5 Written Questions

1. the poet's attitude to the poem's subject as the reader interprets that, sometimes through the tone of the persona or speaker
2. a quotation, taken from another literary work, that is placed at the start of a poem under the title. For example, T. S. Eliot's "Gerontion" begins with a quotation from Shakespeare's play Measure for Measure
3. rhythmical but non-metrical, non-rhyming lines
4. a stanza of three lines; Lewis Turco's Terzanelle in Thunderweather
5. a prevailing idea in a work, but sometimes not explicitly stated, as in Ogden Nash's "Candy is dandy, / But liquor is quicker," which is about neither candy nor liquor.

5 Matching Questions

1. Personification
2. Stanza
3. Petrarchan poem
4. Internal Rhyme
5. Alliteration

1. a a group of verses separated from other such groups in a poem and often sharing a common rhyme scheme; Do not go gentle into that good night,/Old age should burn and rave at close of day;/Rage, rage against the dying of the light
2. b an anthropomorphic figure of speech where the poet describes an abstraction, a thing, or a non-human form as if it were a person. William Blake's "O Rose, thou art sick!"
3. c using the same consonant to start two or more stressed words or syllables in a phrase or verse line, or using a series of vowels to begin such words or syllables in sequence; Tyger, Tyger burning bright;
4. d A 14-line poem patterned on forms popularized by Petrarch. John Milton's “On the New Forces of Conscience under the Long Parliament.”
5. e normally end-rhyme, that is, lines of verse characterized by the consonance of terminal words or syllables. Rhymed words conventionally share all sounds following the word's last stressed syllable. Thus "tenacity" and "mendacity" rhyme, but not "jaundice" and "John does," or "tomboy" and "calm bay." The rhyme scheme is usually the pattern of end-rhymes in a stanza, each rhyme being encoded by a letter of the alphabet from a onwards.

5 Multiple Choice Questions

1. the basic unit of measurement of accentual-syllabic metre, usually thought to contain one stressed syllable and at least one unstressed syllable. The standard types of feet in English are iambic, trochaic, dactylic, anapestic, spondaic, and pyrrhic. Samuel Taylor Coleridge's poem "Metrical Feet"
   1. Iamb
   2. Foot
   3. Motif
   4. Sonnet
2. an extended narrative poem with a heroic or superhuman protagonist engaged in an action of great significance in a vast setting (often including the underworld and engaging the gods). Edmund Spenser's The Faerie Queene
   1. Elegy
   2. Motif
   3. Epic
   4. Tone
3. normally end-rhyme, that is, lines of verse characterized by the consonance of terminal words or syllables; Silent, silent Night;Quench the holy light/Of thy torches bright.
   1. Verse
   2. Theme
   3. Rhythm
   4. Rhyme
4. the rhyming of a word with another in one or more of their accented vowels, but not in their consonants; sometimes called vowel rhyme. To Autumn by John Keats the line : “Or sinking as the light wind lives or dies;”
   1. Sonnet
   2. Assonance
   3. Spondee
   4. Tone
5. a pair of successive rhyming lines, usually of the same length, termed "closed" when they form a bounded grammatical unit like a sentence, and termed "heroic" in 17th- and 18th-century verse when serious in subject, five-foot iambic in form, and holding a complete thought; “Eenie Meenie Miny Moe,Catch a tiger by his toe.”
   1. Simile
   2. Sonnet
   3. Anapest
   4. Couplet

5 True/False Question

1. Anadiplosis → a repetition of the last word in a line or segment at the start of the next line,or segment; My conscience hath a thousand several tongues/And every tongue brings in a several tale, /And every tale condemns me for a villain.–Shakespeare, Richard III.
   

   True        False

2. Simile → something in the world of the senses, including an action, that manifests (reveals) or signifies (is a sign for or a pointer to) a thing, or what is abstract, otherworldly, or numinous; Any image or action termed a Jungian archetype is also symbolic in that it manifests something in the collective unconscious of human beings.
   

   True        False

3. Ode → the poet's attitude to the poem's subject as the reader interprets that, sometimes through the tone of the persona or speaker
   

   True        False

4. Metonymy → the rhythm of verse, reducible to one of four kinds, accentual, syllabic, accentual-syllabic, and quantitative. “That time of year thou mayst in me behold”
   

   True        False

5. Tercet → a six-line stanza, or the final six lines of a 14-line Italian or Petrarchan sonnet./The Better Part/So asnwerest thou; but why not rather say/“Hath man no second life?—Pitch this one high!/Sits there no judge in heaven, our sin to see?/More strictly, then, the inward judge obey!/Was Christ a man like us? Ah! Let us try/If we then, too, can be such men as he!”
   

   True        False