ENG201Y (L5101 – Prof Percy): Test #1 (take-home)


Due:                Friday 6 December 2002, at 6pm (note change)

Hand in:         At the Wetmore Porter’s lodge, New College (not my office, please), where it will be date-stamped. No electronic submissions.

Lateness:      10% per day (including Saturdays and Sundays): so, -10% before 6pm on the 7th, -20% before 6pm on the 8th, etc.

                   As always, I’ll grant extensions on medical grounds with a doctor’s note with specific dates.

Format:          Please type the test, if it’s possible for you. Thanks.

                        Please put ONLY YOUR STUDENT NUMBER on each page of the test – not your name. Thanks.


Academic integrity:


Part A (6x3 = 18)


 For six of the thirteen terms listed below:

(a)   exemplify that term from one poem from the first-term syllabus for our course (provide the poem’s title and, if known, author, and transcribe enough of the relevant part to persuade me!). Choose your illustration carefully, and do not use any of the extracts that you have written on for Part B, because you’ll then …

(b)   in one rich, coherent paragraph (about 5 sentences?),

a.      describe the effect of the technique (thematic, aesthetic)

b.      succinctly explain how that extract contributes to your (clear, complex) interpretation of the poem.

Marks will be awarded only once for the same point within Part A, so try to pick different poems or say different things about them!


1. anaphora

2. antithesis (syntactic)

3. chiasmus

4. couplet (within a sonnet)

5. envelope rhyme scheme

6. inversion

7. iteratio

8. polyptoton

9. quatrain (within a sonnet)

10. refrain

11. rhyme

12. simile

13. syllepsis




Part B (4x8 = 32)


Explain the significance of four of the following extracts to your (clear, complex) interpretation of the poem from which they’re taken. Your answer should contain close analysis of whichever aspects of the passage contribute to a well-unified, coherent, complex answer.


1. Calme was the day, and through the trembling ayre,

Sweete breathing Zephyrus did softly play

A gentle spirit, that lightly did delay

Hot Titans beames, which then did glyster fayre:

When I whom sullein care,

Through discontent of my long fruitlesse stay

In Princes Court, and expectation vayne

Of idle hopes, which still doe flye away,

Like empty shaddowes, did aflict my brayne,

Walkt forth to ease my payne

Along the shoare of silver streaming Themmes…




2. And we will sit upon the rocks,

Seeing the shepherds feed their flocks,

By shallow rivers to whose falls

Melodious birds sing madrigals.


3. She has combed and brushed her night-dark hair,

And bathed rose-petal sweet,

And drawn white gloves on her small brown hands,

And white shoes on her feet.


4. Nay if I would, could I just title make,

That any laud to me thereof should grow,

Without my plumes from others’ wings I take.

For nothing from my wit or will doth flow,

Since all my words thy beauty doth endite,

And love doth hold my hand, and makes me write.


5. You which beyond that heaven which was most high

Have found new spheres, and of new lands can write,

Pour new seas in mine eyes, that so I might

Drown my world with my weeping earnestly,

Or wash it if it must be drowned no more.


6. My vegetable love should grow

Vaster than empires and more slow;

An hundred years should go to praise

Thine eyes, and on thy forehead gaze;

Two hundred to adore each breast,

But thirty thousand to the rest;

An age at least to every part,

And the last age should show your heart.

For, lady, you deserve this state,

Nor would I love at lower rate.


7. How many pictures of one nymph we view,

All how unlike each other, all how true!
Arcadia’s Countess, here, in ermined pride,

Is there, Pastora by a fountain side.

Here Fannia leering on her own good man,

And there, a naked Leda with a swan.

Let then the fair one beautifully cry,

In Magdalen’s loose hair and lifted eye,

Or dressed in smiles of sweet Cecilia shine,

With simpering angels, palms, and harps divine;

Whether the charmer sinner it, or saint it,

If folly grow romantic, I must paint it!


8. But most thro’ midnight streets I hear

How the youthful Harlot’s curse

Blasts the new-born Infant’s tear,

And blights with plagues the Marriage hearse.


Total = 50 marks