All wreathed with fairy fruits and flowers,

And all the flowers were mine.

Has all EXCEPT

Ah, dream too bright to last!

Ah, starry Hope! that didst arise

But to be overcast!

A voice from out the Future cries,

“On! on!”—but o’er the Past

(Dim gulf!) my spirit hovering lies

Mute, motionless, aghast!

The "dream" has all EXCEPT

The main idea of the previous stanza is

For, alas! alas! with me

The light of Life is o’er!

No more—no more—no more—

(Such language holds the solemn sea

To the sands upon the shore)

Shall bloom the thunder-blasted tree,

Or the stricken eagle soar!

the parenthetical remark express the following..

I. A comment about the quote in the previous line

II. An observation about life's fixed course

III. A hope that life will improve in the future

IV. A blessing on the beauty of nature

For, alas! alas! with me

The light of Life is o’er!

No more—no more—no more—

(Such language holds the solemn sea

To the sands upon the shore)

Shall bloom the thunder-blasted tree,

Or the stricken eagle soar!

The "thunder-blasted tree" and the "stricken eagle soar" are both

The last stanza's use of repetition conveys

This poem discusses the speaker's

The women--or rather girls, for they were mostly young--wore drawn cotton bonnets with great flapping curtains to keep off the sun, and gloves to prevent their hands being wounded by the stubble. There was one wearing a pale pink jacket, another in a cream-coloured tight-sleeved gown, another in a petticoat as red as the arms of the reaping-machine; and others, older, in the brown-rough "wropper" or over-all--the old-established and most appropriate dress of the field-woman, which the young ones were abandoning.

The discussion of the workers' grab does all EXCEPT

This morning the eye returns involuntarily to the girl in the pink cotton jacket, she being the most flexuous and finely-drawn figure of them all. But her bonnet is pulled so far over her brow that none of her face is disclosed while she binds, though her complexion may be guessed from a stray twine or two of dark brown hair which extends below the curtain of her bonnet. Perhaps one reason why she seduces casual attention is that she never courts it, though the other women often gaze around them.

The girl in the pink cotton jacket seems different from the other for what reason?

1 She is less exposed facially

2 She is less diligent

3 She isnt seeking attention

4 She is more traditional

The women--or rather girls, for they were mostly young--wore drawn cotton bonnets with great flapping curtains to keep off the sun, and gloves to prevent their hands being wounded by the stubble.

This morning the eye returns involuntarily to the girl in the pink cotton jacket, she being the most flexuous and finely-drawn figure of them all.

Perhaps one reason why she seduces casual attention is that she never courts it, though the other women often gaze around them.

These lines indicate what about the narrator?

Her binding proceeds with clock-like monotony. From the sheaf last finished she draws a handful of ears, patting their tips with her left palm to bring them even. Then stooping low she moves forward, gathering the corn with both hands against her knees, and pushing her left gloved hand under the bundle to meet the right on the other side, holding the corn in an embrace like that of a lover. She brings the ends of the bond together, and kneels on the sheaf while she ties it, beating back her skirts now and then when lifted by the breeze. A bit of her naked arm is visible between the buff leather of the gauntlet and the sleeve of her gown; and as the day wears on its feminine smoothness becomes scarified by the stubble, and bleeds.

The activity indicate

Starting in the second paragraph, the narrator shift from past tense to present indicate all EXCEPT

At intervals she stands up to rest, and to retie her disarrange apron, or to pull her bonnet straight. Then one can see the oval face of a handsome young woman with deep dark eyes and long heavy clinging tresses, which seem to clasp in a beseeching way anything they fall against. The cheeks are paler, the teeth more regular, the red lips thinner than is usual in a country-bred girl.

The paragraph demonstrate what about the narrator and the girl?

The passage is described as

The way the passage develops suggest that the narrator might be..

FLY envious Time, till thou run out thy race,

Call on the lazy leaden-stepping hours,

The consonance of l creates what effect?

FLY envious Time, till thou run out thy race,

Call on the lazy leaden-stepping hours,

Whose speed is but the heavy Plummets pace;

And glut thy self with what thy womb devours,

Which is no more then what is false and vain,

And meerly mortal dross;

The running and eating imagery do all EXCEPT

So little is our loss, So little is thy gain.

All but EXCEPT

What can one understand about "us" (line 13) after time has its "greedy self consumed" (line 10)

grossness line 20 means

Which conflicts does the poem concern itself?

