Other Main Idea Concepts - GED Language Arts (RLA)
Card 0 of 4
Adapted from “Solitary Death, make me thine own” in Underneath the Bough: A Book of Verses by Michael Field (pseudonym of Katherine Bradley and Edith Cooper) (1893)
Solitary Death, make me thine own,
And let us wander the bare fields together;
Yea, thou and I alone
Roving in unembittered unison forever.
I will not harry thy treasure-graves,
I do not ask thy still hands a lover;
My heart within me craves
To travel till we twain Time’s wilderness discover.
To sojourn with thee my soul was bred,
And I, the courtly sights of life refusing,
To the wide shadows fled,
And mused upon thee often as I fell a-musing.
Escaped from chaos, thy mother Night,
In her maiden breast a burthen that awed her,
By cavern waters white
Drew thee her first-born, her unfathered off-spring toward her.
On dewey plats, near twilight dingle,
She oft, to still thee from men’s sobs and curses
In thine ears a-tingle,
Pours her cool charms, her weird, reviving chaunt rehearses.
Though mortals menace thee or elude,
And from thy confines break in swift transgression.
Thou for thyself art sued
Of me, I claim thy cloudy purlieus my possession.
To a long freshwater, where the sea
Stirs the silver flux of the reeds and willows,
Come thou, and beckon me
To lie in the lull of the sand-sequestered billows:
Then take the life I have called my own
And to the liquid universe deliver;
Loosening my spirit’s zone,
Wrap round me as thy limbs the wind, the light, the river.
Which of the following is NOT a subject treated in the poem?
Adapted from “Solitary Death, make me thine own” in Underneath the Bough: A Book of Verses by Michael Field (pseudonym of Katherine Bradley and Edith Cooper) (1893)
Solitary Death, make me thine own,
And let us wander the bare fields together;
Yea, thou and I alone
Roving in unembittered unison forever.
I will not harry thy treasure-graves,
I do not ask thy still hands a lover;
My heart within me craves
To travel till we twain Time’s wilderness discover.
To sojourn with thee my soul was bred,
And I, the courtly sights of life refusing,
To the wide shadows fled,
And mused upon thee often as I fell a-musing.
Escaped from chaos, thy mother Night,
In her maiden breast a burthen that awed her,
By cavern waters white
Drew thee her first-born, her unfathered off-spring toward her.
On dewey plats, near twilight dingle,
She oft, to still thee from men’s sobs and curses
In thine ears a-tingle,
Pours her cool charms, her weird, reviving chaunt rehearses.
Though mortals menace thee or elude,
And from thy confines break in swift transgression.
Thou for thyself art sued
Of me, I claim thy cloudy purlieus my possession.
To a long freshwater, where the sea
Stirs the silver flux of the reeds and willows,
Come thou, and beckon me
To lie in the lull of the sand-sequestered billows:
Then take the life I have called my own
And to the liquid universe deliver;
Loosening my spirit’s zone,
Wrap round me as thy limbs the wind, the light, the river.
Which of the following is NOT a subject treated in the poem?
Tap to see back →
The only subject listed that is not treated in the poem is the unjustness of early death. While death is covered extensively, the idea of “fairness” or justice with relation to death is directly at odds with the poem's treatment of death not as an exchange or an intrusion, but a natural and philosophically fruitful part of life.
Fear of death (in others) is alluded to by “men’s sobs and curses.” The nature of loyal companionship is alluded to throughout, but especially in the second stanza. The metaphysical origin of death is said to be “mother night” (who herself “escaped from chaos”), and the poem itself functions as a philosophical reflection, in addition to referencing the speaker taking this action (“And I, the courtly sights of life refusing, / To the wide shadows fled, / And mused upon thee often as I fell a-musing.”)
The only subject listed that is not treated in the poem is the unjustness of early death. While death is covered extensively, the idea of “fairness” or justice with relation to death is directly at odds with the poem's treatment of death not as an exchange or an intrusion, but a natural and philosophically fruitful part of life.
Fear of death (in others) is alluded to by “men’s sobs and curses.” The nature of loyal companionship is alluded to throughout, but especially in the second stanza. The metaphysical origin of death is said to be “mother night” (who herself “escaped from chaos”), and the poem itself functions as a philosophical reflection, in addition to referencing the speaker taking this action (“And I, the courtly sights of life refusing, / To the wide shadows fled, / And mused upon thee often as I fell a-musing.”)
