eng final

IDENTIFY WORK: Argues that corrupt people are part of God's plan

An Essay on Man

IDENTIFY AUTHOR: To New York

Leopold Sedor Senghor

IDENTIFY AUTHOR: Death Fugue

Paul Celan

IDENTIFY AUTHOR: Tenebrae

Paul Celan

IDENTIFY AUTHOR: Leda and the Swan

William Butler Yeats

IDENTIFY LITERARY FORM: type of third-person narration in which the narrator is outside of the story world but able to observe everything that goes on within it--including all characters' inner thoughts and feelings

omniscient narration

IDENTIFY AUTHOR: Requiem

Anna Akhmatova

IDENTIFY LITERARY FORM: Candide

novel

IDENTIFY CONCEPT: most Enlightenment writers and thinkers thought this should guide all our decisions

reason

IDENTIFY AUTHOR: The Waiter's Wife

Zadie Smith

IDENTIFY AUTHOR: Notes from Underground

Fyodor Dostoevsky

IDENTIFY AUTHOR: The Brothers Karamazov

Fyodor Dostoevsky

IDENTIFY AUTHOR: Middlemarch

George Eliot

IDENTIFY AUTHOR: The Women's Swimming Pool

Hanan Al-Shaykh

IDENTIFY CONCEPT: term for a culture, work of art, or identity shaped by the aftermath of a colonial power that used to rule over a native one: it has withdrawn politically, but its marks on the "native" culture never go away.

postcolonial

IDENTIFY AUTHOR: The Vindication of the Rights of Woman

Mary Wollstonecraft

PASSAGE IDENTIFICATION:It began to seem that one would have to hold in the mind forever two ideas which seemed to be in opposition. The first idea was acceptance, the acceptance, totally without rancor, of life as it is, and men as they are: in the light of this idea, it goes without saying that injustice is commonplace. But this did not mean that one could be complacent, for the second idea was of equal power: that one must never, in one's own life, accept these injustices as commonplace but must fight them with all one's strength. This fight begins, however, in the heart--and it had now had been laid to my charge to keep my own heart free from hatred and despair.

Notes of a Native Son

PASSAGE IDENTIFICATION: Darkling I listen; and for many a time I have been half in love with easeful Death, Called him soft names in many a mused rhyme, To take into the air my quiet breath; Now more than ever seems it rich to die, To cease upon the midnight with no pain, While thou art pouring forth thy soul abroad in such an ecstasy! Still wouldst thou sing, and I have ears in vain— To thy high requiem become a sod. Thou wast not born for death, immortal Bird! . . .

Ode to a Nightingale

PASSAGE IDENTIFICATION:"Look at the witness," said the judge, "and say who he is.""He is my husband," she said, covering her face with her hands."Does he not love you?""He loves me greatly.""Do you not love him?""I love him greatly.". . . But she would not budge an inch from her story. Two barristers did their utmost to save her . . . but in the end were defeated by her.

Punishment

IDENTIFY AUTHOR: Spanish Dancer

Rainer Maria Rilke

IDENTIFY AUTHOR: The Journey to the West

Wu Cheng'En

IDENTIFY AUTHOR: God Has Pitty on Kindergarten Children

Yehuda Amichai

IDENTIFY LITERARY FORM: God Has Pitty on Kindergarten Children

lyric poem

IDENTIFY CONCEPT: literary technique for using a small space (e.g., one family's home) to represent all the diversity of a social world

microcosm

PASSAGE IDENTIFICATION:I learned in New Jersey that to be a Negro meant, precisely, that one was never looked at but was simply at the mercy of the reflexes the color of one's skin caused in other people.