1. Earthly vs heavenly
2. Ephemeral vs eternal
3. Limitation vs limitlessness
4. Fate vs free will

The speaker's outlook in the poem

The poem uses

men of low birth, and no breeding, have found themselves suddenly translated into a state of affluence, unknown to former ages; and no wonder that their brains should be intoxicated with pride, vanity, and presumption. Knowing no other criterion of greatness, but the ostentation of wealth, they discharge their affluence without taste or conduct, through every channel of the most absurd extravagance; and all of them hurry to Bath, because here, without any further qualification, they can mingle with the princes and the nobles of the land.

the narrator complains that

Knowing no other criterion of greatness, but the ostentation of wealth, they discharge their affluence without taste or conduct, through every channel of the most absurd extravagance; and all of them hurry to Bath, because here, without any further qualification, they can mingle with the princes and the nobles of the land. Even the wives and daughters of low tradesmen, who, like shovel-nosed sharks, prey upon the blubber of those uncouth whales of fortune, are infected with the same rage of displaying their importance; and the slightest indisposition serves them for a pretext to insist upon being conveyed to Bath, where they may hobble country-dances and cotillons among lordlings, squires, counsellors, and clergy.

for those not belonging to the noble classes, Bath is

Even the wives and daughters of low tradesmen, who, like shovel-nosed sharks, prey upon the blubber of those uncouth whales of fortune, are infected with the same rage of displaying their importance; and the slightest indisposition serves them for a pretext to insist upon being conveyed to Bath, where they may hobble country-dances and cotillons among lordlings, squires, counsellors, and clergy. These delicate creatures from Bedfordbury, Butcher-row, Crutched-friers, and Botolph-lane, cannot breathe in the gross air of the Lower Town, or conform to the vulgar rules of a common lodging-house; the husband, therefore, must provide an entire house, or elegant apartments in the new buildings.

"wives and daughters of low trademen" are all EXCEPT

Thus the number of ppl and houses countinue to increase; and this will ever be the case, till the streams that swell this irresistible torrent of folly and extravagance shall either be exhausted or turned into other channels, by incidents and events which I dont pretend to foresee.

Which of the following contribute to the increase of it?

1. the arrival of the newly wealthy
2. the tastes of trademen's wives and daughters
3. the popularity of Bath
4. the accessibility of Bath

This, I own, is a subject on which I cannot write with any degree of patience; for the mob is a monster I never could abide, either in its head, tail, midriff or members; I detest the whole of it, as a mass of ignorance, presumption, malice, and brutality; and, in this term of reprobation, I include, without respect of rank, station, or quality all those of both sexes, who affect its manners, and court its society.

the changes in Bath and their future are described through the use of

This, I own, is a subject on which I cannot write with any degree of patience; for the mob is a monster I never could abide, either in its head, tail, midriff or members; I detest the whole of it, as a mass of ignorance, presumption, malice, and brutality; and, in this term of reprobation, I include, without respect of rank, station, or quality all those of both sexes, who affect its manners, and court its society.

the monster is ... EXCEPT

His tone would LEAST LIKELY be describes as

The narrator is

You strange, astonished-looking, angle-faced,

Dreary-mouthed, gaping wretches of the sea,

Gulping salt water everlastingly,

Cold-blooded, though with red your blood be graced,

And mute, though dwellers in the roaring waste;

And you, all shapes beside, that fishy be—

Some round, some flat, some long, all devilry,

Legless, unmoving, infamously chaste:

The only positive aspect of the fish is in line

You strange, astonished-looking, angle-faced,

Dreary-mouthed, gaping wretches of the sea,

Gulping salt water everlastingly,

Cold-blooded, though with red your blood be graced,

And mute, though dwellers in the roaring waste;

And you, all shapes beside, that fishy be—

Some round, some flat, some long, all devilry,

Legless, unmoving, infamously chaste:

O scaly, slippery, wet, swift, staring wights,

What is't ye do? What life lead? eh, dull goggles?

How do ye vary your vile days and nights?

How pass your Sundays? Are ye still but joggles

In ceaseless wash? Still naught but gapes and bites,

And drinks and stares, diversified with boggles?

The narrator has all problems with the fish EXCEPT that they:

Amazing monster! that, for aught I know,

With the first sight of thee didst make our race

For ever stare! O flat and shocking face,

Grimly divided from the breast below!

Thou that on dry land horribly dost go

With a split body and most ridiculous pace,

Prong after prong, disgracer of all grace,

Long-useless-finned, haired, upright, unwet, slow!

