Dr. Prinsky

English 1102

First Quiz on Ch. 20/”Form” of RJ7

Directions: As on previous quizzes.

General Chapter Material

1. Poetry written in specific and traditional patterns of rhyme, meter, line length, or line groupings is called: (a) open-form (b) mesostich (c) closed-form (d) run-on

2. Poetry written with a metrical pattern but without rhyme is called: (a) blank verse (b) open-form (c) enjambed (d) stanzaic

3. Poetry written without definite meter is called: (a) blank verse (b) open-form (c) enjambed (d) stanzaic

4. Overall, poetry may be divided into all of the following main categories except which one: (a) blank verse (b) free verse (open form) (c) rhymed verse (d) trans verse

5. Robert Frost’s poems “Mending Wall,” “Birches,” and “‘Out, Out --‘” (all in Ch. 24/”Three Poetic Careers”) all exemplify: (a) blank verse (b) free verse (open form) (c) rhymed verse (d) trans verse

6. Poetry may also be divided into either stanzaic or: (a) irregular form (b) continuous form (c) monotonous form (d) homogeneous form

7. The shortest, two-line, stanza is called the: (a) hemistich (b) couplet (c) disyllabic (d) duodecimo

8. As discussed in Roberts and Jacobs, one of the greatest users of the two-line stanza form was the eighteenth-century poet: (a) Robert Henryson (b) Michael Drayton (c) William Wordsworth (d) Alexander Pope

9. The three-line stanza is called the: (a) triolet (b) tercet (c) trimetricon (d) teralept

10. When every line within the three-line stanza rhymes, the stanza may then be called a: (a) triplet (b) triolet (c) trimetricon (d) terza rima

11. In Alfred Tennyson’s poem “The Eagle,” used to illustrate the stanza form referred to in the immediately preceding two questions (don’t forget my comments on the poem in Ch. 5 of Prinsky’s Engl. 1102 Pamphlet), the rhyme scheme helps convey: (a) Christianity within the natural world (b) Nature’s variability (c) the bird’s singleness of purpose (d) the pitiful state of victim or prey

12. The four-line stanza is called the: (a) quatrain (b) quadracep (c) fourteener (d) tetrameter

13. The Italian sonnet is divided into: (a) 7 and 7 (b) 3, 3, 3, 3, and 2 (c) 8 and 6 (d) 4, 4, 4, and 2

14. The English sonnet is divided into: (a) 7 and 7 (b) 3, 3, 3, 3, and 2 (c) 8 and 6 (d) 4, 4, 4, and 2

15. John Keats’s poem about a nightingale represents the genre of poem: (a) sonnet (b) ode (c) elegy (d) ballad (e) haiku

16. John Milton’s poem “Lycidas” represents the genre of poem: (a) sonnet (b) ode (c) elegy (d) ballad (e) haiku

17. The anonymous poems “Sir Patrick Spens” and “Bonny George Campbell” represent the genre of poem: (a) sonnet (b) ode (c) elegy (d) ballad (e) haiku

18. A poem of three lines, with a total of seventeen syllables in a pattern of five, seven, and five syllables per line is the: (a) clerihew (b) haiku (c) macaronic (d) ode

19. A poetry genre molded by the ancient Roman poet Martial is: (a) double dactyl (b) clerihew (c) limerick (d) epigram

20. A poetry genre molded by the English writer Edward Lear is: (a) double dactyl (b) clerihew (c) limerick (d) epigram

21. A poetry genre molded by the English writer E.C. Bentley is: (a) double dactyl (b) clerihew (c) limerick (d) epigram

22. A poetry genre molded by American poet Anthony Hecht is: (a) double dactyl (b) clerihew (c) limerick (d) epigram

Questions on Shakespeare’s Sonnet 116, in the Introductory Chapter Material

23. The first quatrain of Shakespeare’s Sonnet 116: “Let Me Not to the Marriage of True Minds” has as its main thought or content: (a) general statement (b) a particular image (or particular images) or figure of speech (or figures of speech) (c) reversal of previous thoughts or images (d) pithy conclusion

24. The second quatrain of Shakespeare’s Sonnet 116: “Let Me Not to the Marriage of True Minds” has as its main thought or content: (a) general statement (b) a particular image (or particular images) or figure of speech (or figures of speech) (c) reversal of previous thoughts or images (d) pithy conclusion

25. The third quatrain of Shakespeare’s Sonnet 116: “Let Me Not to the Marriage of True Minds” has as its main thought or content: (a) general statement (b) a particular image (or particular images) or figure of speech (or figures of speech) (c) reversal of previous thoughts or images (d) pithy conclusion

26. The lines with the g-g rhyme in Shakespeare’s Sonnet 116: “Let Me Not to the Marriage of True Minds” has as its main thought or content: (a) general statement (b) a particular image (or particular images) or figure of speech (or figures of speech) (c) reversal of previous thoughts or images (d) pithy conclusion

