Identification of British Prose 1660–1925 - AP English Literature and Composition
Card 1 of 80
“The author of these Travels, Mr. Lemuel Gulliver, is my ancient and intimate friend; there is likewise some relation between us on the mother’s side. About three years ago, Mr. Gulliver growing weary of the concourse of curious people coming to him at his house in Redriff, made a small purchase of land, with a convenient house, near Newark, in Nottinghamshire, his native country; where he now lives retired, yet in good esteem among his neighbors.
Although Mr. Gulliver was born in Nottinghamshire, where his father dwelt, yet I have heard him say his family came from Oxfordshire; to confirm which, I have observed in the churchyard at Banbury in that county, several tombs and monuments of the Gullivers.”
Who wrote the above passage?
“The author of these Travels, Mr. Lemuel Gulliver, is my ancient and intimate friend; there is likewise some relation between us on the mother’s side. About three years ago, Mr. Gulliver growing weary of the concourse of curious people coming to him at his house in Redriff, made a small purchase of land, with a convenient house, near Newark, in Nottinghamshire, his native country; where he now lives retired, yet in good esteem among his neighbors.
Although Mr. Gulliver was born in Nottinghamshire, where his father dwelt, yet I have heard him say his family came from Oxfordshire; to confirm which, I have observed in the churchyard at Banbury in that county, several tombs and monuments of the Gullivers.”
Who wrote the above passage?
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This excerpt is taken from Irish writer Jonathan Swift’s novel Gulliver’s Travels Into Several Remote Nations of the World. An immediate hit when it was published in 1726, the work parodies a then-popular style of travel writing and satirizes humankind.
Passage adapted from Gulliver’s Travels Into Several Remote Nations of the World by Jonathan Swift (1726).
This excerpt is taken from Irish writer Jonathan Swift’s novel Gulliver’s Travels Into Several Remote Nations of the World. An immediate hit when it was published in 1726, the work parodies a then-popular style of travel writing and satirizes humankind.
Passage adapted from Gulliver’s Travels Into Several Remote Nations of the World by Jonathan Swift (1726).
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My father's family name being Pirrip, and my Christian name Philip, my infant tongue could make of both names nothing longer or more explicit than Pip. So, I called myself Pip, and came to be called Pip.
I give Pirrip as my father's family name, on the authority of his tombstone and my sister,—Mrs. Joe Gargery, who married the blacksmith. As I never saw my father or my mother, and never saw any likeness of either of them (for their days were long before the days of photographs), my first fancies regarding what they were like were unreasonably derived from their tombstones. The shape of the letters on my father's, gave me an odd idea that he was a square, stout, dark man, with curly black hair. From the character and turn of the inscription, "Also Georgiana Wife of the Above," I drew a childish conclusion that my mother was freckled and sickly. To five little stone lozenges, each about a foot and a half long, which were arranged in a neat row beside their grave, and were sacred to the memory of five little brothers of mine,—who gave up trying to get a living, exceedingly early in that universal struggle,—I am indebted for a belief I religiously entertained that they had all been born on their backs with their hands in their trousers-pockets, and had never taken them out in this state of existence.
The above text was written by the author of:
My father's family name being Pirrip, and my Christian name Philip, my infant tongue could make of both names nothing longer or more explicit than Pip. So, I called myself Pip, and came to be called Pip.
I give Pirrip as my father's family name, on the authority of his tombstone and my sister,—Mrs. Joe Gargery, who married the blacksmith. As I never saw my father or my mother, and never saw any likeness of either of them (for their days were long before the days of photographs), my first fancies regarding what they were like were unreasonably derived from their tombstones. The shape of the letters on my father's, gave me an odd idea that he was a square, stout, dark man, with curly black hair. From the character and turn of the inscription, "Also Georgiana Wife of the Above," I drew a childish conclusion that my mother was freckled and sickly. To five little stone lozenges, each about a foot and a half long, which were arranged in a neat row beside their grave, and were sacred to the memory of five little brothers of mine,—who gave up trying to get a living, exceedingly early in that universal struggle,—I am indebted for a belief I religiously entertained that they had all been born on their backs with their hands in their trousers-pockets, and had never taken them out in this state of existence.
The above text was written by the author of:
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This text is taken from the opening lines of Charles Dickens’ 1860 novel Great Expectations. Dickens, a prolific English author, also wrote A Christmas Carol, David Copperfield, Oliver Twist, The Pickwick Papers, Bleak House, and more.
This text is taken from the opening lines of Charles Dickens’ 1860 novel Great Expectations. Dickens, a prolific English author, also wrote A Christmas Carol, David Copperfield, Oliver Twist, The Pickwick Papers, Bleak House, and more.
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"The Signora had no business to do it," said Miss Bartlett, "no business at all. She promised us south rooms with a view close together, instead of which here are north rooms, looking into a courtyard, and a long way apart. Oh, Lucy!"
"And a Cockney, besides!" said Lucy, who had been further saddened by the Signora's unexpected accent. "It might be London." She looked at the two rows of English people who were sitting at the table; at the row of white bottles of water and red bottles of wine that ran between the English people; at the portraits of the late Queen and the late Poet Laureate that hung behind the English people, heavily framed; at the notice of the English church (Rev. Cuthbert Eager, M. A. Oxon.), that was the only other decoration of the wall. "Charlotte, don't you feel, too, that we might be in London? I can hardly believe that all kinds of other things are just outside. I suppose it is one's being so tired."
The above text is from a novel by which author?
"The Signora had no business to do it," said Miss Bartlett, "no business at all. She promised us south rooms with a view close together, instead of which here are north rooms, looking into a courtyard, and a long way apart. Oh, Lucy!"
"And a Cockney, besides!" said Lucy, who had been further saddened by the Signora's unexpected accent. "It might be London." She looked at the two rows of English people who were sitting at the table; at the row of white bottles of water and red bottles of wine that ran between the English people; at the portraits of the late Queen and the late Poet Laureate that hung behind the English people, heavily framed; at the notice of the English church (Rev. Cuthbert Eager, M. A. Oxon.), that was the only other decoration of the wall. "Charlotte, don't you feel, too, that we might be in London? I can hardly believe that all kinds of other things are just outside. I suppose it is one's being so tired."
