Term
Gray: Elegy Written in a Country Churchyard
1/32 |
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Definition
The curfew tolls the knell of parting day,
The lowing herd winds slowly o'er the lea,
The ploughman homeward plods his weary way,
And leaves the world to darkness and to me. |
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Term
Gray: Elegy Written in a Country Churchyard
8/32 |
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Definition
Let not Ambition mock their useful toil,
Their homely joys, and destiny obscure;
Nor Grandeur hear with a disdainful smile
The short and simple annals of the Poor. |
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Term
Gray: Elegy Written in a Country Churchyard
12/32 |
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Definition
Perhaps in this neglected spot is laid
Some heart once pregnant with celestial fire;
Hands, that the rod of empire might have sway'd,
Or waked to ecstasy the living lyre: |
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Term
Gray: Elegy Written in a Country Churchyard
16/32 |
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Definition
Th' applause of list'ning senates to command,
The threats of pain and ruin to despise,
To scatter plenty o'er a smiling land,
And read their history in a nation's eyes, |
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Term
Gray: Elegy Written in a Country Churchyard
24/32 |
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Definition
For thee, who, mindful of th' unhonour'd dead,
Dost in these lines their artless tale relate;
If chance, by lonely contemplation led,
Some kindred spirit shall inquire thy fate, -- |
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Term
Blake: The Marriage of Heaven and Hell*
proverbs of hell |
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Definition
In seed time learn, in harvest teach, in winter enjoy.
Drive your cart and your plow over the bones of the dead.
The road of excess leads to the palace of wisdom.
Prudence is a rich ugly old maid courted by Incapacity.
He who desires but acts not, breeds pestilence. |
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Term
Blake: The Marriage of Heaven and Hell*
Proverbs of hell |
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Definition
The cut worm forgives the plow.
Dip him in the river who loves water.
A fool sees not the same tree that a wise man sees.
He whose face gives no light, shall never become a star. |
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Term
Blake: The Marriage of Heaven and Hell*
Plate 11 |
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Definition
The ancient Poets animated all sensible objects with Gods or Geniuses, calling them by the names and adorning them with the properties of woods, rivers, mountains, lakes, cities, nations, and whatever their enlarged & numerous senses could percieve.
And particularly they studied the genius of each city & country, placing it under its mental deity;
Till a system was formed, which some took advantage of & enslav'd the vulgar by attempting to realize or abstract the mental deities from their objects: thus began Priesthood;
Choosing forms of worship from poetic tales.
And at length they pronounc'd that the Gods had order'd such things.
Thus men forgot that All deities reside in the human breast. |
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Term
Wordsworth: Expostulation and Reply
wordsworth replies to Matthew |
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Definition
"The eye--it cannot choose but see;
We cannot bid the ear be still;
Our bodies feel, where'er they be,
Against or with our will. |
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Term
Wordsworth: Tables Turned
last stanza |
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Definition
Enough of Science and of Art;
Close up those barren leaves;
Come forth, and bring with you a heart
That watches and receives. |
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Term
| Wordsworth: Preface to Lyrical Ballads |
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Definition
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Term
Wordsworth: Tintern Abbey / Lines
end of fourth stanza... |
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Definition
Therefore am I still
A lover of the meadows and the woods,
And mountains; and of all that we behold
From this green earth; of all the mighty world
Of eye, and ear, -- both what they half create,
And what perceive; well pleased to recognise
In nature and the language of the sense,
The anchor of my purest thoughts, the nurse,
The guide, the guardian of my heart, and soul
Of all my moral being. |
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Term
| D. wordsworth: Grasmere Journals |
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Definition
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Term
Wordsworth: the World is too much with us
middle-end |
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Definition
For this, for everything, we are out of tune;
It moves us not.--Great God! I'd rather be
A Pagan suckled in a creed outworn; (1)
So might I, standing on this pleasant lea, (2)
Have glimpses that would make me less forlorn; |
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Term
| Wollstonecraft: Vindication of the Rights of Woman |
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Definition
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Term
Wordsworth: Tables Turned
First stanza |
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Definition
Up! up! my Friend, and quit your books;
Or surely you'll grow double:
Up! up! my Friend, and clear your looks;
Why all this toil and trouble? |
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Term
Coleridge: The Eolian Harp
beginning ish of second stanza |
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Definition
Like some coy maid half-yielding to her lover,
It pours such sweet upbraiding, as must needs
Tempt to repeat the wrong ! |
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Term
Coleridge: The Eolian Harps
second to last stanza, complete |
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Definition
And what if all of animated nature
Be but organic Harps diversly fram'd,
