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WorksheetsTEST - 35
Total questions: 139
Worksheet time: 2hrs 19mins
Name
Class
Date
1.
In “The Sparrow,” the bird’s plumage is described as
a)
dun
b)
brown
c)
tawny
d)
slate
2.
How many taps does the bird make on the window–pane?
a)
9
b)
10
c)
12
d)
13
3.
The bird first flutters down beside the speaker’s…
a)
desk
b)
book
c)
window
d)
lamp
4.
What tries to “call my notice”?
a)
Its nest
b)
Its song
c)
Its wounds
d)
Its food
5.
The speaker’s response to the bird’s lay is to…
a)
read on
b)
work on
c)
sleep on
d)
sing on
6.
The stanza ends with the bird…
a)
returning
b)
feeding
c)
flying away
d)
still tapping
7.
“So birds of peace and hope and love / Come fluttering earthward from…”
a)
afar
b)
on high
c)
ether
d)
above
8.
They “settle on life’s…”
a)
lintels
b)
window–sills
c)
thresholds
d)
porches
9.
They “ease our load of earthly…”
a)
cares
b)
ills
c)
debts
d)
fears
10.
The phrase that blocks admission is “traffic’s…”
a)
rage and roar
b)
rush and din
c)
haste and hum
d)
pace and press
11.
What two faculties are said to be “deadened”?
a)
heart & sense
b)
hope & will
c)
sight & ear
d)
mind & soul
12.
Stanzaic design of the poem:
a)
one sonnet
b)
two octaves
c)
three quatrains
d)
one sestet + octave
13.
Rhyme scheme per stanza is most closely:
a)
ababccdd
b)
aabbccdd
c)
abbaabba
d)
abababcc
14.
The dominant meter is mainly:
a)
iambic tetrameter
b)
iambic pentameter
c)
trochaic tetrameter
d)
anapestic trimeter
15.
The poem appears in Dunbar’s Lyrics of Lowly Life (year):
a)
1895
b)
1896
c)
1899
d)
1903
16.
“Birds of peace and hope and love” chiefly exemplify:
a)
Personification
b)
Synecdoche
c)
Allusion
d)
Litotes
17.
Which sound-word in stanza 2 carries onomatopoeic force?
a)
rush
b)
din
c)
sills
d)
earthward
18.
Grammatical person of narration:
a)
2nd singular
b)
1st singular
c)
1st plural
d)
3rd omniscient
19.
The repeated triad joined by “and” is:
a)
“peace and toil and love”
b)
“peace and hope and love”
c)
“peace and joy and love”
d)
“hope and faith and love”
20.
The core theme is best captured as:
a)
Nature’s predation
b)
Futility of song
c)
Missed grace through busyness
d)
Social satire
21.
First publication year (Random House):
a)
1968
b)
1969
c)
1970
d)
1971
22.
The memoir’s title comes from a line in Dunbar’s poem:
a)
“We Wear the Mask”
b)
“Sympathy”
c)
“Life”
d)
“The Sparrow”
23.
Opening setting of Maya’s childhood:
a)
Mobile, AL
b)
Stamps, AR
c)
Jackson, MS
d)
Macon, GA
24.
Formal name of “the Store”:
a)
Henderson & Co.
b)
Baxter Mercantile
c)
Wm. Johnson General Merchandise
d)
Lafayette Trading
25.
Maya calls her grandmother:
a)
Big Ma
b)
Momma
c)
Nana
d)
Auntie
26.
Maya’s beloved older brother’s name:
a)
Billy
b)
Bailey
c)
Bobby
d)
Barry
27.
After the assault, Mr. Freeman’s sentence was recorded as:
a)
Acquitted
b)
One year and a day
c)
Life
d)
Six months
28.
Following the trial, Maya remains largely mute for about:
a)
months
b)
a year
c)
five years
d)
a decade
29.
The woman who coaxes Maya back toward speech with tea/cookies & books:
a)
Mrs. Cullinan
b)
Mrs. Flowers
c)
Mrs. Taylor
d)
Mrs. Henderson
30.
Which treat is repeatedly linked to Mrs. Flowers’ visits?
a)
Pie & cocoa
b)
Lemonade & cookies
c)
Tea & scones
d)
Coffee & cake
31.
