AP English Literature and Composition › Literary Analysis of American Poetry Before 1925
A Late Walk
1 When I go up through the mowing field,
2 The headless aftermath,
3 Smooth-laid like thatch with the heavy dew,
4 Half closes the garden path.
5 And when I come to the garden ground,
6 The whir of sober birds
7 Up from the tangle of withered weeds
8 Is sadder than any words
9 A tree beside the wall stands bare,
10 But a leaf that lingered brown,
11 Disturbed, I doubt not, by my thought,
12 Comes softly rattling down.
13 I end not far from my going forth
14 By picking the faded blue
15 Of the last remaining aster flower
16 To carry again to you.
In line 14, the adjective "faded" contributes to what?
The elegiac style of the poem
The lightheartedness of the poem
The pastoral character of the poem
The abundance of nature imagery in the poem
The speaker's symbolic rebirth
The "faded blue" of line 14 contributes to the poems overall elegiac style (that is, its mournful design). For the speaker, even the blue of the aster flower has been dulled.
A Late Walk
1 When I go up through the mowing field,
2 The headless aftermath,
3 Smooth-laid like thatch with the heavy dew,
4 Half closes the garden path.
5 And when I come to the garden ground,
6 The whir of sober birds
7 Up from the tangle of withered weeds
8 Is sadder than any words
9 A tree beside the wall stands bare,
10 But a leaf that lingered brown,
11 Disturbed, I doubt not, by my thought,
12 Comes softly rattling down.
13 I end not far from my going forth
14 By picking the faded blue
15 Of the last remaining aster flower
16 To carry again to you.
Which of the following is a simile?
"Smooth-laid like thatch" (line 3)
"sadder than any words" (line 8)
"the wall stands bare," (line 9)
"The headless aftermath," (line 2)
"the tangle of withered weeds" (line 7)
"Smooth-laid like thatch" (line 3) is the simile; a simile is a figure pf speech in which two seemingly unlike things are compared using "like" or "as." Usually the words indicate two things that have some similar quality, however, although this may not be immediately evident. In this instance, the "mowing field" (line 1) is like "thatch" (line 3).
Once upon a midnight dreary, while I pondered, weak and weary,
Over many a quaint and curious volume of forgotten lore,---
While I nodded, nearly napping, suddenly there came a tapping,
As of someone gently rapping, rapping at my chamber door.
"'Tis some visitor," I muttered, "tapping at my chamber door:
Only this, and nothing more."
Oh! distinctly I remember, it was in the bleak December,
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow;--- vainly I had sought to borrow
From my books surcease of sorrow,--- sorrow for the lost Lenore,---
For the rare and radiant maiden whom the angels named Lenore,---
Nameless here forever more.
Name the dominant metrical pattern of the above lines.
Trochaic Octameter
Iambic Pentameter
Anapestic Tetrameter
Dactylic Hexameter
Spondaic Trimeter
The above lines (excerpted from "The Raven," by Edgar Allen Poe) are written in Trochaic Octameter -- 8 metrical feet per line, with each foot consisting of 1 stressed followed by 1 unstressed syllable, e.g.:
"ONCE u-PON a MID-night DREA-ry, WHILE i PON-dered WEAK and WEA-ry..."
Metrical patterns are described in terms of the kind and number of metrical feet that make up each regular line. Metrical feet are units of stressed and unstressed syllables. Different kinds of metrical feet combine stresses and unstresses in different combinations. For instance, an iamb is one unstressed syllable followed by one stressed syllable (da DUM), and a trochee is one stressed syllable followed by one unstressed syllable (DUM da). The number of feet per line is indicated by words with latinate prefixes followed by the word "meter." P entameter, for instance, indicates that each line contains five feet. Hence, iambic pentameter describes a rhythm in which each line is made up of five iambic feet, and trochaic octameter (the correct answer) describes a pattern in which each standard line is made up of eight trochees.