That tremble into thought, as o'er them sweeps
Plastic and vast, one intellectual breeze,
At once the Soul of each, and God of all ? |
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Term
Coleridge: Rime of the Ancient Mariner
end-part 7 |
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Definition
He prayeth best, who loveth best
All things both great and small ;
For the dear God who loveth us,
He made and loveth all. |
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Term
Coleridge: Rime of the Ancient Mariner
part 4 |
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Definition
I closed my lids, and kept them close,
And the balls like pulses beat ;
For the sky and the sea, and the sea and the sky
Lay like a load on my weary eye,
And the dead were at my feet. |
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Term
Coleridge: Rime of the Ancient Mariner
part 6 |
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Definition
Oh ! dream of joy ! is this indeed
The light-house top I see ?
Is this the hill ? is this the kirk ?
Is this mine own countree ? |
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Term
Coleridge: Frost at Midnight
3/4 |
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Definition
Dear Babe, that sleepest cradled by my side,
Whose gentle breathings, heard in this deep calm,
Fill up the intersperséd vacancies
And momentary pauses of the thought ! |
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Term
Coleridge: Biographia Literaria
ch 13 |
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Definition
| It dissolves, diffuses, dissipates, in order to re-create; or where this process is rendered impossible, yet still at all events it struggles to idealize and to unify. It is essentially vital, even as all objects (as objects) are essentially fixed and dead. |
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Term
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Definition
I would build that dome in air,
That sunny dome ! those caves of ice !
And all who heard should see them there,
And all should cry, Beware ! Beware !
His flashing eyes, his floating hair !
Weave a circle round him thrice,
And close your eyes with holy dread,
For he on honey-dew hath fed,
And drunk the milk of Paradise. |
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Term
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Definition
And from this chasm, with ceaseless turmoil seething,
As if this earth in fast thick pants were breathing,
A mighty fountain momently was forced :
Amid whose swift half-intermitted burst |
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Term
Bryon: Darkness
very first line |
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Definition
| I had a dream, which was not all a dream. |
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Term
Bryon; Darkness
towards the end |
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Definition
The world was void,
The populous and the powerful was a lump,
Seasonless, herbless, treeless, manless, lifeless--
A lump of death--a chaos of hard clay. |
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Term
Byron: Don Juan
canto 1, 194 |
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Definition
Man's love is of man's life a thing apart,
'T is woman's whole existence[29]; man may range
The court, camp, church, the vessel, and the mart;
Sword, gown, gain, glory, offer in exchange
Pride, fame, ambition, to fill up his heart,
And few there are whom these cannot estrange;
Men have all these resources, we but one,
To love again, and be again undone. |
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Term
Byron: Don Juan
canto 1, 205 |
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Definition
Thou shalt believe in Milton, Dryden, Pope;
Thou shalt not set up Wordsworth, Coleridge, Southey;
Because the first is crazed beyond all hope,
The second drunk, the third so quaint and mouthy:
With Crabbe it may be difficult to cope,
And Campbell's Hippocrene is somewhat drouthy:
Thou shalt not steal from Samuel Rogers, nor
Commit -- flirtation with the muse of Moore. |
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Term
Byron: Don Juan
canto 2, 190 |
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Definition
Haidde spoke not of scruples, ask'd no vows,
Nor offer'd any; she had never heard
Of plight and promises to be a spouse,
Or perils by a loving maid incurr'd;
She was all which pure ignorance allows,
And flew to her young mate like a young bird;
And, never having dreamt of falsehood, she
Had not one word to say of constancy. |
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Term
Byron: Don Juan
canto 2, 191 |
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Definition
She loved, and was belovéd -- she adored,
And she was worshipp'd; after nature's fashion,
Their intense souls, into each other pour'd,
If souls could die, had perish'd in that passion, --
But by degrees their senses were restored,
Again to be o'ercome, again to dash on;
And, beating 'gainst his bosom, Haidée's heart
Felt as if never more to beat apart. |
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Term
Percy Bysshe Shelley: Mont Blanc
line 5-6 |
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Definition
The source of human thought its tribute brings
Of waters, –with a sound but half its own. |
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Term
Shelley: Mont Blanc
Part 3 just past middle |
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Definition
rude, bare, and high,
ghastly, and scarred, and riven. Is this the scene
Where the old Earthqauke-daemon taught her young
Ruin? Were these their toys? |
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Term
Shelley: Mont Blanc
last lines |
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Definition
And what were thou, and earth, and stars, and sea,
if to the human mind's imaginings
Silence and solitude were vacancy? |
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Term
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Definition
The first section establishes the controlling metaphor (nature : mind : thought :: river : ravine : sound) and begins to prove its relevance , noting that the ultimate result depends both on the nature of Nature and the nature of the mind.
