
- •Contents
- •Before the Anglo-Saxons
- •Anglo-Saxon England
- •Early Anglo-Saxon Life
- •Cultural Influences key idea Early Anglo-Saxon literature reflected a fatalistic worldview, while later works were influenced by rapidly spreading Christianity. The Spread of Christianity
- •The Development of English: Old English (450-1150)
- •Unit 2. The medieval period
- •Historical Context key idea With the Norman Conquest, England entered the medieval period, a time of innovation in the midst of war.
- •The Monarchy
- •Conflict and Plague
- •The Development of English: Middle English (1150-1500)
- •Indulgences
- •Royalty and the People
- •Ideas of the Age key ideas This period became known as the Age of Reason, because people used reason, not faith, to make sense of the world. The Age of Reason
- •A Changing Language: Restoration English
- •War with France
- •A Changing Language: Late Modern English
- •Monarchy in the Modern Style
- •Progress, Problems, and Reform
- •Cultural Influences key ideas Writers clashed over Britain’s expanding imperialism. British Imperialism
- •A Changing Language: The Birth of Standard English
- •Old English Poetry
- •Early Authors: Histories and Sermons
- •Literature Focus II. The Epic and the Epic Hero
- •French Romance
- •Reading Check
- •The Age of Chaucer
- •The Beginnings of Drama
- •Literature Focus II. The Ballad Tradition
- •Literature Focus III. Miracle and Morality Plays
- •Renaissance Drama
- •The Rise of Humanism
- •Spiritual and Devotional Writings
- •Metaphysical and Cavalier Poetry
- •Literature Focus II. The Sonnet
- •Literature Focus III. Shakespearean Drama Shakespeare’s Influence
- •Shakespeare’s Theater
- •Shakespearean Tragedy
- •Literature Focus IV. The Metaphysical Poets
- •Literature Focus V. The Cavalier Poets
- •I could not force an artificial dew [tears]
- •If it prove fair weather.”
- •The Age of Johnson
- •Literature Focus II. Nonfiction of the 18th Century
- •Other Forms of Nonfiction
- •Literature Focus III. Satire a History of Mockery
- •Characteristics of Satire
- •I sing— . . .
- •Romanticism Evolves
- •The Late Romantics
- •Literature Focus II. Romantic Poetry
- •Romantic Poetry’s Defining Features
- •Literature Focus III. Form and Meaning in Poetry
- •Literature Focus IV. The Byronic Hero
- •Characteristics of the Byronic Hero
- •The Legacy of the Byronic Hero
- •Realism in Fiction
- •Victorian Viewpoints
- •Victorian Viewpoints
- •Literature Focus II. The Growth and the Development of Fiction
- •The Novel Comes of Age
- •New Forms Emerge
- •Reading comprehension Reading Assessment I. Anglo-Saxon and Medieval Poetry
- •Comprehension
- •Written response
- •Comprehension
- •Written response
- •Reading Assessment II. Anglo-Saxon Prose
- •Comprehension
- •Reading Assessment III. Renaissance poetry
- •Sonnet 97 by William Shakespeare
- •Comprehension
- •Written response
- •Reading Assessment IV. Renaissance prose
- •From “Of Cunning” by Sir Francis Bacon
- •Comprehension
- •Reading Assessment V. Restoration prose
- •From “The Battle of the Books” by Jonathan Swift
- •Comprehension
- •From “The Poor and Their Betters” by Henry Fielding
- •Comprehension
- •Written response
- •Reading Assessment VI. Romantic literature
- •From “a Vindication of the Rights of Woman” by Mary Wollstonecraft
- •Comprehension
- •From “The Prelude, Book VI” by William Wordsworth
- •From “Hymn to Intellectual1 Beauty” by Percy Bysshe Shelley
- •Comprehension
- •Written response
- •Reading Assessment VII. Victorian literature
- •From “The New Railway” from “Dombey and Son” by Charles Dickens
- •Comprehension
- •Neutral Tones by Thomas Hardy
- •From “Adam Bede” by George Eliot
- •Comprehension
- •Written response
Written response
Short Response Write three or four sentences to answer this question.