notes of a native son

IDENTIFY LITERARY FORM: A prose narrative too long to be called a "short story" but shorter than a novel, often focusing on the life of a single character

novella

PASSAGE IDENTIFICATION:AFOLABE: Achille. What does the name mean? I have forgotten the onethat I gave you. But it was, it seems, many years ago.What does it mean?. . .ACHILLE: I do not know what the name means. It means something,maybe. What's the difference? In the world I come fromwe accept the sounds we were given. Men, trees, water. . . .AFOLABE: No man loses his shadow except it is in the night,and even then his shadow is hidden, not lost . . . but you,if you're content with not knowing what our names mean,then I am not Afolabe, your father . . . I am not hereor a shadow. And you, nameless son, are only the ghostof a name. Why did I never miss you until you returned?Why haven't I missed you, my son, until you were lost?Are you the smoke from a fire that never burned?. . .There was no answer to this, as in life. Achille nodded,the tears glazing his eyes, where the past was reflectedas well as the future.

omeros

IDENTIFY LITERARY FORM: Tartuffe

play

IDENTIFY LITERARY FORMS: Six Characters in Search of an Author Correct!

play

IDENTIFY LITERARY FORM: Black Woman

poem

IDENTIFY LITERARY FORM: Tenebrae

poem

IDENTIFY LITERARY FORMS: Easter 1916

poem

IDENTIFY LITERARY FORMS: Sailing to Byzantium

poem

IDENTIFY LITERARY FORMS: The Waste Land

poem

IDENTIFY AUTHOR: In a Bamboo Grove

Akutagawa Ryunosuke

IDENTIFY AUTHOR: The Story of the Stone

Cao Xueqin

IDENTIFY AUTHOR: Omeros

Derek Walcott

IDENTIFY AUTHOR: Faust

Johann Wolfgang von Goethe

IDENTIFY LITERARY FORM: Girl

dramatic monologue

IDENTIFY LITERARY FORM: And of Clay Are We Created

short story

IDENTIFY LITERARY FORM: Notes of a Native Son You Answered

short story

IDENTIFY LITERARY FORM: The Women's Swimming Pool

short story

LITERARY TECHNIQUES: Which of the following is a rule for haiku?

three lines, with 5, 7, and 5 syllables each

IDENTIFY AUTHOR: "Song of Myself"

walt whitman

IDENTIFY AUTHOR: The Guest

Albert Camus

IDENTIFY AUTHOR: The Garden of Forking Paths

Jorge Luis Borges

IDENTIFY AUTHOR: Candide

Voltaire

PASSAGE IDENTIFICATION: 1935-1940No, not under the vault of alien skies,And not under the shelter of alien wings--I was with my people then,There, where my people, unfortunately, were.

Archaic Torso of Apollo

IDENTIFY AUTHOR: An Essay on Man

Alexander Pope

IDENTIFY AUTHOR: The Cherry Orchard

Anton Checkhov

IDENTIFY AUTHOR: The Narrow Road to the Deep North

Basho

IDENTIFY AUTHOR: The Love Suicides at Amijima

Chikamatsu Monzaemon

IDENTIFY AUTHOR: Waiting for the Barbarians (poem)

Constantine Cavafy

IDENTIFY AUTHOR: "Cry of the Children"

Elizabeth Barrett Browning

IDENTIFY AUTHOR: "To Tell the Truth"

Heinrich Heine

IDENTIFY AUTHOR: Hedda Gabler

Henrick Ibsen

IDENTIFY AUTHOR: And of Clay Are We Created

Isabel Allende

IDENTIFY AUTHOR: Digging

Seamus Heaney

IDENTIFY AUTHOR: Punishment

Seamus Heaney

PASSAGE IDENTIFICATION: [F] This is the real drama for me; the belief that we all, you see, think of ourselves as one single person: but it isn't true: each of us is several different people, and all these people live inside us. With one person we seem like this and with another we seem very different. But we always have the illusion of being the same person for everybody and of always being the same person in everything we do. But it's not true! It's not true! We find this our for ourselves very clearly when by some terrible chance we're suddenly stopped in the middle of doing something and we're left dangling there, suspended. We realise then, . . . that it would be a dreadful injustice of other people to judge us only by this one action as we dangle there, hanging in chains, fixed for all eternity, as if the whole of one's personality were summed up in that single, interrupted action. Now do you understand this girl's treachery? She accidentally found me somewhere I shouldn't have been, doing something I shouldn't have been doing! She discovered a part of me that shouldn't have existed for her . . . This is what hurts me most of all