The second portion describes the forceful, destructive power of the Arve (thus, nature) and how it forces its way into the perception of the mind, which for the moment is a passive observer, where it meets the witch Poesy, or the mental generator of poetry.
The third part introduces the mountain itself, characterizing it as truly violent , yet serene from a distant view. The speaker describes the distinction between these two perceptions is the nature of the observer; namely, whether he or she is wise, great and good or not.
The fourth section describes destruction and its life-giving characteristics, and uses imagery of weather the river wreaking havoc upon the surface of the mountain.
The fifth part points out that despite this havoc, the mountain still stands in full power. He describes this power as a potential, ultimately depending upon the observer, questioning the effectiveness of that power on an unimaginative or unintelligent mind. |
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Term
Shelley: Ode to the West Wind
beginning, lines 13-14, own stanza, part 1/5 |
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Definition
Wild Spirit, which art moving everywhere;
Destroyer and Preserver; hear, O hear! |
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Term
Shelley: Ode to the West Wind
2nd to last stanza, part 5/5 |
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Definition
Scatter, as from an unextinguished hearth
Ashes and sparks, my words among mankind!
Be through my lips to unawakeend Earth |
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Term
Shelley: Ode to the West Wind
part 4/5, second stanza of part 4 |
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Definition
The impulse of they strength, only less free
Than thou. O Uncontrollable! If even
I were as in my boyhood, and could be |
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Term
Keats: Ode on a Grecian Urn
last stanza, first lines of last stanza |
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Definition
O Attic shape! Fair attitude! with brede
Of marble men and maidens overwrought, |
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Term
Keats: Ode on Melancholy
first line of last stanza 3/3 |
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Definition
| She dwells with Beauty – Beauty that must die |
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Term
Keats: Selection of Letters
To George and Thomas Keats |
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Definition
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Term
| Keats: On First Looking into Champman's Homer |
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Definition
Much have I travell'd in the realms of gold,
And many goodly states and kingdoms seen;
Round many western islands have I been
Which bards in fealty to Apollo hold.
Oft of one wide expanse had I been told
That deep-browed Homer ruled as his demesne;
Yet did I never breathe its pure serene
Till I heard Chapman speak out loud and bold:
Then felt I like some watcher of the skies
When a new planet swims into his ken;
Or like stout Cortez when with eagle eyes
He star'd at the Pacific — and all his men
Look'd at each other with a wild surmise —
Silent, upon a peak in Darien. |
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Term
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Definition
If by dull rhymes our English must be chained,
And, like Andromeda, the Sonnet sweet
Fettered, in spite of pained loveliness,
Let us find, if we must be constrained,
Sandals more interwoven and complete
To fit the naked foot of Poesy:
Let us inspect the Lyre, and weigh the stress
Of every chord, and see what may be gained
By ear industrious, and attention meet;
Misers of sound and syllable, no less
Than Midas of his coinage, let us be
Jealous of dead leaves in the bay wreath crown;
So, if we may not let the Muse be free,
She will be bound with garlands of her o |
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Term
| Keats: On Seeing the Elgin Marbles |
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Definition
My spirit is too weak; mortality
Weighs heavily on me like unwilling sleep,
And each imagined pinnacle and steep
Of godlike hardship tells me I must die
Like a sick eagle looking at the sky.