The above text is from a novel by which author?
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These are the opening lines of E.M. Forster’s A Room With A View, published in 1908. The novel concerns a young English woman, Lucy Honeychurch, and her trip with Miss Bartlett to Florence, Italy. These two main characters are used by Forster to critique societal norms in turn-of-the-century England.
These are the opening lines of E.M. Forster’s A Room With A View, published in 1908. The novel concerns a young English woman, Lucy Honeychurch, and her trip with Miss Bartlett to Florence, Italy. These two main characters are used by Forster to critique societal norms in turn-of-the-century England.
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It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.
However little known the feelings or views of such a man may be on his first entering a neighbourhood, this truth is so well fixed in the minds of the surrounding families, that he is considered the rightful property of some one or other of their daughters.
"My dear Mr. Bennet," said his lady to him one day, "have you heard that Netherfield Park is let at last?"
Mr. Bennet replied that he had not.
"But it is," returned she; "for Mrs. Long has just been here, and she told me all about it."
Mr. Bennet made no answer.
"Do you not want to know who has taken it?" cried his wife impatiently.
"You want to tell me, and I have no objection to hearing it."
This was invitation enough.
"Why, my dear, you must know, Mrs. Long says that Netherfield is taken by a young man of large fortune from the north of England; that he came down on Monday in a chaise and four to see the place, and was so much delighted with it, that he agreed with Mr. Morris immediately; that he is to take possession before Michaelmas, and some of his servants are to be in the house by the end of next week."
"What is his name?"
"Bingley."
"Is he married or single?"
"Oh! Single, my dear, to be sure! A single man of large fortune; four or five thousand a year. What a fine thing for our girls!"
Who wrote the above lines?
It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.
However little known the feelings or views of such a man may be on his first entering a neighbourhood, this truth is so well fixed in the minds of the surrounding families, that he is considered the rightful property of some one or other of their daughters.
"My dear Mr. Bennet," said his lady to him one day, "have you heard that Netherfield Park is let at last?"
Mr. Bennet replied that he had not.
"But it is," returned she; "for Mrs. Long has just been here, and she told me all about it."
Mr. Bennet made no answer.
"Do you not want to know who has taken it?" cried his wife impatiently.
"You want to tell me, and I have no objection to hearing it."
This was invitation enough.
"Why, my dear, you must know, Mrs. Long says that Netherfield is taken by a young man of large fortune from the north of England; that he came down on Monday in a chaise and four to see the place, and was so much delighted with it, that he agreed with Mr. Morris immediately; that he is to take possession before Michaelmas, and some of his servants are to be in the house by the end of next week."
"What is his name?"
"Bingley."
"Is he married or single?"
"Oh! Single, my dear, to be sure! A single man of large fortune; four or five thousand a year. What a fine thing for our girls!"
Who wrote the above lines?
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These lines comprise the classic opening page of Jane Austen’s Pride and Prejudice, written in 1813.
These lines comprise the classic opening page of Jane Austen’s Pride and Prejudice, written in 1813.
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“It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.”
This is the opening line of which of the following works of literature?
“It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.”
This is the opening line of which of the following works of literature?
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This is the opening line of Jane Austen’s classic 1813 novel, Pride and Prejudice. Set in 19th century England, Pride and Prejudice tells the story of Elizabeth Bennett, as she navigates through decisions of love, marriage, and her own education.
This is the opening line of Jane Austen’s classic 1813 novel, Pride and Prejudice. Set in 19th century England, Pride and Prejudice tells the story of Elizabeth Bennett, as she navigates through decisions of love, marriage, and her own education.
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“May she wake in torment!" he cried, with frightful vehemence, stamping his foot, and groaning in a sudden paroxysm of ungovernable passion. "Why, she's a liar to the end! Where is she? Not there—not in heaven—not perished—where? Oh! you said you cared nothing for my sufferings! And I pray one prayer—I repeat it till my tongue stiffens—May she wake in torment!" he cried, with frightful vehemence, stamping his foot, and groaning in a sudden paroxysm of ungovernable passion. "Why, she's a liar to the end! Where is she? Not there—not in heaven—not perished—where? Oh! you said you cared nothing for my sufferings! And I pray one prayer—I repeat it till my tongue stiffens—Catherine Earnshaw, may you not rest as long as I am living; you said I killed you—haunt me, then! The murdered do haunt their murderers, I believe. I know that ghosts have wandered on earth. Be with me always—take any form—drive me mad! only do not leave me in this abyss, where I cannot find you! Oh, God! it is unutterable! I cannot live without my life! I cannot live without my soul!”
Identify the author of the excerpt.
“May she wake in torment!" he cried, with frightful vehemence, stamping his foot, and groaning in a sudden paroxysm of ungovernable passion. "Why, she's a liar to the end! Where is she? Not there—not in heaven—not perished—where? Oh! you said you cared nothing for my sufferings! And I pray one prayer—I repeat it till my tongue stiffens—May she wake in torment!" he cried, with frightful vehemence, stamping his foot, and groaning in a sudden paroxysm of ungovernable passion. "Why, she's a liar to the end! Where is she? Not there—not in heaven—not perished—where? Oh! you said you cared nothing for my sufferings! And I pray one prayer—I repeat it till my tongue stiffens—Catherine Earnshaw, may you not rest as long as I am living; you said I killed you—haunt me, then! The murdered do haunt their murderers, I believe. I know that ghosts have wandered on earth. Be with me always—take any form—drive me mad! only do not leave me in this abyss, where I cannot find you! Oh, God! it is unutterable! I cannot live without my life! I cannot live without my soul!”
Identify the author of the excerpt.
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The passage is from Emily Bronte's 1846 novel, Wuthering Heights. If the dramatic style of the monologue wasn't enough to help you figure out the source of the quotation, note that it mentions one of the novel's characters by her full name: "Catherine Earnshaw."
The passage is from Emily Bronte's 1846 novel, Wuthering Heights. If the dramatic style of the monologue wasn't enough to help you figure out the source of the quotation, note that it mentions one of the novel's characters by her full name: "Catherine Earnshaw."
