Quiz on the Lyric Poetry of Samuel Daniel, Michael Drayton, William Shakespeare, and Edmund Spenser (Listed Alphabetically by Surname)
Samuel Daniel
1. As indicated by the NAEL7 introduction, Samuel Daniel was a significant writer in all the following genres except which one: (a) literary criticism (b) poetry (c) history (d) prose fiction (e) drama
2. The hair color of Spenser's beloved, as pointed out in one of his Delia sonnets, is: (a) blonde (b) auburn (c) black (d) brown
3. Daniel's Delia Sonnet 33 mainly deals with the impact on the romantic relationship of: (a) inlaws (b) society (c) time (d) sexuality
4. In Delia 33, the main recurrent imagery used to convey theme is: (a) light vs. dark (b) heat vs. cold (c) solid vs. liquid (d) wide vs. narrow
5. Daniel's Delia Sonnet 45 shares subject, setting, and imagery with which one of Sidney's Astrophil and Stella sonnets: (a) 15 ("You that do search") (b) 39 ("Come sleep!") (c) 61 ("Oft with true sighs") (d) 81 ("O kiss, which dost")
6. In Delia 45, notable thematic use is made, with reference to sleep, of: (a) cacophony (b) assonance or euphony (c) macaronic verse (d) sibilance or sigmatism
7. The ideas of Daniel's Delia 46 resemble those of all the following sonnets, except which one: (a) Philip Sidney's Astrophil and Stella 15 ("You that do search") (b) Fulke Greville's Caelica 100 ("In night when colors") (c) Michael Drayton's Idea 6 ("How many paltry, foolish things") (d) Shakespeare's Sonnet 130 ("My mistress' eyes")
8. Delia 46 covers all the following subjects or themes except which one: (a) literary authenticity (b) a mistress' a-Musing capacity (c) personal and political fidelity (d) literature's immortalizing power
9. In Delia 46, "these are the Arks" (line 9) refers to, has as grammatical antecedent or pronoun referent: (a) the knights and paladins (b) the aged accents and untimely words (c) "their high wits" (d) the lady's fair eyes (e) the speaker's sonnets
10. In Delia 46, "sacred virtues" (line 11) is, grammatically, in its clause: (a) subject (b) predicate (c) direct object (d) indirect object (e) objective complement
Michael Drayton
11. The title of Drayton's sonnet sequence seems intended, along with the sequence's introductory sonnet ("To the Reader of These Sonnets"), to warn readers against which component to be found in the sonnet sequences of Philip Sidney, Edmund Spenser, and William Shakespeare: (a) politics (b) autobiography (c) science (d) ideology
12. Drayton's introductory sonnet, like other sonnets in the sonnet sequences or cycles represented in NAEL7, conveys a reaction against: (a) political dogma (b) religious conformity (c) economic tyranny (d) literary convention
13. The first two lines of Idea Sonnet 6 contrast with the opening of Samuel Daniel's Delia 46 by the contrast between complaint against which kind of mistresses praised in others' poetry: (a) contemporary urban vs. fantastically archaized (b) aristocratic vs. commoner (c) warmly affectionate vs. coldly distant (d) foreign vs. native
14. In Idea 6, as suggested by his language - e.g., "Virgins and matrons . . . / . . . To have seen thee" (lines 9-12), the speaker implies that he will transform the addressee to: (a) goddess (b) ruler (c) legend (d)
15. Drayton's Idea Sonnet 61 ("Since there's no help") has a structure or organization that could be classified as: (a) reversal (b) circular (c) spiral (d) linear
16. The ultimate purpose of the speaker in Drayton's Idea Sonnet 61 ("Since there's no help") is: (a) cogitation (b) instruction (c) veneration (d) seduction
17. The speaker's language of the octave of Idea 61 has elements of all the following except which one: (a) colloquialism (b) sullenness (c) straightforwardness (d) courtesy
18. In the sestet of Idea 61, the speaker utilizes for persuasive purposes which rhetorical or syntactical device: (a) loose sentence (b) asyndeton (c) periodic sentence (d) balanced antithesis (e) rhetorical question
Sonnets of Shakespeare
19. As pointed out in the NAEL introduction, one feature of Shakespeare's sonnet cycle making it unlike others in the English Renaissance is: (a) the use of both the Italian and English structures (b) its Neoplatonism (c) lack of variation in imagery (d) a male object of praise, love, and devotion
20. As pointed out in the NAEL introduction (and evident in the NAEL selections themselves), a major theme of Shakespeare's sonnet cycle as a whole (especially in Sonnets 18-126) is the destructive power of: (a) time (b) hatred (c) war (d) nationalism
