Dr. Prinsky
English 1102
Quiz #1 on Ch. 17/”Figures of Speech” of RJ8
Directions: As on previous quizzes.
1. As pointed out in Roberts and Jacobs, the overall collection of such devices as metaphor, simile, paradox, apostrophe, and so on is called: (a) camera obscura (b) figurative language (c) diction (d) elegant variation
2. As indicated by Roberts and Jacobs, figures of speech occur: (a) mainly in literature (b) often in ordinary language and conversation (c) often in literature and ordinary language or conversation (d) mainly in scientific writing
3. As indicated by Roberts and Jacobs, figures of speech occur mainly to do all the following except which one: (a) communicate (b) educate (c) penetrate (d) decorate
4. As indicated by Roberts and Jacobs, underlying the several and various figures of speech is the principle of: (a) comparison (b) concealment (c) addition (d) subtraction
5. As indicated by Roberts and Jacobs, Judith Minty in her poem “Conjoined” uses the metaphor of what to describe a married couple: (a) an onion (b) a bracelet (c) an octopus (d) a constellation
6. Roberts and Jacobs discuss the lines from Shakespeare's As You Like It --"All the world's a stage,/ And all the men and women merely players"(II.vii)--as an example of: (a) personification (b) synecdoche (c) metaphor (d) simile
7. Roberts and Jacobs discuss a figure of speech in Donne's poem "A Valediction: Forbidding Mourning" that has (in the speaker's discussion of his separation from his beloved) the surprising comparison of love to a: (a) thin metal sheet (b) large ugly flower (c) ordinary wooden bucket (d) illuminated fog bank
8. Roberts and Jacobs paraphrase John Keats's poem "On First Looking into Chapman's Homer," indicating that it is about Keats's experience of: (a) falling in love with an older woman (b) reading and discovering a famous poet's work (c) learning about a new archaeological project (d) succumbing to the serious illness that ended Keats's life early
On John Keats’s Poem “On First Looking into Chapman’s Homer”
9. In Keats's poem "On First Looking into Chapman's Homer," the word bards means: (a) restraints (b) writers (c) taverns (d) panthers
10. In Keats's poem, the word fealty means: (a) sensuousness (b) property (c) allegiance (d) wealth
11. In Keats's poem, the reference to Apollo is to the Greek god of: (a) sea, horses, and earthquakes (b) lightning, travelers, and love (c) crafts, science, and technology (d) light, music, and poetry
12. In Keats's poem, the word demesne means: (a) belittlement (b) viciousness (c) timidity (d) realm
13. In Keats's poem, the word serene means: (a) tempting (b) decisive (c) calm (d) loud
14. In Keats's poem, the word ken means: (a) sightline (b) container (c) neck (d) ruler (e) lover of Barbie
15. In Keats's poem, the word surmise means: (a) astonishment (b) conclusion (c) dawn (d) placement
16. As implied in Prinsky's Notes and Questions (including N&Q on Ch. 13 as well as Chs. 16 and 17), figurative language divides the sonnet into parts of: (a) 4-4-4-2 (b) 7-7 (c) 8-6 (d) 9-5
17. As implied in Prinsky's Notes and Questions (including N&Q on Ch. 13 as well as Chs. 16 and 17), the octave of Keats’s sonnet is based on the analogy (an extended metaphor) of reading as: (a) breathing (b) ruling (c) studying (d) traveling
18. As implied in Prinsky's Notes and Questions (including N&Q on Ch. 13 as well as Chs. 16 and 17), the sestet of Keats’s sonnet is based on the analogies of reader as: (a) soaring eagle and powerful ocean (b) intent astronomer and pioneering circumnavigator (c) mountain peak and ocean swimmer (d) ancient ruler and modern conqueror
19. The connection underlying the figures of speech in the octave and the figures of speech in the sestet is the concept of: (a) discovering (b) ruling (c) mapmaking (d) hunting
20. As indicated by Roberts and Jacobs, as well as in Prinsky's Notes and Questions, and in the poem itself, Keats's "On First Looking into Chapman's Homer" has all the following figures of speech except which one: (a) metaphor (b) simile (c) metonymy (d) understatement (e) hyperbole
21. As explained by Roberts and Jacobs (as well as Prinsky's Notes and Questions, including N&Q on Ch. 13 as well as on Ch. 17), the two parts of a metaphor or simile, as named by I.A. Richards are: (a) surface and depth (b) tenor and vehicle (c) genus and differentia (d) denotation and connotation
22. According to Prinsky's Notes and Questions (including N&Q on Ch. 13 as well as Ch. 17), Keats's "On First Looking into Chapman's Homer" illustrates extensively which of the four forms of metaphor: (a) first form (b) second form (c) third form (d) fourth form
23. As implied in Prinsky's Notes and Questions (including N&Q on Ch. 13 as well as Ch. 17), the tenors in line 1 of Keats's "On First Looking into Chapman's Homer" are, respectively: (a) traveled, realms of gold (b) wandered, exotic countries (c) read, literary works (d) dreamed, daydreams
24. The reference to Homer as “deep-brow’d” (line 6) exemplifies the figure of speech: (a) simile (b) metaphor (c) synecdoche (d) understatement (e) hyperbole