Adapted from “Solitary Death, make me thine own” in Underneath the Bough: A Book of Verses by Michael Field (pseudonym of Katherine Bradley and Edith Cooper) (1893)
Solitary Death, make me thine own,
And let us wander the bare fields together;
Yea, thou and I alone
Roving in unembittered unison forever.
I will not harry thy treasure-graves,
I do not ask thy still hands a lover;
My heart within me craves
To travel till we twain Time’s wilderness discover.
To sojourn with thee my soul was bred,
And I, the courtly sights of life refusing,
To the wide shadows fled,
And mused upon thee often as I fell a-musing.
Escaped from chaos, thy mother Night,
In her maiden breast a burthen that awed her,
By cavern waters white
Drew thee her first-born, her unfathered off-spring toward her.
On dewey plats, near twilight dingle,
She oft, to still thee from men’s sobs and curses
In thine ears a-tingle,
Pours her cool charms, her weird, reviving chaunt rehearses.
Though mortals menace thee or elude,
And from thy confines break in swift transgression.
Thou for thyself art sued
Of me, I claim thy cloudy purlieus my possession.
To a long freshwater, where the sea
Stirs the silver flux of the reeds and willows,
Come thou, and beckon me
To lie in the lull of the sand-sequestered billows:
Then take the life I have called my own
And to the liquid universe deliver;
Loosening my spirit’s zone,
Wrap round me as thy limbs the wind, the light, the river.
Which of the following is NOT a subject treated in the poem?
Adapted from “Solitary Death, make me thine own” in Underneath the Bough: A Book of Verses by Michael Field (pseudonym of Katherine Bradley and Edith Cooper) (1893)
Solitary Death, make me thine own,
And let us wander the bare fields together;
Yea, thou and I alone
Roving in unembittered unison forever.
I will not harry thy treasure-graves,
I do not ask thy still hands a lover;
My heart within me craves
To travel till we twain Time’s wilderness discover.
To sojourn with thee my soul was bred,
And I, the courtly sights of life refusing,
To the wide shadows fled,
And mused upon thee often as I fell a-musing.
Escaped from chaos, thy mother Night,
In her maiden breast a burthen that awed her,
By cavern waters white
Drew thee her first-born, her unfathered off-spring toward her.
On dewey plats, near twilight dingle,
She oft, to still thee from men’s sobs and curses
In thine ears a-tingle,
Pours her cool charms, her weird, reviving chaunt rehearses.
Though mortals menace thee or elude,
And from thy confines break in swift transgression.
Thou for thyself art sued
Of me, I claim thy cloudy purlieus my possession.
To a long freshwater, where the sea
Stirs the silver flux of the reeds and willows,
Come thou, and beckon me
To lie in the lull of the sand-sequestered billows:
Then take the life I have called my own
And to the liquid universe deliver;
Loosening my spirit’s zone,
Wrap round me as thy limbs the wind, the light, the river.
Which of the following is NOT a subject treated in the poem?
Tap to see back →
The only subject listed that is not treated in the poem is the unjustness of early death. While death is covered extensively, the idea of “fairness” or justice with relation to death is directly at odds with the poem's treatment of death not as an exchange or an intrusion, but a natural and philosophically fruitful part of life.
Fear of death (in others) is alluded to by “men’s sobs and curses.” The nature of loyal companionship is alluded to throughout, but especially in the second stanza. The metaphysical origin of death is said to be “mother night” (who herself “escaped from chaos”), and the poem itself functions as a philosophical reflection, in addition to referencing the speaker taking this action (“And I, the courtly sights of life refusing, / To the wide shadows fled, / And mused upon thee often as I fell a-musing.”)
The only subject listed that is not treated in the poem is the unjustness of early death. While death is covered extensively, the idea of “fairness” or justice with relation to death is directly at odds with the poem's treatment of death not as an exchange or an intrusion, but a natural and philosophically fruitful part of life.
Fear of death (in others) is alluded to by “men’s sobs and curses.” The nature of loyal companionship is alluded to throughout, but especially in the second stanza. The metaphysical origin of death is said to be “mother night” (who herself “escaped from chaos”), and the poem itself functions as a philosophical reflection, in addition to referencing the speaker taking this action (“And I, the courtly sights of life refusing, / To the wide shadows fled, / And mused upon thee often as I fell a-musing.”)