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“Once upon a time and a very good time it was there was a moocow coming down along the road and this moocow that was coming down along the road met a nicens little boy named baby tuckoo.”
This is the opening line of which of the following literary works?
“Once upon a time and a very good time it was there was a moocow coming down along the road and this moocow that was coming down along the road met a nicens little boy named baby tuckoo.”
This is the opening line of which of the following literary works?
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This is the opening of James Joyce’s 1916 novel, A Portrait of the Artist as a Young Man. It portrays the spiritual and intellectual awakening of the protagonist, Stephen Dedalus.
This is the opening of James Joyce’s 1916 novel, A Portrait of the Artist as a Young Man. It portrays the spiritual and intellectual awakening of the protagonist, Stephen Dedalus.
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The following line is the opening of which literary work?
“A Saturday afternoon in November was approaching the time of twilight, and the vast tract of unenclosed wild known as Egdon Heath embrowned itself moment by moment.”
The following line is the opening of which literary work?
“A Saturday afternoon in November was approaching the time of twilight, and the vast tract of unenclosed wild known as Egdon Heath embrowned itself moment by moment.”
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The excerpt is the opening lines of Thomas Hardy's 1878 novel, The Return of the Native.
The excerpt is the opening lines of Thomas Hardy's 1878 novel, The Return of the Native.
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I was yet enjoying the calm prospect and pleasant fresh air, yet listening with delight to the cawing of the rooks, yet surveying the wide, hoary front of the hall, and thinking what a great place it was for one lonely little dame like Mrs. Fairfax to inhabit, when that lady appeared at the door.
“What! out already?” said she. “I see you are an early riser.” I went up to her, and was received with an affable kiss and shake of the hand.
“How do you like Thornfield?” she asked. I told her I liked it very much.
“Yes,” she said, “it is a pretty place; but I fear it will be getting out of order, unless Mr. Rochester should take it into his head to come and reside here permanently; or, at least, visit it rather oftener: great houses and fine grounds require the presence of the proprietor.”
“Mr. Rochester!” I exclaimed. “Who is he?”
Who wrote this novel?
I was yet enjoying the calm prospect and pleasant fresh air, yet listening with delight to the cawing of the rooks, yet surveying the wide, hoary front of the hall, and thinking what a great place it was for one lonely little dame like Mrs. Fairfax to inhabit, when that lady appeared at the door.
“What! out already?” said she. “I see you are an early riser.” I went up to her, and was received with an affable kiss and shake of the hand.
“How do you like Thornfield?” she asked. I told her I liked it very much.
“Yes,” she said, “it is a pretty place; but I fear it will be getting out of order, unless Mr. Rochester should take it into his head to come and reside here permanently; or, at least, visit it rather oftener: great houses and fine grounds require the presence of the proprietor.”
“Mr. Rochester!” I exclaimed. “Who is he?”
Who wrote this novel?
Tap to reveal answer
This passage is from the novel Jane Eyre, written by Charlotte Brontë.
Passage adapted from Jane Eyre: An Autobiography byCharlotte Brontë (1847; ed. 1897, Townsend)
This passage is from the novel Jane Eyre, written by Charlotte Brontë.
Passage adapted from Jane Eyre: An Autobiography byCharlotte Brontë (1847; ed. 1897, Townsend)
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I was yet enjoying the calm prospect and pleasant fresh air, yet listening with delight to the cawing of the rooks, yet surveying the wide, hoary front of the hall, and thinking what a great place it was for one lonely little dame like Mrs. Fairfax to inhabit, when that lady appeared at the door.
“What! out already?” said she. “I see you are an early riser.” I went up to her, and was received with an affable kiss and shake of the hand.
“How do you like Thornfield?” she asked. I told her I liked it very much.
“Yes,” she said, “it is a pretty place; but I fear it will be getting out of order, unless Mr. Rochester should take it into his head to come and reside here permanently; or, at least, visit it rather oftener: great houses and fine grounds require the presence of the proprietor.”
“Mr. Rochester!” I exclaimed. “Who is he?”
This author’s relative wrote which of the following novels?
I was yet enjoying the calm prospect and pleasant fresh air, yet listening with delight to the cawing of the rooks, yet surveying the wide, hoary front of the hall, and thinking what a great place it was for one lonely little dame like Mrs. Fairfax to inhabit, when that lady appeared at the door.
“What! out already?” said she. “I see you are an early riser.” I went up to her, and was received with an affable kiss and shake of the hand.
“How do you like Thornfield?” she asked. I told her I liked it very much.
“Yes,” she said, “it is a pretty place; but I fear it will be getting out of order, unless Mr. Rochester should take it into his head to come and reside here permanently; or, at least, visit it rather oftener: great houses and fine grounds require the presence of the proprietor.”
“Mr. Rochester!” I exclaimed. “Who is he?”
This author’s relative wrote which of the following novels?
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Charlotte Brontë’s sister, Emily Brontë, published Wuthering Heights in 1847. She sometimes wrote under the pseudonym Ellis Bell, and this was her only novel.
Passage adapted from Jane Eyre: An Autobiography byCharlotte Brontë (1847; ed. 1897, Townsend)
Charlotte Brontë’s sister, Emily Brontë, published Wuthering Heights in 1847. She sometimes wrote under the pseudonym Ellis Bell, and this was her only novel.
Passage adapted from Jane Eyre: An Autobiography byCharlotte Brontë (1847; ed. 1897, Townsend)
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I was yet enjoying the calm prospect and pleasant fresh air, yet listening with delight to the cawing of the rooks, yet surveying the wide, hoary front of the hall, and thinking what a great place it was for one lonely little dame like Mrs. Fairfax to inhabit, when that lady appeared at the door.
“What! out already?” said she. “I see you are an early riser.” I went up to her, and was received with an affable kiss and shake of the hand.
“How do you like Thornfield?” she asked. I told her I liked it very much.
“Yes,” she said, “it is a pretty place; but I fear it will be getting out of order, unless Mr. Rochester should take it into his head to come and reside here permanently; or, at least, visit it rather oftener: great houses and fine grounds require the presence of the proprietor.”