The demeaning renaming of Marguerite to “Mary” is done by:
a)
Mrs. Taylor
b)
Mrs. Cullinan
c)
Miss Glory
d)
Mrs. Johnson
32.
Maya’s retaliation at that house involves breaking:
a)
the mirror
b)
the clock
c)
fine china
d)
the tea set’s kettle
33.
In the graduation chapter, the white speaker is:
a)
Dr. Lincoln
b)
Mr. Donleavy
c)
Mr. McElroy
d)
Mr. Freeman
34.
The student who leads “Lift Ev’ry Voice and Sing”:
a)
Bailey
b)
Willie
c)
Henry Reed
d)
Tommy Valdon
35.
One recurrent term for taunting poor white children in Stamps:
a)
white-trashies
b)
powhitetrash
c)
poor-white
d)
hilltrash
36.
City where Maya works as a streetcar/cable car conductor:
a)
Los Angeles
b)
Oakland
c)
San Diego
d)
San Francisco
37.
Early chapters’ daily hub besides church/school:
a)
Courthouse
b)
Train depot
c)
The Store
d)
Doctor’s office
38.
The memoir spans Maya’s life up to becoming a mother at age:
a)
15
b)
16
c)
17
d)
18
39.
State where she lives with her mother Vivian Baxter before moving west:
a)
Texas
b)
Louisiana
c)
Missouri
d)
Oklahoma
40.
The editor who pushed Angelou to write the autobiography:
a)
Robert Loomis
b)
Bennett Cerf
c)
Maxwell Perkins
d)
Robert Gottlieb
41.
Friend who encouraged the book’s making:
a)
Langston Hughes
b)
James Baldwin
c)
Ralph Ellison
d)
Richard Wright
42.
The title was suggested by:
a)
Baldwin
b)
Abbey Lincoln
c)
Countee Cullen
d)
Nikki Giovanni
43.
At graduation, Donleavy’s talk mainly channels Black boys toward…
a)
athletics
b)
ministry
c)
law
d)
medicine
44.
The anthem sung at the ceremony is popularly known as the:
a)
Civil Rights Hymn
b)
Negro National Anthem
c)
Freedom Spiritual
d)
Jubilee Song
45.
The memoir was nominated (U.S.) for the National Book Award in:
a)
1969
b)
1970
c)
1971
d)
1972
46.
The Store’s porch on Saturdays often became a spot for:
a)
political rallies
b)
itinerant musicians
c)
revival preaching
d)
college recruiters
47.
The dentist who refused Maya treatment was named:
a)
Dr. Simmons
b)
Dr. Lincoln
c)
Dr. Reynolds
d)
Dr. Dyer
48.
Maya’s mother’s full name:
a)
Vivian Baxter
b)
Viola Baxter
c)
Virginia Baxter
d)
Velma Baxter
49.
Momma’s disabled son who lives behind the Store:
a)
Willie
b)
Buddy
c)
Uncle Tom
d)
Ray
50.
The book’s early chapters frequently contrast Stamps with:
a)
“whitefolksville”
b)
“whitetown”
c)
“white quarters”
d)
“white place”
51.
Maya’s first close girlhood friend named in the text:
a)
Louise Kendricks
b)
Joyce
c)
Dolores
d)
Kay
52.
High-school valedictorian who heartens the class is a:
a)
junior
b)
senior
c)
fellow 8th grader
d)
college recruit
53.
The Store’s product list notably included (per the text):
a)
lace & tobacco only
b)
coal oil & light bulbs
c)
newspapers & bicycles
d)
meat & medicine only
54.
Angelou’s book is the first of a projected sequence of:
a)
5
b)
6
c)
7
d)
8
55.
The streetcar job arrives after she…
a)
finishes college
b)
takes a semester off
c)
returns from Africa
d)
moves back to St. Louis
56.
The memoir’s broad genre is best labeled:
a)
autofiction
b)
autobiography
c)
personal essay
d)
reportage
57.
The chapter in which Donleavy speaks is around:
a)
11
b)
17
c)
23
d)
29
58.
The Store becomes a lay “center of activities” in:
a)
California
b)
Missouri
c)
Arkansas
d)
Texas
59.