Passage adapted from The Raven (Boston: Richard G. Badger & Co., 1898): I-IV by Edgar Allen Poe
This poet, recognized as a New World Poet, was a Puritan who wrote about his or her struggles, the role of women, and mortality. In "Microcosmographia" (1615), this author writes:
What gripes of wind my infancy did pain,
What tortures I in breeding teeth sustain?
What crudityes my stomach cold has bred,
Whence vomits, flux, and worms have issued?
Anne Bradstreet
Emily Dickinson
Harriet Beecher Stowe
Washington Irving
Jack London
Anne Bradstreet was declared the first female New World Poet for her works. She was born in England in 1612 to an affluent family. Both her father and husband would be Governors of Massachusetts after they arrived in America in 1630. Some of her most famous works include A Dialogue Between Old England and New, A Letter to Her Husband, Absent Upon Public Employment, and Contemplation.
Although Bradstreet did not have a very pleasant life, most of her poems were hopeful and positive, with a hint of sarcasm.
Passage adapted from "Microcosmographia" by Anne Bradstreet (1615)
A Late Walk
1 When I go up through the mowing field,
2 The headless aftermath,
3 Smooth-laid like thatch with the heavy dew,
4 Half closes the garden path.
5 And when I come to the garden ground,
6 The whir of sober birds
7 Up from the tangle of withered weeds
8 Is sadder than any words
9 A tree beside the wall stands bare,
10 But a leaf that lingered brown,
11 Disturbed, I doubt not, by my thought,
12 Comes softly rattling down.
13 I end not far from my going forth
14 By picking the faded blue
15 Of the last remaining aster flower
16 To carry again to you.
The following connotes the imagery of warfare:
"headless aftermath" (line 2)
"The whir of sober birds" (line 6)
"Comes softly rattling down." (line 12)
"the last remaining aster flower" (line 15)
"Disturbed, I doubt not, by my thought," (line 11)
An aftermath is the consequence of a disaster, like a war. The imagery of "headless aftermath" implies a farmer who has, in some way, defeated the fields.
A Late Walk
1 When I go up through the mowing field,
2 The headless aftermath,
3 Smooth-laid like thatch with the heavy dew,
4 Half closes the garden path.
5 And when I come to the garden ground,
6 The whir of sober birds
7 Up from the tangle of withered weeds
8 Is sadder than any words
9 A tree beside the wall stands bare,
10 But a leaf that lingered brown,
11 Disturbed, I doubt not, by my thought,
12 Comes softly rattling down.
13 I end not far from my going forth
14 By picking the faded blue
15 Of the last remaining aster flower
16 To carry again to you.
The phrase "sober birds" (line 6) implies that even the birds are .
serious and sad about the changing season
not intoxicated on drink
delusional about the encroaching severe weather
irresponsible about foraging
playful to a fault
The "sober birds" (line 6) are serious and sad. The poet, Robert Frost, even calls their busy "whir" (line 6) "sadder than any words" (line 8). Their sobriety indicates a clarity of vision and purpose in the face of winter.
In the desert
I saw a creature, naked, bestial,
Who, squatting upon the ground,
Held his heart in his hands,
And ate of it.
I said, “Is it good, friend?”
“It is bitter – bitter,” he answered;
“But I like it
Because it is bitter,
And because it is my heart.”
The form of the poem is that of __________.
None of the other answers is correct
a ghazal
a Petrarchan sonnet
a villanelle
a sestina
This 10-line poem does not follow any of the forms above. A villanelle typically has nineteen lines (including five tercets and a closing quatrain), a sestina has six stanzas of six lines each (and usually a final three-line envoi), a Petrarchan or Italian sonnet has fourteen lines, and a ghazal has between five and fifteen couplets.
This poem, "In the Desert," appeared in Stephen Crane's The Black Riders and Other Lines (1895).
Once upon a midnight dreary, while I pondered, weak and weary,
Over many a quaint and curious volume of forgotten lore,---
While I nodded, nearly napping, suddenly there came a tapping,
As of someone gently rapping, rapping at my chamber door.
"'Tis some visitor," I muttered, "tapping at my chamber door:
Only this, and nothing more."