“Mr. Rochester!” I exclaimed. “Who is he?”
In which decade was this novel published?
I was yet enjoying the calm prospect and pleasant fresh air, yet listening with delight to the cawing of the rooks, yet surveying the wide, hoary front of the hall, and thinking what a great place it was for one lonely little dame like Mrs. Fairfax to inhabit, when that lady appeared at the door.
“What! out already?” said she. “I see you are an early riser.” I went up to her, and was received with an affable kiss and shake of the hand.
“How do you like Thornfield?” she asked. I told her I liked it very much.
“Yes,” she said, “it is a pretty place; but I fear it will be getting out of order, unless Mr. Rochester should take it into his head to come and reside here permanently; or, at least, visit it rather oftener: great houses and fine grounds require the presence of the proprietor.”
“Mr. Rochester!” I exclaimed. “Who is he?”
In which decade was this novel published?
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The novel was published by London’s Smith, Elder & Co. in 1847, the same year as Wuthering Heights.
Passage adapted from Jane Eyre: An Autobiography byCharlotte Brontë (1847; ed. 1897, Townsend)
The novel was published by London’s Smith, Elder & Co. in 1847, the same year as Wuthering Heights.
Passage adapted from Jane Eyre: An Autobiography byCharlotte Brontë (1847; ed. 1897, Townsend)
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I was yet enjoying the calm prospect and pleasant fresh air, yet listening with delight to the cawing of the rooks, yet surveying the wide, hoary front of the hall, and thinking what a great place it was for one lonely little dame like Mrs. Fairfax to inhabit, when that lady appeared at the door.
“What! out already?” said she. “I see you are an early riser.” I went up to her, and was received with an affable kiss and shake of the hand.
“How do you like Thornfield?” she asked. I told her I liked it very much.
“Yes,” she said, “it is a pretty place; but I fear it will be getting out of order, unless Mr. Rochester should take it into his head to come and reside here permanently; or, at least, visit it rather oftener: great houses and fine grounds require the presence of the proprietor.”
“Mr. Rochester!” I exclaimed. “Who is he?”
To which genre does this novel belong?
I was yet enjoying the calm prospect and pleasant fresh air, yet listening with delight to the cawing of the rooks, yet surveying the wide, hoary front of the hall, and thinking what a great place it was for one lonely little dame like Mrs. Fairfax to inhabit, when that lady appeared at the door.
“What! out already?” said she. “I see you are an early riser.” I went up to her, and was received with an affable kiss and shake of the hand.
“How do you like Thornfield?” she asked. I told her I liked it very much.
“Yes,” she said, “it is a pretty place; but I fear it will be getting out of order, unless Mr. Rochester should take it into his head to come and reside here permanently; or, at least, visit it rather oftener: great houses and fine grounds require the presence of the proprietor.”
“Mr. Rochester!” I exclaimed. “Who is he?”
To which genre does this novel belong?
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This is primarily a bildungsroman, or coming-of-age novel. The plot follows the eponymous female protagonist as she grows from a child to an adolescent to an adult, takes a governess position at Thornfield Hall, and gradually falls in love with her employer, Mr. Rochester.
Passage adapted from Jane Eyre: An Autobiography byCharlotte Brontë (1847; ed. 1897, Townsend)
This is primarily a bildungsroman, or coming-of-age novel. The plot follows the eponymous female protagonist as she grows from a child to an adolescent to an adult, takes a governess position at Thornfield Hall, and gradually falls in love with her employer, Mr. Rochester.
Passage adapted from Jane Eyre: An Autobiography byCharlotte Brontë (1847; ed. 1897, Townsend)
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I was yet enjoying the calm prospect and pleasant fresh air, yet listening with delight to the cawing of the rooks, yet surveying the wide, hoary front of the hall, and thinking what a great place it was for one lonely little dame like Mrs. Fairfax to inhabit, when that lady appeared at the door.
“What! out already?” said she. “I see you are an early riser.” I went up to her, and was received with an affable kiss and shake of the hand.
“How do you like Thornfield?” she asked. I told her I liked it very much.
“Yes,” she said, “it is a pretty place; but I fear it will be getting out of order, unless Mr. Rochester should take it into his head to come and reside here permanently; or, at least, visit it rather oftener: great houses and fine grounds require the presence of the proprietor.”
“Mr. Rochester!” I exclaimed. “Who is he?”
Which of the following postcolonial novels is based on a madwoman in this novel and serves as a prequel to it?
I was yet enjoying the calm prospect and pleasant fresh air, yet listening with delight to the cawing of the rooks, yet surveying the wide, hoary front of the hall, and thinking what a great place it was for one lonely little dame like Mrs. Fairfax to inhabit, when that lady appeared at the door.
“What! out already?” said she. “I see you are an early riser.” I went up to her, and was received with an affable kiss and shake of the hand.
“How do you like Thornfield?” she asked. I told her I liked it very much.
“Yes,” she said, “it is a pretty place; but I fear it will be getting out of order, unless Mr. Rochester should take it into his head to come and reside here permanently; or, at least, visit it rather oftener: great houses and fine grounds require the presence of the proprietor.”
“Mr. Rochester!” I exclaimed. “Who is he?”
Which of the following postcolonial novels is based on a madwoman in this novel and serves as a prequel to it?
Tap to reveal answer
Jean Rhys’ 1966 novel Wide Sargasso Sea, a postcolonial and feminist work, explores the Caribbean childhood of Bertha, the mad wife of Jane Eyre’s Mr. Rochester.
Passage adapted from Jane Eyre: An Autobiography byCharlotte Brontë (1847; ed. 1897, Townsend)
Jean Rhys’ 1966 novel Wide Sargasso Sea, a postcolonial and feminist work, explores the Caribbean childhood of Bertha, the mad wife of Jane Eyre’s Mr. Rochester.
Passage adapted from Jane Eyre: An Autobiography byCharlotte Brontë (1847; ed. 1897, Townsend)
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I was yet enjoying the calm prospect and pleasant fresh air, yet listening with delight to the cawing of the rooks, yet surveying the wide, hoary front of the hall, and thinking what a great place it was for one lonely little dame like Mrs. Fairfax to inhabit, when that lady appeared at the door.
