Dr. Prinsky

Engl. 3002: English Renaissance Literature

Quiz on the Poetry of Thomas Carew, John Suckling, Richard Lovelace, and Edmund Waller

Poetry of Thomas Carew

1. The surname of the poet rhymes with: (a) untrue (b) portmanteau (c) improve (d) remarry

2. The rhyme scheme of “An Elegy upon . . . John Donne” suggests Carew’s affinity with the school of: (a) Donne (b) Jonson (c) Shakespeare (d) Spenser

3. The convolution of the grammar in lines 3-8 and 14-21 of “An Elegy upon . . . John Donne” suggests Carew’s affinity with or imitation of the school of: (a) Donne (b) Jonson (c) Shakespeare (d) Spenser

4. In “An Elegy upon . . . John Donne,” Carew or the speaker evaluates Donne’s poetry by using all the following repeated images except which one: (a) dust (b) ashes (c) fire or flame (d) moist vs. dry (e) sun and stars

5. Carew’s or the speaker’s reference in “An Elegy upon . . . John Donne” to Donne’s “holy rapes” on the reader (line 17) apparently alludes to Donne’s Holy Sonnet: (a) 5 (b) 9 (c) 14 (d) 17

6. Carew’s or the speaker’s use of mining imagery in “An Elegy upon . . . John Donne” (lines 34-44) apparently alludes to such poems by Donne as: (a) “Elegy 19. To His Mistress Going to Bed” and “The Relic” (b) “The Ecstasy” and “The Funeral” (c) “The Bait” and “The Apparition” (d) ”Love’s Alchemy” and “The Sun Rising”

7. In the heart of “An Elegy upon . . . John Donne” (lines 30-60), Donne’s poetry is mainly praised for its: (a) originality (b) learning (c) piety (d) undemonstrativeness

8. In “To Ben Jonson,” Carew slyly and cleverly works in biographical references to all the following in Jonson’s life except which one: (a) arrest and trial for murder (b) slowness in literary composition (c) corpulence from food and drink indulgence (d) autodidactic scholarliness (e) presidency over the tribe of Ben

9. Links between the first two images in “To Ben Jonson” in the discussion of Jonson’s satire (lines 1-3) and Jonson’s literary career (lines 4-10) are all the following except which one: (a) gold vs. base metal (b) color (c) hot vs. cool (d) motion

10. In “To Ben Jonson,” Carew or the speaker puns in the reference to Jonson’s “labored works” (line 45) on not only the meaning of the care put into them but also the meaning (and a metaphor in Jonson’s own literary works) of: (a) architectural masonry (b) living creatures (c) workingmen’s nobility (d) scientific inventions

11. In “A Song: ‘Ask me no more,’” Carew’s speaker in every quatrain refers to some: (a) trait of his deserving the beloved’s recompense (b) physical feature of the beloved (c) reward he would give the beloved if she acquiesced (d) artistic accomplishment of the beloved

12. In “A Song: ‘Ask me no more,’” Carew’s speaker in every quatrain refers to some: (a) contemporary scientific advance (b) expensive substance (c) geographical discovery (d) unit of time

13. The constant references referred to in the immediately preceding question point to the stylistic component of: (a) impasto (b) sprezzatura (c) pietra dura (d) chiaroscuro

14. A primary link between the first and fifth quatrains of “A Song: ‘Ask me no more’” is, besides visual imagery: (a) gustatory imagery (b) tactile imagery (c) olfactory imagery (d) auditory imagery

15. A primary link between the third and fifth quatrains of “A Song: ‘Ask me no more’” is: (a) liquid imagery (b) avian imagery (c) mineral imagery (d) enchaining imagery

16. Carew’s speaker uses all the following kinds of imagery except which one to praise the beloved in “A Song: ‘Ask me no more’”: (a) visual (b) auditory (c) gustatory (d) olfactory (e) tactile

17. Although certainly erotic, Carew’s “A Rapture” deals, as emphasized by the poem’s beginning, with the serious subject of: (a) frankness vs. dissembling (b) church vs. state (c) aristocracy vs. oppressed commoners (d) active vs. contemplative life

Poetry of John Suckling

18. Suckling’s “The Deformed Mistress” represents the subgenre in Renaissance lyric poetry of: (a) epyllion (b) paradoxical encomium (c) epithalamium (d) pastoral elegy

19. Suckling’s “The Deformed Mistress” has, with calculated shockingness, explicit use of the four-letter word: (a) c---- (b) f---- (c) p---- (d) s----

