In Out of the Cradle Endlessly Rocking, the two birds that anchor the narrative are most precisely identified as:

In Out of the Cradle Endlessly Rocking, the disappearance that catalyzes the he-bird’s lament is that of the:

In Out of the Cradle Endlessly Rocking, the sea is personified as whispering a single key word that the boy claims to have learned; the word is:

In Out of the Cradle Endlessly Rocking, the original periodical publication (before its Leaves of Grass placement) was under the title:

In Out of the Cradle Endlessly Rocking, the first publication year of the poem in the New York press is:

In Out of the Cradle Endlessly Rocking, Whitman later groups the poem in which Leaves of Grass cluster of sea-pieces?

In Out of the Cradle Endlessly Rocking, the boy’s “translation” of the he-bird’s song is typographically marked chiefly by:

In Out of the Cradle Endlessly Rocking, the title’s “cradle” is most often read as symbolically linked to which element within the poem?

In Out of the Cradle Endlessly Rocking, the poet’s self-address “Demon or bird!” is an instance of which figure?

In Out of the Cradle Endlessly Rocking, the line that couples the bird’s throat with a weaver’s image contains which exact craft metaphor?

In Out of the Cradle Endlessly Rocking, the poem’s narrative perspective can best be described as:

In Out of the Cradle Endlessly Rocking, which set correctly lists the poem’s three principal “voices”?

In Out of the Cradle Endlessly Rocking, the he-bird’s song functions generically most like which musical form named in the poem?

In Out of the Cradle Endlessly Rocking, the discovery that inaugurates the poet’s vocation is explicitly tied to learning:

In Out of the Cradle Endlessly Rocking, when the speaker calls the sea’s utterance “low and delicious,” the diction contrasts most strongly with which aspect of death in the poem?

In Out of the Cradle Endlessly Rocking, the poet’s name for Long Island (“Paumanok”) is:

In Out of the Cradle Endlessly Rocking, the he-bird’s repeated appeal to the missing mate is rendered by the translator-poet chiefly as a lament of:

In Out of the Cradle Endlessly Rocking, the poem first appears in Leaves of Grass under its present title in the edition of:

In Out of the Cradle Endlessly Rocking, the poem’s long, flowing lines and catalogues primarily imitate which natural motion thematically central to the piece?

In Out of the Cradle Endlessly Rocking, the shift from the bird’s music to the sea’s whisper effects what kind of initiation for the boy?

In Out of the Cradle Endlessly Rocking, which option correctly identifies the periodical that first printed the poem?

In Out of the Cradle Endlessly Rocking, Whitman later situates the poem among ocean lyrics alongside which companion piece most obviously preoccupied with self and sea?

In Out of the Cradle Endlessly Rocking, the speaker’s gloss that he “translates” the bird is a claim to which role?

In Out of the Cradle Endlessly Rocking, the poem’s final emphasis after the revelations of sea and bird settles most clearly upon the speaker’s:

In Brahma, the opening quatrain’s “If the red slayer think he slays / Or if the slain think he is slain” is a direct echo of which scriptural source?

In Brahma, the poem’s speaking “I” most accurately represents:

In Brahma, the stanzaic rhyme scheme throughout the poem is:

In Brahma, the prevailing meter of lines like “If the red slayer think he slays” scans most naturally as:

In Brahma, the coupled opposites that the speaker declares to be “one to me” include which pair?

In Brahma, the assertion “Far or forgot to me is near; / Shadow and sunlight are the same” articulates most clearly which doctrine?

In Brahma, the line “They reckon ill who leave me out” is followed by which paradoxical identity?

In Brahma, “I am the doubter and the doubt” best exemplifies which figure?

In Brahma, the line “I am the hymn the Brahmin sings” most directly locates the Absolute within:

In Brahma, “The strong gods pine for my abode” is followed by “And pine in vain the sacred Seven”; “the sacred Seven” alludes most plausibly to:

In Brahma, the closing imperative “Find me, and turn thy back on heaven” urges the seeker to:

In Brahma, the poem’s structure is:

In Brahma, the magazine and year of first publication were:

In Brahma, the clause “I keep, and pass, and turn again” strings actions that most nearly indicate:

In Brahma, the stanza containing “Far or forgot to me is near” also contains which other leveling claim?

In Brahma, the diction “red slayer” most likely emphasizes:

In Brahma, the second stanza’s “The vanquished gods to me appear” treats the old deities as:

In Brahma, the poem’s repeated first-person “I” functions rhetorically as:

In Brahma, the negating clauses of stanza one (“If the red slayer think he slays…”) ultimately deny:

In Brahma, which pair of lines explicitly juxtaposes the seeker’s flight and the Absolute’s identity?