Adapted from “Solitary Death, make me thine own” in Underneath the Bough: A Book of Verses by Michael Field (pseudonym of Katherine Bradley and Edith Cooper) (1893)
Solitary Death, make me thine own,
And let us wander the bare fields together;
Yea, thou and I alone
Roving in unembittered unison forever.
I will not harry thy treasure-graves,
I do not ask thy still hands a lover;
My heart within me craves
To travel till we twain Time’s wilderness discover.
To sojourn with thee my soul was bred,
And I, the courtly sights of life refusing,
To the wide shadows fled,
And mused upon thee often as I fell a-musing.
Escaped from chaos, thy mother Night,
In her maiden breast a burthen that awed her,
By cavern waters white
Drew thee her first-born, her unfathered off-spring toward her.
On dewey plats, near twilight dingle,
She oft, to still thee from men’s sobs and curses
In thine ears a-tingle,
Pours her cool charms, her weird, reviving chaunt rehearses.
Though mortals menace thee or elude,
And from thy confines break in swift transgression.
Thou for thyself art sued
Of me, I claim thy cloudy purlieus my possession.
To a long freshwater, where the sea
Stirs the silver flux of the reeds and willows,
Come thou, and beckon me
To lie in the lull of the sand-sequestered billows:
Then take the life I have called my own
And to the liquid universe deliver;
Loosening my spirit’s zone,
Wrap round me as thy limbs the wind, the light, the river.
Which of the following is NOT a subject treated in the poem?
Adapted from “Solitary Death, make me thine own” in Underneath the Bough: A Book of Verses by Michael Field (pseudonym of Katherine Bradley and Edith Cooper) (1893)
Solitary Death, make me thine own,
And let us wander the bare fields together;
Yea, thou and I alone
Roving in unembittered unison forever.
I will not harry thy treasure-graves,
I do not ask thy still hands a lover;
My heart within me craves
To travel till we twain Time’s wilderness discover.
To sojourn with thee my soul was bred,
And I, the courtly sights of life refusing,
To the wide shadows fled,
And mused upon thee often as I fell a-musing.
Escaped from chaos, thy mother Night,
In her maiden breast a burthen that awed her,
By cavern waters white
Drew thee her first-born, her unfathered off-spring toward her.
On dewey plats, near twilight dingle,
She oft, to still thee from men’s sobs and curses
In thine ears a-tingle,
Pours her cool charms, her weird, reviving chaunt rehearses.
Though mortals menace thee or elude,
And from thy confines break in swift transgression.
Thou for thyself art sued
Of me, I claim thy cloudy purlieus my possession.
To a long freshwater, where the sea
Stirs the silver flux of the reeds and willows,
Come thou, and beckon me
To lie in the lull of the sand-sequestered billows:
Then take the life I have called my own
And to the liquid universe deliver;
Loosening my spirit’s zone,
Wrap round me as thy limbs the wind, the light, the river.
Which of the following is NOT a subject treated in the poem?
Tap to see back →
The only subject listed that is not treated in the poem is the unjustness of early death. While death is covered extensively, the idea of “fairness” or justice with relation to death is directly at odds with the poem's treatment of death not as an exchange or an intrusion, but a natural and philosophically fruitful part of life.
Fear of death (in others) is alluded to by “men’s sobs and curses.” The nature of loyal companionship is alluded to throughout, but especially in the second stanza. The metaphysical origin of death is said to be “mother night” (who herself “escaped from chaos”), and the poem itself functions as a philosophical reflection, in addition to referencing the speaker taking this action (“And I, the courtly sights of life refusing, / To the wide shadows fled, / And mused upon thee often as I fell a-musing.”)
The only subject listed that is not treated in the poem is the unjustness of early death. While death is covered extensively, the idea of “fairness” or justice with relation to death is directly at odds with the poem's treatment of death not as an exchange or an intrusion, but a natural and philosophically fruitful part of life.
Fear of death (in others) is alluded to by “men’s sobs and curses.” The nature of loyal companionship is alluded to throughout, but especially in the second stanza. The metaphysical origin of death is said to be “mother night” (who herself “escaped from chaos”), and the poem itself functions as a philosophical reflection, in addition to referencing the speaker taking this action (“And I, the courtly sights of life refusing, / To the wide shadows fled, / And mused upon thee often as I fell a-musing.”)