“What! out already?” said she. “I see you are an early riser.” I went up to her, and was received with an affable kiss and shake of the hand.
“How do you like Thornfield?” she asked. I told her I liked it very much.
“Yes,” she said, “it is a pretty place; but I fear it will be getting out of order, unless Mr. Rochester should take it into his head to come and reside here permanently; or, at least, visit it rather oftener: great houses and fine grounds require the presence of the proprietor.”
“Mr. Rochester!” I exclaimed. “Who is he?”
The Mr. Rochester mentioned in this passage is which kind of literary character?
I was yet enjoying the calm prospect and pleasant fresh air, yet listening with delight to the cawing of the rooks, yet surveying the wide, hoary front of the hall, and thinking what a great place it was for one lonely little dame like Mrs. Fairfax to inhabit, when that lady appeared at the door.
“What! out already?” said she. “I see you are an early riser.” I went up to her, and was received with an affable kiss and shake of the hand.
“How do you like Thornfield?” she asked. I told her I liked it very much.
“Yes,” she said, “it is a pretty place; but I fear it will be getting out of order, unless Mr. Rochester should take it into his head to come and reside here permanently; or, at least, visit it rather oftener: great houses and fine grounds require the presence of the proprietor.”
“Mr. Rochester!” I exclaimed. “Who is he?”
The Mr. Rochester mentioned in this passage is which kind of literary character?
Tap to reveal answer
Mr. Rochester is a well-known Byronic hero, which is a character type based on the poet Lord Byron and a precursor to the modern antihero. The Byronic hero archetype is categorized as charismatic, moody, and unhappy, someone who is deeply passionate and proud and who often does not fit into his society.
Passage adapted from Jane Eyre: An Autobiography byCharlotte Brontë (1847; ed. 1897, Townsend)
Mr. Rochester is a well-known Byronic hero, which is a character type based on the poet Lord Byron and a precursor to the modern antihero. The Byronic hero archetype is categorized as charismatic, moody, and unhappy, someone who is deeply passionate and proud and who often does not fit into his society.
Passage adapted from Jane Eyre: An Autobiography byCharlotte Brontë (1847; ed. 1897, Townsend)
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Manfred, Prince of Otranto, had one son and one daughter: the latter, a most beautiful virgin, aged eighteen, was called Matilda. Conrad, the son, was three years younger, a homely youth, sickly, and of no promising disposition; yet he was the darling of his father, who never showed any symptoms of affection to Matilda. Manfred had contracted a marriage for his son with the Marquis of Vicenza’s daughter, Isabella; and she had already been delivered by her guardians into the hands of Manfred, that he might celebrate the wedding as soon as Conrad’s infirm state of health would permit.
Manfred’s impatience for this ceremonial was remarked by his family and neighbours. The former, indeed, apprehending the severity of their Prince’s disposition, did not dare to utter their surmises on this precipitation. Hippolita, his wife, an amiable lady, did sometimes venture to represent the danger of marrying their only son so early, considering his great youth, and greater infirmities; but she never received any other answer than reflections on her own sterility, who had given him but one heir. His tenants and subjects were less cautious in their discourses. They attributed this hasty wedding to the Prince’s dread of seeing accomplished an ancient prophecy, which was said to have pronounced that the castle and lordship of Otranto “should pass from the present family, whenever the real owner should be grown too large to inhabit it.” It was difficult to make any sense of this prophecy; and still less easy to conceive what it had to do with the marriage in question.
Who wrote this novel?
Manfred, Prince of Otranto, had one son and one daughter: the latter, a most beautiful virgin, aged eighteen, was called Matilda. Conrad, the son, was three years younger, a homely youth, sickly, and of no promising disposition; yet he was the darling of his father, who never showed any symptoms of affection to Matilda. Manfred had contracted a marriage for his son with the Marquis of Vicenza’s daughter, Isabella; and she had already been delivered by her guardians into the hands of Manfred, that he might celebrate the wedding as soon as Conrad’s infirm state of health would permit.
Manfred’s impatience for this ceremonial was remarked by his family and neighbours. The former, indeed, apprehending the severity of their Prince’s disposition, did not dare to utter their surmises on this precipitation. Hippolita, his wife, an amiable lady, did sometimes venture to represent the danger of marrying their only son so early, considering his great youth, and greater infirmities; but she never received any other answer than reflections on her own sterility, who had given him but one heir. His tenants and subjects were less cautious in their discourses. They attributed this hasty wedding to the Prince’s dread of seeing accomplished an ancient prophecy, which was said to have pronounced that the castle and lordship of Otranto “should pass from the present family, whenever the real owner should be grown too large to inhabit it.” It was difficult to make any sense of this prophecy; and still less easy to conceive what it had to do with the marriage in question.
Who wrote this novel?
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This passage is adapted from Horace Walpole’s The Castle of Otranto, A Story. Translated by William Marshal, Gent. From the Original Italian of Onuphrio Muralto, Canon of the Church of St. Nicholas at Otranto (usually referred to simply as The Castle of Otranto). The storyline involves a noble family that is supposedly cursed, with a son dying in an accident on his wedding day, a father who tries to divorce his wife and marry his deceased son’s intended bride, helpful peasants and friars, battle with foreign knights, and an accidental murder.
Adapted from The Castle of Otranto, A Story. Translated by William Marshal, Gent. From the Original Italian of Onuphrio Muralto, Canon of the Church of St. Nicholas at Otranto by Horace Walpole (1764; ed. 1901)
This passage is adapted from Horace Walpole’s The Castle of Otranto, A Story. Translated by William Marshal, Gent. From the Original Italian of Onuphrio Muralto, Canon of the Church of St. Nicholas at Otranto (usually referred to simply as The Castle of Otranto). The storyline involves a noble family that is supposedly cursed, with a son dying in an accident on his wedding day, a father who tries to divorce his wife and marry his deceased son’s intended bride, helpful peasants and friars, battle with foreign knights, and an accidental murder.
