Structure and Form: Poetry
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AP English Literature and Composition › Structure and Form: Poetry
Adapted from "Old Man Traveling" by William Wordsworth in Lyrical Ballads by William Wordsworth and Samuel Taylor Coleridge (1798 ed.)
The little hedge-row birds,
That peck along the road, regard him not.
He travels on, and in his face, his step,
His gait, is one expression; every limb,
His look and bending figure, all bespeak
A man who does not move with pain, but moves
With thought—He is insensibly subdued
To settled quiet: he is one by whom
All effort seems forgotten, one to whom
Long patience has such mild composure given,
That patience now doth seem a thing, of which
He hath no need. He is by nature led
To peace so perfect, that the young behold
With envy, what the old man hardly feels.
—I asked him whither he was bound, and what
The object of his journey; he replied
"Sir! I am going many miles to take
"A last leave of my son, a mariner,
"Who from a sea-fight has been brought to Falmouth,
And there is dying in an hospital."
The juxtaposition of the man's calmness and the information he gives the speaker in the last four underlined lines shows __________.
that the man has reached a level of peace where he can confront even harsh facts
that grief can be so great it can make a person completely unresponsive
that outliving your children is the epitome of futility
that there is no point in having strong emotions after the death of a son
that the man is incapable of strong emotions
Explanation
We must infer from the information given to us by the speaker what the juxtaposition shows us. There is nothing to suggest, from the small amount of information, that the man cannot experience strong emotions, and the fact that the narrator punctuates the poem with the man's son's death shows he wants to emphasize that strong emotions probably should accompany the death of a son. We know the narrator does not want us to consider futility as he or she is full of praise for the old man. We also know the old man is most certainly not unresponsive as he is willing to engage with the speaker. So, we can conclude that the man has reached a level of peace where he can be stoic in the face of death or where his oneness with the world prevents him from falling into hysterics.
Adapted from "The Mouse’s Petition" in Poems by Anna Letitia Barbauld (1773)
Found in the trap where he had been confined all night by Dr. Priestley, for the sake of making experiments with different kinds of air
“To spare the humbled, and to tame in war the proud.” - Virgil
OH! hear a pensive captive's prayer,
For liberty that sighs;
And never let thine heart be shut
Against the prisoner's cries.
For here forlorn and sad I sit,
Within the wiry grate;
And tremble at th' approaching morn,
Which brings impending fate.
If e'er thy breast with freedom glow'd,
And spurn'd a tyrant's chain,
Let not thy strong oppressive force
A free-born mouse detain.
Oh! do not stain with guiltless blood
Thy hospitable hearth;
Nor triumph that thy wiles betray'd
A prize so little worth.
The scatter'd gleanings of a feast
My scanty meals supply;
But if thine unrelenting heart
That slender boon deny,
The cheerful light, the vital air,
Are blessings widely given;
Let nature's commoners enjoy
The common gifts of heaven.
The well-taught philosophic mind
To all compassion gives;
Casts round the world an equal eye,
And feels for all that lives.
If mind, as ancient sages taught,
A never dying flame,
Still shifts thro' matter's varying forms,
In every form the same,
Beware, lest in the worm you crush
A brother's soul you find;
And tremble lest thy luckless hand
Dislodge a kindred mind.
Or, if this transient gleam of day
Be all of life we share,
Let pity plead within thy breast,
That little all to spare.
So may thy hospitable board
With health and peace be crown'd;
And every charm of heartfelt ease
Beneath thy roof be found.
So when unseen destruction lurks,
Which men like mice may share,
May some kind angel clear thy path,
And break the hidden snare.
The use of the underlined word "pensive" in the first line is most likely intended to do what?