The book’s opening age when Maya is sent to Stamps:
a)
3
b)
5
c)
7
d)
9
60.
Year of first publication (2 vols.):
a)
1800
b)
1805
c)
1817
d)
1820
61.
Chapters centrally defining Imagination are:
a)
9–10
b)
11–12
c)
13–14
d)
17–18
62.
“Primary Imagination” is “the living power and prime agent of all human perception,” a repetition in the finite mind of…
a)
Nature’s force
b)
the infinite I AM
c)
Reason
d)
Fancy
63.
“Secondary Imagination” is an echo of the primary and operates…
a)
unconsciously only
b)
without will
c)
with conscious will
d)
as memory
64.
Coleridge coins a term for the shaping, unifying power:
a)
hyperplastic
b)
esemplastic
c)
homoplastic
d)
ideoplastic
65.
“Willing suspension of disbelief” appears in:
a)
Ch. XII
b)
Ch. XIII
c)
Ch. XIV
d)
Ch. XVII
66.
In Ch. XIV he discusses the occasion of:
a)
Christabel
b)
The Ancient Mariner
c)
Lyrical Ballads
d)
Kubla Khan
67.
Coleridge contrasts poem vs poetry; which statement matches him?
a)
Poem = science
b)
Poetry = meter only
c)
Poem = organic whole with pleasurable activity
d)
Poetry = mere rhyme
68.
He rejects that “poetry of the highest kind” must be in:
a)
prose
b)
blank verse
c)
couplets
d)
octaves
69.
Fancy is to imagination as…
a)
chemistry to geometry
b)
memory to synthesis
c)
creation to perception
d)
intuition to logic
70.
The phrase “in the infinite I AM” signals Coleridge’s:
a)
Deist reserve
b)
Trinitarian theology
c)
Vague deism
d)
Pure secularism
71.
Ch. XVII heading asserts rustic life is especially … to human diction:
a)
favourable
b)
unfavourable
c)
neutral
d)
conditional
72.
Same heading: “The best parts of language” are the product of…
a)
shepherds
b)
clowns
c)
philosophers
d)
peasants
73.
He argues “Poetry [is] essentially…”
a)
mimetic & particular
b)
ideal and generic
c)
topical & local
d)
empirical & statistical
74.
“The language of Milton is… more so than that of the cottager” refers to:
a)
Milton unreal
b)
Milton’s diction is less “real life”
c)
Milton’s diction is more the language of real life
d)
Milton’s diction equals rustic speech
75.
Coleridge’s “esemplastic” literally means (per his claim):
a)
to separate forms
b)
to shape into one
c)
to break apart
d)
to smooth surfaces
76.
Primary Imagination is fundamentally:
a)
associative
b)
inventive
c)
perceptive
d)
mnemonic
77.
Secondary Imagination dissolves/diffuses/dissipates to recreate—this describes:
a)
fancy
b)
imagination (secondary)
c)
memory
d)
judgment
78.
The “willing suspension” phrase justifies our reception of:
a)
sermons
b)
metaphysics
c)
romantic fiction & poetry
d)
travelogues
79.
The “Preface to 1800” mentioned in Ch. XIV relates to:
a)
Christabel preface
b)
Lyrical Ballads preface
c)
Biographia preface
d)
Sibylline Leaves preface
80.
For Coleridge, meter’s chief function is to:
a)
fix meaning
b)
impose rhyme
c)
mediate pleasure
d)
guarantee truth
81.
His criticism of a simplistic “language of rustics” targets ideas chiefly associated with:
a)
Southey
b)
Byron
c)
Wordsworth
d)
Crabbe
82.
Which pair is Coleridge’s privileged creative faculty?
a)
Fancy/Memory
b)
Fancy/Judgment
c)
Imagination/Reason
d)
Memory/Sense
83.
Coleridge’s poem vs poetry distinction treats “poetry” as a quality that can exist in:
a)
only verse
b)
only rhymed works
c)
prose or verse
d)
music only
84.
“Esemplastic power” is most aligned with:
a)
combinatory aggregation
b)
organic unity
c)
logical deduction
d)
empirical induction
85.