Oh! distinctly I remember, it was in the bleak December,
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow;--- vainly I had sought to borrow
From my books surcease of sorrow,--- sorrow for the lost Lenore,---
For the rare and radiant maiden whom the angels named Lenore,---
Nameless here forever more.
Which of the following was NOT written by the author of the above excerpt?
Benito Cereno
The Narrative of Arthur Gordon Pym of Nantucket
"The Bells"
"The Murders in the Rue Morgue"
"Ulalume"
Benito Cereno (1855) is a novella by Herman Melville. All of the other works listed were written by Edgar Allen Poe.
Passage adapted from The Raven (Boston: Richard G. Badger & Co., 1898): I-IV by Edgar Allen Poe
Adapted from "The Author to Her Book" by Anne Bradstreet (1678)
Thou ill-form’d offspring of my feeble brain,
Who after birth didst by my side remain,
Till snatched from thence by friends, less wise than true,
Who thee abroad, expos’d to public view,
Made thee in rags, halting to th’ press to trudge,
Where errors were not lessened (all may judge).
At thy return my blushing was not small,
My rambling brat (in print) should mother call,
I cast thee by as one unfit for light,
Thy visage was so irksome in my sight;
Yet being mine own, at length affection would
Thy blemishes amend, if so I could:
I wash’d thy face, but more defects I saw,
And rubbing off a spot, still made a flaw.
I stretched thy joints to make thee even feet,
Yet still thou run’st more hobling then is meet;
In better dress to trim thee was my mind,
But nought save home-spun cloth, i’ th’ house I find.
In this array ’mongst vulgars mayst thou roam.
In critics' hands, beware thou dost not come;
And take thy way where yet thou art not known,
If for thy father askt, say, thou hadst none:
And for thy mother, she alas is poor,
Which caus’d her thus to send thee out of door.
In the lines "In better dress to trim thee was my mind, / But nought save homespun cloth i' th' house I find," Bradstreet is using the image of dressing a child in better clothes to symbolize __________.
her inability to improve the poems in her rough draft
her dislike for the appearance of the book
her sense of betrayal by her friends in their publishing her book
her desire to have herself represented by her best possible work
None of the other answers are correct.
Given the context of these lines and the double-meaning of trim, meaning both "to dress" and "to cut in length," the image of dressing a child in better clothes probably refers to her desire to revise the poems into better forms and her inability to do so (because she has only "homespun cloth").
Adapted from "The Author to Her Book" by Anne Bradstreet (1678)
Thou ill-form’d offspring of my feeble brain,
Who after birth didst by my side remain,
Till snatched from thence by friends, less wise than true,
Who thee abroad, expos’d to public view,
Made thee in rags, halting to th’ press to trudge,
Where errors were not lessened (all may judge).
At thy return my blushing was not small,
My rambling brat (in print) should mother call,
I cast thee by as one unfit for light,
Thy visage was so irksome in my sight;
Yet being mine own, at length affection would
Thy blemishes amend, if so I could:
I wash’d thy face, but more defects I saw,
And rubbing off a spot, still made a flaw.
I stretched thy joints to make thee even feet,
Yet still thou run’st more hobling then is meet;
In better dress to trim thee was my mind,
But nought save home-spun cloth, i’ th’ house I find.
In this array ’mongst vulgars mayst thou roam.
In critics' hands, beware thou dost not come;
And take thy way where yet thou art not known,
If for thy father askt, say, thou hadst none:
And for thy mother, she alas is poor,
Which caus’d her thus to send thee out of door.
Lines 11–14 imply all but which of the following?
Bradstreet felt she corrected the errors in the original book.
Bradstreet felt the need to revise the book since it bore her name.
Bradstreet felt her revisions created new problems in addition to solving old ones.
The more Bradstreet revised the book, the more new errors she saw.
None of the other answers are correct.
These lines indicate that Bradstreet did not feel her revisions improved the book, which she saw as hers and therefore necessary to revise. The fact that she says she saw more "spots" after "wash\[ing its\] face" indicates that she both found more errors and that she felt her revisions made the poems worse somehow.