Cultural and Literary 18th-19th Centuries

A. Horror
B. The sublime
C. Suspense
D. Picaresque

A. A refusal to emphasize the innate goodness of humanity
B. An emphasis on the power of sympathy to allow individuals to feel others’ pain and joy
C. A sense of awe in the power of the natural world
D. A parody of the interest in emotion that developed out of the Enlightenment interest in reason

A. Two characters in an epic who are romantically involved
B. Two lines of rhyming verse written in iambic pentameter
C. The concluding lines of any poem
D. Two characters who act as foils in a comedy of manners

A. the ultimate expression of humankind’s ability to control its own destiny.
B. a misguided attempt to overthrow human nature by rejecting tradition.
C. a necessary change that was beginning to go astray.
D. an event that had little consequence to England

A. through the personal, direct appeal enabled by his epistolary form.
B. by emphasizing the character’s fright.
C. by emphasizing sexual morality.
D. through the sentimental attempt to make readers strongly identify with the character’s feelings.

A. He created a radically new form.
B. He used unusual, arcane words.
C. He made obscure allusions.
D. All of these answers

A. a sonnet expressing his devotion to his wife.
B. a dramatic monologue spoken by a murderer.
C. a dramatic monologue spoken by Browning.
D. an epic describing a great romance.

A. neoclassical emphasis on traditional form and romantic subjectivism.
B. romantic rejection of science and neoclassical use of mythology.
C. romantic emphasis on personal feelings combined with a neoclassical focus on social context.
D. romantic critique of industrialization and neoclassical use of satire.