17. In lines 1–2 of “The Prelude,” the speaker calls the brook and the road “fellow travellers.” What does this metaphor suggest about the speaker’s relationship to nature?
Extended Response Write two or three paragraphs to answer this question.
18. What is the main idea that Wordsworth conveys in this stanza excerpted from “The Prelude”? Cite words and phrases from the poem to support your answer.
Reading Assessment VII. Victorian literature
DIRECTIONS Carefully read the following passage. Use context clues to help define any words with which you are unfamiliar. Pay close attention to the use of figurative language, argument, and tone. Then, on a separate sheet of paper, answer the questions that follow.
From “The New Railway” from “Dombey and Son” by Charles Dickens
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The first shock of a great earthquake had, just at that period, rent the whole neighborhood to its center. Traces of its course were visible on every side. Houses were knocked down; streets broken through and stopped; deep pits and trenches dug in the ground; enormous heaps of earth and clay thrown up; buildings that were undermined and shaking, propped by great beams of wood. … Everywhere were bridges that led nowhere; thoroughfares that were wholly impassable; Babel towers of chimneys, wanting half their height; temporary wooden houses and enclosures, in the most unlikely situations; carcasses of ragged tenements, and fragments of unfinished walls and arches, and piles of scaffolding, and wildernesses of bricks, and giant forms of cranes, and tripods straddling above nothing. There were a hundred thousand shapes and substances of incompleteness, wildly mingled out of their places, upside down, burrowing in the earth, aspiring in the air, moldering in the water, and unintelligible as any dream. … In short, the yet unfinished and unopened railroad was in progress; and from the very core of all this dire disorder, trailed smoothly away, upon its mighty course of civilization and improvement. But as yet, the neighborhood was shy to own the railroad. … Nothing was the better for it, or thought of being so. If the miserable waste ground lying near it could have laughed, it would have laughed it to scorn, like many of the miserable neighbors. Staggs’s Gardens was uncommonly incredulous. It was a little row of houses, with little squalid patches of ground before them, fenced off with old doors, barrel staves … and dead bushes; with bottomless tin kettles and exhausted iron fenders, thrust into the gaps. Here, the Staggs’s Gardeners trained scarlet beans, kept fowls and rabbits, erected rotten summer-houses (one was an old boat), dried clothes, and smoked pipes. … Staggs’s Gardens was regarded by its population as a sacred grove not to be withered by railroads; and so confident were they generally of its long outliving any such ridiculous inventions, that the master chimney-sweeper at the corner, who was understood to take the lead in the local politics of the Gardens, had publicly declared that on the occasion of the railroad opening, if ever it did open, two of his boys should ascend the flues of his dwelling, with instructions to hail the failure with derisive jeers from the chimney-pots.
There was no such place as Staggs’s Gardens. It had vanished from the earth. Where the old rotten summer-houses once had stood, palaces now reared their heads, and granite columns of gigantic girth opened a vista to the railway world beyond. … The old by-streets now swarmed with passengers and vehicles of every kind. … As to the neighborhood which had hesitated to acknowledge the railroad in its struggling days, that had grown wise and penitent … and now boasted of its powerful and prosperous relation. There were railway patterns in its drapers’ shops, and railway journals in the windows of its newsmen. There were railway hotels, coffee-houses, lodging-houses, boarding-houses; railway plans, maps, views, wrappers, bottles, sandwich-boxes, and timetables. … There was even railway time observed in clocks, as if the sun itself had given in. Among the vanquished was the master chimney-sweeper … who now lived in a stuccoed house three stories high, and gave himself out, with golden flourishes upon a varnished board, as contractor for the cleansing of railway chimneys by machinery. |