LITERATURA INGLESA II

A middle-class and commercial culture which stressed the fineness of feelings.

Immanuel Kant is said to have effected it in European thought and laid the foundations for the Romantic idealism of Coleridge, Thomas de Quincey and Thomas Carlyle in Britain.

A word to refer to a kind of writing which has been defined in opposition to the literature which came before it. It affirms the creative powers of imagination, introduces a new way of looking at nature, which represents its main subject of work. It has a preference of sublime aspects of nature and exotic settings and the individual figure of the artist.

After 1792, those in Britain who supported the ideals of the Revolution and political reform more generally were claimed as...

Name of the six Romantic poets:

The title of a book in which its preface is a revolutionary manifesto about the nature of poetry.

Authors of "Lyrical Ballads".

A manifesto for a revolutionary kind of poetry, for a revolutionary age, banishing the allegedly stilted diction of earlier neo-classical poets, preferring instead a language closer to that of contemporary usage.

A group of poets gathered around Robert Merry, that produced a series of rhetorically ornate and emotional poems of sensibility that may well have influenced the young Romantics.

Writer of "Elegiac Sonnets".

A poet who developed a technique of engraving and printing his own designs to accompany his poetry.

Writer of "Songs of Innocence and of Experience".

A volume which contains much quintessential Romantic poetry, including the first version of Coleridge's "Rime of the Ancient Mariner", Wordsworth's "Tintern Abbey" and ballads.

A poem wrote by William Wordsworth which would come to be regarded by many as the quintessential Romantic poem.

Name given to the European fascination with the East in the Romantic Age.

An English poet of the so-called Romantic school "Lake Poets". He was known for his contribution to the 18th-century vogue for Oriental romance. His innovations in Orientalism and the verse narrative were crucial to the literature of the period.

A type of character, half hero half villain, popularized by the works of Lord Byron, who embodied an archetype of male charismatic and sophisticated but nonetheless alienated, flawed and individualist.

Lord Byron's unfinished masterpiece, a poem which tells the story of a young Spanish nobleman.

Name applied by Robert Southey to a group of poets headed by Byron and Shelley because of their "Satanic spirit of pride and audacious impiety.".

Writer of "Ode to the West Wind".

A pejorative term suggesting a middle-class, suburban and metropolitan kind of writing. Several of the greatest English writers of the 19th century, such as William Hazlitt, Leigh Hunt, and John Keats belonged to this school.

A poem written by John Keats. It is a rich allegory of a mortal's quest for an ideal feminine counterpart and a flawless happiness beyond earthly possibility. It was written in heroic couplets.

Writer of the Odes 'To Psyche', 'To a Nightingale', and 'On a Grecian Urn'.

The most notable exponent of the Oriental tale in the Romantic period and a major practitioner of the form of the Romantic verse narrative. He is the author of the popular "Turkish Tales" and "Don Juan".

Second Generation of the Romantic Poets.

Poets identified as 'peasant' or labouring excluded from the canon of 'high' Romanticism. They were authentic and unschooled creative genius who wrote about rural life.

Novels in the mode of radical sensibility and political debate of the 1790s. Many of the novels involved plots where innocent individuals are pursued and imprisoned under an unjust social system. Several of these novels have strong female characters.

The name by which Wordsworth, Coleridge and Southey were grouped.

The poem is an intensely personal examination of William Wordsworth inner thoughts and is concerned with the growth and development of his moral and imaginative self. It is written in measured blank verse.

The novel is a satire on the fashionable sensibility of the 1790s, as well as a warning about the dangers it could pose if taken too far.

Writer of Sense and Sensibility.

Name of a tale by Lord Byron telling the flight of an 'Infidel' from the court of a Turkish despot. The first of Byron's Eastern Tales that has been variously interpreted as a poem about the clash of world-views between Muslim and Christian and their struggle over the contested territory of Greece.

An economic expansion and technological development that we still identify today as the hallmark of the modern age.

An expression used to describe the bold innovation, intense individualism and questioning of neoclassicism that characterized Romantic poetry. It was William Hazlitt who chose this phrase as the title of a collection of essays.

A major Romantic form written in first person which was often described as the most essentially poetic of all the genres.

A characteristic of the Romantic period which, for many authors, writing under the banner of romance meant reclaiming their national birthright.

An unprecedented book written by Mary Wollstonecraft in its first-hand observations of the disabilities and indignities suffered by women and passion with which it exposed and decried injustice.

Writer of "A Vindication of the Rights of Woman".

The method which William Blake used to experiment and which lead him to produce most of his books of poems. With it, Blake placed words and images in a relationship that is sometimes mutually enlightening and sometimes turbulent.

Poet who wrote "Songs od Innocence and of Experience".

Name of the poem and writer I have no name I am but two days old.— What shall I call thee? I happy am Joy is my name,— Sweet joy befall thee! Pretty joy! Sweet joy but two days old, Sweet joy I call thee; Thou dost smile. I sing the while Sweet joy befall thee.

Name of the poem and writer My mother groand! my father wept. Into the dangerous world I leapt: Helpless, naked, piping loud; Like a fiend hid in a cloud. Struggling in my fathers hands: Striving against my swaddling bands: Bound and weary I thought best To sulk upon my mothers breast.

A sparsely populated region that William Wordsworth and Coleridge were to transform into one of the poetic centres of England.

This poem inaugurated what modern critics call Wordsworth's "myth of nature": his presentation of the growth of his mind to maturity, a process unfolding through the interaction between the inner world of the mind and the shaping force of external Nature.

The poet of the remembrance of things past. Some object or event in the present triggers a sudden renewal of feelings he had experienced in youth.

The name of an ideal democratic community that Coleridge and Robert Southey planned to establish in America. The name signifies an equal rule by all.

Writer and name of the poem I wandered lonely as a cloud That floats on high o'er vales and hills, When all at once I saw a crowd, A host, of golden daffodils; Beside the lake, beneath the trees, Fluttering and dancing in the breeze. Continuous as the stars that shine And twinkle on the milky way, They stretched in never-ending line Along the margin of a bay: Ten thousand saw I at a glance, Tossing their heads in sprightly dance.

Writer and name of the poem The waves beside them danced; but they Out-did the sparkling waves in glee: A poet could not but be gay, In such a jocund company: I gazed—and gazed—but little thought What wealth the show to me had brought: For oft, when on my couch I lie In vacant or in pensive mood, They flash upon that inward eye Which is the bliss of solitude; And then my heart with pleasure fills, And dances with the daffodils.