Adapted from The Castle of Otranto, A Story. Translated by William Marshal, Gent. From the Original Italian of Onuphrio Muralto, Canon of the Church of St. Nicholas at Otranto by Horace Walpole (1764; ed. 1901)
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Manfred, Prince of Otranto, had one son and one daughter: the latter, a most beautiful virgin, aged eighteen, was called Matilda. Conrad, the son, was three years younger, a homely youth, sickly, and of no promising disposition; yet he was the darling of his father, who never showed any symptoms of affection to Matilda. Manfred had contracted a marriage for his son with the Marquis of Vicenza’s daughter, Isabella; and she had already been delivered by her guardians into the hands of Manfred, that he might celebrate the wedding as soon as Conrad’s infirm state of health would permit.
Manfred’s impatience for this ceremonial was remarked by his family and neighbours. The former, indeed, apprehending the severity of their Prince’s disposition, did not dare to utter their surmises on this precipitation. Hippolita, his wife, an amiable lady, did sometimes venture to represent the danger of marrying their only son so early, considering his great youth, and greater infirmities; but she never received any other answer than reflections on her own sterility, who had given him but one heir. His tenants and subjects were less cautious in their discourses. They attributed this hasty wedding to the Prince’s dread of seeing accomplished an ancient prophecy, which was said to have pronounced that the castle and lordship of Otranto “should pass from the present family, whenever the real owner should be grown too large to inhabit it.” It was difficult to make any sense of this prophecy; and still less easy to conceive what it had to do with the marriage in question.
In what decade was this novel published?
Manfred, Prince of Otranto, had one son and one daughter: the latter, a most beautiful virgin, aged eighteen, was called Matilda. Conrad, the son, was three years younger, a homely youth, sickly, and of no promising disposition; yet he was the darling of his father, who never showed any symptoms of affection to Matilda. Manfred had contracted a marriage for his son with the Marquis of Vicenza’s daughter, Isabella; and she had already been delivered by her guardians into the hands of Manfred, that he might celebrate the wedding as soon as Conrad’s infirm state of health would permit.
Manfred’s impatience for this ceremonial was remarked by his family and neighbours. The former, indeed, apprehending the severity of their Prince’s disposition, did not dare to utter their surmises on this precipitation. Hippolita, his wife, an amiable lady, did sometimes venture to represent the danger of marrying their only son so early, considering his great youth, and greater infirmities; but she never received any other answer than reflections on her own sterility, who had given him but one heir. His tenants and subjects were less cautious in their discourses. They attributed this hasty wedding to the Prince’s dread of seeing accomplished an ancient prophecy, which was said to have pronounced that the castle and lordship of Otranto “should pass from the present family, whenever the real owner should be grown too large to inhabit it.” It was difficult to make any sense of this prophecy; and still less easy to conceive what it had to do with the marriage in question.
In what decade was this novel published?
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The novel was published in 1764.
Adapted from The Castle of Otranto, A Story. Translated by William Marshal, Gent. From the Original Italian of Onuphrio Muralto, Canon of the Church of St. Nicholas at Otranto by Horace Walpole (1764; ed. 1901)
The novel was published in 1764.
Adapted from The Castle of Otranto, A Story. Translated by William Marshal, Gent. From the Original Italian of Onuphrio Muralto, Canon of the Church of St. Nicholas at Otranto by Horace Walpole (1764; ed. 1901)
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Manfred, Prince of Otranto, had one son and one daughter: the latter, a most beautiful virgin, aged eighteen, was called Matilda. Conrad, the son, was three years younger, a homely youth, sickly, and of no promising disposition; yet he was the darling of his father, who never showed any symptoms of affection to Matilda. Manfred had contracted a marriage for his son with the Marquis of Vicenza’s daughter, Isabella; and she had already been delivered by her guardians into the hands of Manfred, that he might celebrate the wedding as soon as Conrad’s infirm state of health would permit.
Manfred’s impatience for this ceremonial was remarked by his family and neighbours. The former, indeed, apprehending the severity of their Prince’s disposition, did not dare to utter their surmises on this precipitation. Hippolita, his wife, an amiable lady, did sometimes venture to represent the danger of marrying their only son so early, considering his great youth, and greater infirmities; but she never received any other answer than reflections on her own sterility, who had given him but one heir. His tenants and subjects were less cautious in their discourses. They attributed this hasty wedding to the Prince’s dread of seeing accomplished an ancient prophecy, which was said to have pronounced that the castle and lordship of Otranto “should pass from the present family, whenever the real owner should be grown too large to inhabit it.” It was difficult to make any sense of this prophecy; and still less easy to conceive what it had to do with the marriage in question.
This novel is considered the first of its kind in what genre?
Manfred, Prince of Otranto, had one son and one daughter: the latter, a most beautiful virgin, aged eighteen, was called Matilda. Conrad, the son, was three years younger, a homely youth, sickly, and of no promising disposition; yet he was the darling of his father, who never showed any symptoms of affection to Matilda. Manfred had contracted a marriage for his son with the Marquis of Vicenza’s daughter, Isabella; and she had already been delivered by her guardians into the hands of Manfred, that he might celebrate the wedding as soon as Conrad’s infirm state of health would permit.
Manfred’s impatience for this ceremonial was remarked by his family and neighbours. The former, indeed, apprehending the severity of their Prince’s disposition, did not dare to utter their surmises on this precipitation. Hippolita, his wife, an amiable lady, did sometimes venture to represent the danger of marrying their only son so early, considering his great youth, and greater infirmities; but she never received any other answer than reflections on her own sterility, who had given him but one heir. His tenants and subjects were less cautious in their discourses. They attributed this hasty wedding to the Prince’s dread of seeing accomplished an ancient prophecy, which was said to have pronounced that the castle and lordship of Otranto “should pass from the present family, whenever the real owner should be grown too large to inhabit it.” It was difficult to make any sense of this prophecy; and still less easy to conceive what it had to do with the marriage in question.
This novel is considered the first of its kind in what genre?