To draw attention to the speaker as a thinking, perceiving individual consciousness, setting up his later pleas for equal ethical consideration
To draw attention to the speaker's extreme intelligence and rationality, setting up his later justification of his experiments on the mouse
To create irony and humor, as the mouse's assertion of its own intelligence is clearly undermined in the next three lines
To create dramatic irony, as while the mouse clearly believes himself a "prisoner," the audience knows that he is, in fact, a beloved pet
To draw attention to the speaker's free-thinking religious beliefs, which have led to his persecution and imprisonment
Explanation
The use of "pensive" in this context is intended to draw attention to the speaker's (a mouse being experimented on) individual subjectivity. By framing himself as a "pensive" individual (a conscious being able to think and perceive), the speaker sets up his later pleas for equal ethical consideration. Because he is "pensive," it is wrong to deny him the opportunity to experience "nature" and the "never dying flame" of intellectual engagement as he sees fit.
While the petition is framed as a "prisoner's prayer," and some unconventional religious beliefs are discussed in some later stanzas, the implication is that the mouse is only being detained for the purpose of being experimented on, not persecuted for his beliefs. The line is intended to be read sincerely, not with irony. The rest of the poem asserts the mouse's ability to perceive the world in an individual fashion, and the mouse is a research subject, not a beloved pet. The speaker is the mouse being experimented on, not the researcher conducting the experiment.
Adapted from "The Mouse’s Petition" in Poems by Anna Letitia Barbauld (1773)
Found in the trap where he had been confined all night by Dr. Priestley, for the sake of making experiments with different kinds of air
“To spare the humbled, and to tame in war the proud.” - Virgil
OH! hear a pensive captive's prayer,
For liberty that sighs;
And never let thine heart be shut
Against the prisoner's cries.
For here forlorn and sad I sit,
Within the wiry grate;
And tremble at th' approaching morn,
Which brings impending fate.
If e'er thy breast with freedom glow'd,
And spurn'd a tyrant's chain,
Let not thy strong oppressive force
A free-born mouse detain.
Oh! do not stain with guiltless blood
Thy hospitable hearth;
Nor triumph that thy wiles betray'd
A prize so little worth.
The scatter'd gleanings of a feast
My scanty meals supply;
But if thine unrelenting heart
That slender boon deny,
The cheerful light, the vital air,
Are blessings widely given;
Let nature's commoners enjoy
The common gifts of heaven.
The well-taught philosophic mind
To all compassion gives;
Casts round the world an equal eye,
And feels for all that lives.
If mind, as ancient sages taught,
A never dying flame,
Still shifts thro' matter's varying forms,
In every form the same,
Beware, lest in the worm you crush
A brother's soul you find;
And tremble lest thy luckless hand
Dislodge a kindred mind.
Or, if this transient gleam of day
Be all of life we share,
Let pity plead within thy breast,
That little all to spare.
So may thy hospitable board
With health and peace be crown'd;
And every charm of heartfelt ease
Beneath thy roof be found.
So when unseen destruction lurks,
Which men like mice may share,
May some kind angel clear thy path,
And break the hidden snare.
In the bolded and underlined excerpt, the pairing of "little" with "all" is used to do what? (Note that the italics are included in the original text.)
To create irony and to illustrate the foolishness of dismissing any aspect of mortal existence
To create irony and to illustrate the necessity of releasing all animals from human captivity
To create irony and to illustrate the foolishness of extending ethical consideration to non-human creatures
To illustrate the relative unimportance of any individual perceiving consciousness in a complex, constantly varying universe
To illustrate the relative unimportance of human comfort in the face of global environmental concerns
Explanation
The pairing of "little" with "all" in this context is used to create irony, and to illustrate the foolishness of dismissing any aspect of mortal existence. The "little all" that is being referred to here is personal freedom, in addition to literal access to open space and sunlight, which is hardly a "little" thing. The pairing of "little" and "allL here ironizes and shows the failings of ethical systems which apply varying levels of ethical consideration to conscious beings for arbitrary reasons.
Global environmental concerns are not at issue in this poem. The poem is actually arguing for the importance of all individual perceiving consciousness in a complex, constantly varying universe. While it stands to reason that the speaker would advocate for the release of all animals from captivity, in this context that issue is not specifically at play, and the larger issue of ethical reasoning is more specifically being treated.
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.
The poetic form that Bradstreet uses in this poem is __________.
heroic couplets
blank verse
sonnet
sestina
None of the other answers is correct
Explanation
The poem is written in heroic couplets, which are rhymed pairs of lines in iambic pentameter. The poem would only be in blank verse if the iambic pentameter lines did not rhyme. The poem is also too long and in the wrong form to be a sonnet and is too short to be a sestina.