21. As pointed out in the NAEL introduction (and evident in the NAEL selections themselves), a main character in Shakespeare's sonnet cycle, who appears chiefly in the last twenty-five or so sonnets, is the: (a) Wronged Wife (b) Evil Nobleman (c) Dark Lady (d) Idealized King
22. As noted in PNQ, in several sonnets, Shakespeare (or the Shakespearean speaker) makes vividly thematic use of which one of the eight kinds of English pronoun: (a) reciprocal (b) demonstrative (c) intensive (d) relative (e) indefinite
23. As noted in PNQ, several of the opening sonnets (including 1, 3, and 12) are usually categorized under which name: (a) "entry sonnets" (b) "castigation sonnets" (c) "breed sonnets" (d) "avuncular sonnets"
24. As explained in class lecture, the distinctive four parts of the English sonnet form in Sonnet 3 ("Look in thy glass") -- 3 quatrains and couplet -- are in theme and content, like many parts of the Bible (as noted in E.W. Bullinger's Figures of Speech Used in the Bible, as well as Bullinger's Companion Bible), founded in their overall structure on the rhetorical device of: (a) chiasmus (b) litotes (c) paradiastole (d) syzygy
25. Sonnet 12 ("When I do . . . ") makes notable use of all the following devices to convey theme, except which one: (a) periodic sentence (b) regular trochaic rhythm and assonance in line 2 (c) regular iambic rhythm and alliteration in line 1 (d) recurrent botanical imagery
26. The combination of sonnets 20 ("A woman's face") and 138 ("When my love swears") may indicate that Shakespeare was: (a) homosexual (b) heterosexual (c) bisexual (d) asexual
27. Sonnets 29 ("When in disgrace") and 30 ("When to the sessions"), separately and together, focus on which component of romantic love and friendship: (a) financial aid (b) supportive action (c) affectionate touching (d) restorative power
28. As noted in PNQ, Shakespeare's Sonnet 30 ("When to the Sessions of Sweet Silent Thought") uses the imagery of which one of the following choices in the poem's focus on love: (a) astronomical and military (b) medical and public school (c) food and wine (d) financial and legal
29. The imagery referred to in the immediately preceding question is appropriate today, as well as it was in Shakespeare's time, in association with: (a) sorrow (b) healing (c) pleasure (d) learning
30. One repeated idea about literature in Shakespeare's sonnets (found also in several other sonnet cycles in NAEL, as well as in Classical literature) is the: (a) necessity of using the middle or mean style (b) inspiration from God required to write (c) respect owed to literary tradition (d) immortalizing power of poetry
31. Sonnet 35 ("No more be") and 94 ("They that have") focus on all the following components of the romantic relationship and friendship except which one: (a) domination (b) yielding (c) hurtfulness (c) inattentiveness (d) malevolence
32. All the following sonnets share the same precise subject or topic or theme, except which one: (a) Sonnet 12 ("When I do count") (b) Sonnet 18 ("Shall I compare") (c) Sonnet 19 ("Devouring time") (d) Sonnet 55 ("Not marble") (e) Sonnet 60 ("Like as the waves")
33. In Sonnet 73 ("That time of year"), the three main consecutive extended metaphors, one per quatrain, have, overall, the thematic shape of: (a) a triangle (b) a cone (c) a rectangle (d) a circle
34. Sonnets 97 ("How like a winter") and 98 ("From you have I") share the same component of the romantic relationship or the lovers' story as Sidney's Astrophil and Stella: (a) Sonnets 1, 2, and 5 (b) Sonnets 31, 37, and 39 (c) Sonnets 53, 56, and 62 (d) Sonnets 87, 89, and 91
35. In "Let Me Not to the Marriage of True Minds/ Admit Impediments" (Sonnet 116), the Shakespearean speaker uses nautical, navigational metaphors for love ("it is an ever-fixed mark,/ That looks on tempests and is never shaken;/ It is the star to every wand'ring bark"[4-6]) that parallel striking similar ones in sonnets (in NAEL) by: (a) Samuel Daniel and Michael Drayton (b) Thomas Wyatt and Edmund Spenser (c) (Henry Howard, Earl of) Surrey and Philip Sidney (d)(Fulke)Greville and Walter Ralegh
36. In Sonnet 126 ("Oh thou, my lovely boy"), the form of the sonnet is: (a) Italian (b) English (c) combination of Italian and English (d) 13-1 or reversal (e) none of the foregoing
37. In "How Oft When Thou, My Music, Music Play'st" (Sonnet 128), the Shakespearean speaker develops throughout the poem several conceits related to his beloved's playing of which instrument: (a) spinet (kind of piano) (b) viola (c) flute (d) lyre