O breather of unbreathable, sword-sharp air,

How canst exist? How bear thyself, thou dry

And dreary sloth? WHat particle canst share

Of the only blessed life, the watery?

I sometimes see of ye an actual pair

Go by! linked fin by fin! most odiously.

Which of the following can be said of the fish

In ceaseless wash? Still naught but gapes and bites,

And drinks and stares, diversified with boggles?

What dominates the description of fish

Amazing monster! that, for aught I know,

With the first sight of thee didst make our race

For ever stare! O flat and shocking face,

The fish's response to human explains

Amazing monster! that, for aught I know,

With the first sight of thee didst make our race

For ever stare! O flat and shocking face,

Grimly divided from the breast below!

Thou that on dry land horribly dost go

With a split body and most ridiculous pace,

Prong after prong, disgracer of all grace,

Long-useless-finned, haired, upright, unwet, slow!

The "prong" must be

Amazing monster! that, for aught I know,

With the first sight of thee didst make our race

For ever stare! O flat and shocking face,

Grimly divided from the breast below!

Thou that on dry land horribly dost go

With a split body and most ridiculous pace,

Prong after prong, disgracer of all grace,

Long-useless-finned, haired, upright, unwet, slow!

O breather of unbreathable, sword-sharp air,

How canst exist? How bear thyself, thou dry

And dreary sloth? WHat particle canst share

Of the only blessed life, the watery?

I sometimes see of ye an actual pair

Go by! linked fin by fin! most odiously.

The fish remarks on all of the following human characteristics EXCEPT

The fish's statement that the human should "loathe, but with a sort of love" is a type of

The aphorism "difference must its use by difference power" means

Indulge thy smiling scorn, if smiling still,

O man! and loathe, but with a sort of love;

For difference must itself by difference prove,

And, in sweet clang, the spheres with music fill.

One of the spirits am I, that at their will

Live in whate'er has life—fish, eagle, dove—

No hate, no pride, beneath nought, nor above,

A visiter of the rounds of God's sweet skill.

Man's life is warm, glad, sad, 'twixt loves and graves,

Boundless in hope, honoured with pangs austere,

Heaven-gazing; and his angel-wings he craves:—

The fish is swift, small-needing, vague yet clear,

A cold, sweet, silver life, wrapped in round waves,

Quickened with touches of transporting fear.

becoming a spirit has taught the fish that

The previous stanza demonstrates the idea that

The young man swung in from the corridor, breathless. He was shaking his head with laughter and triumph. Here! he said. And waggled the lion at her. One-and-six! What? she said.

The man's attitude is

She was holding it away from her, the head with the open jaws, the pointed teeth, the black tongue, the wonderful ruff of fur facing her. She was looking at it with an expression of not seeing, of seeing something different. Her face was drawn up, wryly, like the face of a discomforted child. Her mouth lifted nervously at the corner. Very slowly, cautious, she lifted her finger and touched the mane, where it was joined to the wood. But how could you, she said. He was shocked by the dismay of her face.

Her reaction to the lion is

If you want the thing, she said, her voice rising and breaking with the shrill impotence of anger, why didn’t you buy it in the first place? If you wanted it, why didn’t you pay for it? Why didn’t you take it decently, when he offered it? Why did you have to wait for him to run after the train with it, and give him one-and-six? One and six!

Since the man has paid "one-and-six" for the lion, her question of "why didnt you pay for it" must be

The young man is finding the woman's behavior to be

She was pushing it at him, trying to force him to take the lion. He stood astonished, his hands hanging at his sides. But you wanted it! You liked it so much? —It’s a beautiful piece of work, she said fiercely, as if to protect it from him. You liked it so much! You said yourself it was too expensive— Oh you—she said, hopeless and furious. You…She threw the lion onto the seat. He stood looking at her.

She sat down again in the corner and, her face slumped in her hands, stared out of her window. Everything was turning round inside her. One-and-six. One-and-six. Oneand-six for the wood and the carving and the sinews of the legs and the switch of the tail. The mouth open like that and the teeth. The black tongue, rolling, like a wave. The man round the neck. To give one-and-six for that. The heat of shame mounted through her legs and body and sounded in her ears like the sound of sand pouring. Pouring, pouring.

"The black tongue, rolling, like a wave" means all EXCEPT

She was feeling like this again. She had thought it was something to do with singleness, with being alone and belonging too much to oneself.

suggest what?

