Dr. Prinsky

English 1102

Quiz #2 on Ch. 17/”Figurative Language” in RJ8

Directions: As on previous quizzes.

1. As noted by Roberts and Jacobs, when the first mate of a ship yells “all hands on deck,” he is using (unwittingly) the figure of speech: (a) metaphor (b) simile (c) personification (d) synecdoche

2. When a CNN news anchor reports that “the White House said today that it was pleased by recent economic news,” the news anchor is using (probably unwittingly) the figure of speech: (a) metaphor (b) simile (c) metonymy (d ) personification (e) synecdoche

3. In the short song “Let Us Take the Road” from John Gay’s ballad-opera The Beggar’s Opera, when the gang members play on at least two different meanings of the words “fire,” “lead” (the mineral), and “gold,” they are engaging in the figure of speech: (a) metaphor (b) simile (c) paradox (d) personification (e) pun

4. When a young man’s girlfriend complains about the “loud” color and pattern of his golfing pants, she is engaging (probably unwittingly) in the figure of speech: (a) synesthesia (b) simile (c) synecdoche (d) symbolism

On Wordsworth’s poem “London, 1802"

5. In Wordsworth's poem "London, 1802," the noun fen means: (a) five (b) breeze (c) enthusiast (d) marsh

6. In Wordsorth's "London, 1802," the adjective stagnant means: (a) foul and still (b) like a male deer (c) not able to keep a straight course (d) presenting to view

7. In Wordsworth's "London, 1802," the noun bower means: (a) beer hall (b) private shelter (c) flatterer (d) pitcher in the game of cricket

8. In Wordsworth's "London, 1802," the speaker addresses the famous personage who authored: (a) Paradise Lost (b) The Old Arcadia (c) The Temple (d) Religio Medici

9. In Wordsworth's "London, 1802," the speaker's address to the person, cited in the immediately preceding question, is the figure of speech: (a) understatement (b) personification (c) apostrophe (d) synesthesia

10. The figure of speech referred to in the immediately preceding questions helps convey all of the following except which one: (a) the speaker’s emotional upset (b) universal disapproval of fellow citizens (c) the speaker’s sense of isolation or alienation (d) rejection of romantic love

11. By virtue of content and transition between or among the parts, as well as whether the speaker is involved in criticizing or complimenting, plus the questions by R&J and Prinsky, the poem may be seen to be divided into units of: (a) 4-4-4-2 (b) 7-7 (c) 8-6 (d) 9-5

12. As indicated in the poem, in the sample paragraph about the poem, and in Roberts' and Jacobs' comments about it, Wordsworth's attitude toward England in "London, 1802" is generally: (a) favorable (b) neutral (c) disapproving (d) humorous

13. Underlying and connecting all the figurative language throughout Wordsworth's "London, 1802" is the imagery of: (a) verticality (up and down) (b) swinging (side to side) (c) music (symphonic) (d) physical pain

14. The pattern referred to in the immediately preceding question has to do with the speaker’s idea of: (a) reforming (b) vacillating (c) harmonizing (d) wounding

15. As pointed out in the chapter and in the sample essay paragraph on Wordsworth's "London, 1802," the poet by comparing England to a fen (line 2) and in other lines as well (as noted in the study questions) uses the figure of speech: (a) synecdoche (b) hyperbole (c) paradox (d) pun

16. The figure of speech referred to in the immediately preceding question in the attitude it conveys toward England is: (a) favorable (b) neutral (c) unfavorable (d) both favorable and unfavorable

17. As pointed out in Roberts' and Jacobs' study questions on Wordsworth's "London, 1802," Wordsworth makes the particular nouns altar, sword, pen, fireside, hall, and bower (lines 3-4) stand for more general things--in this instance, components of society. This figure of speech is: (a) understatement (b) metonymy (c) simile (d) pun

18. The altar figure of speech (noted in question 17) refers to which component of British society: (a) upper class or aristocracy (b) lower or middle class (c) intellectuals or legislators (d) the military (e) the Church

19. The sword figure of speech (noted in question 17) refers to which component of British society: (a) upper class or aristocracy (b) lower or middle class (c) intellectuals or legislators (d) the military (e) the Church

20. The pen figure of speech (noted in question 17) refers to which component of British society: (a) upper class or aristocracy (b) lower or middle class (c) intellectuals or legislators (d) the military (e) the Church

21. The fireside figure of speech (noted in question 17) refers to which component of British society: (a) upper class or aristocracy (b) lower or middle class (c) intellectuals or legislators (d) the military (e) the Church

22. The hall and bower figure of speech (noted in question 17) refers to which component of British society: (a) upper class or aristocracy (b) lower or middle class (c) intellectuals or legislators (d) the military (e) the Church