Writer and title of the poem Five years have past; five summers, with the length Of five long winters! and again I hear These waters, rolling from their mountain-springs With a soft inland murmur.—Once again Do I behold these steep and lofty cliffs, That on a wild secluded scene impress Thoughts of more deep seclusion; and connect The landscape with the quiet of the sky. The day is come when I again repose Here, under this dark sycamore, and view These plots of cottage-ground, these orchard-tufts, Which at this season, with their unripe fruits, Are clad in one green hue, and lose themselves 'Mid groves and copses. Once again I see These hedge-rows, hardly hedge-rows, little lines Of sportive wood run wild: these pastoral farms, Green to the very door; and wreaths of smoke Sent up, in silence, from among the trees! With some uncertain notice, as might seem Of vagrant dwellers in the houseless woods, Or of some Hermit's cave, where by his fire The Hermit sits alone.

Writer and title of the poem These beauteous forms, Through a long absence, have not been to me As is a landscape to a blind man's eye: But oft, in lonely rooms, and 'mid the din Of towns and cities, I have owed to them, In hours of weariness, sensations sweet, Felt in the blood, and felt along the heart; And passing even into my purer mind With tranquil restoration:—feelings too Of unremembered pleasure: such, perhaps, As have no slight or trivial influence On that best portion of a good man's life, His little, nameless, unremembered, acts Of kindness and of love. Nor less, I trust, To them I may have owed another gift, Of aspect more sublime; that blessed mood, In which the burthen of the mystery, In which the heavy and the weary weight Of all this unintelligible world, Is lightened:—that serene and blessed mood, In which the affections gently lead us on,— Until, the breath of this corporeal frame And even the motion of our human blood Almost suspended, we are laid asleep In body, and become a living soul: While with an eye made quiet by the power Of harmony, and the deep power of joy, We see into the life of things.

Considered by Coleridge to be "the best poet of the age".

Poet who wrote "The Rime of the Ancient Mariner".

A stanza from a famous Romantic poem that appears to have haunted the memory of Mary Shelley, and which found its way into Frankenstein.

Title of this piece of writing THE FIRST volume of these Poems has already been submitted to general perusal. It was published, as an experiment, which, I hoped, might be of some use to ascertain, how far, by fitting to metrical arrangement a selection of the real language of men in a state of vivid sensation, that sort of pleasure and that quantity of pleasure may be imparted, which a Poet may rationally endeavour to impart. I had formed no very inaccurate estimate of the probable effect of those Poems: I flattered myself that they who should be pleased with them would read them with more than common pleasure: and, on the other hand, I was well aware, that by those who should dislike them, they would be read with more than common dislike. The result has differed from my expectation in this only, that a greater number have been pleased than I ventured to hope I should please.

Writer and title of the poem: It is an ancient Mariner, And he stoppeth one of three. 'By thy long grey beard and glittering eye, Now wherefore stopp'st thou me? The Bridegroom's doors are opened wide, And I am next of kin; The guests are met, the feast is set: May'st hear the merry din.' He holds him with his skinny hand, 'There was a ship,' quoth he. 'Hold off! unhand me, grey-beard loon!' Eftsoons his hand dropt he. He holds him with his glittering eye— The Wedding-Guest stood still, And listens like a three years' child: The Mariner hath his will.

Writer and title of the poem The Wedding-Guest sat on a stone: He cannot choose but hear; And thus spake on that ancient man, The bright-eyed Mariner. 'The ship was cheered, the harbour cleared, Merrily did we drop Below the kirk, below the hill, Below the lighthouse top. The Sun came up upon the left, Out of the sea came he! And he shone bright, and on the right Went down into the sea. Higher and higher every day, Till over the mast at noon—' The Wedding-Guest here beat his breast, For he heard the loud bassoon. The bride hath paced into the hall, Red as a rose is she; Nodding their heads before her goes The merry minstrelsy.

Poem and writer: I want a hero: an uncommon want, When every year and month sends forth a new one, Till, after cloying the gazettes with cant, The age discovers he is not the true one; Of such as these I should not care to vaunt, I'll therefore take our ancient friend Don Juan— We all have seen him, in the pantomime, Sent to the devil somewhat ere his time. Brave men were living before Agamemnon And since, exceeding valorous and sage, A good deal like him too, though quite the same none; But then they shone not on the poet's page, And so have been forgotten:—I condemn none, But can't find any in the present age Fit for my poem (that is, for my new one); So, as I said, I 'll take my friend Don Juan.

Mary Wollstonecraft's husband.

This poet greatly expanded the metrical and stanzaic resourced of English versification. His poems exhibit a broad range of voices and the assured command of the tone and language of a cultivated man of the world.

Identify the poem and the writer: Hail to thee, blithe Spirit! Bird thou never wert, That from Heaven, or near it, Pourest thy full heart In profuse strains of unpremeditated art. Higher still and higher From the earth thou springest Like a cloud of fire; The blue deep thou wingest, And singing still dost soar, and soaring ever singest. In the golden lightning Of the sunken sun, O'er which clouds are bright'ning, Thou dost float and run; Like an unbodied joy whose race is just begun.

The editor of the Examiner and a leading political radical, poet, and prolific writer of criticism and periodical essays.

A visionary poem written by Jonh Keats.

Romanticism's ideological and literary sensibilities were referred to as...

The key literary document of Romanticism:

Identify the poem and the writer: O wild West Wind, thou breath of Autumn's being, Thou, from whose unseen presence the leaves dead Are driven, like ghosts from an enchanter fleeing, Yellow, and black, and pale, and hectic red, Pestilence-stricken multitudes: O thou, Who chariotest to their dark wintry bed The winged seeds, where they lie cold and low, Each like a corpse within its grave, until Thine azure sister of the Spring shall blow Her clarion o'er the dreaming earth, and fill (Driving sweet buds like flocks to feed in air) With living hues and odours plain and hill: Wild Spirit, which art moving everywhere; Destroyer and preserver; hear, oh hear!.

Identify the poem and the writer: My heart aches, and a drowsy numbness pains My sense, as though of hemlock I had drunk, Or emptied some dull opiate to the drains One minute past, and Lethe-wards had sunk: 'Tis not through envy of thy happy lot, But being too happy in thine happiness,— That thou, light-winged Dryad of the trees In some melodious plot Of beechen green, and shadows numberless, Singest of summer in full-throated ease. O, for a draught of vintage! that hath been Cool'd a long age in the deep-delved earth, Tasting of Flora and the country green, Dance, and Provençal song, and sunburnt mirth! O for a beaker full of the warm South, Full of the true, the blushful Hippocrene, With beaded bubbles winking at the brim, And purple-stained mouth; That I might drink, and leave the world unseen, And with thee fade away into the forest dim:

Identify the poem and the writer: Thou still unravish'd bride of quietness, Thou foster-child of silence and slow time, Sylvan historian, who canst thus express A flowery tale more sweetly than our rhyme: What leaf-fring'd legend haunts about thy shape Of deities or mortals, or of both, In Tempe or the dales of Arcady? What men or gods are these? What maidens loth? What mad pursuit? What struggle to escape? What pipes and timbrels? What wild ecstasy? Heard melodies are sweet, but those unheard Are sweeter; therefore, ye soft pipes, play on; Not to the sensual ear, but, more endear'd, Pipe to the spirit ditties of no tone: Fair youth, beneath the trees, thou canst not leave Thy song, nor ever can those trees be bare; Bold Lover, never, never canst thou kiss, Though winning near the goal yet, do not grieve; She cannot fade, though thou hast not thy bliss, For ever wilt thou love, and she be fair!.