Primary Imagination equals the “prime agent of all human perception”—that wording occurs in:
a)
Ch. XI
b)
Ch. XII
c)
Ch. XIII
d)
Ch. XIV
86.
Secondary Imagination co-exists with:
a)
dream
b)
trance
c)
conscious will
d)
automatism
87.
His position on Wordsworth’s best poems:
a)
Absolute dissent
b)
Qualified dissent
c)
Entire acceptance
d)
Total rejection
88.
“Rustic life… especially unfavourable”—the key negative is justified because language’s best parts come from:
a)
spontaneous shepherds
b)
communal chants
c)
philosophers
d)
playwrights alone
89.
For Coleridge, Fancy is largely:
a)
mechanical
b)
mystical
c)
moral
d)
miraculous
90.
The “I AM” phrase within Ch. XIII signals metaphysical grounding in:
a)
Cartesian dualism
b)
Biblical theism
c)
pure empiricism
d)
Spinozism only
91.
The book’s form intermixes autobiography with:
a)
drama
b)
poetics & criticism
c)
dialogue
d)
letters only
92.
The “pleasurable activity” in a poem must be:
a)
planned only
b)
extrinsic
c)
its immediate object
d)
absent
93.
Ch. XIV also addresses his “obligations to”:
a)
German critics only
b)
anonymous editors
c)
critics at large
d)
patrons
94.
His critique implies that “real language of men” isn’t simply:
a)
Miltonic
b)
rustic
c)
dramatic
d)
epic
95.
Imagination’s operation is vital whereas Fancy is:
a)
organic
b)
aggregative
c)
sacramental
d)
ecstatic
96.
The book’s standard English spelling in its headings is:
a)
idealize
b)
idealise
c)
Ideal
d)
Idealist
97.
The chapter that lists “Preface to 1800” and “supplementary 1815” is:
a)
XIII
b)
XIV
c)
XV
d)
XVII
98.
The claim “poetry… opposed to science” (as genus to class) turns on:
a)
verification
b)
imaginative pleasure
c)
meter only
d)
allegory
99.
The overall work’s title best translates as:
a)
Life of a Poet
b)
Literary Biography
c)
Book of Criticism
d)
Poetic Autobiography
100.
The heading of Ch. XVII argues rustic life is especially…
a)
favourable to diction
b)
unfavourable to diction
c)
neutral to diction
d)
essential to diction
101.
“Best parts of language” are products of…
a)
shepherds
b)
peasants
c)
philosophers
d)
clowns
102.
Poetry is essentially…
a)
mimetic
b)
ideal and generic
c)
statistical
d)
particular and local
103.
The chapter says rustic life is unfavourable because rustic minds are…
a)
profound
b)
narrow and unreflecting
c)
imaginative
d)
philosophical
104.
Coleridge asserts Milton’s diction is more the “language of real life” than…
a)
the rustic peasant
b)
Wordsworth’s sonnets
c)
Shakespeare’s diction
d)
Chaucer’s diction
105.
Rustic language is marked by…
a)
general truth
b)
trivial associations
c)
universality
d)
intellectual synthesis
106.
Chapter XVII stresses that poetic diction should be…
a)
artificial
b)
idealized
c)
ornamented
d)
philosophic
107.
Coleridge contrasts “low and rustic life” with…
a)
city speech
b)
cultivated intellect
c)
religious diction
d)
dramatic speech
108.
The chapter objects that rustic diction lacks…
a)
rhyme
b)
metaphor
c)
reflection
d)
meter
109.
Coleridge claims Wordsworth misunderstood the distinction between…
a)
poetry and poem
b)
fancy and imagination
c)
language and diction
d)
prose and verse
110.
Coleridge emphasizes that the language of great poets is closer to…
a)
rustic speech
b)
cultivated speech
c)
biblical prose
d)
Greek epic
111.
He specifically states that Milton’s diction is incomparably more the “language of real life” than that of the…
a)
scholar
b)
rustic cottager
c)
dramatist
d)
philosopher
112.
Coleridge argues that rustic idioms are…
a)
universal
b)
peculiar and personal
c)
logical and general
d)
suited for science
113.
Chapter XVII uses the contrast between philosophy and…
a)
grammar
b)
rustic life
c)
imagination
d)
prose
114.