Six Characters in Search of an Author

PASSAGE IDENTIFICATION: I celebrate myself, and sing myself, And what I assume you shall assume, For every atom belonging to me as good belongs to you. . . . I am of old and young, of the foolish as much as the wise, Regardless of others, ever regardful of others, Maternal as well as paternal, a child as well as a man . . . One of the Nation of many nations, the smallest the same and the largest the same, A Southerner soon as a Northerner, a planter nonchalant and hospitable down by the Oconee I live, . . . A Kentuckian walking the vale of the Elkhorn in my deer-skin leggings, a Louisianian or Georgian . . .

Song of Myself

IDENTIFY AUTHOR: The Poet's Answer to the Most Illustrious Sor Filotea de la Cruz

Sor Juana Ines de la Cruz

IDENTIFY AUTHOR: The Love Song of J. Alfred Prufrock

T. S. Eliot

IDENTIFY AUTHOR: This Way for the Gas, Ladies and Gentlemen

Tadeusz Borowski

PASSAGE IDENTIFICATION:[T] She's so narrow-minded; she simply can't understand that we are above love. Our goal is to get rid of the silly illusions that keep us from being free and happy. We're moving forward, toward the future! Toward one bright star that burns ahead of us! . . .[A] Oh, you talk so beautifully! . . .[T] This whole country . . . is a big country and a beautiful one; it has lots of wonderful places in it. Just think . . . your grandfather, and his father, and his father's fathers, they OWNED the people who slaved away for them all over this estate, and now the voices and faces of human beings hide behind every tree, every leaf, every trunk. Can't you see them? And hear them? . . . If there's one thing that's clear to me, it's this: if we want to have any real life in the present, we have to do something to make up for the past, we have to get over it, and the only way to do that is to make sacrifices, get down to hard work, and work harder than we've ever worked before. Do you understand what I mean?[A] The house we live in isn't ours anymore. It hasn't ever been, really. And I'll leave it all behind, I promise you I will![T] Yes, throw away your house keys and go as far away as you can! You'll be free as the wind.[A] [radiant] I love the way you say things!

The Cherry Orchard

pASSAGE IDENTIFICATION: Do you hear the children weeping, O my brothers, Ere the sorrow comes with years? They are leaning their young heads against their mothers, And that cannot stop their tears. The young lambs are bleating in the meadows, The young birds are chirping in the nest, The young fawns are playing with the shadows, The young flowers are blowing toward the west— But the young, young children, O my brothers, They are weeping bitterly! They are weeping in the playtime of the others, In the country of the free.

The Cry of the Children

PASSAGE IDENTIFICATION:In [his family] he saw himself--all that for which he had lived--and saw clearly that it was not real at all, but a terrible and huge deception which had hidden both life and death.

The Death of Ivan Illyich

PASSAGE IDENTIFICATION:I have compared hundreds of manuscripts, I have corrected the errors that the negligence of copyists have has introduced, I have guessed the plan of this chaos, I have re-established--I believe I have re-established--the primordial organization, I have translated the entire work: It is clear to me . . . [this masterpiece] is an incomplete, but not false, image of the universe as Ts'ui Pen conceived it. . . . He believed in an infinite series of times, in a growing, dizzying net of divergent, convergent and parallel times. This network of times which approached one another, forked, broke off, or were unaware of one another for centuries, embraces ALL possibilities of time. We don exist in the marjority of these times; in some you exist, and not I; in others I, and not you; in others, both of us. In the present one, which a favorable fate has granted me, you have arrived at my house; in another, while crossing the garden, you found me dead; in still another, I utter these same words, but I am a mistake, a ghost. . . . In one of them, I am your enemy.Once again I felt the swarming sensation . . .