Adapted from “Solitary Death, make me thine own” in Underneath the Bough: A Book of Verses by Michael Field (pseudonym of Katherine Bradley and Edith Cooper) (1893)
Solitary Death, make me thine own,
And let us wander the bare fields together;
Yea, thou and I alone
Roving in unembittered unison forever.
I will not harry thy treasure-graves,
I do not ask thy still hands a lover;
My heart within me craves
To travel till we twain Time’s wilderness discover.
To sojourn with thee my soul was bred,
And I, the courtly sights of life refusing,
To the wide shadows fled,
And mused upon thee often as I fell a-musing.
Escaped from chaos, thy mother Night,
In her maiden breast a burthen that awed her,
By cavern waters white
Drew thee her first-born, her unfathered off-spring toward her.
On dewey plats, near twilight dingle,
She oft, to still thee from men’s sobs and curses
In thine ears a-tingle,
Pours her cool charms, her weird, reviving chaunt rehearses.
Though mortals menace thee or elude,
And from thy confines break in swift transgression.
Thou for thyself art sued
Of me, I claim thy cloudy purlieus my possession.
To a long freshwater, where the sea
Stirs the silver flux of the reeds and willows,
Come thou, and beckon me
To lie in the lull of the sand-sequestered billows:
Then take the life I have called my own
And to the liquid universe deliver;
Loosening my spirit’s zone,
Wrap round me as thy limbs the wind, the light, the river.
Which of the following is NOT a subject treated in the poem?
Adapted from “Solitary Death, make me thine own” in Underneath the Bough: A Book of Verses by Michael Field (pseudonym of Katherine Bradley and Edith Cooper) (1893)
Solitary Death, make me thine own,
And let us wander the bare fields together;
Yea, thou and I alone
Roving in unembittered unison forever.
I will not harry thy treasure-graves,
I do not ask thy still hands a lover;
My heart within me craves
To travel till we twain Time’s wilderness discover.
To sojourn with thee my soul was bred,
And I, the courtly sights of life refusing,
To the wide shadows fled,
And mused upon thee often as I fell a-musing.
Escaped from chaos, thy mother Night,
In her maiden breast a burthen that awed her,
By cavern waters white
Drew thee her first-born, her unfathered off-spring toward her.
On dewey plats, near twilight dingle,
She oft, to still thee from men’s sobs and curses
In thine ears a-tingle,
Pours her cool charms, her weird, reviving chaunt rehearses.
Though mortals menace thee or elude,
And from thy confines break in swift transgression.
Thou for thyself art sued
Of me, I claim thy cloudy purlieus my possession.
To a long freshwater, where the sea
Stirs the silver flux of the reeds and willows,
Come thou, and beckon me
To lie in the lull of the sand-sequestered billows:
Then take the life I have called my own
And to the liquid universe deliver;
Loosening my spirit’s zone,
Wrap round me as thy limbs the wind, the light, the river.
Which of the following is NOT a subject treated in the poem?
Tap to see back →
The only subject listed that is not treated in the poem is the unjustness of early death. While death is covered extensively, the idea of “fairness” or justice with relation to death is directly at odds with the poem's treatment of death not as an exchange or an intrusion, but a natural and philosophically fruitful part of life.
Fear of death (in others) is alluded to by “men’s sobs and curses.” The nature of loyal companionship is alluded to throughout, but especially in the second stanza. The metaphysical origin of death is said to be “mother night” (who herself “escaped from chaos”), and the poem itself functions as a philosophical reflection, in addition to referencing the speaker taking this action (“And I, the courtly sights of life refusing, / To the wide shadows fled, / And mused upon thee often as I fell a-musing.”)
The only subject listed that is not treated in the poem is the unjustness of early death. While death is covered extensively, the idea of “fairness” or justice with relation to death is directly at odds with the poem's treatment of death not as an exchange or an intrusion, but a natural and philosophically fruitful part of life.
Fear of death (in others) is alluded to by “men’s sobs and curses.” The nature of loyal companionship is alluded to throughout, but especially in the second stanza. The metaphysical origin of death is said to be “mother night” (who herself “escaped from chaos”), and the poem itself functions as a philosophical reflection, in addition to referencing the speaker taking this action (“And I, the courtly sights of life refusing, / To the wide shadows fled, / And mused upon thee often as I fell a-musing.”)