Identify the poem and the author: Season of mists and mellow fruitfulness, Close bosom-friend of the maturing sun; Conspiring with him how to load and bless With fruit the vines that round the thatch-eves run; To bend with apples the moss'd cottage-trees, And fill all fruit with ripeness to the core; To swell the gourd, and plump the hazel shells With a sweet kernel; to set budding more, And still more, later flowers for the bees, Until they think warm days will never cease, For summer has o'er-brimm'd their clammy cells. Who hath not seen thee oft amid thy store? Sometimes whoever seeks abroad may find Thee sitting careless on a granary floor, Thy hair soft-lifted by the winnowing wind; Or on a half-reap'd furrow sound asleep, Drows'd with the fume of poppies, while thy hook Spares the next swath and all its twined flowers: And sometimes like a gleaner thou dost keep Steady thy laden head across a brook; Or by a cyder-press, with patient look, Thou watchest the last oozings hours by hours. Where are the songs of spring? Ay, Where are they? Think not of them, thou hast thy music too,— While barred clouds bloom the soft-dying day, And touch the stubble-plains with rosy hue; Then in a wailful choir the small gnats mourn Among the river sallows, borne aloft Or sinking as the light wind lives or dies; And full-grown lambs loud bleat from hilly bourn; Hedge-crickets sing; and now with treble soft The red-breast whistles from a garden-croft; And gathering swallows twitter in the skies.

The term designating affordable and usually sensational popular fiction, sometimes known as and "shilling shockers".

An important rebellion against British rule that erupted in India.

This work by Charles Dickens has long been heralded as a watershed moment in the history of fiction and Victorian reading because of the spectacular success of its installment format.

The group of seven young men painters, poets, and sculptors banded together who got back to earlier Italian Renaissance painting and drew inspiration from medieval artists seeking to emulate the simplicity of their vision and the sincerity of their religious devotion.

This kind of literature dominated the literary landscape of the 1830s and 1840s and was concerned with the living conditions and economic vulnerability of the labouring classes living in cities and working in factories.

In all his novels is evident a tension between Romantic and realistic impulses. His best-known novel is "Vanity Fair".

A novel of formation in which the main character develops through the story.

A Victorian novelist whose novels, set in the semi-fictional county of Wessex, focus on a vanished or vanishing rural world.

A novel which combines elements of Gothic, detective and science fiction in a complex narrative form that stylistically reinforces the novel's frame of fragmented, fluctuating identity.

An aesthetic term applied to the landscape. Edmund Burke defined it in opposition to the beautiful arguing that the sublime is occasioned by great and terrible objects whereas the beautiful is a product of small and pleasing ones.

This term refers to three-volume editions of novels published initially in Victorian literature, mainly in serial form.

A recognizable literary figure and a social reality long before the 1890s. Rejecting the assumptions of separates spheres of ideology that consigned women to the home, those women demonstrated their independence from restrictive domestic ideology by flouting feminine behaviour.

This author deserves a central place in any overview of Victorian poetry not just because of his distinctive contributions to the genre but also because of his indubitable influences on fellow poets.

Author of "Sonnets from the Portuguese".

This form is especially interesting in the way it reflects an emerging understanding of the nature of identity.

The major dramatic form for Romantic writers; drama to be read rather than performed.

The journalism of the more dignified organs of opinion, the reviews, the superior and the quality newspapers, which was one of the most characteristic cultural manifestations of 19th-century Britain.

A large organisation of workers advocating the extension of suffrage, the use of secret balloting and other legislative reforms.

The name of Mr Rochester's house in "Jane Eyre".

A Darwin's work that sparked a firestorm of response in intellectual circles.

A Lord Tennyson's work that provides intriguing evidence of the influence of emerging scientific knowledge.

Rochester's mad wife and Jane's opposite in the novel Jane Eyre. She is referred to as "the madwoman in the attic" in the novel.

This term refers to the idea that people, like plants and animals, are subjected to the processes of natural selection.

A spirited debate about women's role in Victorian society.

Whether as a sexual seductress or as a victim of the male sexual predator, she is the symbolic opposite of the pure and purifying angel in the house.

A figure that subverted the traditionally masculine, embodying instead idleness, irresponsibility and a rejection of conventional morality, in favour of the pursuit of pleasure and the embrace of beauty.

A figure who symbolise the woman writer whose creative impulses cannot be openly expressed.

The name of the house where Jane stays with St John Rivers and his sisters.

The hypocritical head of Lowood School.

A character based on one of Bronte's own sister, with which she probes the notion of Christian stoicism.

Charlotte Bronte's pen name.

This Dickens' work is an audacious intermingling of realism and romance. It is often thought to mark a turning point in the novelist career's when his vision became decidedly darker, harsher and scornful.

This Dicken's work has been considered to be the Victorian period's most enduring representation of London in all o fits protean nature.

This powerful poem by Christina Rossetti is at once a study of sisterhood, in all of its meanings, and a study of the fruits of a culture of commerce.

The names of the two sisters who are the main characters in Christina Rossetti's Goblin Market.

Writer of Goblin Market.

Author of "The Strage Case of Dr Jekyll and Mr Hyde".

A term referring to a story that either revolves around two central characters functioning as doubles of one another or, alternatively, to fiction about an individual whose personality is divided.

Oscar Wilde's work in which he used his effective form of critique to what he believed to be the period's arrogant hypocrisies. He focused on fictional characters who make further fictions of their identities.

The author of "The Importance of Being Earnest".

A group of poets, inspired by the development of French symbolism, that emerged in the last third of the 19th century.

A drama genre that Shaw and Pinero began writing around 1890, which addressed difficult social issues.

For Charles Dickens, Robert Browning, and John Ruskin, he was the "great teacher of the age".

A work by Elizabeth Gaskell that presents a sympathetic picture of the hardships and the grievance of the working class.

The writer of "Mary Barton".

In most of her novels, she evokes a preindustrial rural scene of the small-town like of the English Midlands, which she views with a combination of nostalgia and candid awareness of its limitations.

A group of gifted undergraduates at Cambridge who encouraged Tennyson to devote his life to poetry.

A large-scale epic in which Tennyson used the body of Arthurian legend to construct a vision of civilization's rise and fall.