The Garden of Forking Paths

PASSAGE IDENTIFICATION:He thrusts in the saving sword. . . her life fades away like an unfinished dream at dawning. . . The service at the temple has reached the closing section, the prayers for the dead. "Believers and unbelievers will equally share in the divine grace," the voices proclaim, and at the final words he jumps from the sluice gate.

The Love Suicides at Amijima

IDENTIFY THE WORK: Which work interweaves haiku with memories of a hiking trip?

The Narrow Road to the Deep North

PASSAGE IDENTIFICATION:I went to see the village again, about a year afterwards. There was nothing there. Mounds of red mud, where the huts had been, had long swatches of rotting thatch over them, veined with the red galleries of the white ants. The pumpkn vines rioted everywhere . . . The settler lucky enough to be allotted the lush warm valley (if he chose to cultivate this particular section) would find, suddenly, in the middle of a mealie field, the plants were growing fifteen feet tall, the weight of the cobs dragging at the stalks, and wonder what unsuspected vein of richness he had struck.

The Old Chief Mshlanga

IDENTIFY THE WORK: Which of these ends with characters achieving some form of enlightenment? (identify all)

The Story of the Stone The Love Suicides at Amijima The Journey to the West

PASSAGE IDENTIFICATION: "I may be accused of arrogance; still I must declare what I firmly believe, that all the writers who have written on the subject of female education and manners . . . have contributed to render women more artificial, weak characters, than they would otherwise have been; and consequently, more useless members of society. . . . [They] degrade one half of the human species, and render women pleasing at the expense of every solid virtue."

The Vindication of the Rights of Woman

PASSAGE IDENTIFICATION: "My writing has never proceeded from any dictate of my own, but a force beyond me . . . . For ever since the light of reason first dawned on me, my inclination to letters was marked by such passion and vehemence that neither the reprimands of others (for I have received many) nor reflections of my own (there have been more than a few) have sufficed to make me abandon my pursuit of this native impulse that God Himself bestowed on me. His Majesty knows why and to what end He did so, and He knows that I have prayed that He snuff out the light of my intellect, leaving only enough to keep His Law. For more than that is too much, some would say, in a woman; and there are even those who say that it is harmful. . . . [But] the desire to learn was stronger for me than the desire to eat."

The Vindication of the Rights of Woman

IDENTIFY AUTHOR: "Holy Thursday"

William Blake

IDENTIFY AUTHOR: "The Chimney Sweeper"

William Blake

IDENTIFY AUTHOR: "The Lamb"

William Blake

IDENTIFY AUTHOR: Songs of Innocence and Experience

William Blake

IDENTIFY AUTHOR: Easter 1916

William Butler Yeats

IDENTIFY AUTHOR: Sailing to Byzantium

William Butler Yeats

IDENTIFY AUTHOR: The Second Coming

William Butler Yeats

IDENTIFY AUTHOR: "The World is Too Much With Us"

William Wordsworth

PASSAGE IDENTIFICATION:That night, imperceptibly, the unyielding floodgates that had contained Rolf Carlé's past for so many years began to open, and the torrent of all that had lain hidden in the deepest and most secret layers of memory poured out, leveling before it the obstacles that had blocked his consciousness for so long. He could not tell it all to Azucena; she perhaps did not know there was a world beyond the sea or time previous to her own; she was not capable of imagining Europe in the years of the war. So he could not tell her of defeat, nor of the afternoon the Russians had led them to the concentration camp to bury prisoners dead from starvation. Why should he describe to her how the naked bodies piled like a mountain of firewood resembled fragile china? How could he tell this dying child about ovens and gallows? . . . There was much he did not tell, but in those hours he relived for the first time all the things his mind had tried to erase. Azucena had surrendered her fear to him and so, without wishing it, had obliged Rolf to confront his own.