In Brahma, the third stanza’s sequence of identifications (“doubter… doubt… hymn…”) is best described as a series of:

In Brahma, the closing address “thou, meek lover of the good!” is metrically notable for:

In Brahma, the poem’s theological stance within American letters most closely aligns Emerson with:

In Brahma, the command to “turn thy back on heaven” implies that the Absolute is:

In Brahma, the poem’s paradoxes (“shadow and sunlight are the same,” etc.) serve chiefly to:

In Aristotle’s Poetics, the three ways kinds of poetry differ are said to be differences of medium, object, and manner. Which option reproduces that triad correctly?

In Aristotle’s Poetics, the six constituent parts of tragedy are listed in this order; select the exact sequence Aristotle gives.

In Aristotle’s Poetics, the “soul” of tragedy is explicitly identified as which element?

In Aristotle’s Poetics, tragedy is defined as the imitation of an action that is “serious, complete, and of a certain magnitude,” effecting through pity and fear the catharsis of such emotions. What does katharsis most straightforwardly mean in this context?

In Aristotle’s Poetics, the best tragic protagonist is described as one who falls from prosperity because of hamartia. Which gloss best captures hamartia here?

In Aristotle’s Poetics, a complex plot is distinguished from a simple plot by the presence of which pair?

In Aristotle’s Poetics, peripeteia (reversal) is defined most precisely as:

In Aristotle’s Poetics, the most effective anagnorisis (recognition) is that which:

In Aristotle’s Poetics, pathos (suffering) is exemplified by:

In Aristotle’s Poetics, the unity most strictly required is the unity of:

In Aristotle’s Poetics, Aristotle observes that tragedies tend to confine their time to:

In Aristotle’s Poetics, the chorus ought to function as:

In Aristotle’s Poetics, the most moving tragic plots involve harm occurring:

In Aristotle’s Poetics, episodic plots are faulted because their episodes:

In Aristotle’s Poetics, the two large phases of plot are called:

In Aristotle’s Poetics, the structural performance parts of tragedy include which full sequence?

In Aristotle’s Poetics, which constituent does Aristotle call the “least artistic” because it relies most on stagecraft?

In Aristotle’s Poetics, dianoia (thought) deals chiefly with:

In Aristotle’s Poetics, characters are well-drawn when they exhibit four marks. Which option states them?

In Aristotle’s Poetics, poetry is said to be “more philosophical and of graver import than history” because it speaks of the:

In Aristotle’s Poetics, the meter most natural for tragic dialogue is:

In Aristotle’s Poetics, earlier tragedies used more of which meter, suited to dance and agitation?

In Aristotle’s Poetics, epic differs from tragedy by which bundle of features?

In Aristotle’s Poetics, the marvellous (to thaumaston) is more admissible in epic because:

In Aristotle’s Poetics, deus ex machina should be used chiefly to:

In Aristotle’s Poetics, the best recognition is which kind?

In Aristotle’s Poetics, Homer is praised especially because he:

In Aristotle’s Poetics, Aristotle classifies Homer’s epics so that:

In Aristotle’s Poetics, the aim of tragedy is achieved when even hearing the plot alone (without stage-sight) produces:

In Aristotle’s Poetics, Aristotle’s maxim prefers a “likely impossibility” over an “unconvincing possibility.” What principle does this enforce?

In Aristotle’s Poetics, the greatest resource of diction, “by far,” is identified as:

In Aristotle’s Poetics, a whole must have which three parts?

In Aristotle’s Poetics, kinds of tragedy include simple, complex, of character, and of suffering. Which kind does Aristotle esteem as the finest?

In Aristotle’s Poetics, hamartia is best taken as:

In Aristotle’s Poetics, dianoia corresponds most nearly to which rhetorical resource?

In Aristotle’s Poetics, poetry concerns the universal; history the particular. The universal is:

In Aristotle’s Poetics, resolving “from the plot itself” is contrasted with resolution “from the machine.” The latter should be reserved for:

In Aristotle’s Poetics, spectacle that overawes without advancing plot is:

In Aristotle’s Poetics, frigidity of style arises chiefly from:

In Aristotle’s Poetics, good plotting should be causal so that:

In Aristotle’s Poetics, of the two ethical extremes for representation, tragedy typically imitates people who are:

In Aristotle’s Poetics, comedy and tragedy arose from improvisations, but specifically:

In Aristotle’s Poetics, the historical development of tragedy is sketched so that Aeschylus and Sophocles are credited respectively with:

In Aristotle’s Poetics, a lament sung jointly by actor and chorus is termed:

In Aristotle’s Poetics, the fixed performance parts include parodos and stasimon. Which statement is accurate?

In Aristotle’s Poetics, the “proper magnitude” of a plot is discussed in terms of what practical criterion?

In Aristotle’s Poetics, recognition by reasoning (e.g., syllogistic inference) is:

In Aristotle’s Poetics, names in tragedy may be:

In Aristotle’s Poetics, melos (song) is the part that:

In Aristotle’s Poetics, the tragic effect should arise chiefly from the structure of events rather than from: