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Flashcards

Romantic Poetry

Alexandra Ann Gualario English English 102 cards

Childe Harold’s Pilgrimage, Lord Byron (canto 3, stanza 114)

Cards in this deck (102)

  1. 1—Childe Harold’s Pilgrimage, Lord Byron (canto 3, stanza 114)Childe Harold’s Pilgrimage, Lord Byron (canto 3, stanza 114)
  2. 2—Childe Harold’s Pilgrimage, Lord Byron (canto 3, stanza 115)Childe Harold’s Pilgrimage, Lord Byron (canto 3, stanza 115)
  3. 3—On This Day I Complete My Thirty-Sixth Year, Lord Byron (stanza 1)On This Day I Complete My Thirty-Sixth Year, Lord Byron (stanza 1)
  4. 4—On This Day I Complete My Thirty-Sixth Year, Lord Byron (stanza 2)On This Day I Complete My Thirty-Sixth Year, Lord Byron (stanza 2)
  5. 5—On This Day I Complete My Thirty-Sixth Year, Lord Byron (stanza 7)On This Day I Complete My Thirty-Sixth Year, Lord Byron (stanza 7)
  6. 6—Childe Harold’s Pilgrimage, Lord Byron (canto 1) (stanza 1)Childe Harold’s Pilgrimage, Lord Byron (canto 1) (stanza 1)
  7. 7—Childe Harold’s Pilgrimage, Lord Byron (canto 1) (stanza 8)Childe Harold’s Pilgrimage, Lord Byron (canto 1) (stanza 8)
  8. 8—Childe Harold’s Pilgrimage, Lord Byron (canto 1) (Song, stanza 13 part 7)Childe Harold’s Pilgrimage, Lord Byron (canto 1) (Song, stanza 13 part 7)
  9. 9—Childe Harold’s Pilgrimage, Lord Byron (canto 1) (Song, stanza 13)Childe Harold’s Pilgrimage, Lord Byron (canto 1) (Song, stanza 13)
  10. 10—Childe Harold’s Pilgrimage, Lord Byron (canto 1) (Song, stanza 13, Line 1)Childe Harold’s Pilgrimage, Lord Byron (canto 1) (Song, stanza 13, Line 1)
  11. 11—Manfred, Soliloquy (Act 1 Scene 1 Line 1) (Manfred, Soliloquy (Act 1 Scene 1 Line 1) (
  12. 12—Manfred (Act 1 Scene 2) (Chamois hunter)Manfred (Act 1 Scene 2) (Chamois hunter)
  13. 13—Manfred (Act 1 Scene 2) (on mountain with Chamois hunter about to jump)Manfred (Act 1 Scene 2) (on mountain with Chamois hunter about to jump)
  14. 14—Manfred (Act 1 Scene 2) (Chamois Hunter brings Manfred off of cliff...projects himself onto him)Manfred (Act 1 Scene 2) (Chamois Hunter brings Manfred off of cliff...projects himself onto him)
  15. 15—Manfred (Act 2 Scene 2) (Syntactical ambiguity, does he love anyone outside himself?)Manfred (Act 2 Scene 2) (Syntactical ambiguity, does he love anyone outside himself?)
  16. 16—Manfred (Act 2 Scene 2) (describes Astarte like himself)Manfred (Act 2 Scene 2) (describes Astarte like himself)
  17. 17—Don Juan (canto 1 stanza 43) (just to see if I can get a random passage)Don Juan (canto 1 stanza 43) (just to see if I can get a random passage)
  18. 18—Don Juan (canto 1 stanza 188) (ending canto but there are actually like 40 more stanzas)Don Juan (canto 1 stanza 188) (ending canto but there are actually like 40 more stanzas)
  19. 19—Don Juan (canto 1 stanza 84) (Donna Julia fantasy where husband died) (tourism!)Don Juan (canto 1 stanza 84) (Donna Julia fantasy where husband died) (tourism!)
  20. 20—Don Juan (canto 1 Stanza 85 second half) (Donna Julia husband dead) (tourism)Don Juan (canto 1 Stanza 85 second half) (Donna Julia husband dead) (tourism)
  21. 21—Don Juan (canto 2 stanza 165) (after shipwreck. narrator, sets distance)Don Juan (canto 2 stanza 165) (after shipwreck. narrator, sets distance)
  22. 22—Don Juan (canto 2 stanza 61) (on raft. no distinction between food and people)Don Juan (canto 2 stanza 61) (on raft. no distinction between food and people)
  23. 23—Don Juan (canto 2 stanza 208 part) (reader forgets Julia too!)Don Juan (canto 2 stanza 208 part) (reader forgets Julia too!)
  24. 24—Don Juan (canto 2 stanza 196) (Haidee imposing on DJ)Don Juan (canto 2 stanza 196) (Haidee imposing on DJ)
  25. 25—Don Juan (canto 2 stanza 197) (Haidee imposing on DJ and looking at him while he sleeps)Don Juan (canto 2 stanza 197) (Haidee imposing on DJ and looking at him while he sleeps)
  26. 26—OzymandiasOzymandias
  27. 27—Mont Blanc (stanza 1) (never describes the physical landscape, just describes in metaphors)Mont Blanc (stanza 1) (never describes the physical landscape, just describes in metaphors)
  28. 28—Mont Blanc (stanza 2) (connecting abstract and physical)Mont Blanc (stanza 2) (connecting abstract and physical)
  29. 29—Mont Blanc (stanza 5) (what would the physical mountain be without the imagination of the human mind)Mont Blanc (stanza 5) (what would the physical mountain be without the imagination of the human mind)
  30. 30—Hymn to Intellectual Beauty (stanza 1) (Shelley worships a power that is always slipping away from him)Hymn to Intellectual Beauty (stanza 1) (Shelley worships a power that is always slipping away from him)
  31. 31—Hymn to Intellectual Beauty (stanza 7)Hymn to Intellectual Beauty (stanza 7)
  32. 32—A Defence of Poetry (Beginning, saying that imagination creates)A Defence of Poetry (Beginning, saying that imagination creates)
  33. 33—A Defence of Poetry (part 2, saying that Poets inventing words and metaphors is what poetry is (the perpetual pursuit)A Defence of Poetry (part 2, saying that Poets inventing words and metaphors is what poetry is (the perpetual pursuit)
  34. 34—A Defence of Poetry (part 3, The history of poetry = a history of failure. Every poem = failure to capture that initial flash of inspiration)A Defence of Poetry (part 3, The history of poetry = a history of failure. Every poem = failure to capture that initial flash of inspirat...
  35. 35—A Defence of Poetry (part 4, Last five lines… even though poetry may seem like a separate part of life, it is not an abstraction, but it is reality itself... string of metaphors)A Defence of Poetry (part 4, Last five lines… even though poetry may seem like a separate part of life, it is not an abstraction, but it ...
  36. 36—Ode to the West Wind (stanza 1) (Compares dead leaves to dead souls (this is a line in Homer and Milton and Virgil) -> shows how Shelley is taking something dead with this symbol and bringing it back to life)Ode to the West Wind (stanza 1) (Compares dead leaves to dead souls (this is a line in Homer and Milton and Virgil) -> shows how Shelley ...
  37. 37—Ode to the West Wind (stanza 4) (Shelley compares himself to Jesus -> unoriginal/ overused dead symbol)Ode to the West Wind (stanza 4) (Shelley compares himself to Jesus -> unoriginal/ overused dead symbol)
  38. 38—Ode to the West Wind (stanza 5) (Everything is dying around him) (but poets see dead things and turn them into new poetry)Ode to the West Wind (stanza 5) (Everything is dying around him) (but poets see dead things and turn them into new poetry)
  39. 39—To a Skylark (part 1) (de-birdifies the bird) (mergining metaphorical and real world)To a Skylark (part 1) (de-birdifies the bird) (mergining metaphorical and real world)
  40. 40—To a Skylark (part 2) (bird is like a star... as soon as we see it, it fades)To a Skylark (part 2) (bird is like a star... as soon as we see it, it fades)
  41. 41—To a Skylark (part 3) (He doesn't understand the bird... string of similies to follow)To a Skylark (part 3) (He doesn't understand the bird... string of similies to follow)
  42. 42—To a Skylark (part 4) (the bird is just a bird, and this unreachable beauty is closer than we might think)To a Skylark (part 4) (the bird is just a bird, and this unreachable beauty is closer than we might think)
  43. 43—Epipsychidion (part 1) (Shelley string of metaphors... cannot settle on Emily's true essence)Epipsychidion (part 1) (Shelley string of metaphors... cannot settle on Emily's true essence)
  44. 44—Epipsychidion (part 2) (metaphors are questions because Shelley knows he failed to capture Emily's essence)Epipsychidion (part 2) (metaphors are questions because Shelley knows he failed to capture Emily's essence)
  45. 45—Epipsychidion (part 3) (again, he tries mataphors yet fails)Epipsychidion (part 3) (again, he tries mataphors yet fails)
  46. 46—Epipychidion (part 4) (shelley doesn't believe in manomy)Epipychidion (part 4) (shelley doesn't believe in manomy)
  47. 47—Epispychidion (part 5) (vision of Shelley's soul mate)Epispychidion (part 5) (vision of Shelley's soul mate)
  48. 48—Epipsychidion (part 6) (soulmate is "soul out of his soul"Epipsychidion (part 6) (soulmate is "soul out of his soul"
  49. 49—Epipsychidion (part 7) (Shelley thought he found soulmate in a bunch of different women, each insufficient)Epipsychidion (part 7) (Shelley thought he found soulmate in a bunch of different women, each insufficient)
  50. 50—Epipisychidion (part 8) (call for Emily to go away with Shelley)Epipisychidion (part 8) (call for Emily to go away with Shelley)
  51. 51—Epipsychidion (part 9) (he makes his imagination place for him and Emily to run away, real)Epipsychidion (part 9) (he makes his imagination place for him and Emily to run away, real)
  52. 52—On Love (paragraph 1) (Shelley says we look for lover like us)On Love (paragraph 1) (Shelley says we look for lover like us)
  53. 53—On Love (paragraph 2) (We want soul within our soul in love)On Love (paragraph 2) (We want soul within our soul in love)
  54. 54—On Love (paragraph 3) (it is impossible and a never ending quest)On Love (paragraph 3) (it is impossible and a never ending quest)
  55. 55—On First Looking into Chapman's Homer (part 1)On First Looking into Chapman's Homer (part 1)
  56. 56—On First Looking into Champan's Homer (part 2)On First Looking into Champan's Homer (part 2)
  57. 57—Ode to Psyche (stanza 1) (speaker sees Psyche and Cupid cuddle)Ode to Psyche (stanza 1) (speaker sees Psyche and Cupid cuddle)
  58. 58—Ode to Psyche (Psyche has no worshipers)Ode to Psyche (Psyche has no worshipers)
  59. 59—Ode to Psyche (Psyche has no worshipers)Ode to Psyche (Psyche has no worshipers)
  60. 60—Ode to Psyche (Keats will worship Psyche)Ode to Psyche (Keats will worship Psyche)
  61. 61—Hyperion (moving realms, Saturn goes from imortal to mortal)Hyperion (moving realms, Saturn goes from imortal to mortal)
  62. 62—La Belle Dame Sans Merci (sad night, nature is dying)La Belle Dame Sans Merci (sad night, nature is dying)
  63. 63—La Belle Dame Sans MerciLa Belle Dame Sans Merci
  64. 64—La Belle Dame Sans MerciLa Belle Dame Sans Merci
  65. 65—Ode on Melancholy (stanza 1) (don't just kill yourself if you're sad)Ode on Melancholy (stanza 1) (don't just kill yourself if you're sad)
  66. 66—Ode on Melancholy (stanza 2) (embrace saddness)Ode on Melancholy (stanza 2) (embrace saddness)
  67. 67—Ode on Melancholy (stanza 3) (beauty needs saddness)Ode on Melancholy (stanza 3) (beauty needs saddness)
  68. 68—Ode on Melancholy (stanza 3) (beauty needs saddness)Ode on Melancholy (stanza 3) (beauty needs saddness)
  69. 69—Eve of St. Agnes (stanza 1, it is cold)Eve of St. Agnes (stanza 1, it is cold)
  70. 70—Eve of St. Agnes (stanza 2, beadsman is barefoot)Eve of St. Agnes (stanza 2, beadsman is barefoot)
  71. 71—Eve of St. Agnes (stanza 23) (Madaline is getting rid of her senses and turning herself to stone, ready to transend worlds)Eve of St. Agnes (stanza 23) (Madaline is getting rid of her senses and turning herself to stone, ready to transend worlds)
  72. 72—Eve of St. Agnes (madaline undressing herself)Eve of St. Agnes (madaline undressing herself)
  73. 73—Eve of St. Agnes (they have sex... dream or nightmare reality?)Eve of St. Agnes (they have sex... dream or nightmare reality?)