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Walpole’s novel is generally regarded as the first Gothic novel. This genre is sometimes seen as a subset or extreme variant of Romanticism, and it contains many of the same elements: fanciful plots, a damsel in distress, strong heroes, and overt symbolism; however, the Gothic genre also prominently features mystery, the occult, the macabre or grotesque, preoccupation with death, and a sort of pleasurable terror that is often mimicked in horror movies today.
Adapted from The Castle of Otranto, A Story. Translated by William Marshal, Gent. From the Original Italian of Onuphrio Muralto, Canon of the Church of St. Nicholas at Otranto by Horace Walpole (1764; ed. 1901)
Walpole’s novel is generally regarded as the first Gothic novel. This genre is sometimes seen as a subset or extreme variant of Romanticism, and it contains many of the same elements: fanciful plots, a damsel in distress, strong heroes, and overt symbolism; however, the Gothic genre also prominently features mystery, the occult, the macabre or grotesque, preoccupation with death, and a sort of pleasurable terror that is often mimicked in horror movies today.
Adapted from The Castle of Otranto, A Story. Translated by William Marshal, Gent. From the Original Italian of Onuphrio Muralto, Canon of the Church of St. Nicholas at Otranto by Horace Walpole (1764; ed. 1901)
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Manfred, Prince of Otranto, had one son and one daughter: the latter, a most beautiful virgin, aged eighteen, was called Matilda. Conrad, the son, was three years younger, a homely youth, sickly, and of no promising disposition; yet he was the darling of his father, who never showed any symptoms of affection to Matilda. Manfred had contracted a marriage for his son with the Marquis of Vicenza’s daughter, Isabella; and she had already been delivered by her guardians into the hands of Manfred, that he might celebrate the wedding as soon as Conrad’s infirm state of health would permit.
Manfred’s impatience for this ceremonial was remarked by his family and neighbours. The former, indeed, apprehending the severity of their Prince’s disposition, did not dare to utter their surmises on this precipitation. Hippolita, his wife, an amiable lady, did sometimes venture to represent the danger of marrying their only son so early, considering his great youth, and greater infirmities; but she never received any other answer than reflections on her own sterility, who had given him but one heir. His tenants and subjects were less cautious in their discourses. They attributed this hasty wedding to the Prince’s dread of seeing accomplished an ancient prophecy, which was said to have pronounced that the castle and lordship of Otranto “should pass from the present family, whenever the real owner should be grown too large to inhabit it.” It was difficult to make any sense of this prophecy; and still less easy to conceive what it had to do with the marriage in question.
Which of the following is not a classic Gothic trope that appears in this novel?
Manfred, Prince of Otranto, had one son and one daughter: the latter, a most beautiful virgin, aged eighteen, was called Matilda. Conrad, the son, was three years younger, a homely youth, sickly, and of no promising disposition; yet he was the darling of his father, who never showed any symptoms of affection to Matilda. Manfred had contracted a marriage for his son with the Marquis of Vicenza’s daughter, Isabella; and she had already been delivered by her guardians into the hands of Manfred, that he might celebrate the wedding as soon as Conrad’s infirm state of health would permit.
Manfred’s impatience for this ceremonial was remarked by his family and neighbours. The former, indeed, apprehending the severity of their Prince’s disposition, did not dare to utter their surmises on this precipitation. Hippolita, his wife, an amiable lady, did sometimes venture to represent the danger of marrying their only son so early, considering his great youth, and greater infirmities; but she never received any other answer than reflections on her own sterility, who had given him but one heir. His tenants and subjects were less cautious in their discourses. They attributed this hasty wedding to the Prince’s dread of seeing accomplished an ancient prophecy, which was said to have pronounced that the castle and lordship of Otranto “should pass from the present family, whenever the real owner should be grown too large to inhabit it.” It was difficult to make any sense of this prophecy; and still less easy to conceive what it had to do with the marriage in question.
Which of the following is not a classic Gothic trope that appears in this novel?
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Long voyages are not a Gothic device. Real Gothic tropes include a lascivious male character, superstitions and curses, caves or subterranean passages, characters with mysterious pasts, prophecies and omens, approaching footsteps, and damsels in distress.
Adapted from The Castle of Otranto, A Story. Translated by William Marshal, Gent. From the Original Italian of Onuphrio Muralto, Canon of the Church of St. Nicholas at Otranto by Horace Walpole (1764; ed. 1901)
Long voyages are not a Gothic device. Real Gothic tropes include a lascivious male character, superstitions and curses, caves or subterranean passages, characters with mysterious pasts, prophecies and omens, approaching footsteps, and damsels in distress.
Adapted from The Castle of Otranto, A Story. Translated by William Marshal, Gent. From the Original Italian of Onuphrio Muralto, Canon of the Church of St. Nicholas at Otranto by Horace Walpole (1764; ed. 1901)
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Manfred, Prince of Otranto, had one son and one daughter: the latter, a most beautiful virgin, aged eighteen, was called Matilda. Conrad, the son, was three years younger, a homely youth, sickly, and of no promising disposition; yet he was the darling of his father, who never showed any symptoms of affection to Matilda. Manfred had contracted a marriage for his son with the Marquis of Vicenza’s daughter, Isabella; and she had already been delivered by her guardians into the hands of Manfred, that he might celebrate the wedding as soon as Conrad’s infirm state of health would permit.
Manfred’s impatience for this ceremonial was remarked by his family and neighbours. The former, indeed, apprehending the severity of their Prince’s disposition, did not dare to utter their surmises on this precipitation. Hippolita, his wife, an amiable lady, did sometimes venture to represent the danger of marrying their only son so early, considering his great youth, and greater infirmities; but she never received any other answer than reflections on her own sterility, who had given him but one heir. His tenants and subjects were less cautious in their discourses. They attributed this hasty wedding to the Prince’s dread of seeing accomplished an ancient prophecy, which was said to have pronounced that the castle and lordship of Otranto “should pass from the present family, whenever the real owner should be grown too large to inhabit it.” It was difficult to make any sense of this prophecy; and still less easy to conceive what it had to do with the marriage in question.
Which of the following authors did not later write a work in the same genre?