20. Suckling’s “Love’s Offence” has a thoroughgoing use of imagery that also appears in Robert Herrick’s poem: (a) “Upon the Loss of His Mistresses” (b) “Delight in Disorder” (c) “How Roses Came Red” (d) “Upon Jack and Jill, Epigram”

21. The imagery referred to in the immediately preceding question is often, in literary and film history, used for: (a) romance (b) tragedy (c) satire (d) elegy

22. The blunt speaking of the speaker in “Song: ‘Why so pale’” is enhanced by all the following except which one: (a) repetition (b) colloquialism (c) monosyllables (d) short lines (e) suppression of all imagery

23. The blunt or plain speaking of the speaker in “Song: ‘Why so pale’” follows from the line of poetry established by: (a) Thomas Wyatt (b) Henry Howard, Earl of Surrey (c) Philip Sidney (d) Samuel Daniel

24. “Song: ‘Why so pale’” could be categorized as: (a) Petrarchan (b) Neoplatonic (c) anti-Petrarchan (d) religious

25. A key word and concern of the Cavaliers in “Loving and Beloved” is: (a) “trade” (b) ”honor” (c) “nature” (d) “fancy”

26. A concern from the poem’s first line onwards (e.g., analogous key words in lines 4 and 6) in “Loving and Beloved” is a primary concern of the poetry of: (a) Thomas Wyatt (b) Henry Howard, Earl of Surrey (c) Philip Sidney (d) Samuel Daniel

27. A central issue in “Loving and Beloved” — important for the romantic love of bygone times only — is: (a) sharing (b) acquiring (c) marrying (d) pretending (e) divorcing

28. In “A Ballad Upon a Wedding,” the identity of the addressee (stanzas 1, 11, 17, 20), the comparison of the groom’s good looks to someone (stanza 3), and the speaker’s reference to Bridget and Nell (stanza 22), all help convey the poem’s: (a) comparison and contrast of aristocracy and commoners (b) implicit endorsement of Charles I against the Puritans (c) criticism of extramarital romantic relationships (d) exploration of the societal dissolution associated with “Jacobean melancholy”

29. The recurrent animal imagery in the “A Ballad Upon a Wedding” (colt, mice, bee) helps convey: (a) the corrupt, fallen nature of human beings (b) sympathy with the scientific investigations of the age (c) fundamentals underlying human nature and ceremonies (d) the commonplace attitude of human superiority to the animal kingdom

30. A good deal of “A Ballad Upon a Wedding” is about the differences between: (a) church and state (b) male and female (c) Catholic and Anglican (d) the English and continental Europe (the French and the Italians)

31. In its use of anti-Petrarchanism to convey Petrarchan compliment, “Out Upon It!” most clearly resembles Shakespeare’s sonnet: (a) 12 (b) 71 (c) 106 (d) 130

32. The most vivid figures of speech contributing to the humor and irony of “Out Upon It!” is: (a) synecdoche and metonymy (b) hyperbole and understatement (c) metaphor and simile (d) paradox and paronomasia

33. The repetition of “Had it any been but she” in the last line of the third quatrain and the first line of the final quatrain helps convey the speaker’s tone of: (a) belittlement (b) bereavement (c) bemusement (d) besmirchment

Poetry of Richard Lovelace

34. “To Lucasta, Going to the Wars” could be summarized as: (a) (b) the perennial male quest (in bygone times only) for seduction of a female (c) battle between the sexes for superiority in the romantic relationship (d) transformation of the romantic love lyric into a political statement

35. In “To Lucasta, Going to the Wars,” Lovelace or the Lovelace speaker reinvests all the following words or concepts, except which one, with additional meanings: (a) sweet (b) mistress (c) faith (d) chase (e) embrace

36. In “To Lucasta, Going to the Wars,” Lovelace or the Lovelace speaker reinvests all the following words or concepts, except which one, with additional meanings: (a) true (b) inconstancy (c) adore (d) love

37. Lovelace’s poem “The Grasshopper” has strong affinities with: (a) John Donne’s poem “The Sun Rising” (b) Ben Jonson’s poem “My Picture Left in Scotland” (c) Robert Herrick’s poem “The Bad Season Makes the Poet Sad” (d) Thomas Carew’s “A Rapture”