  74. 74—Ode on a Grecian Urn (stanza 1) ("unravished" = forever suspended in time, good or bad)Ode on a Grecian Urn (stanza 1) ("unravished" = forever suspended in time, good or bad)
  75. 75—Ode on a Grecian Urn (stanza 2)Ode on a Grecian Urn (stanza 2)
  76. 76—Ode on a Grecian Urn (stanza 3)Ode on a Grecian Urn (stanza 3)
  77. 77—Ode on a Grecian UrnOde on a Grecian Urn
  78. 78—Ode on a Grecian UrnOde on a Grecian Urn
  79. 79—Lamia (part 1, Hermes and lover live in imortal world)Lamia (part 1, Hermes and lover live in imortal world)
  80. 80—Lamia (part 2) (she has transformed... going between realms is painful)Lamia (part 2) (she has transformed... going between realms is painful)
  81. 81—Lamia (part 3) (the house is like the mansion Keats talks about)Lamia (part 3) (the house is like the mansion Keats talks about)
  82. 82—Ode to a Nightengale, Stanza 1Ode to a Nightengale, Stanza 1
  83. 83—Ode to a Nightengale, Stanza 2Ode to a Nightengale, Stanza 2
  84. 84—Ode to a Nightengale, stanza 3Ode to a Nightengale, stanza 3
  85. 85—Ode to a Nightengale, stanza 4Ode to a Nightengale, stanza 4
  86. 86—Ode to a Nightengale, Stanza 4Ode to a Nightengale, Stanza 4
  87. 87—Ode to a Nightengale, stanza 5Ode to a Nightengale, stanza 5
  88. 88—Ode to a Nightengale, Stanza 6Ode to a Nightengale, Stanza 6
  89. 89—Ode to a Nightengale Stanza 7Ode to a Nightengale Stanza 7
  90. 90—Ode to a Nightengale, Stanza 8Ode to a Nightengale, Stanza 8
  91. 91—Bright Star (w/o first line)Bright Star (w/o first line)
  92. 92—This Living Hand (w/o first line)This Living Hand (w/o first line)
  93. 93—Adonais (turning point, providing hope in time of death)Adonais (turning point, providing hope in time of death)
  94. 94—Adonais (42)Adonais (42)
  95. 95—Adonais (43)Adonais (43)
  96. 96—Adonais (51)Adonais (51)
  97. 97—Adonais (53)Adonais (53)
  98. 98—Adonais 54Adonais 54
  99. 99—Adonais 55Adonais 55
  100. 100—To Autumn (stanza 1) (Bees think nothing will change, but it does)To Autumn (stanza 1) (Bees think nothing will change, but it does)
  101. 101—To Autumn (stanza 2) (Autumn has always been there (like the nightengale whose song is heard by Ruth throughout history)To Autumn (stanza 2) (Autumn has always been there (like the nightengale whose song is heard by Ruth throughout history)
  102. 102—To Autumn (stanza 3) (Nature always changes)To Autumn (stanza 3) (Nature always changes)

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English Flashcards on Romantic Poetry, created by Alexandra Ann Gualario on 21/12/2022.
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