Dr. Prinsky

English 1102

First Quiz on Ch. 16/”Imagery” of RJ7

Directions: As on "Quiz Directions" instructions.

1. Roberts and Jacobs in the beginning of the chapter stress the connection between imagery and the: (a) poet's psychology (b) reader's imagination (c) scientific accuracy of poetry's reflection of the real world (d) qualitative difference between poetry and prose

2. Roberts and Jacobs point out in the beginning of the chapter that imagery helps, regarding poets' ideas, to: (a) authenticate them (b) soften them (c) make them seem pleasingly strange (d) decorate them

The Painting by Sir Hubert von Herkomer

3. Roberts and Jacobs note that the imagery in the painting by Sir Hubert von Herkomer they discuss near the beginning of the chapter helps convey its: (a) heroism (b) sadness (c) maturity (d) hope

4. Besides visual imagery, perhaps the most recurrent kind of imagery symbolically conveying the plight of the family (as suggested by the details and Prinsky’s study questions) in the painting is: (a) auditory (b) olfactory (c) tactile (d) gustatory

5. A main kind of imagery in the representation of the birds in the sky, besides visual, is: (a) olfactory (b) gustatory (c) tactile (d) kinetic (or kinesthetic)

6. The birds in the sky, as related to the adults in the painting, represent both in imagery and in theme: (a) a parallel (b) a contrast (c) both a parallel and a contrast (d) neither a parallel or contrast

7. What the man in the painting is leaning against, and the bushes lining the road on the side where the family is, help convey the imagery and symbolism of: (a) hemming in (b) veering off (c) opening out (d) reaching up

8. Because of the picture plane as well as proportion in the painting (how much space, how big), greatest emphasis is placed on: (a) the tools (b) the bushes (c) the children (d) the road

9. What lies on the ground in the (viewer’s) left corner of the painting (emphasized by being one of the closest details in the foreground of the painting), what the man has on his right shoulder, what the woman has on her right forearm, what the woman cradles in her left arm, what reposes next to the woman on her left side, all mainly convey the idea of: (a) height (b) weight (c) depth (d) color

10. What the man wears, what the woman wears, the condition of the trees, and the condition of the sky, all convey the idea of: (a) rain (b) dryness (c) heat (d) mild temperature (e) cold

11. Besides visual imagery, the kind of imagery referred to in the immediately preceding question is mainly: (a) olfactory (b) auditory (c) gustatory (d) tactile

12. The tilting of the picture plane (a technical term from art), as well as angle of vision, makes in proportion (the amount of space taken up in the painting) an emphasis particularly on: (a) the tools (b) the man (c) the road (d) the trees (e) the birds

13. The main symbolism of the item referred to in the preceding question is the notion of: (a) vocation (b) masculinity (c) struggle (d) Nature (e) triumph

Cumulative chapter material

14. Roberts and Jacobs discuss how many main kinds of imagery in the chapter (counting kinetic and kinesthetic as one kind of imagery): (a) three (b) four (c) five (d) six

John Masefield’s poem “Cargoes”

15. The word galleon (line 6) in John Masefield's "Cargoes" means: (a) unit of liquid measure (b) very large ship (c) type of aristocrat (d) a fallen woman

16. The word isthmus (line 6) in Masefield's "Cargoes" means: (a) holiday season in South America (b) strip of land connecting two larger land masses (c) relating to Italy (d) proposed route of a journey

17. The word Channel (line 12) in Masefield's "Cargoes" refers to: (a) England (b) Germany (c) Palestine (d) Panama (e) America

18. As implied by R&J’s early comments and study questions on John Masefield's "Cargoes," the poem uses imagery to contrast: (a) the burden of civilization’s past mistakes with the progressive present (b) romantic early eras and modern ugly commercial society (c) animosities and humanitarian feelings (d) laziness and energetic activity

19. As pointed out by R&J’s study questions and other assigned reading material, the poem's organization or structure, partly conveyed by the poem's imagery, is a division of its three five-line stanzas into the units of: (a) each stanza completely independent (b) first stanza versus combined second and third stanzas (c) second stanza versus combined first and third stanzas (d) third stanza versus combined first and second stanzas

20. From study of the poem, R&J’s and Prinsky’s study questions about it, and the chapter material, Masefield's "Cargoes" makes vivid, thematic use of which of the following kinds of imagery: (a) visual (b) olfactory (c) auditory (d) all of the foregoing

21. From study of the poem, R&J’s and Prinsky’s study questions about it, and the chapter material, Masefield's "Cargoes" makes vivid, thematic use of which of the following kinds of imagery: (a) gustatory (b) tactile (c) kinetic (d) all of the foregoing

22. As pointed out by R&J’s early questions on John Masefield's "Cargoes," one grammatical peculiarity of the poem is its expressive use of: (a) comma splices (b) sentence fragments (c) subject-verb agreement errors (d) faulty parallelism

23. As indicated or implied by Prinsky’s or by R&J’s early questions on John Masefield’s “Cargoes,” the grammatical element referred to in the immediately preceding question is caused by: (a) participles (b) infinitives (c) gerunds (d) intransitive verbs

24. The grammatical component referred to in the immediately preceding questions helps impart to the poem what feature from movies or films: (a) zoom in (b) pan left (c) zoom out (d) freeze frame

25. As with the immediately preceding three questions, which refer to material in Ch. 14 (“Words”) of R&J, what grammatical element (also drawing on word choice or grammar) is used for comparison-contrast notably in (a) lines 1, 6, and 11; (b) lines 2, 7, and 12; (c) lines 3-5, 8-10, and 13-15: (a) parallelism (b) repetition (c) chiasmus (d) inverted sentence structure (e) intransitive verbs