25. The figure of speech referred to in the immediately preceding question suggests, conveys, or implies what main idea about Homer: (a) stupidity (b) pride (c) intelligence (d)
26. An underlying connection between the last three lines of the poem (lines 12-14) and the preceding three lines of the poem (lines 9-11) is in the imagery (within the figurative language) of all the following except which one: (a) conquest (b) height (c) water (d) stars
Other Chapter Material
27. As pointed out by Roberts and Jacobs, the phrase “I, a child, very old” in Walt Whitman’s poem “Facing West from California’s Shores” and the speaker’s two statements “I fear and hope, I burn and freeze like ice” (line 2) in Thomas Wyatt’s poem “I Find No Peace” both embody the figure of speech: (a) simile (b) paradox (c) anaphora (d) personification (e) apostrophe
28. As pointed out by Roberts and Jacobs, the most obvious figure of speech in Muriel Rukeyser’s poem “Looking at Each Other” is: (a) simile (b) paradox (c) anaphora (d) personification (e) apostrophe
On John Keats’s Poem “Bright Star”
29. As pointed out by Roberts and Jacobs (and Prinsky’s N&Q), the speaker's address to the bright star in Keats's poem "Bright Star" exemplifies the figure of speech: (a) apostrophe (b) hyperbole (c) paradox (d) synecdoche
30. As indicated by Prinsky’s N&Q, the figure of speech referred to in the immediately preceding question usually has as its underlying subject all the following potential focuses except which one: (a) sociological (b) psychological (c) emotional (d) historical
31. In Keats's poem "Bright Star," the word steadfast means: (a) quick (b) constant (c) fearful (d) counterfeit
32. In Keats's poem "Bright Star," the word lone means: (a) borrowed (b) single (c) deep (d) whispered
33. In Keats's poem "Bright Star," the word ablution means: (a) earthquake (b) washing (c) overthrow (d) ointment
34. In Keats's poem "Bright Star," the word moors means: (a) piles (b) entrances (c) gales (d) swamps
35. In Keats's poem "Bright Star," the word swoon means: (a) faint (b) blow (c) stir (d) breathe
36. Roberts and Jacobs explain that a principal human feeling explored by Keats's "Bright Star" is: (a) excitement (b) surprise (c) yearning (d) anger
37. As implied by Prinsky's N&Q on Chs. 13 and on Ch. 17, Keats's "Bright Star" is organized: (a) 4-4-4-2 (b) 8-6 (c) 7-7 (d) 9-5
38. As implied by Prinsky's N&Q on Chs. 13 and on Ch. 17, Keats's "Bright Star" is parallel to a recent film starring: (a) Michael Keaton (b) George Clooney (c) Bruce Willis (d) Tom Hanks
39. In the first part of Keats’s “Bright Star,” the speaker wishes to be like the star in constancy but not in: (a) isolation or alienation (b) spirituality or religiosity (c) anger or hatred (d) curiosity or inquisitiveness
40. In the second part of Keats’s “Bright Star,” the speaker wishes to be like the star in constancy, especially the constant: (a) studying of precious books (b) touching his sweetheart’s body (c) gathering of worldly wealth (d) climbing majestic mountain peaks
41. Overall, the speaker in Keats’s “Bright Star” could be said to be suffering from the condition of: (a) paranoia (b) anemia (c) insomnia (d) dyspepsia (e) satyriasis
42. In Keats’s “Bright Star,” the “eremite” (line 4) and the priest (line 5) share underlying connections (with reference to the speaker’s present status) of all the following except which one: (a) isolation (b) (c) zealousness (d) celibacy
43. In Keats’s “Bright Star,” the “moving waters” (line 5), as indicated by the details of Keats’s poem, are: (a) canals (b) rivers (c) (wind-stirred) lakes (d) oceans (e) waterfalls
44. In Keats’s “Bright Star,” the figure of speech in “mask/ Of snow” (lines 7-8) is: (a) metaphor (b) paradox (c) simile (d) anaphora
45. In Keats’s “Bright Star,” the figure of speech referred to in the immediately preceding question is mainly meant to connect to the speaker relative to: (a) entertaining (b) criminality (c) alienation (d) furtiveness (e) reveling
46. In Keats’s “Bright Star,” the geographical elements referred to as settings for the snow (line 8) are mainly meant to suggest or express which concept or idea: (a) height (b) isolation (c) depth (d) attractiveness
47. In Keats’s “Bright Star,” the “ripening” of the breast (line 10) referred to by the speaker exemplifies the figure of speech: (a) metaphor (b) paradox (c) simile (d) anaphora
48. In Keats’s “Bright Star,” the figure of speech referred to in the immediately preceding question points to (in the picture created by the speaker): (a) nubility (b) eczema (c) pastoralism (d) respiration (e) cosmetic surgery
49. In Keats’s “Bright Star,” the “sweet unrest” (line 12) in which the speaker would find himself exemplifies the figure of speech, related to paradox, of: (a) chiasmus (b) antithesis (c) oxymoron (d) zeugma
50. In Keats’s “Bright Star,” the figure of speech referred to in the immediately preceding question points to the combination of all of the following except which one: (a) wakefulness (b) uneasiness (c) excitement (d) amorousness (e) pleasure