and of clay we are created

PASSAGE IDENTIFICATION: "All events are linked together in the best of possible worlds for, after all, if you had not been driven from a fine castle by being kicked in the backside for love . . . if you hadn't been sent before the Inquisition, if you hadn't travelled across America on foot, if you hadn't given a good sword thrust to the baron, if you hadn't lost all your sheep from the good land of Eldorado, you wouldn't be sitting here eating candied citron and pistachios.""That is very well put," [he replied,] ". . . but we must cultivate our garden."

candide

IDENTIFY LITERARY FORM: "The Cry of the Children"

dramatic monologue

PASSAGE IDENTIFICATION: [F:] If ever you see me loll at ease, Then it's all yours, you van have it, my life! . . . This isn't anything I'm rushing into. But if I stagnate, fall into a rut, I'm a slave, it doesn't matter who to, To this one, that one, or to you. . . . [M:] My service starts now—no procrastinating!— At the dinner tonight for the just-made Ph.D.s. But there's one thing: you know, for emergencies, I'd like to have our arrangement down in writing. . . . A scrap of paper takes care of the business. And sign it with a drop of blood.

faust

IDENTIFY LITERARY FORM: way of telling a story where the narrator is outside the story world but shows and tells everything from the perspective of a single character within the story world

focalization

PASSAGE IDENTIFICATION: "I was fascinated. It was as though a veil had been rent. I saw on that ivory face the expression of sombre pride, of ruthless power, of craven terror-of an intense and hopeless despair. Did he live his life again in every detail of desire, temptation, and surrender during that supreme moment of complete knowledge? He cried in a whisper at some image, at some vision-he cried out twice, a cry that was no more than a breath: "'The horror! The horror!'" "I blew the candle out and left the cabin."

heart of darkness

IDENTIFY AUTHOR: Notes of a Native Son

james baldwin

IDENTIFY AUTHOR: "Ode to a Nightingale"

john keats

IDENTIFY LITERARY FORM: "Ode to a Nightingale"

lyric poem

IDENTIFY LITERARY FORM: "The World is Too Much With Us"

lyric poem

IDENTIFY LITERARY FORM: An Arab Shepherd is Looking for his Goat on Mount Zion

lyric poem

PASSAGE IDENTIFICATION:Turning and turning in the widening gyreThe falcon cannot hear the falconer;Things fall apart; the centre cannot hold;Mere anarchy is loosed upon the world, . . .And what rough beast, its hour come round at last,Slouches towards Bethlehem to be born?

the second coming

PASSAGE IDENTIFICATION: What the hammer? What the chain? In what furnace was thy brain? What the anvil? What dread grasp Dare its deadly terrors clasp? . . . Tyger! Tyger! burning bright In the forests of the night, What immortal hand or eye Dare frame thy fearful symmetry?

the tyger

PASSAGE IDENTIFICATION:I found myself saying to the woman, or rather to myself because no sound issued from my throat, "I'll bring my grandmother." Going out through the opening and still clasping my bag to my chest, I saw my grandmother standing and looking up at the sky. I called to her, but she was reciting to herself under her breath as she continue to look upward: she was praying, right there in the street, praying on the pavement at the door . . . She had spread out a paper bag and had stretched out her hands to the sky. I walked off in another direction and stopped looking at her . . . [We had travelled all day to get here, and now] she, having heard the call to prayers, had prostrated herself in prayer. . . . I felt sorry for her, for her knees that knelt on the cruelly hard pavement, for her tattooed hands that lay on the dirt. I looked at her again and saw the passers-by staring at her. For the first time her black dress looked shabby to me. . . . I approached her, and she again put her weight on my hand.

the women's swimming pool

IDENTIFY CONCEPT: first, an event so extreme that it drastically interrupts the flow of a person's (or culture's) life; subsequently, the state of having intrusive memories of the even continually interrupt ongoing life.

trauma

IDENTIFY LITERARY FORM: The Narrow Road to the Deep North

travel narrative with poetry

LITERARY TECHNIQUES: In a haiku, what is the "seasonal word"?

word naming or related to any season

LITERARY TECHNIQUES: In Japanese Puppet theater, is the narrator seated in view of the audience?

yes