1. the incident with the lion has stirred a familiar feeling within the woman
2. part of the woman's sadness stems from not being married
3. the woman feels solely responsible for the lion's purchase

She sat there not wanting to move or speak, or to look at anything even; so that the mood should be associated with nothing, no object, word, or sight that might recur and so recall the feeling again….Smuts blew in grittily, settled on her hands. Her back remained at exactly the same angle, turned against the young man sitting with his hands drooping between his sprawled legs, and the lion, fallen on its side in the corner.

The "smuts" or dirt practicles could symbolize

The lion, "fallen on its side in the corner" could symbolize for the couple that

She sat there not wanting to move or speak, or to look at anything even; so that the mood should be associated with nothing, no object, word, or sight that might recur and so recall the feeling again….Smuts blew in grittily, settled on her hands. Her back remained at exactly the same angle, turned against the young man sitting with his hands drooping between his sprawled legs, and the lion, fallen on its side in the corner.

the passage develops with the use of a

they disagree about..

Ha, tott'ring Johny, strut and boast,

But think of what your feathers cost;

Your crowing days are short at most,

You bloom but soon to fade;

The feathers are

Ha, tott'ring Johny, strut and boast,

But think of what your feathers cost;

Your crowing days are short at most,

You bloom but soon to fade;

Surely you could not stand so wide,

If strictly to the bottom tried,

The wind would blow your plume aside

If half your debts were paid.

line 3-4 are a warning that Johnny must

Ha, tott'ring Johny, strut and boast,

But think of what your feathers cost;

Your crowing days are short at most,

You bloom but soon to fade;

Surely you could not stand so wide,

If strictly to the bottom tried,

The wind would blow your plume aside

If half your debts were paid.

Then boast and bear the crack,

With the sheriff at your back;

Huzza for dandy Jack,

My jolly fop, my Joe.

The bottom line 6 is a reference to

Ha, tott'ring Johny, strut and boast,

But think of what your feathers cost;

Your crowing days are short at most,

You bloom but soon to fade;

Surely you could not stand so wide,

If strictly to the bottom tried,

The wind would blow your plume aside

If half your debts were paid.

Then boast and bear the crack,

With the sheriff at your back;

Huzza for dandy Jack,

My jolly fop, my Joe.

Line 11-12 has the tone

The blue smoke from your segar flies,

Offensive to my nose and eyes;

The most of people would be wise

Your presence to evade;

Consider its effect on the speaker, the "blue smoke" is a symbol of

The blue smoke from your segar flies,

Offensive to my nose and eyes;

The most of people would be wise

Your presence to evade;

Your pocket jingles loud with cash,

And thus you cut a foppish dash,

But, alas! dear boy, you would be trash,

If your accounts were paid.

Then boast and bear the crack, &c.

My duck bill boots would look as bright,

Had you in justice served me right;

Like you I then could step as light,

Before a flaunting maid;

As nicely could I clear my throat,

And to my tights my eyes devote;

But I'd leave you bare without that coat,

For which you have not paid.

Then boast and bear the crack, &c.

The third stanza reveals all EXCEPT

I'd toss myself with a scornful air,

And to a poor man pay no care;

I could rock cross-leg'd on my chair

Within the cloister shade;

I'd gird my neck with a light cravat,

And creaning wear my bell-crown hat;

But away my down would fly at that,

If once my debts were paid.

Then boast and bear the crack,

With a sheriff at your back;

Huzza for dandy Jack,

My jolly fop, my Joe.

The stanza has all EXCEPT

In this poem, Johnny is

Every object, on which his eyes rested, seemed to announce the presence of Ellena; and the very flowers that so gaily embellished the apartment, breathed forth a perfume, which fascinated his senses and affected his imagination. Before Signora Bianchi appeared, his anxiety and apprehension had encreased so much, that, believing he should be unable to support himself in her presence, he was more than once upon the point of leaving the house.

Vivaldi's mood is

At length, he heard her approaching step from the hall, and his breath almost forsook him. The figure of Signora Bianchi was not of an order to inspire admiration, and a spectator might have smiled to see the perturbation of Vivaldi, his faultering step and anxious eye, as he advanced to meet the venerable Bianchi, as he bowed upon her faded hand, and listened to her querulous voice. She received him with an air of reserve, and some moments passed before he could recollect himself sufficiently to explain the purpose of his visit; yet this, when he discovered it, did not apparently surprise her.