Passage adapted from "The Author to Her Book" by Anne Bradstreet (1678)
1. Better to see your cheek grown hollow,
2. Better to see your temple worn,
3. Than to forget to follow, follow,
4. After the sound of a silver horn.
5. Better to bind your brow with willow
6. And follow, follow until you die,
7. Than to sleep with your head on a golden pillow,
8. Nor lift it up when the hunt goes by.
9. Better to see your cheek grow sallow
10. And your hair grown gray, so soon, so soon,
11. Than to forget to hallo, hallo,
12. After the milk-white hounds of the moon.
“Sleep with your head on a golden pillow” is contrasted with _________________.
Bind your brow with willow
Follow after the sound of a silver horn
Nor lift it up when the hunt goes by
See your cheek grow sallow
See your temple worn
Explanation
The second stanza contains two comparisons:
1. “Bind your brow with willow” vs. “Sleep with your head on a golden pillow”, and
2. “follow, follow until you die” vs. “Nor lift it up when the hunt goes by.”
The author is saying that you can choose either to bind your brow with willow (i.e., live with grief and suffering) while remaining open to intense life experience, or you can choose to live in comfort and material luxury while remaining inwardly asleep — that is, oblivious to the heights and depths of passion.
Passage adapted from Eleanor Wylie's "A Madman's Song" (1921)
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 sieze 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?
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?
(1794)
Which of the following best describes the form of the poem?
6 stanzas with end rhyme
A sestina
A villanelle
A sonnet
A free verse poem
Explanation
The poem has a specific structure, with lines that end in rhyme. The poem is not a sonnet, villanelle, or sestina, as it does not contain the repetition of certain words or phrases. The poem is also divided into 6 stanzas.
Passage adapted from William Blake's "The Tyger" (1794)
Shall I compare thee to a summer's day?
Thou art more lovely and more temperate:
Rough winds do shake the darling buds of May,
And summer's lease hath all too short a date:
Sometime too hot the eye of heaven shines,
And often is his gold complexion dimm'd;
And every fair from fair sometime declines,
By chance, or nature's changing course, untrimm'd;
But thy eternal summer shall not fade
Nor lose possession of that fair thou ow'st;
Nor shall Death brag thou wander'st in his shade,
When in eternal lines to time thou grow'st;
So long as men can breathe or eyes can see,
So long lives this, and this gives life to thee.
This poem is an example of which poetic form?
Sonnet
Sestina
Limerick
Epic
Explanation
A sonnet loosely defined as any poem of exactly fourteen lines, with various subtypes. This poem, by William Shakespeare, is an example of a Shakespearean sonnet. It is written in iambic pentameter with a rhyme scheme of ABAB (end-rhymes every other line) until the final couplet, which rhymes CC (two lines rhymed back-to-back).
Passage adapted from Shakespeare's "Sonnet 18" (1609)
When my mother died I was very young,
And my father sold me while yet my tongue
Could scarcely cry " 'weep! 'weep! 'weep! 'weep!"
So your chimneys I sweep & in soot I sleep.
There's little Tom Dacre, who cried when his head
That curled like a lamb's back, was shaved, so I said,
"Hush, Tom! never mind it, for when your head's bare,
You know that the soot cannot spoil your white hair."
And so he was quiet, & that very night,
As Tom was a-sleeping he had such a sight!
That thousands of sweepers, Dick, Joe, Ned, & Jack,
Were all of them locked up in coffins of black;
And by came an Angel who had a bright key,
And he opened the coffins & set them all free;
Then down a green plain, leaping, laughing they run,
And wash in a river and shine in the Sun.
Then naked & white, all their bags left behind,
They rise upon clouds, and sport in the wind.
And the Angel told Tom, if he'd be a good boy,
He'd have God for his father & never want joy.
And so Tom awoke; and we rose in the dark
And got with our bags & our brushes to work.
Though the morning was cold, Tom was happy & warm;
So if all do their duty, they need not fear harm.
(1789)
What is the effect of the rhyme structure of the poem?
It juxtaposes the harsh work of child chimney-sweepers with the innocent sound of a children's nursery rhyme
It draws a parallel between angelic songs and the work of the chimney-sweepers
It symbolizes that the children are going to heaven
It illustrates that the children enjoy their work and treat it like it's playtime
None of these
Explanation
This is the correct answer because the actual content of the poem is very dark- children laboring as chimney sweepers- but the fact that the harsh work is being done by children is juxtaposed with the reality that they're still only old enough to be learning nursery rhymes.
Passage adapted from William Blake's Songs of Innocence (1789).
Adapted from “Solitary Death, make me thine own” in Underneath the Bough: A Book of Verses by Michael Field (pseudonym of Katherine Bradley and Edith Cooper) (1893)
Solitary Death, make me thine own,
And let us wander the bare fields together;
Yea, thou and I alone
Roving in unembittered unison forever.
I will not harry thy treasure-graves,
I do not ask thy still hands a lover;
My heart within me craves
To travel till we twain Time’s wilderness discover.
To sojourn with thee my soul was bred,
And I, the courtly sights of life refusing,
To the wide shadows fled,
And mused upon thee often as I fell a-musing.
Escaped from chaos, thy mother Night,
In her maiden breast a burthen that awed her,
By cavern waters white
Drew thee her first-born, her unfathered off-spring toward her.
On dewey plats, near twilight dingle,
She oft, to still thee from men’s sobs and curses
In thine ears a-tingle,
Pours her cool charms, her weird, reviving chaunt rehearses.
Though mortals menace thee or elude,
And from thy confines break in swift transgression.
Thou for thyself art sued
Of me, I claim thy cloudy purlieus my possession.
To a long freshwater, where the sea
Stirs the silver flux of the reeds and willows,
Come thou, and beckon me
To lie in the lull of the sand-sequestered billows:
Then take the life I have called my own
And to the liquid universe deliver;
Loosening my spirit’s zone,
Wrap round me as thy limbs the wind, the light, the river.
The MOST conventional aspect of this poem is which of the following?
Its rhyme structure
Its treatment of mortality as a concept
Its use of personification
Its use of imagery in relation to death
Its characterization of night
Explanation
This poem features a straightforward alternating ABAB rhyme structure in each of its stanzas. Meanwhile, its treatment of Death as a welcome companion is certainly unconventional, as is its extensive and idiosyncratic personification and characterization and its use of imagery in relation to death (Death’s embrace as the welcoming, encompassing hug of a friend, rather than, for example, a bony hand grasping someone’s ankle).
1 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:
5 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?
9 What mad pursuit? What struggle to escape?
What pipes and timbrels? What wild ecstasy?
11 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:
15 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,
18 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!
21 Ah, happy, happy boughs! that cannot shed
Your leaves, nor ever bid the Spring adieu;
And, happy melodist, unwearied,
For ever piping songs for ever new;
25 More happy love! more happy, happy love!
For ever warm and still to be enjoy'd,
For ever panting, and for ever young;
28 All breathing human passion far above,
That leaves a heart high-sorrowful and cloy'd,
A burning forehead, and a parching tongue.
31 Who are these coming to the sacrifice?
To what green altar, O mysterious priest,
Lead'st thou that heifer lowing at the skies,
And all her silken flanks with garlands drest?
35 What little town by river or sea shore,
Or mountain-built with peaceful citadel,
Is emptied of this folk, this pious morn?
38 And, little town, thy streets for evermore
Will silent be; and not a soul to tell
Why thou art desolate, can e'er return.
41 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
45 As doth eternity: Cold Pastoral!
When old age shall this generation waste,
Thou shalt remain, in midst of other woe
48 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."
(1819)
This type of poem is a(n) ________________.
ode
sonnet
Petrarchan sonnet
ballad
parody
Explanation
The form and content of this poem reveal it to be an ode. The form of an ode is a lyric poem of considerable length. The content of an ode is usually praise of something delivered in a serious and elevated tone.
Passage adapted from John Keats' "Ode on a Grecian Urn" (1819)