38. In "My Mistress' Eyes Are Nothing Like the Sun" (Sonnet 130), the Shakespearean speaker both satirizes and uses imagery popularized by: (a) Gordon Sumner (b) John Skelton (c) Franceso Petrarca (d) Marie De France
39. Sonnet 130 ("My mistress' eyes") brings up an issue of interest to the New Historicism literary criticism of facets of what group in Renaissance England: (a) poets (b) Africans (c) homosexuals (d) Italians
40. In Sonnets 135 ("Whoever hath her wish") and 138 ("When my love swears"), Shakespeare's predominant figure of speech in the poem is: (a) understatement (b) oxymoron (c) antiphrasis (d) paronomasia
41. In several sonnets, early and late in the cycle, to both his beloveds (e.g., Sonnet 73: "That time of year" and Sonnet 138: "When my love swears"), the Shakespearean speaker refers to which inequality between himself and his addressee: (a) education (b) social rank (c) age (d) nationality
Edmund Spenser
42. As pointed out in the NAEL intro to Spenser, Spenser was strongly influenced by: (a) Judaism (b) Puritanism (c) Materialism (d) Anti-Monarchialism
43. As pointed out by the NAEL intro (and NNERL), Spenser's text is usually printed as it is by modern editors because of Spenser's deliberate: (a) Gallicism (b) Ethnocentrism (c) Euphemism (d) Archaism
44. A philosophical-religious ideology recurrent in Spenser's Amoretti (and other poems, as pointed out in the NAEL intro and HTL and PDLT [PDLT reference is under pl] is: (a) Neoplatonism (b) Jansenism (c) Positivism (d) Anabaptism
45. Spenser is noted for his preference -- or invention -- of the sonnet rhyme scheme: (a) abba abba - cde cde (b) abba abba - cdc dcd (c) abab - cdcd - efef - gg (d) abab - bcbc - cdcd - ee
46. In comparison with the sonnets of Wyatt, Surrey, Sidney, Daniel, and Drayton (as excerpted in NAEL7), Spenser's are discernibly more: (a) political (b) whiney (c) religious (d) figurative (e) historically-conscious
47. Spenser's Amoretti 1, 54, 74, and 75 connect as a group with a similar group in Sidney's Astrophil and Stella with a focus on the subject of: (a) politics (b) metapoetics (c) current events (d) economics (e) history
48. Spenser's Amoretti 34 ("Lyke as a ship"), compared to Wyatt's "My galley charged with forgetfulness, both based on Francesco Petrarca's Rima 189, has with regard to the imagery in the two English sonnets: (a) less intensity of secular passion (b) the same intensity of secular passion (c) more intensity of secular passion (d) utter disregard of secular passion
49. The hair color of Spenser's beloved, as pointed out in one of his Amoretti, as the hair color of Astrophil's beloved in Sidney's Astrophil and Stella is likewise pointed out in one or more of the sonnets of Sidney's sequence or cycle, is: (a) blonde (b) auburn (c) black (d) brown
50. The color imagery in Amoretti 37 ("What guyle is this") mainly suggests all the following aspects of the beloved except which one: (a) beauty (b) purity (c) preciousness (d) passion
51. In theme and imagery, Spenser's Amoretti 54 ("Of this worlds Theatre") has the closest connection with which of Sidney's Astrophil and Stella Sonnets: (a) 10 ("Reason, in faith thou art well served") (b) 37 ("My mouth doth water") (c) 45 ("Stella oft sees the very face of woe") (d) 53 ("In martial sports I had my cunning tried")
52. Spenser dilutes the potential eroticism of the anatomical catalog poem in Amoretti 64 ("Comming to kisse her lyps") with the figurative device of: (a) chiasmus (b) homeoteleuton (c) litotes (d) syn(a)esthesia
53. Spenser's Amoretti 65 ("The doubt which ye misdeeme") has affinities in subject and some of the imagery with all the following sonnets of Sidney's Astrophil and Stella except which one: (a) 2 (b) 15 (c) 47 (d) 49
54. The ending of Spenser's Amoretti 67 ("Lyke as a huntsman"), like Wyatt's "Whoso list to hunt" based on Francesco Petrarca's Rima 190, is, in comparison to Wyatt's sonnet: (a) very similar (b) completely unrelated (c) opposite (d) none of the aforementioned
55. Spenser's Amoretti 68 ("Most glorious Lord of lyfe") is perhaps of all the Amoretti selections in NAEL7 the most explictly: (a) religious (b) autobiographical (c) political (d) figurative
56. The particular numerological symbolism in Amoretti 74 ("Most happy letters") has, with other words and sentiments in the sonnet, the overtones of: (a) magic (b) finance (c) religion (d) astronomy (e) politics
57. The sonnet
in Amoretti most logically organized and closest to the organization
or structure of an English 101 (or 1101) essay is: (a) Amoretti
1 (b) Amoretti 37 (c) Amoretti 64 (d) Amoretti 75