Manfred, Prince of Otranto, had one son and one daughter: the latter, a most beautiful virgin, aged eighteen, was called Matilda. Conrad, the son, was three years younger, a homely youth, sickly, and of no promising disposition; yet he was the darling of his father, who never showed any symptoms of affection to Matilda. Manfred had contracted a marriage for his son with the Marquis of Vicenza’s daughter, Isabella; and she had already been delivered by her guardians into the hands of Manfred, that he might celebrate the wedding as soon as Conrad’s infirm state of health would permit.
Manfred’s impatience for this ceremonial was remarked by his family and neighbours. The former, indeed, apprehending the severity of their Prince’s disposition, did not dare to utter their surmises on this precipitation. Hippolita, his wife, an amiable lady, did sometimes venture to represent the danger of marrying their only son so early, considering his great youth, and greater infirmities; but she never received any other answer than reflections on her own sterility, who had given him but one heir. His tenants and subjects were less cautious in their discourses. They attributed this hasty wedding to the Prince’s dread of seeing accomplished an ancient prophecy, which was said to have pronounced that the castle and lordship of Otranto “should pass from the present family, whenever the real owner should be grown too large to inhabit it.” It was difficult to make any sense of this prophecy; and still less easy to conceive what it had to do with the marriage in question.
Which of the following authors did not later write a work in the same genre?
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Reeve, Poe, Shelley, and Radcliffe all published Gothic novels in the nineteenth century. Dickens’ novels, which include Great Expectations, The Pickwick Papers, A Christmas Carol, A Tale of Two Cities, and David Copperfield, did not write Gothic literature, but rather Victorian works with elements of realism, social commentary, comedy, melodrama, and eloquent description.
Adapted from The Castle of Otranto, A Story. Translated by William Marshal, Gent. From the Original Italian of Onuphrio Muralto, Canon of the Church of St. Nicholas at Otranto by Horace Walpole (1764; ed. 1901)
Reeve, Poe, Shelley, and Radcliffe all published Gothic novels in the nineteenth century. Dickens’ novels, which include Great Expectations, The Pickwick Papers, A Christmas Carol, A Tale of Two Cities, and David Copperfield, did not write Gothic literature, but rather Victorian works with elements of realism, social commentary, comedy, melodrama, and eloquent description.
Adapted from The Castle of Otranto, A Story. Translated by William Marshal, Gent. From the Original Italian of Onuphrio Muralto, Canon of the Church of St. Nicholas at Otranto by Horace Walpole (1764; ed. 1901)
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Manfred, Prince of Otranto, had one son and one daughter: the latter, a most beautiful virgin, aged eighteen, was called Matilda. Conrad, the son, was three years younger, a homely youth, sickly, and of no promising disposition; yet he was the darling of his father, who never showed any symptoms of affection to Matilda. Manfred had contracted a marriage for his son with the Marquis of Vicenza’s daughter, Isabella; and she had already been delivered by her guardians into the hands of Manfred, that he might celebrate the wedding as soon as Conrad’s infirm state of health would permit.
Manfred’s impatience for this ceremonial was remarked by his family and neighbours. The former, indeed, apprehending the severity of their Prince’s disposition, did not dare to utter their surmises on this precipitation. Hippolita, his wife, an amiable lady, did sometimes venture to represent the danger of marrying their only son so early, considering his great youth, and greater infirmities; but she never received any other answer than reflections on her own sterility, who had given him but one heir. His tenants and subjects were less cautious in their discourses. They attributed this hasty wedding to the Prince’s dread of seeing accomplished an ancient prophecy, which was said to have pronounced that the castle and lordship of Otranto “should pass from the present family, whenever the real owner should be grown too large to inhabit it.” It was difficult to make any sense of this prophecy; and still less easy to conceive what it had to do with the marriage in question.
Which of the following authors did not publish a novel during the late nineteenth-century revival of this same genre?
Manfred, Prince of Otranto, had one son and one daughter: the latter, a most beautiful virgin, aged eighteen, was called Matilda. Conrad, the son, was three years younger, a homely youth, sickly, and of no promising disposition; yet he was the darling of his father, who never showed any symptoms of affection to Matilda. Manfred had contracted a marriage for his son with the Marquis of Vicenza’s daughter, Isabella; and she had already been delivered by her guardians into the hands of Manfred, that he might celebrate the wedding as soon as Conrad’s infirm state of health would permit.
Manfred’s impatience for this ceremonial was remarked by his family and neighbours. The former, indeed, apprehending the severity of their Prince’s disposition, did not dare to utter their surmises on this precipitation. Hippolita, his wife, an amiable lady, did sometimes venture to represent the danger of marrying their only son so early, considering his great youth, and greater infirmities; but she never received any other answer than reflections on her own sterility, who had given him but one heir. His tenants and subjects were less cautious in their discourses. They attributed this hasty wedding to the Prince’s dread of seeing accomplished an ancient prophecy, which was said to have pronounced that the castle and lordship of Otranto “should pass from the present family, whenever the real owner should be grown too large to inhabit it.” It was difficult to make any sense of this prophecy; and still less easy to conceive what it had to do with the marriage in question.
Which of the following authors did not publish a novel during the late nineteenth-century revival of this same genre?
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Stoker’s Dracula, Stevenson’s Jekyll and Hyde, Wilde’s The Picture of Dorian Gray, and James’ The Turn of the Screw are all fin-de-siècle Gothic novels. Although Rudyard Kipling was writing at the same time, his work was concerned with British India and did not contain overtly Gothic elements.
Adapted from The Castle of Otranto, A Story. Translated by William Marshal, Gent. From the Original Italian of Onuphrio Muralto, Canon of the Church of St. Nicholas at Otranto by Horace Walpole (1764; ed. 1901)
Stoker’s Dracula, Stevenson’s Jekyll and Hyde, Wilde’s The Picture of Dorian Gray, and James’ The Turn of the Screw are all fin-de-siècle Gothic novels. Although Rudyard Kipling was writing at the same time, his work was concerned with British India and did not contain overtly Gothic elements.
Adapted from The Castle of Otranto, A Story. Translated by William Marshal, Gent. From the Original Italian of Onuphrio Muralto, Canon of the Church of St. Nicholas at Otranto by Horace Walpole (1764; ed. 1901)
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