A long elegy embodying Tennyson's reflections on the relation of human beings to God and nature.

Identify the poem and the writer: With blackest moss the flower-plots Were thickly crusted, one and all: The rusted nails fell from the knots That held the pear to the gable-wall. The broken sheds look'd sad and strange: Unlifted was the clinking latch; Weeded and worn the ancient thatch Upon the lonely moated grange. She only said, "My life is dreary, He cometh not," she said; She said, "I am aweary, aweary, I would that I were dead!".

Identify the poem and the writer: On either side the river lie Long fields of barley and of rye, That clothe the wold and meet the sky; And thro' the field the road runs by To many-tower'd Camelot; The yellow-leaved waterlily The green-sheathed daffodilly Tremble in the water chilly Round about Shalott. Willows whiten, aspens shiver. The sunbeam showers break and quiver In the stream that runneth ever By the island in the river Flowing down to Camelot. Four gray walls, and four gray towers Overlook a space of flowers, And the silent isle imbowers The Lady of Shalott.

This verse novel depicts the growth of a woman poet and is thus the first work in English by a woman writer in which the heroine herself is an author.

Identify the poem and its writer: The curtains were half drawn, the floor was swept And strewn with rushes, rosemary and may Lay thick upon the bed on which I lay, Where through the lattice ivy-shadows crept. He leaned above me, thinking that I slept And could not hear him; but I heard him say, ‘Poor child, poor child’: and as he turned away Came a deep silence, and I knew he wept. He did not touch the shroud, or raise the fold That hid my face, or take my hand in his, Or ruffle the smooth pillows for my head: He did not love me living; but once dead He pitied me; and very sweet it is To know he still is warm though I am cold.

Identify the poem and the writer: I tell my secret? No indeed, not I; Perhaps some day, who knows? But not today; it froze, and blows and snows, And you’re too curious: fie! You want to hear it? well: Only, my secret’s mine, and I won’t tell. Or, after all, perhaps there’s none: Suppose there is no secret after all, But only just my fun. Today’s a nipping day, a biting day; In which one wants a shawl, A veil, a cloak, and other wraps: I cannot ope to everyone who taps, And let the draughts come whistling thro’ my hall; Come bounding and surrounding me, Come buffeting, astounding me, Nipping and clipping thro’ my wraps and all. I wear my mask for warmth: who ever shows His nose to Russian snows To be pecked at by every wind that blows? You would not peck? I thank you for good will, Believe, but leave the truth untested still.

Identify the poem and the writer: Spring’s an expansive time: yet I don’t trust March with its peck of dust, Nor April with its rainbow-crowned brief showers, Nor even May, whose flowers One frost may wither thro’ the sunless hours. Perhaps some languid summer day, When drowsy birds sing less and less, And golden fruit is ripening to excess, If there’s not too much sun nor too much cloud, And the warm wind is neither still nor loud, Perhaps my secret I may say, Or you may guess.

Identify the poem and the writer: Does the road wind up-hill all the way? Yes, to the very end. Will the day’s journey take the whole long day? From morn to night, my friend. But is there for the night a resting-place? A roof for when the slow dark hours begin. May not the darkness hide it from my face? You cannot miss that inn. Shall I meet other wayfarers at night? Those who have gone before. Then must I knock, or call when just in sight? They will not keep you standing at that door. Shall I find comfort, travel-sore and weak? Of labour you shall find the sum. Will there be beds for me and all who seek? Yea, beds for all who come.

Identify the poem and the writer: Then, land!–then, England! oh, the frosty cliffs Looked cold upon me. Could I find a home Among those mean red houses through the fog? And when I heard my father's language first From alien lips which had no kiss for mine, I wept aloud, then laughed, then wept, then wept,– And some one near me said the child was mad Through much sea-sickness. The train swept us on. Was this my father's England? the great isle? The ground seemed cut up from the fellowship Or verdure, field from field, as man from man; The skies themselves looked low and positive, As almost you could touch them with a hand, And dared to do it, they were so far off From God's celestial crystals; all things, blurred And dull and vague. Did Shakspeare and his mates Absorb the light here?–not a hill or stone With heart to strike a radiant colour up Or active outline on the indifferent air!.

A poetic form that Robert Browning used separating the speaker from the poet in such a way that the reader must know the words of the speaker to discover the meaning of the poet.

Identify the poem and the writer: That’s my last Duchess painted on the wall, Looking as if she were alive. I call That piece a wonder, now; Fra Pandolf’s hands Worked busily a day, and there she stands. Will’t please you sit and look at her? I said “Fra Pandolf” by design, for never read Strangers like you that pictured countenance, The depth and passion of its earnest glance, But to myself they turned (since none puts by The curtain I have drawn for you, but I) And seemed as they would ask me, if they durst, How such a glance came there; so, not the first Are you to turn and ask thus. Sir, ’twas not Her husband’s presence only, called that spot Of joy into the Duchess’ cheek; perhaps Fra Pandolf chanced to say, “Her mantle laps Over my lady’s wrist too much,” or “Paint Must never hope to reproduce the faint Half-flush that dies along her throat.” Such stuff Was courtesy, she thought, and cause enough For calling up that spot of joy. She had A heart—how shall I say?— too soon made glad, Too easily impressed; she liked whate’er She looked on, and her looks went everywhere. Sir, ’twas all one! My favour at her breast, The dropping of the daylight in the West, The bough of cherries some officious fool Broke in the orchard for her, the white mule She rode with round the terrace—all and each Would draw from her alike the approving speech, Or blush, at least. She thanked men—good! but thanked Somehow—I know not how—as if she ranked My gift of a nine-hundred-years-old name With anybody’s gift. Who’d stoop to blame This sort of trifling? Even had you skill In speech—which I have not—to make your will Quite clear to such an one, and say, “Just this Or that in you disgusts me; here you miss, Or there exceed the mark”—and if she let Herself be lessoned so, nor plainly set Her wits to yours, forsooth, and made excuse— E’en then would be some stooping; and I choose Never to stoop. Oh, sir, she smiled, no doubt, Whene’er I passed her; but who passed without Much the same smile? This grew; I gave commands; Then all smiles stopped together. There she stands As if alive. Will’t please you rise? We’ll meet The company below, then. I repeat, The Count your master’s known munificence Is ample warrant that no just pretense Of mine for dowry will be disallowed; Though his fair daughter’s self, as I avowed At starting, is my object. Nay, we’ll go Together down, sir. Notice Neptune, though, Taming a sea-horse, thought a rarity, Which Claus of Innsbruck cast in bronze for me!.

A new rhythm created by Gerard Manley Hopkins where lines have a given number of stress, but the number and placement of unstressed syllables is highly variable.

A lond ode about the wreck of a ship in which five Franciscan nuns were drowned.

