speech and reference of pronouns) (d) vocabulary (understanding the meanings of words, either difficult, college-level words, or common words with many meanings, only one of which applies in the reading material)

44. Roberts and Jacobs point out that lines in William Blake's poem "The Lamb" such as "Little Lamb, who made thee?/ Dost thou know who made thee? (lines 1-2) illustrate the facet of word order and sentence structure: (a) complexity (b) ambiguity (c) repetition (d) inversion

45. In Blake's poem "The Lamb," the length of the lines, the number of syllables of most of the words, and the sentence structure underlying most of the lines all point to which main aspect of childhood: (a) mischievousness (b) simplicity (c) neediness (d) perspicacity