Ode on a Grecian URL

Part I. Identification of five passages. 30 mins. 30% (6 mins. per passage).

Write on five of the following nine passages. For each one,

1. identify the text in which the passage occurs and its author, (1 point)
2. write one or two sentences describing the context of the passage by identifying the speaker(s) or the character(s) involved; where in the plot the passage occurs; and what precisely is happening or being described, (2 points)
3. state briefly the significance of the passage for the themes of the text. In describing the significance, you should point to specific details - images, telling words, metaphors - to support your account. Without these details you will not get full credit for your answer. (3 points)

1.
You must either make a tool of the creature, or a man of him. You cannot make both. Men were not intended to work with the accuracy of tools, to be precise and perfect in all their actions. If you will have that precision out of them, and make their fingers measure degrees like cogwheels, and their arms strike curves like compasses, you must unhumanize them.


2.
Ernest. The highest Criticism, then, is more creative than creation, and the primary aim of the critic is to see the object as in itself it really is not; that is your theory, I believe?
Gilbert. Yes, that is my theory. To the critic the work of art is simply a suggestion for a new work of his own, that need not necessarily bear any obvious resemblance to the thing it criticizes. The one characteristic of a beautiful form is that one can put into it whatever one wishes, and see in it whatever one chooses to see…


3.
A bowshot from her bower eaves,
He rode between the barley sheaves,
The sun came dazzling through the leaves,
And flamed upon the brazen greaves
Of bold Sir Lancelot.
A red-cross knight forever kneeled
To a lady in his shield…


4.
That moment she was mine, mine, fair,
Perfectly pure and good: I found
A thing to do, and all her hair
In one long yellow string I wound
Three times her little throat around,
And strangled her. No pain felt she;
I am quite sure she felt no pain.


5.
And the function of the aesthetic critic is to distinguish, to analyze, and separate from its adjuncts, the virtue by which a picture, a landscape, a fair personality in life or in a book, produces this special impression of beauty or pleasure, to indicate what the source of that impression is, and under what conditions it is experienced.


6.
Then joining hands to little hands
Would bid them cling together,
“For there is no friend like a sister
In calm or stormy weather;
To cheer one on the tedious way,
To fetch one if one goes astray,
To lift one if one totters down,
To strengthen whilst one stands.”


7.
Fred felt a shock greater than he could quite account for by the vague knowledge that Lydgate was in debt, and that his father had refused to help him; and his own inclination to enter into the play was suddenly checked. It was a strange reversal of attitudes: Fred’s blond face and blue eyes, usually bright and careless, ready to give attention to anything that held out a promise of amusement, looking involuntarily grave and almost embarrassed as if by the sight of something unfitting; while Lydgate, who had habitually an air of self-possessed strength, and a certain meditativeness that seemed to lie behind his most observant attention, was acting, watching, speaking with that excited narrow consciousness which reminds one of an animal with fierce eyes and retractile claws.


8.
The Sea of Faith
Was once, too, at the full, and round earth’s shore
Lay like the folds of a bright girdle furled.
But now I only hear
Its melancholy, long, withdrawing roar,
Retreating, to the breath
Of the night wind, down the vast edges drear
And naked shingles of the world.


9.
She had no presentiment that the power which her husband wished to establish over her future action had relation to anything else than his work. But it was clear enough to her that he would expect her to devote herself to sifting those mixed heaps of material, which were to be the doubtful illustration of principles still more doubtful. The poor child had become altogether unbelieving as to the trustworthiness of that Key which had made the ambition and the labour of her husband’s life. It was not wonderful that, in spite of her small instruction, her judgment in this matter was truer than his: for she looked with unbiassed comparison and healthy sense at probabilities on which he had risked all his egoism.