Dr. Prinsky

Humn. 2002

Quiz on the Poetry of George Herbert (Humn. 2002)

1. The affinity of George Herbert’s poetry with the Baroque (including visual art and music) may be seen in all of the following except which one: (a) inclusion of many secular subjects as well as sacred ones (b) ornamentation in the pictorial shapes of poems (c) extravagant range of poetic genres (d) ornamentation within the poem in such components as rhyme scheme, figurative language, and paronomasia

2. The affinity of George Herbert’s poetry with the Baroque (including visual art and music) may be seen in all of the following except which one: (a) dynamic quality (b) balance (c) dramatic quality (d) monumentality

3. The Baroque component (including in visual art and music) of heightened contrast may be seen in Herbert’s poetry in all of the following except which one: (a) poetic genres used (b) tone or mood within a poem (c) shift in refrain lines or rhymes within a poem (d) tone or mood of one poem vs. another (e) speaker in the poem vs. the author’s life

4. Herbert’s poem or poems with the strongest connection to the visual arts can be seen from the poetic genre of: (a) allegory (b) dramatic monologue (c) pattern poem (d) sonnet (e) wreath poem

5. Herbert’s poems with the most direct reference to music are all of the following except which one: (a) “Virtue” (b) “Denial” (c) “Jordan (1)” (d) ”Paradise” (e) “Prayer (1)”

6. In Herbert’s poem “Coloss. 3.3,” the acrostic poetry genre is used in mimetic form to convey the idea of: (a) the embedded or hidden (b) Jesus’ Jerusalem entry on Palm Sunday (c) education into a religious alphabet (d) Moses’ parting of the Red Sea

7. In Herbert’s poem “Redemption,” a play or pun on the title word is made between religious meanings and: (a) current political situation (b) Puritan concept of predestination (c) intrigues at the royal court (d) ordinary financial or legal

8. Allegorically, in Herbert’s poem “Redemption,” the tenant’s old and new leases represent: (a) Old vs. the New Testament (b) the Middle Ages vs. the Renaissance (c) the Tudor era vs. the Stuart era (d) Italian culture vs. English culture

9. In “Ana-Mary/Army-gram,” contrasts are suggested between all the following except which one: (a) small and large (b) colorful and colorless (c) gentle and forceful (d) passive and active

10. In “Ana-Mary/Army-gram,” reference is made to a term used in the Hebrew Bible but unfortunately (and defiantly) omitted by which modern translation: (a) New King James Version (NKJV) (b) New American Standard Version (NASB) (c) New International Version (NIV) (d) New Revised Standard Version (NRSV)

11. Herbert’s debát or dialogue poem, “A Dialogue-Anthem,” plays off against secular philosophical poems that contrasted such opposites as: (a) male and female (b) mind and body (c) science and religion (d) nature and civilization

12. “A Dialogue-Anthem” pointedly alludes to which passage in the New Testament: (a) Matthew 10:21 (b) Mark 14:34 (c) Romans 6:23 (d) 1 Corinthians 15:54 (e) Revelation 6:8

13. The title and title word of “The Collar” have how many meanings: (a) two (b) three (c) four (d) five

14. The imagery of “The Collar” frequently predicts the poem’s ending through containing all the following except which one: (a) conciliations (b) contradictions (c) conflations (d) secular meanings and religious allusions

15. In both “The Collar” and “Redemption,” Herbert or the speaker puns on the multiple meanings of the word: (a) “cross” (b) “die” (c) “number” (d) “suit”

16. A metapoetic pun in both “The Collar” and “Jordan (1)” is on the word: (a) “board” (b) “lines” (c) “blasted” (d) “enforced”

17. Herbert’s metapoetic theme (references to poetry or literature within poems) in several of Herbert’s poems has affinities with particular paintings by all the following seventeenth-century painters except which one: (a) Franz Halls (b) Judith Leyster (c) Diego Velasquez (d) Jan Vermeer

18. A pun on the word “leaves” in the poem “Heaven” equates: (a) salvation and the fleeing from sin (b) paradise and the Bible (c) Exodus and expulsion from Eden (d) Renaissance discovery of the New World and religious freedom

19. Herbert’s poem “The Altar” is logically placed, with regard to his collection The Temple at: (a) the beginning (b) end of the first third (c) end of the second third (d) the end

20. Herbert’s poem “Easter Wings” rather famously exemplifies the poetry genre of: (a) concrete poem (b) dawn song (c) epithalamium (d) sestina (e) villanelle

21. Thematic motifs in Herbert’s “Easter Wings” include all of the following except which one: (a) expansion and contraction (b) rising and falling (c) original sin vs. salvation (d) the fortunate fall or felix culpa (e) lightening vs. darkening

22. In “Easter Wings,” the variation in line lengths in the poem relates to the content of the lines and poem in all of the following except which one: (a) ascending and descending (b) expansion and contraction (c) flying (d) liquid and solid