Identify the poem and the writer: The world is charged with the grandeur of God. It will flame out, like shining from shook foil; It gathers to a greatness, like the ooze of oil Crushed. Why do men then now not reck his rod? Generations have trod, have trod, have trod; And all is seared with trade; bleared, smeared with toil; And wears man's smudge and shares man's smell: the soil Is bare now, nor can foot feel, being shod. And for all this, nature is never spent; There lives the dearest freshness deep down things; And though the last lights off the black West went Oh, morning, at the brown brink eastward, springs — Because the Holy Ghost over the bent World broods with warm breast and with ah! bright wings.

Identify the poem and the writer: Look at the stars! look, look up at the skies! O look at all the fire-folk sitting in the air! The bright boroughs, the circle-citadels there! Down in dim woods the diamond delves! the elves'-eyes! The grey lawns cold where gold, where quickgold lies! Wind-beat whitebeam! airy abeles set on a flare! Flake-doves sent floating forth at a farmyard scare! Ah well! it is all a purchase, all is a prize. Buy then! bid then! — What? — Prayer, patience, alms, vows. Look, look: a May-mess, like on orchard boughs! Look! March-bloom, like on mealed-with-yellow sallows! These are indeed the barn; withindoors house The shocks. This piece-bright paling shuts the spouse Christ home, Christ and his mother and all his hallows.

Identify the poem and the writer: I caught this morning morning's minion, king- dom of daylight's dauphin, dapple-dawn-drawn Falcon, in his riding Of the rolling level underneath him steady air, and striding High there, how he rung upon the rein of a wimpling wing In his ecstasy! then off, off forth on swing, As a skate's heel sweeps smooth on a bow-bend: the hurl and gliding Rebuffed the big wind. My heart in hiding Stirred for a bird, – the achieve of, the mastery of the thing! Brute beauty and valour and act, oh, air, pride, plume, here Buckle! AND the fire that breaks from thee then, a billion Times told lovelier, more dangerous, O my chevalier! No wonder of it: shéer plód makes plough down sillion Shine, and blue-bleak embers, ah my dear, Fall, gall themselves, and gash gold-vermilion.

A term used generally to refer to the political and cultural movement directed against the British Atlantic trade in slaves.

William Hazlitt's work in which he showed himself a radical prose essayist and literary critic.

The leading literary periodical journal of the 19th century sympathetic to the Whig cause.

The leading literary periodical journal of the 19th century sympathetic to the Tory cause.

An eighteenth-century theory which stressed notions such as variety, irregularity, ruggedness, singularity and chiaroscuro [...] in the appreciation of landscape.

Name of a poet and journalist who owned the journal The Examiner and a supporter of Keat's work.

18th century religious movement founded by John Wesley that intended to reform the Church of England from within.

A Romantic period idiom for publicity.

Term appropiated by Thomas Carlyle for denoting a powerful press.

British statement and novelist who was twice Prime Minister and who made Queen Victoria Empress of India. He also bought controlling interest in the Suez Canal Company.

In William Wordsworth's poem "I Wandered Lonely as a Cloud", the poet's source of inspiration; they are seen "fluttering and dancing in the breeze" in big numbers, and they are compared to the stars.

A label applied by conservative literary critics to certain Romantic poets of humble background or progressive political ideas (mainly to Leigh Hunt and Keats).

The title of a poem published in 1862, and which situates within its story of two sisters (Lizzie and Laura) a range of Victorian preoccupations - principally economic, sexual and religious.

In the Preface to this work, a great Romantic poet established a revolutionary literary manifesto that would determine the philosophical and poetic basis for the Romantic poetry of the period.

A poem by Christina Rossetti where desire is portrayed through the narrative of delicious fruit being sold and eaten by strange creatures from the forest.

According to William Wordsworth, "the spontaneous overflow of powerful feelings which takes its origin from emotion recollected in tranquility".

According to William Wordsworth, "a man speaking to men [...] endued with a more lively sensibility, more enthusiam and tenderness, who has a greater kwnoledge of human nature, and a more comprehensive soul" than the average.

A poem (or "blank verse novel") by Elizabeth Barret Browning. A revolutionary and epic presentation of the woman artist's journey towards social, artistic and financial independence.

An early novel by Charles Dickens launched in monthly numbers in 1836. It sold at an astonishing rate of 40.000 a month and it is said to have transformed the literary market.

An ethical principle that values an action in terms of its maximum usefulness.

The title of the novel praised by Virginia Woolf as "one of the few English novels written for grown-up people", whose heroine is Dorothea Brooke.

The title of a collection of essays by William Hazlitt, as well as a phrase used to refer to the transformations introduced by the Romantic era.

The major dramatic form for Romantic writers. Drama to be read rather than performed. Examples are Byron's "Manfred" or "the Two Foscari".

Any of the novels by Charles Dickens that could be considered examples of the Bildungsroman.

A label used to refer collectively to three poets who wrote, among others, "Ode to the West Wind", "Ode on a Grecian Urn" and Don Juan.

A story that revolves around two central characters functioning as doubles of one another or, alternatively, a fiction about an individual whose personality is divided.

A Romantic author whose work includes an orientalist tale, a poetic drama and an unfinished narrative poem with a striking satirical component.

A Victorian poem about a female figure who repeats the sentence "I am aweary, aweary, /I would that I were dead!".

The full name of hte person addressed in these lines from a key Romantic poem: "May I behold in thee what I was once / My dear, dear Sister".

The personality of cult of the most popular of the English Romantics, who enjoyed not only commercial success, but also celebrity and notoriety that were unprecedented and spread all over Europe.

The name of a poetic work written by Lord Byron in the Spenserian stanza which tells the story of a man who goes off to travel far and wide because he is disgusted with life's foolish pleasures. The different places that he visits give the poet an opportunity to describe what once happened to them.

In one of Keats' poems (by the same name) the woman who is transformed from a snake to later capture and seduce her lover.

An attempt to give the illusion of ordinary life in which unexceptional people undergo everyday experiences.

A genre characterised by its plotted narratives and a panoramic cast of characters that enabled novelists both to mirror and to critique the spectacular nature of commercial society at mid-century.

The European fascination with an East that was magical, paradisiac, sensual, but also cruel and despotic; the influenced of this movement can be observed, among other Romantic works, in Coleridge's "Kubla Khan".

A mechanical process invented in 1798 in which the printing and non-printing areas of the plate are all at the same level. It allowed the printing of pictures in colour.

A Term used not only to distinguish prose writers from the novelists but also to indicate the centrality of argument and persuasion to Victorian intellectual life, mainly because of the growth of the periodical press.

The powerful depiction of subjects which are vast, obscure, and powerful; of greatness that is incomparable or immeasurable. The term is related to the Romantic portrayal of nature.