38. Lovelace’s poem “The Grasshopper” is structured by the figure of speech apostrophe into: (a) three parts (stanzas 1-3, 4-6, and 7-10) (b) two parts (stanzas 1-5 and 6-10) (c) three parts (stanza 1, stanzas 2-6, and 7-10) (d) four parts (stanza 1, stanzas 2-4, stanzas 5-7, stanzas 8-10)

39. Lovelace’s poem “The Grasshopper” is structured by all of the following oppositions except which one: (a) day vs. night (b) native vs. foreign (c) heat vs. cold (d) outside vs. inside (e) Puritan vs. Royalist

40. Probably the most famous modern poem about grasshoppers is by: (a) T.S. Eliot (b) Ezra Pound (c) E.E. Cummings (d) Robert Frost

41. Lovelace’s poem “To Althea, from Prison” has in it one of the more famous statements or quotations in history: (a) “The gods that wanton in the air/ Know no such liberty” (lines 7-8) (b) “thirsty grief in wine we steep” (line 13) (c) “The sweetness, mercy, majesty/ And glories of my king” (lines 19-20) (d) “Stone walls do not a prison make,/ Nor iron bars a cage” (lines 25-26)

42. Lovelace’s poem “To Althea, from Prison” through the use of periodic sentence structure as well as refrain line is divided into: (a) two parts (stanza 1 vs. stanzas 2-4) (b) two parts (stanzas 1-2 vs. stanzas 3-4)(c) two parts (stanzas 1-3 vs. stanza 4) (d) three parts (stanza 1, stanzas 2-3, and stanza 4) (e) four parts (each stanza an unaligned content unit)

43. In the poem “To Althea, from Prison,” Lovelace or the Lovelace speaker reinvests all the following words or concepts, except which one, with additional meanings: (a) “fettered” (b) “liberty” (c) ”sweetness” (d) “prison”

44. The reference to the Golden Age in Lovelace’s poem “Love Made in the First Age: To Chloris” echoes or perhaps draws on an important Renaissance translation (included in NAEL) done by: (a) William Tyndale (b) Sir Thomas Hoby (c) Arthur Golding (d) Mary Sidney

45. In “Love Made in the First Age: To Chloris,” the figure of speech in “and lads indifferently did crop/ A flower and a maidenhead” (lines 17-18) is: (a) antiphrasis (b) metonymy (c) synecdoche (d) zeugma

46. The figure of speech referred to in the immediately preceding question helps convey the poem’s theme of: (a) (male) lovers’ callousness (b) lovers’ basic immorality (c) lovers’ primeval liberty (d) barbarity in Biblical times

47. The name of the mistress in the poem referred to in the immediately preceding two questions, along with much of the imagery and setting of the poem, helps place the poem in what genre: (a) elegy (b) ode (c) pastoral (d) satire

Poetry of Edmund Waller

48. In “Song: ‘Go lovely rose,’” the over-arching figure of speech is: (a) synecdoche (b) paradox (c) hyperbole (d) apostrophe

49. The figure of speech referred to in the immediately preceding question, if interpreted one way, might help convey the idea of: (a) the speaker’s loneliness, with only a flower companion (b) the woman’s barely-concealed coaxing (c) the speaker’s almost scientific interest in the natural world (d) women’s need for bouquets and gifts

50. The figure of speech referred to in the immediately preceding questions, if interpreted another way, might help convey the idea of: (a) the speaker’s seriously impaired mental state, comparable to some of the psychotics in Robert Browning’s poetry (b) the speaker’s condemnation of women’s materialistic need for bouquets and gifts (c) the speaker’s persuasiveness by indirectly presentation (as in much advertising) to a female auditor known to be listening (d) an underlying need of the speaker to move from secular to sacred speech, as in sermon

51. Probably the key word in the first stanza of “Song: ‘Go lovely rose’” with regard to persuasion is: (a) “lovely” (b) “that” (c) “knows” (c) “seems”

52. The figure of speech in the speaker’s “Tell her that wastes her time and me” (line 2) is: (a) zeugma (b) paradox (c) litotes (d) antonomasia

53. The figure of speech referred to in the immediately preceding question helps convey the idea of: (a) strife between the Puritans and the Royalists (b) a seriously destructive force underlying hesitation (c) protest against the restraints placed on women’s education (d) condemnation of a life lived without intellectual pursuits

54. Part of the speaker’s persuasion or argument in “Song: ‘Go lovely rose’” comes from an implicit link, plus comparison and contrast, between stanza 1 and stanza 3 in: (a) height (b) width (c) depth (d) color (e) size