Yet 'tis a gentle luxury to weep,
That I have not the cloudy winds to keep
Fresh for the opening of the morning's eye.
Such dim-conceived glories of the brain
Bring round the heart an indescribable feud;
So do these wonders a most dizzy pain,
That mingles Grecian grandeur with the rude
Wasting of old Time -with a billowy main,
A sun, a shadow of a magnitude. |
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Term
| Keats: When I Have Fears That I May Cease to Be |
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Definition
WHEN I have fears that I may cease to be
Before my pen has glean'd my teeming brain,
Before high pil`d books, in charact'ry,
Hold like rich garners the full-ripen'd grain;
When I behold, upon the night's starr'd face, 5
Huge cloudy symbols of a high romance,
And feel that I may never live to trace
Their shadows, with the magic hand of chance;
And when I feel, fair creature of an hour!
That I shall never look upon thee more, 10
Never have relish in the faery power
Of unreflecting love;—then on the shore
Of the wide world I stand alone, and think,
Till Love and Fame to nothingness do sink |
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Term
Keats: Ode to a Nightingale
end of stanza 2 |
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Definition
That I might drink, and leave the world unseen,
And with thee fade away into the forest dim: |
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Term
Keats: To Autumn
first lines of last stanza, 3/3 |
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Definition
Where are the songs of spring? Ay, where are they?
Think not of them, thou hast they music too, – |
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Term
Keats: the Eve of St. Agnes
stanza 26 |
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Definition
Anon his heart revives: her vespers done,
Of all its wreathed pearls her hair she frees;
Unclasps her warmed jewels one by one;
Loosens her fragrant boddice; by degrees
Her rich attire creeps rustling to her knees:
Half-hidden, like a mermaid in sea-weed,
Pensive awhile she dreams awake, and sees,
In fancy, fair St. Agnes in her bed,
But dares not look behind, or all the charm is fled. |
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Term
Keats: The Eve of St. Agnes
stanza 34 |
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Definition
Her eyes were open, but she still beheld,
Now wide awake, the vision of her sleep:
There was a painful change, that nigh expell’d
The blisses of her dream so pure and deep
At which fair Madeline began to weep,
And moan forth witless words with many a sigh;
While still her gaze on **** would keep;
Who knelt, with joined hands and piteous eye,
Fearing to move or speak, she look’d so dreamingly. |
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Term
Keats: The Eve of St. Agnes
stanza 35 |
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Definition
“Ah, ****!” said she, “but even now
“Thy voice was at sweet tremble in mine ear,
“Made tuneable with every sweetest vow;
“And those sad eyes were spiritual and clear:
“How chang’d thou art! how pallid, chill, and drear!
“Give me that voice again, my ****,
“Those looks immortal, those complainings dear!
“Oh leave me not in this eternal woe,
“For if thou diest, my Love, I know not where to go.” |
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Term
Keats: The Eve of St. Agnes
stanza 36 |
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Definition
Beyond a mortal man impassion’d far
At these voluptuous accents, he arose,
Ethereal, flush’d, and like a throbbing star
Seen mid the sapphire heaven’s deep repose;
Into her dream he melted, as the rose
Blendeth its odour with the violet,—
Solution sweet: meantime the frost-wind blows
Like Love’s alarum pattering the sharp sleet
Against the window-panes; ****’ moon hath set. |
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Term
Keats: Ode to a Nightingale
beginning of last stanza, 8 |
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Definition
Forlorn! the very word is like a bell
To toll me back from thee to my sole self! |
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Term
Keats: Ode to a Nightingale
last two lines, stanza 8/8 |
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Definition
Was it a vision, or a waking dream?
Fled is that music:—do I wake or sleep? |
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