A term which refers to, among other things, the general environment that surrounds a scene, space and time in which plot events unfold or the social context in which characters live and act.

A mode of publication which, in Victorian times, heightened novelists' sense of structure, transformed the reception of fiction and made it more adaptable to readers' demands.

In S. T. Coleridge's The Rime of the Ancient Mariner, the seabird around which the poem's symbolism revolves.

A male character in one of Charlotte Bronte´s novel. He remains a mysterious person throughout the novel and not even Jane is capable of understanding him until the end of the story when he has undergone a deep physical and moral change.

An eight-line stanza in which the initial interlaced rhymes (ababab) build up to the comic turn in the final couplet (cc). This kind of stanza appears in Lord Byron's Don Juan, for example.

A venue for reading and debating information.

An intelligent and well-educated woman who spends most of her time studying.

The author of "Tintern Abbey ... is best known for his pamphlets against industrialisation. wrote a narrative poem about a sailor's experience after a shipwreck. included poems by Shelley and Keats in his lyrical ballads. defined poetry as "the spontaneous overflow of powerful feelings".

The "I" of Tintern Abbey. is a fictional character who could be defined a "Byronic Hero". can be identified with the poet himself. refers to the poet's sister, Dorothy. appears exclusively in the lines quoted.

Which of the following options best sums up the situation in 'Tintern Abbey'?. The poet reflects on past and present on returning to a natural spot he visited as a young man. The poet identifies the ruins of a medieval abbey with the end of the Ancient Regime. The poet presents nature as a terrifying Gothic setting. The poet defines the essence of Romantic poetry, attacking the 18th century satirists.

The author of 'The Rime of the Ancient Mariner'... was also a fine engraver. belongs to the so-called "second generation" of Romantic poets. was associated with Oxford Movement. contributed several poems ot the 'Lyrical Ballads'.

The Wedding-Guest mentioned in 'The Rime of the Ancient Mariner'. is the character who listens to the story the poem tells. confesses his religious doubts to the poem's narrator. has expressed his fascination with the nightingale's song. retells the story to the bride and bridegroom, at the end of the poem.

The speaker of 'The Rime of the Ancient Mariner'' seems to be alluding to when he mentions the bird. the description of the Wye valley, earlier in the poem. Wordsworth's definition of pantheism, in the 'Preface' to the Lyrical Ballads. the sacrifice of the Albatros, earlier in the poem. the skylark, an unequivocal symbol of the poet.

To write 'The Lady of Shalott'. the pet found inspiration in. the love of Tristan and Iseult. late medieval romance. John Everett Millais's Ophelia. the fate of factual "fallen women".

The word 'Lancelot' in 'The Lady of Shalott'. is an Arthurian allusion disconnected from the rest of the poem. is the name of the character who narrates the story. makes it completely different from the other stanzas, in terms of rhyme. is intended to rhyme with the two main places names.

Two central symbols in "The Lady of Shalott' associated with the main character are: the Grail and the Cross. the moat and the decayed house. the web and the mirror. the tapestry and the stained glass window.

The main character in 'The Rime of the Ancient Mariner'. tells his story when he is a blind prisoner. tells his story to the Wedding-Guest. acts as a narrator only in Part 1. dies at the end of the poem, having told his story.

Considered this two stanzas together from ' "The Rime of the Ancient Mariner": And I had done a hellish thing, And it would work 'em woe: For all averred, I had killed the bird That made the breeze to blow. Ah wretch! said they, the bird to slay, That made the breeze to blow! Nor dim nor red, like God's own head, The glorious Sun uprist: Then all averred, I had killed the bird That brought the fog and mist. 'Twas right, said they, such birds to slay, That bring the fog and mist. justify and praise the Mariner's action. identify the Albatros as the "bird of ill omen". offer contradictory interpretations of an event. refer to the Albatros and the crow as opposite symbols.

Which of the following statements about " "The Rime of the Ancient Mariner" is not true?. Towards the end, the Mariner encourages teh Wedding-Guest to love "both man and bird and beast". It was included in Lyrical Ballads. It features several voices and includes dialogue. it ends with an explicit allusion to the French Revolution.

In "The Rime of the Ancient Mariner", the persona adressed is going to. a public execution. a funeral. a wedding reception. propose to his beloved.

Essentially, the poet of "The Rime of the Ancient Mariner" asks the reader. pay attention to the interactions between the spiritual and temporal worlds. bravely face the dangers of monsters and supernatural beings. avoid strangers, evil creatures and faires. reject Christian beliefs.

The albatross that emerged from the mist in "The Rime of the Ancient Mariner" was considered by the majority of sailors. a sign of good luck. a premonition of death. an evil creature. a symbol of the sins of men.

The poet's now in “Lines Composed a Few Miles above Tintern Abbey” is set against. his stay in Paris after the French Revolution. the Age of Reason. a previous visit to the same place. his childhood in Wales.

The extract “Lines Composed a Few Miles above Tintern Abbey” refers to "future years". Later in the poem, the poet refers to. his sister's death, associated with landscape. his sister's memories of their visit. the threat of industrialism on the landscape. the daffodils, everywhere aroound him.

Which of the following terms cannot be applied to “Lines Composed a Few Miles above Tintern Abbey”?. "A greater Romantic lyric". A loco-descriptive poem. A poem with narrative and dramatic elements. A prospect poem.

The author of "Ode to the West Wind" is. Lord Byron. John Keats. William Blake. Percy Shelley.

The poet of "Ode to the West Wind" employs the word "hectic" referring to. the frenzied rhythm of modern life. the sadness that affected his own mind. the kind of fever that occurs in tuberculosis. his wife's suffering when she was sick.

The wind in "Ode to the West Wind" represents. an inner change which carries social reforms. the poet's troubled feelings about his personal life. the extremely harsh weather conditions in England when the poet composed the lines. a metaphor to praise another poet.

In the Preface to Lyrical Ballads, the author claims that poetic language should. be modelled on the Greek and Latin classics. imitate the language used by contemporary novelits. be as close to everyday language as possible. avoid figures of speech of any kind.

In The Preface to Lyrical Ballads, "poetry" is famously defined as. the most revolutionary of arts. emotion recollected in tranquility. "Nature's looking-glass. God's loftiest gift.

The Preface to Lyrical Ballads introduces a number of poems, including: "The Rime of the Ancient Mariner" and "Ode to the West Wind". Lines Written above Tintern Abbey" and "Ode to the West Wind". Lines Written Above Tintern Abbey" and "The Tyger". "The Rime of the Ancient Mariner" and "Lines Written above Tintern Abbey".