Wordsworth’s position is described as a…
a)
parody
b)
partial truth
c)
total falsehood
d)
rhetorical exaggeration
115.
The notion of “unreflecting rustic life” is linked to…
a)
low diction
b)
ideal generalities
c)
organic unity
d)
meter
116.
Coleridge calls Wordsworth’s “low and rustic” diction…
a)
false simplicity
b)
high art
c)
divine voice
d)
natural genius
117.
The corrective principle is: poetry must embody…
a)
personal dialect
b)
philosophical truth
c)
political rhetoric
d)
random memory
118.
Coleridge’s larger argument shows his allegiance to…
a)
French neoclassicism
b)
German transcendental philosophy
c)
Shakespearean realism
d)
Scottish empiricism
119.
The chapter ultimately insists that language of great poetry is…
a)
the same as rustic language
b)
cultivated, ideal, reflective
c)
narrow and trivial
d)
accidental and personal
120.
Chapter XIV is chiefly a defense of…
a)
Shakespearean drama
b)
Lyrical Ballads
c)
Christabel
d)
Kubla Khan
121.
Coleridge distinguishes between poem and poetry. A poem is defined as…
a)
any metrical composition
b)
a work with an immediate end of pleasure
c)
a scientific statement in verse
d)
an autobiographical piece
122.
“Poetry of the highest kind may exist without…”
a)
imagination
b)
rhyme
c)
meter
d)
language
123.
Meter, according to Coleridge, adds to poetry’s…
a)
authority
b)
pleasure
c)
truth
d)
morality
124.
Which phrase occurs in Ch. XIV to justify fictional creations?
a)
Deliberate suspension of belief
b)
Voluntary suspension of truth
c)
Willing suspension of disbelief
d)
Conscious act of deception
125.
The “willing suspension” phrase is tied to…
a)
Philosophy
b)
Natural theology
c)
Romantic fiction/poetry
d)
Metaphysical truth
126.
Coleridge credits Wordsworth’s genius to…
a)
invention of blank verse
b)
awakening of the reader’s mind
c)
use of classical diction
d)
rejection of imagination
127.
Coleridge’s critique of Wordsworth here is…
a)
total rejection
b)
total acceptance
c)
partial dissent
d)
satire
128.
According to Ch. XIV, the Preface to Lyrical Ballads (1800) was:
a)
Wordsworth’s doctrine of poetic diction
b)
Coleridge’s invention
c)
A parody on Pope
d)
Published anonymously
129.
Coleridge calls Wordsworth’s best poems “admirable” because they…
a)
imitate Milton
b)
embody philosophical truth
c)
combine deep feeling with simplicity
d)
reject imagination
130.
Which year’s Preface does Coleridge especially reference?
a)
1798
b)
1800
c)
1802
d)
1815
131.
Chapter XIV suggests poetry is opposed to science as…
a)
fiction to fact
b)
genus to species
c)
reality to imagination
d)
prose to verse
132.
The “pleasurable activity of mind” must be the poem’s…
a)
secondary effect
b)
immediate object
c)
moral lesson
d)
hidden truth
133.
Coleridge objects to Wordsworth’s claim that “language of rustics” is…
a)
purer
b)
false
c)
artificial
d)
dramatic
134.
Chapter XIV links meter with…
a)
custom and expectation
b)
divine inspiration
c)
memory
d)
fancy
135.
“Obligations to my critics” is stated in…
a)
Ch. XII
b)
Ch. XIV
c)
Ch. XVII
d)
Ch. IX
136.
Coleridge claims Wordsworth’s theory confounds…
a)
poem with prose
b)
fancy with imagination
c)
poetry with science
d)
diction with thought
137.
Ch. XIV defends his own contributions to…
a)
German idealism
b)
Lyrical Ballads (1798)
c)
Political justice
d)
Shakespeare criticism
138.
Which word describes Coleridge’s concept of poetry as an “organic whole”?
a)
Esemplastic
b)
Monastic
c)
Scholastic
d)
Didactic
139.
The poet’s “peculiar language” arises from…
a)
social convention
b)
philosophical study
c)
balance of thought and passion
d)
rustic conversation
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