PROSPERO:

1.     Ye elves of hills, brooks, standing lakes and groves,
2.     And ye that on the sands with printless foot
3.     Do chase the ebbing Neptune and do fly him
4.     When he comes back; you demi-puppets that
5.     By moonshine do the green sour ringlets make,
6.     Whereof the ewe not bites, and you whose pastime
7.     Is to make midnight mushrooms, that rejoice
8.     To hear the solemn curfew; by whose aid,
9.     Weak masters though ye be, I have bedimm'd
10.     The noontide sun, call'd forth the mutinous winds,
11.     And 'twixt the green sea and the azured vault
12.     Set roaring war: to the dread rattling thunder
13.     Have I given fire and rifted Jove's stout oak
14.     With his own bolt; the strong-based promontory
15.     Have I made shake and by the spurs pluck'd up
16.     The pine and cedar: graves at my command
17.     Have waked their sleepers, oped, and let 'em forth
18.     By my so potent art. But this rough magic
19.     I here abjure, and, when I have required
20.     Some heavenly music, which even now I do,
21.     To work mine end upon their senses that
22.     This airy charm is for, I'll break my staff,
23.     Bury it certain fathoms in the earth,
24.     And deeper than did ever plummet sound
25.     I'll drown my book.

The passage’s point of view can be characterized as ________________.

PROSPERO:

1.     Ye elves of hills, brooks, standing lakes and groves,
2.     And ye that on the sands with printless foot
3.     Do chase the ebbing Neptune and do fly him
4.     When he comes back; you demi-puppets that
5.     By moonshine do the green sour ringlets make,
6.     Whereof the ewe not bites, and you whose pastime
7.     Is to make midnight mushrooms, that rejoice
8.     To hear the solemn curfew; by whose aid,
9.     Weak masters though ye be, I have bedimm'd
10.     The noontide sun, call'd forth the mutinous winds,
11.     And 'twixt the green sea and the azured vault
12.     Set roaring war: to the dread rattling thunder
13.     Have I given fire and rifted Jove's stout oak
14.     With his own bolt; the strong-based promontory
15.     Have I made shake and by the spurs pluck'd up
16.     The pine and cedar: graves at my command
17.     Have waked their sleepers, oped, and let 'em forth
18.     By my so potent art. But this rough magic
19.     I here abjure, and, when I have required
20.     Some heavenly music, which even now I do,
21.     To work mine end upon their senses that
22.     This airy charm is for, I'll break my staff,
23.     Bury it certain fathoms in the earth,
24.     And deeper than did ever plummet sound
25.     I'll drown my book.

The syntax of the passage is characterized by __________________.

Passage adapted from Cyrano de Bergerac by Edmond Rostand (1897)
Translated by Gladys Thomas and Mary F. Guillemard (in public domain)

[Cyrano speaks to Roxane.]

CYRANO:

1. Ay, true, the feeling
2. Which fills me, terrible and jealous, truly
3. Love,--which is ever sad amid its transports!
4. Love,--and yet, strangely, not a selfish passion!
5. I for your joy would gladly lay mine own down,
6. --E'en though you never were to know it,--never!
7. --If but at times I might--far off and lonely,--
8. Hear some gay echo of the joy I bought you!
9. Each glance of thine awakes in me a virtue,--
10. A novel, unknown valor. Dost begin, sweet,
11. To understand? So late, dost understand me?
12. Feel'st thou my soul, here, through the darkness mounting?
13. Too fair the night! Too fair, too fair the moment!
14. That I should speak thus, and that you should hearken!
15. Too fair! In moments when my hopes rose proudest,
16. I never hoped such guerdon. Naught is left me
17. But to die now! Have words of mine the power
18. To make you tremble,--throned there in the branches?
19. Ay, like a leaf among the leaves, you tremble!
20. You tremble! For I feel,--an if you will it,
21. Or will it not,--your hand's beloved trembling
22. Thrill through the branches, down your sprays of jasmine!

In this context, the word “sweet” (line 10) is _____________.

The adjective “throned” (line 18) describes which noun/pronoun?

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 __________.

My long two-pointed ladder's sticking through a tree

    Toward heaven still,

    And there's a barrel that I didn't fill

    Beside it, and there may be two or three

    Apples I didn't pick upon some bough.

    But I am done with apple-picking now.

    Essence of winter sleep is on the night,

    The scent of apples: I am drowsing off.

What rhyme scheme is this?

1 Those lines that I before have writ do lie,

  Even those that said I could not love you dearer;

  Yet then my judgment knew no reason why

  My most full flame should afterwards burn clearer.

5 But reckoning Time, whose million'd accidents 

  Creep in 'twixt vows and change decrees of kings, 

  Tan sacred beauty, blunt the sharp'st intents, 

  Divert strong minds to the course of altering things;

9 Alas, why, fearing of Time's tyranny, 

  Might I not then say 'Now I love you best,' 

  When I was certain o'er incertainty, 

  Crowning the present, doubting of the rest?

13 Love is a babe; then might I not say so,

   To give full growth to that which still doth grow? 

(1609)

The form of this poem is best described as ______________.

This is the forest primeval. The murmuring pines and the hemlocks,

  Bearded with moss, and in garments green, indistinct in the twilight,

  Stand like Druids of eld, with voices sad and prophetic,

  Stand like harpers hoar, with beards that rest on their bosoms.

  Loud from its rocky caverns, the deep-voiced neighboring ocean

  Speaks, and in accents disconsolate answers the wail of the forest.

(1847)

What meter does this poem employ?

In pious times, e’r Priest-craft did begin,

Before Polygamy was made a Sin;

When Man on many multipli’d his kind,

E’r one to one was cursedly confin’d,

When Nature prompted and no Law deni’d   (5)      

Promiscuous Use of Concubine and Bride;

Then Israel’s Monarch, after Heavens own heart,

His vigorous warmth did, variously, impart

To Wives and Slaves: And, wide as his Command,

Scatter’d his Maker’s Image through the Land.    (10)

(1681)

What is the rhyme scheme of this poem?

As I was going down impassive Rivers,

I no longer felt myself guided by haulers:

Yelping redskins had taken them as targets

And had nailed them naked to colored stakes.

I was indifferent to all crews, (5)

The bearer of Flemish wheat or English cottons

When with my haulers this uproar stopped

The Rivers let me go where I wanted.

Into the furious lashing of the tides

More heedless than children's brains the other winter    (10)

I ran! And loosened Peninsulas

Have not undergone a more triumphant hubbub…

What rhyme scheme does this passage employ?