Questions on Jean Toomer’s Poem “The Reapers”

27. In Jean Toomer's poem "The Reapers," the word scythes (line 2) refers to: (a) expulsion of breath (b) things apparent to the eye (c) curved cutting blades (d) percentage set aside for the Church

28. In Toomer's "The Reapers," the word hones (line 2) refers to: (a) common dwelling places (b) edible parts of the bee's nest (c) agricultural workers' sweethearts (d) sharpening stones

29. One main subject of Toomer's "The Reapers" is: (a) racism (b) the natural world (c) romantic love (d) religion

30. As suggested by the biography of Jean Toomer in “Appendix II - Brief Biographies of the Poets in Part II” in RJ7, Toomer’s ethnicity was: (a) Caucasian (b) African American (c) Asian (d) Hispanic

31. As reinforced by repetition of a certain key word, grammatical parallelism, and parallelism in metrical substitution (spondee versus iamb), the poem has the main parts (also thought or content units) of: (a) lines 1-3, 4-6, and 7-8 (b) lines 1-4, 5-6, and 7-8 (c) lines 1-4 and 5-8 (d) lines 1-6 and 7-8

32. In the fourth line of the poem, which best illustrates the poem’s main rhythm and meter, scansion (analysis of prosody) should begin with which two words: (a) “and start” (b) “their silent” (c) “silent swinging” (d) “by one”

33. In the fourth line of the poem, which best illustrates the poem’s main rhythm and meter, scansion (analysis of prosody) should in the second step focus on which two combinations: (a) “and start” and “their silent” (b) “and start” and “silent swinging” (c) “and start” and “one by” (d) “and start” and “by one”

34. The words “silent” and “swinging” are automatic: (a) iambs (b) trochees (c) spondees (d) pyrhhics (e) anapests

35. The overall rhythm of the poem is pretty regular: (a) iambic (b) trochaic (c) spondaic (d) pyrrhic (e) anapestic

36. The regularity of the rhythm referred to in the immediately preceding question helps convey or suggest: (a) the farmhands’ arm motions (b) the horses’ trotting (c) the field rats’ scurrying (d) the plough’s overturning of earth

37. Because of grammatical parallelism, repetition of a key word, and metrical substitution (spondee versus iamb), a suggestion is made that in the plantation system of the South: (a) farmhands are treated like animals (b) work had its enjoyable side (c) the Civil War had accomplished liberation of Blacks (d) hard work may enoble human beings

38. The notable repetition of the s sound in the poem exemplifies: (a) assonance (b) alliteration (c) onomatopoeia (d) cacophony

39. The sound effect referred to in the immediately preceding question mainly helps convey or suggest: (a) rat’s final expiration of breath (b) mower horses’ snorting (c) whistling swing blades (d) fall of vegetation

40. The reference to the sound made by the rat (line 6) exemplifies all of the following except which one: (a) alliteration (b) assonance (c) euphony (d) onomatopoeia

41. The rat is a pretty clear symbol of: (a) greedy politicians (b) furtive farm owners (c) a worker’s betrayal of the others (d) oppressed farmhands

Questions on Dylan Thomas’s Poem “Do Not Go Gentle into That Good Night”

42. As indicated in the early chapter material as well as in the study questions on Dylan Thomas's "Do Not Go Gentle Into That Good Night," as well as by the poem itself, the villanelle is made up of: (a) couplets and tercets (b) tercets and quatrain (c) quatrain and quintet (five-line stanza) (d) terza rima quatrains

43. As shown by Thomas's "Do Not Go Gentle Into That Good Night," and suggested by the study questions, the number of rhyming sounds in a villanelle is: (a) one (b) two (c) three (d) four

44. As shown by Thomas's "Do Not Go Gentle Into That Good Night," the vilanelle form requires repetition of line 1 in lines: (a) 4, 11, and 15 (b) 5, 10, and 16 (c) 7, 11, and 17 (d) 6, 12, and 18

45. As shown by Thomas's "Do Not Go Gentle Into That Good Night," the villanelle form requires repetition of line 3 in lines: (a) 9, 15, and 19 (b) 6, 14, and 17 (c) 8, 12, and 16 (d) 5, 7, and 13

46. Thomas's "Do Not Go Gentle Into That Good Night," besides the villanelle, also represents the poetic genre of: (a) satire (b) love poem (c) elegy (d) ode

47. The repetitiveness of the form chosen for this poem helps suggest, convey, or express all of the following except which one: (a) the speaker’s vehemence (b) the speaker’s insistence (c) the speaker’s anger (d) the speaker’s compassion

48. The main focus of the poem is: (a) the speaker’s father (b) categories of humanity (c) the speaker’s spouse (d) the battle between Good and Evil

49. A very funny occurrence of this poem -- with both oral recitation and a humorous (in quite coarse language) but accurate analysis of it may be found in the feature film: (a) Animal House (b) Back to School (c) Fast Times at Ridgemont High (d) How I Got Into College