O Attic shape! fair attitude! with brede Of marble men and maidens overwrought, With forest branches and the trodden weed; Thou, silent form! dost tease us out of thought As doth eternity: Cold Pastoral! When old age shall this generation waste, Thou shalt remain, in midst of other woe Than ours, a friend to man, to whom thou say'st, 'Beauty is truth, truth beauty,—that is all Ye know on earth, and all ye need to know.' In the first line, "Attich shape" refers to. a sculpture by Phidias. Bertha Mason in Jane Eyre. Homer, the poet John Keats admired the most. a work of art from Antiquity.

O Attic shape! fair attitude! with brede Of marble men and maidens overwrought, With forest branches and the trodden weed; Thou, silent form! dost tease us out of thought As doth eternity: Cold Pastoral! When old age shall this generation waste, Thou shalt remain, in midst of other woe Than ours, a friend to man, to whom thou say'st, 'Beauty is truth, truth beauty,—that is all Ye know on earth, and all ye need to know.' The object the poet sings of is a symbol of. the timelessness of artistic beauty. the integration of "men and maidnes" with the natural world. the Romantic rejection of Classical ideals. the inevitability of death.

"Ode to a Grecian Urn" is an example of. the lyric, which the English Romantics were especially fond of. a classical poetic genre that the English Romantics revived. the ode, which -among the English Romantics - was used exclusively by Keats. the narrative poem, a genre with which the English Romantics experimented.

Continuous as the stars that shine And twinkle on the milky way, They stretched in never-ending line Along the margin of a bay: Ten thousand saw I at a glance, Tossing their heads in sprightly dance. The waves beside them danced; but they Out-did the sparkling waves in glee: A poet could not but be gay, In such a jocund company: I gazed--and gazed--but little thought What wealth the show to me had brought: For oft, when on my couch I lie In vacant or in pensive mood, They flash upon that inward eye Which is the bliss of solitude; And then my heart with pleasure fills, And dances with the daffodils. This poem was written by: Samuel T. Coleridge. William Wordsworth. John Keats. Percy B. Shelley.

Continuous as the stars that shine And twinkle on the milky way, They stretched in never-ending line Along the margin of a bay: Ten thousand saw I at a glance, Tossing their heads in sprightly dance. The waves beside them danced; but they Out-did the sparkling waves in glee: A poet could not but be gay, In such a jocund company: I gazed--and gazed--but little thought What wealth the show to me had brought: For oft, when on my couch I lie In vacant or in pensive mood, They flash upon that inward eye Which is the bliss of solitude; And then my heart with pleasure fills, And dances with the daffodils. The "they" in the third line refers to. the stars. the trees. the daffodils. a crowd.

Continuous as the stars that shine And twinkle on the milky way, They stretched in never-ending line Along the margin of a bay: Ten thousand saw I at a glance, Tossing their heads in sprightly dance. The waves beside them danced; but they Out-did the sparkling waves in glee: A poet could not but be gay, In such a jocund company: I gazed--and gazed--but little thought What wealth the show to me had brought: For oft, when on my couch I lie In vacant or in pensive mood, They flash upon that inward eye Which is the bliss of solitude; And then my heart with pleasure fills, And dances with the daffodils. Which of the following best defines the stanzas above?. The beginning of a poem about a walk in solitude. The end of a poem about the power of recollection. A poem about visual imagination. A poem about the therapeutic implications of nature.

That’s my last Duchess painted on the wall, Looking as if she were alive. I call That piece a wonder, now: Fra Pandolf’s hands Worked busily a day, and there she stands. Will’t please you sit and look at her? I said “Fra Pandolf” by design, for never read Strangers like you that pictured countenance, The depth and passion of its earnest glance, But to myself they turned (since none puts by The curtain I have drawn for you, but I) And seemed as they would ask me, if they durst, How such a glance came there; so, not the first Are you to turn and ask thus. Sir, ’twas not Her husband’s presence only, called that spot Of joy into the Duchess’ cheek: perhaps Fra Pandolf chanced to say “Her mantle laps Over my lady’s wrist too much,” or “Paint Must never hope to reproduce the faint Half-flush that dies along her throat The above extract is from a poem written by: Christina Rosetti. Alfred Lord Tennyson. Elizabeth Barret Browning. Robert Browning.

That’s my last Duchess painted on the wall, Looking as if she were alive. I call That piece a wonder, now: Fra Pandolf’s hands Worked busily a day, and there she stands. Will’t please you sit and look at her? I said “Fra Pandolf” by design, for never read Strangers like you that pictured countenance, The depth and passion of its earnest glance, But to myself they turned (since none puts by The curtain I have drawn for you, but I) And seemed as they would ask me, if they durst, How such a glance came there; so, not the first Are you to turn and ask thus. Sir, ’twas not Her husband’s presence only, called that spot Of joy into the Duchess’ cheek: perhaps Fra Pandolf chanced to say “Her mantle laps Over my lady’s wrist too much,” or “Paint Must never hope to reproduce the faint Half-flush that dies along her throat Frà Pandolfo is. an imaginary painter. a member of the Pre-Raphaelit Brotherhood. a childhood friend of the poetic speaker's. a painter that the poet met in Italy.

That’s my last Duchess painted on the wall, Looking as if she were alive. I call That piece a wonder, now: Fra Pandolf’s hands Worked busily a day, and there she stands. Will’t please you sit and look at her? I said “Fra Pandolf” by design, for never read Strangers like you that pictured countenance, The depth and passion of its earnest glance, But to myself they turned (since none puts by The curtain I have drawn for you, but I) And seemed as they would ask me, if they durst, How such a glance came there; so, not the first Are you to turn and ask thus. Sir, ’twas not Her husband’s presence only, called that spot Of joy into the Duchess’ cheek: perhaps Fra Pandolf chanced to say “Her mantle laps Over my lady’s wrist too much,” or “Paint Must never hope to reproduce the faint Half-flush that dies along her throat The main voice of the poem is that of. the painter. the duke. the ghost of the duchess. the niece of the count of Tyrol.

Then, land!--then, England! oh, the frosty cliffs Looked cold upon me. Could I find a home Among those mean red houses through the fog? And when I heard my father's language first From alien lips which had no kiss for mine I wept aloud, then laughed, then wept, then wept, And some one near me said the child was mad Through much sea-sickness. The train swept us on: Was this my father's England? the great isle? The ground seemed cut up from the fellowship Of verdure, field from field, as man from man; The skies themselves looked low and positive, As almost you could touch them with a hand, And dared to do it they were so far off From God's celestial crystals; all things blurred And dull and vague. Did Shakspeare and his mates Absorb the light here?--not a hill or stone With heart to strike a radiant colour up Or active outline on the indifferent air. The poem was written by: Christina Rossetti. Elizabeth Barret Browning. William Wordsworth. John Keats.