23. The speaker’s extended address in the poem to (John) Milton makes sense because of which predominant elements in Milton’s most famous work: (a) politics and government (b) religion and morality (c) mathematics and science (d) sex and violence

24. The figure of speech to describe Milton’s soul (line 9) is a/an: (a) metaphor (b) simile (c) pun (d) understatement

25. The second figure of speech to describe Milton’s voice (line 11) is a/an: (a) metaphor (b) simile (c) pun (d) understatement

26. The figures of speech referred to in the immediately preceding two questions point in the direction or directions: (a) up (b) down (c) horizontal (d) both up and down

27. The figure of speech to describe Milton’s activities in life (line 12), plus the denotations and connotations of “common” (line 12) and “lowliest” (line 14) tend to point in the direction or directions: (a) up (b) down (c) both up and down simultaneously (d) first up and then down

28. The directionality of language in the last three lines of Wordsworth’s “London, 1802" is meant to counteract or counterbalance what potential misreading (of a defect) by some persons of an aspect of Milton’s character in the figurative language referring to Milton’s soul (line 9) and Milton’s voice (line 11): (a) profligacy (b) laziness (c) immorality (d) arrogance

On Thomas Hardy’s poem “The Convergence of the Twain”

29. The demo essay on Thomas Hardy’s poem “The Convergence of the Twain” focuses on the figure of speech: (a) metaphor (b) simile (c) hyperbole (d) personification

30. The demo essay on Hardy’s poem notes that one function of the recurrent figure of speech that is the essay’s focus is to convey the idea of the power of: (a) Christ (b) the universe (c) technology (d) the devil

31. The “Twain” referred to in the title of Hardy’s poem refers to: (a) the American writer of Huck Finn (b) England and America (c) God and the Devil (d) the Titanic and an iceberg (e) men and women

32. The verse form chosen by Hardy, as reflected in the shape of the stanzas, including the length of the last line, helps convey the idea of something that is all of the following except which one: (a) symmetrically balanced (b) deep (c) big (d) hidden under the surface

33. The rhyme scheme chosen by Hardy (see Ch. 19/”Prosody” about diagraming rhyme scheme by using lowercase letters) seems to form a pattern suggestive of: (a) alternation (b) variability (c) envelope (d) triangle

34. The pattern referred to in the immediately preceding question helps convey the idea, straightforwardly or ironically, of: (a) protection (b) the Trinity (c) betrayal (d) wealth or riches

35. The first section of the poem, demarcated by content and setting is: (a) stanzas 1-2 (b) stanzas 1-3 (c) stanzas 1-4 (d) stanzas 1-5

36. The words “stilly couches she” (line 3) could be paraphrased as: (a) the fancy loveseats for women are hard (b) the ship reposes noiselessly (c) the animal prepares for a predatory attack (d) the female is foolish in her cosmetic preparations

37. An implied irony in implicit auditory imagery about steel chambers before and after (stanza 2) is the contrast between: (a) classical music and popular dance band music (b) rapid tempo and slow tempo (c) rhythmic sound and unrhythmic sound (d) loud noise and soft music

38. The infinitive “To glass” (stanza 3) means: (a) to encase (b) to reflect (c) to preserve (d) to shield

39. The irony in stanza 3 is in the contrast between: (a) what should have been viewed vs. what is being viewed (b) what should have been protected vs. what is being protected (c) what should have been preserved vs. what is being preserved (d) religious relics vs. rich persons’ jewelry

40. The description of the fishes’ eyes (stanza 5) uses the figure of speech: (a) metaphor (b) simile (c) personification (d) anaphora (e) understatement

41. The figure of speech referred to in the immediately preceding question helps convey the ideas of all the following except which one: (a) depth (b) night (c) blackness (d) evil (e) component of the universe

42. The ship is implicitly compared to which “creature” in the complete comparison beginning “Well: while was fashioning/ This creature” (stanza 6): (a) dolphin (b) jaguar (c) stallion (d) butterfly (e) microbe

43. Since more than one denotation is conveyed by the word “smart” (stanza 8), the figure of speech is: (a) metonymy (b) synecdoche (c) pun (d) hyperbole

44. Besides the ironic meaning of “intelligent,” the word referred to in the immediately preceding question has the meaning: (a) causing pain (b) vigorous or brisk (c) trim and fashionable (d) intense or considerable

45. The “intimate welding of their later history” (stanza 9) exemplifies the figure of speech: (a) metaphor (b) simile (c) overstatement (hyperbole) (d) understatement

46. The figure of speech referred to in the immediately preceding question is ironic, with specific reference to: (a) the operation of God’s power in historical events (b) the presumed technological superiority of the ship (c) humanity’s attraction to Satan’s temptations (d) rich persons’ disdain of the lower classes