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ENGLISH III MODERN POETRY Sandburg – Frost – Moore

ENGLISH III MODERN POETRY Sandburg – Frost – Moore. Quiz Review. Poets generally convey tone through _______________. Poets generally convey tone through DICTION . DICTION: word choice and syntax (sentence structure).

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ENGLISH III MODERN POETRY Sandburg – Frost – Moore

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  1. ENGLISH III MODERN POETRY Sandburg – Frost – Moore Quiz Review

  2. Poets generally convey tone through _______________.

  3. Poets generally convey tone through DICTION . DICTION: word choice and syntax (sentence structure)

  4. In a manner similar to Walt Whitman’s, Carl Sandburg used lists of images and ideas, as exemplified in “Chicago.” The style of using such lists is sometimes referred to as ___________ or ____________.

  5. In a manner similar to Walt Whitman’s, Carl Sandburg used lists of images and ideas, as exemplified in “Chicago.” The style of using such lists is sometimes referred to as CATALOGING or LITANY.

  6. Carl Sandburg uses epithets such as “Hog Butcher for the World, Tool Maker, Stacker of Wheat, Players with Railroads and the Nation’s Freight Handlers, and City of the Big Shoulders” to describe Chicago. In some contexts, using an “epithet” means calling someone “a bad name”; however, in the context of this poem, epithets are used like ______________.

  7. Carl Sandburg uses epithets such as “Hog Butcher for the World, Tool Maker, Stacker of Wheat, Players with Railroads and the Nation’s Freight Handlers, and City of the Big Shoulders” to describe Chicago. In some contexts, using an “epithet” means calling someone “a bad name”; however, in the context of this poem, epithets are used like NICKNAMES.

  8. SENSORY LANGUAGE creates VIVID IMAGERY with verbs that indicate using the ____________ to understand a concept.

  9. SENSORY LANGUAGE creates VIVID IMAGERY with diction that indicates using the SENSES to understand a concept. For example, to grasp the concept of “with lifted head singing” would require using the sense of HEARING.

  10. In general, Sandburg uses PERSONIFICATION to describe the city of Chicago as ______________.

  11. In general, Sandburg uses PERSONIFICATION to describe the city of Chicago as a young, hardworking man. “a tall bold slugger . . . .” “Under the smoke, dust all over his mouth, laughing with white teeth, Under the terrible burden of destiny laughing as a young man laughs, . . .” “Bragging and laughing that under his wrist is the pulse,” “Laughing the story, husky, brawling, laughter of Youth, half-naked, sweating, proud . . . .”

  12. The speaker sneers back at the critics of Chicago, but also admits _______, compares it __________, and points out ________.

  13. The speaker sneers back at the critics of Chicago, but also admits that the accusations are accurate, compares it favorably to other cities, and points out Chicago’s admirable qualities.

  14. The title of Robert Frost’s poem “Out, Out—” alludes to ________________.

  15. The title of Robert Frost’s poem “Out, Out—” alludes to Shakespeare’s MacBeth, near the end of the play, where Macbeth learns of his wife’s death: Out, out, brief candle! Life's but a walking shadow, a poor player, That struts and frets his hour upon the stage, And then is heard no more. (V.v, lines 23 – 26)

  16. “Out, Out—” contains vivid images that convey a mood of _______ and ________ that is very similar to ________________.

  17. “Out, Out—” contains vivid images that convey a mood of foreboding and gloom that is very similar to the classical Greek dramas of ancient Greece.

  18. In “Out, Out—” Frost uses a description of the ________________ to provide a sharp ______ to a ____ event.

  19. In “Out, Out—” Frost uses a description of the peaceful mountains to provide a sharp contrast to a tragic event.

  20. In the poem “Out, Out—,” a boy receives a serious injury to his _______ while working with a ______. At the end of the poem, the boy _____________.

  21. In the poem “Out, Out—,” a boy receives a serious injury to his hand while working with a table saw. At the end of the poem, the boy dies.

  22. The last two lines of “Out, Out—” seem somewhat shocking to today’s reader because what happens after the boy dies is presented as straightforward and _____________.

  23. The last two lines of “Out, Out—” seem somewhat shocking to today’s reader because what happens after the boy dies is presented as straightforward and matter-of-fact.

  24. At the beginning of Marianne Moore’s poem “Poetry,” the speaker seems to commiserate with many people who don’t like poetry by saying she dislikes poetry, too, and that poetry seems _______ because there are many other things that are more important.

  25. At the beginning of Marianne Moore’s poem “Poetry,” the speaker seems to commiserate with many people who don’t like poetry by saying she dislikes poetry, too, and that poetry seems trivial because there are many other things that are more important.

  26. The speaker in“Poetry” conveys an attitude of _________ toward “the immovable critic [of poetry] ” (line 14).

  27. The speaker in“Poetry” conveys an attitude of scorn toward “the immovable critic [of poetry] twitching his skin like a horse that feels a flea.”

  28. Despite commenting on some negative aspects of poetry, the speaker in“Poetry” feels that “genuine poetry” can provide the reader with pleasures such as “imaginary _________ with ______________ in them.”

  29. Despite commenting on some negative aspects of poetry, the speaker in“Poetry” feels that “genuine poetry” can provide the reader with pleasures such as “imaginary gardens with real toads in them.” What does this analogy mean to you?

  30. Marianne Moore was somewhat of a ______ when it came to writing traditional poetry, so she often combined standard _______ with nonconformist ______. An example of her style is found at the end of stanzas 1-4, where she utilizes _______ to give her poem a striking feeling of conversational prose.

  31. Marianne Moore was somewhat of a rebel when it came to writing traditional poetry, so she often combined standard conventions of written language with nonconformist form (rhyme, meter, and line length). An example of her unconventional style is found at the end of stanzas 1-4, where she utilizes enjambment to give her poem a striking feeling of conversational prose.

  32. ENJAMBMENT (N): the runningonofthe thought from one line, couplet, or stanza to the next withouta syntactical break I, too, dislike it: there are things that are important beyond all this fiddle. Reading it, however, with a perfect contempt for it, one discovers in it after all, a place for the genuine. Hands that can grasp, eyes that can dilate, hair that can rise if it must, these things are important not because a high-sounding interpretation can be put upon them but because they are useful. When they become so derivative as to become unintelligible, the same thing may be said for all of us, that we do not admire what we cannot understand: the bat holding on upside down or in quest of something to eat, elephants pushing, a wild horse taking a roll, a tireless wolf under

  33. After the quiz and the unit test, please do not out of your memory the information you have learned about poetry in this unit. You will not only need to know these concepts later this semester, but also next year in English IV (even dual credit!), as well as in college.

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