"a spectator might have smiled" because

She listened with composure, though with somewhat of a severe countenance, to his protestations of regard for her niece, and when he implored her to intercede for him in obtaining the hand of Ellena, she said, “I cannot be ignorant that a family of your rank must be averse to an union with one ofmine; nor am I unacquainted that a full sense of the value of birth is a marking feature in the characters of the Marchese and Marchesa di Vivaldi. This proposal must be disagreeable or, at least, unknown to them; and I am to inform you, Signor, that, though Signora di Rosalba is their inferior in rank, she is their equal in pride.”

Her behaviour is

She listened with composure, though with somewhat of a severe countenance, to his protestations of regard for her niece, and when he implored her to intercede for him in obtaining the hand of Ellena, she said, “I cannot be ignorant that a family of your rank must be averse to an union with one ofmine; nor am I unacquainted that a full sense of the value of birth is a marking feature in the characters of the Marchese and Marchesa di Vivaldi. This proposal must be disagreeable or, at least, unknown to them; and I am to inform you, Signor, that, though Signora di Rosalba is their inferior in rank, she is their equal in pride.”

She observes that Vivaldi's parents

she said, “I cannot be ignorant that a family of your rank must be averse to an union with one ofmine; nor am I unacquainted that a full sense of the value of birth is a marking feature in the characters of the Marchese and Marchesa di Vivaldi. This proposal must be disagreeable or, at least, unknown to them; and I am to inform you, Signor, that, though Signora di Rosalba is their inferior in rank, she is their equal in pride.”

Signora Bianchi's observation about herself in line 34-36 is a signal to Vivaldi that

Vivaldi disdained to prevaricate, yet was shocked to own the truth thus abruptly. The ingenuous manner, however, with which he at length did this, and the energy of a passion too eloquent to be misunderstood, somewhat soothed the anxiety of Signora Bianchi, with whom other considerations began to arise. She considered that from her own age and infirmities she must very soon, in the course of nature, leave Ellena a young and friendless orphan; still somewhat dependent upon her own industry, and entirely so on her discretion. With much beauty and little knowledge of the world, the dangers of her future situation appeared in vivid colours to the affectionate mind of Signora Bianchi; and she sometimes thought that it might be right to sacrifice considerations, which in other circumstances would be laudable, to the obtaining for her niece the protection of a husband and a man of honour. If in this instance she descended from the lofty integrity, which ought to have opposed her consent that Ellena should clandestinely enter any family, her parental anxiety may soften the censure she deserved.

Vivaldi is able to calm her apprehensions because he

Vivaldi disdained to prevaricate, yet was shocked to own the truth thus abruptly. The ingenuous manner, however, with which he at length did this, and the energy of a passion too eloquent to be misunderstood, somewhat soothed the anxiety of Signora Bianchi, with whom other considerations began to arise. She considered that from her own age and infirmities she must very soon, in the course of nature, leave Ellena a young and friendless orphan; still somewhat dependent upon her own industry, and entirely so on her discretion. With much beauty and little knowledge of the world, the dangers of her future situation appeared in vivid colours to the affectionate mind of Signora Bianchi; and she sometimes thought that it might be right to sacrifice considerations, which in other circumstances would be laudable, to the obtaining for her niece the protection of a husband and a man of honour. If in this instance she descended from the lofty integrity, which ought to have opposed her consent that Ellena should clandestinely enter any family, her parental anxiety may soften the censure she deserved.

All of the following pertain to Signora Bianchi's "other considerations" about Ellena marrying Vivaldi EXCEPT

The device used is

If in this instance she descended from the lofty integrity, which ought to have opposed her consent that Ellena should clandestinely enter any family, her parental anxiety may soften the censure she deserved.

Signora deserve a softened kind of "censure" because

If in this instance she descended from the lofty integrity, which ought to have opposed her consent that Ellena should clandestinely enter any family, her parental anxiety may soften the censure she deserved.

But, before she determined upon this subject, it was necessary to ascertain that Vivaldi was worthy of the confidence she might repose in him. To try, also, the constancy of his affection, she gave little present encouragement to his hopes. His request to see Ellena she absolutely refused, till she should have considered further of his proposals; and his enquiry whether he had a rival, and, if he had, whether Ellena was disposed to favour him, she evaded, since she knew that a reply would give more encouragement to his hopes, than it might hereafter be proper to confirm.

Signora refuses his request of visitation and further information for all reasons EXCEPT

Vivaldi, at length, took his leave, released, indeed, from absolute despair, but scarcely encouraged to hope; ignorant that he had a rival, yet doubtful whether Ellena honoured himself with any share of her esteem.

Vivaldi's mood has

The narrator observes these two characters with