Then, land!--then, England! oh, the frosty cliffs Looked cold upon me. Could I find a home Among those mean red houses through the fog? And when I heard my father's language first From alien lips which had no kiss for mine I wept aloud, then laughed, then wept, then wept, And some one near me said the child was mad Through much sea-sickness. The train swept us on: Was this my father's England? the great isle? The ground seemed cut up from the fellowship Of verdure, field from field, as man from man; The skies themselves looked low and positive, As almost you could touch them with a hand, And dared to do it they were so far off From God's celestial crystals; all things blurred And dull and vague. Did Shakspeare and his mates Absorb the light here?--not a hill or stone With heart to strike a radiant colour up Or active outline on the indifferent air. This poem could be described as. a lyrical poem about an orphan's return to the family homeland. a narrative poem about cultural and political exile. a female-coming-of-age story about social and cultural issues. a long poem about a young man's journey of initiation.

Then, land!--then, England! oh, the frosty cliffs Looked cold upon me. Could I find a home Among those mean red houses through the fog? And when I heard my father's language first From alien lips which had no kiss for mine I wept aloud, then laughed, then wept, then wept, And some one near me said the child was mad Through much sea-sickness. The train swept us on: Was this my father's England? the great isle? The ground seemed cut up from the fellowship Of verdure, field from field, as man from man; The skies themselves looked low and positive, As almost you could touch them with a hand, And dared to do it they were so far off From God's celestial crystals; all things blurred And dull and vague. Did Shakspeare and his mates Absorb the light here?--not a hill or stone With heart to strike a radiant colour up Or active outline on the indifferent air. The allusions to dullness and lack of brightness can be interpreted as: An allegory of a critique to Englishness and the English landscape. A metaphor about the patriarchal restrictions on women's education the character will suffer. a symbol about the young man's feelings of homelessness. A visual metaphor on the English wellcoming winter.

And now, with gleams of half-extinguished thought, With many recognitions dim and faint, And somewhat of a sad perplexity, The picture of the mind revives again: While here I stand, not only with the sense Of present pleasure, but with pleasing thoughts That in this moment there is life and food For future years. And so I dare to hope, Though changed, no doubt, from what I was when first I came among these hills; when like a roe I bounded o'er the mountains, by the sides Of the deep rivers, and the lonely streams, Wherever nature led: more like a man Flying from something that he dreads, than one Who sought the thing he loved. The extract above is from: 'Ode to the West Wind' by Percy B. Shelley. 'The Prelude of Growth of a Poet's Mind' by William Wordsworth. 'Childe Harold's Pligrimage' by Lord Byron. 'Lines Composed a few Miles above Tintern Abbey' by William Wordsworth.

And now, with gleams of half-extinguished thought, With many recognitions dim and faint, And somewhat of a sad perplexity, The picture of the mind revives again: While here I stand, not only with the sense Of present pleasure, but with pleasing thoughts That in this moment there is life and food For future years. And so I dare to hope, Though changed, no doubt, from what I was when first I came among these hills; when like a roe I bounded o'er the mountains, by the sides Of the deep rivers, and the lonely streams, Wherever nature led: more like a man Flying from something that he dreads, than one Who sought the thing he loved. A main theme of the work from which this extract is taken is. martial love as a reflection of divine love. the (adult's) memory of (youth's) communion with nature. ideological conservatism. hatred of French.

And now, with gleams of half-extinguished thought, With many recognitions dim and faint, And somewhat of a sad perplexity, The picture of the mind revives again: While here I stand, not only with the sense Of present pleasure, but with pleasing thoughts That in this moment there is life and food For future years. And so I dare to hope, Though changed, no doubt, from what I was when first I came among these hills; when like a roe I bounded o'er the mountains, by the sides Of the deep rivers, and the lonely streams, Wherever nature led: more like a man Flying from something that he dreads, than one Who sought the thing he loved. This poem is typically Romantic because of. the poet's attitude to Nature. the multiplicity of poetic voices. its innovative versification patterns. its exotic settings and orientalist imagery.

There was no possibility of taking a walk that day. We had been wandering, indeed, in the leafless shrubbery an hour in the morning; but since dinner (Mrs. Reed, when there was no company, dined early) the cold winter wind had brought with it clouds so sombre, and a rain so penetrating, that further out-door exercise was now out of the question. I was glad of it: I never liked long walks, especially on chilly afternoons: dreadful to me was the coming home in the raw twilight, with nipped fingers and toes, and a heart saddened by the chidings of Bessie, the nurse, and humbled by the consciousness of my physical inferiority to Eliza, John, and Georgiana Reed. The said Eliza, John, and Georgiana were now clustered round their mama in the drawing-room: she lay reclined on a sofa by the fireside, and with her darlings about her (for the time neither quarrelling nor crying) looked perfectly happy. Me, she had dispensed from joining the group; saying, “She regretted to be under the necessity of keeping me at a distance; but that until she heard from Bessie, and could discover by her own observation, that I was endeavouring in good earnest to acquire a more sociable and childlike disposition, a more attractive and sprightly manner—something lighter, franker, more natural, as it were—she really must exclude me from privileges intended only for contented, happy, little children.” “What does Bessie say I have done?” I asked. The above extract belongs to. 'Wuthering Heights' by Emily Bronte. 'Jane Eyre' by Charlotte Bronte. 'Villete' by Charlotte Bronte. 'Jane Eyre' by Emily Bronte.

A main theme in 'Jane Eyre' is. city versus country life. the challenging of the prevailing patriarchal codes. illiteracy among the lower classes. the industrial revolution.

The narrative voice in Jane Eyre is. omniscient. first person. indirect. multiple.

Poem and Author: Tyger Tyger, burning bright, In the forests of the night; What immortal hand or eye, Could frame thy fearful symmetry? In what distant deeps or skies. Burnt the fire of thine eyes? On what wings dare he aspire? What the hand, dare seize the fire? And what shoulder, & what art, Could twist the sinews of thy heart? And when thy heart began to beat, What dread hand? & what dread feet?.

Poem and Author: What the hammer? what the chain, In what furnace was thy brain? What the anvil? what dread grasp, Dare its deadly terrors clasp! When the stars threw down their spears And water'd heaven with their tears: Did he smile his work to see? Did he who made the Lamb make thee? Tyger Tyger burning bright, In the forests of the night: What immortal hand or eye, Dare frame thy fearful symmetry?.

Only occupation that poor English women could hold if they remained unmarried, although it was neither an attractive nor a profitable one.

A form that enabled to separate the speaker from the poet in such a way that the reader must know the words of the speaker to discover the meaning of the poet.

William Blake's method whereby a given thematic or stylistic aspect is defined in relation to its contrastive pair, creating further tensions and/or mutually illuminating analogues.

Italian form used by John Keats in 'Ode to the West Wind'.

The place where Jane Eyre accepts her role as a governess.