23. In “Easter Wings,” the variation in line lengths in the poem relates to the content of the lines and poem in all of the following except which one: (a) male and female (b) sin and redemption (c) wealth and poverty (d) illness and health

24. A specific allusion in “Easter Wings” that is to be found in several other poems of Prinsky’s Humn. 2002 website Notes and Questions on George Herbert is to: (a) the Garden of Eden (b) Canaan (c) Mt. Sinai (d) Jerusalem

25. In “Virtue,” A variation in the poem’s prosody is that only in the last stanza: (a) is dimeter used (b) is a rhyme not carried over from a preceding stanza (c) is iambic tetrameter used (d) are polysyllabic (rather than monosyllabic) words used

26. In “Virtue,” The last line of each of the first three stanzas makes use of all of the following, in connection to the last line of the other stanzas in the first three, except which one: (a) strong contrast (b) repetition (c) grammatical parallelism (d) iambic meter (e) subtle variation

27. In “Virtue,” As shown in the opening of the third stanza, the principal extended images of each of the first three stanzas are arranged by the principle of: (a) holiness (b) exclusion (c) liveliness (d) inclusion

28. In “Virtue,” The image (and wording) of “seasoned timber” (line 14) in the last stanza has all of the following underlying imagistic connections with details or specifics (explicit or implicit) in any of the preceding three stanzas, except which one: (a) one of the four quarters of the year (b) vegetable matter (c) height (d) passage of time

29. In “Virtue,” The image of the “seasoned timber” (line 14) in the last stanza contrasts in all of the following qualities or ingredients with some of those in the main images in the preceding three stanzas, except which one: (a) solidity (b) tranquility (c) aroma or fragrance (d) brightness (e) romantic associations

30. In “Virtue,” When the speaker refers to how “my music shows ye [day, rose, spring] have your closes” (line 12), he recalls the etymology of what term for short poetry: (a) limerick (b) epigram (c) lyric (d) elegy

31. In “Virtue,” The word “closes” (line 12) has not only its technical musical meaning of the era but also the meanings of all the following except which one: (a) encounters (b) deaths (c) enclosures (d) coffins

32. With reference to the immediately preceding question, the primary figure of speech used in “closes” is: (a) oxymoron (b) paradox (c) metonymy (d) pun (e) anaphora

33. By way of imagery and refrain, Herbert’s poem “Virtue” is clearly structured as: (a) four separate parts (b) the two parts of stanzas 1-2 vs. stanzas 3-4 (c) the two parts of stanza 1 vs. stanzas 2-4 (d) the two parts of stanzas 1-3 vs. stanza 4 (e) the three parts of stanza 1, stanzas 2-3, and stanza 4

34. In “Denial,” the congruence of God’s graciousness with the speaker’s condition is thematically conveyed by: (a) numerological symbolism in the number of lines of each stanza (b) imagery of brick mason’s mortar (c) rhyme at the end of the stanzas (d) imagery of dry vs. liquid

35. Herbert’s poem “The Windows” consistently draws on what area for its extended analogy: (a) medicine (b)visual art (c) astronomy (d) music

36. A consistently implied contrast of the title of “Jordan (1),” with metapoetic implications (along with the content of the poem), is to the river: (a) Danube (b) Hippocrene (c) Nile (d) Thames

37. Herbert’s poem “Paradise” has typological symbolism pointing to all of the following except which one: (a) garden of Eden in Genesis (b) Psalm 1 (c) the Trinity (d) the flames in Acts

38. Herbert’s “Prayer (1)” makes stunning use of the grammatical device of: (a) loose sentence (b) periodic sentence (c) simple sentence (d) complex sentence (e) sentence fragment

39. In Herbert’s “Prayer (1)” the number of metaphors, analogies, and abstract nouns (or pronoun) used to define the subject is: (a) 9 (b) 18 (c) 27 (d) 36

40. A notable imitation of Herbert’s “Prayer (1)” is: (a) Richard Crashaw’s “To the Infant Martyrs” (b) Thomas Traherne’s “Wonder” (c) Henry Vaughan’s “Unprofitableness” (d) Henry Vaughan’s “Son-days”

41. Herbert’s poem “Sin’s Round” exemplifies the genre of: (a) wreath poem (b) pruning poem (c) dream allegory (d) altar poem

42. To suggest the inevitability of sin in the human condition, Herbert uses in the poem referred to in the immediately preceding question not only the genre cited but also the figurative device of: (a) anastrophe (b) antimetabole (c) anacoluthon (d) anadiplosis

43. In “A Wreath,” Herbert through the poem’s speaker thematically contrasts what two geometrical figures: (a) five-pointed star and six-pointed star (b) circle and straight line (c) triangle and square (d) cone and rectangle