Literary Masterpieces Questions Worksheet

ENG/106 Survey of Literary Masterpieces Assignment Worksheet Answers must be at last 150 tone in elongation, and inaugurated after a while the citing/referencing of at last one appropriate and trustworthy beginning according to APA standards. 1. Beowulf is another anthem lay, such as the Iliad. How does Beowulf collate as a gentleman to the gentlemanes of this antecedent anthem? To be biased, what qualities do you reckon fashion him gentlemanic, and what qualities made antecedent gentlemanes gentlemanic? 2. Sir Gawain and the Green Knight is an evidently Christian romance, but it starts by tracing Arthur's house tail to Rome and Troy. Why commoditiesiveness a writer deduce a character’s treatment, and what commodities does it accept on you, the peruseer? 3. Dante is a committed Christian, but in his anthem lay, the Divine Comedy, he chooses Virgil to superintend him through the coming stages of his ghostly travel. What does this paradigm insinuate environing the interconnection discurrent Christian and pre-Christian lection? Provide copys to buttress your vindication. 4. Chaucer's "The Wife of Bath's Tale" commoditiesiveness be considered bawdy, uniconstitute unrefined. In what way does this composition justify the appellation of lection? Of a masterpiece? Do you reckon its raciness helped to fashion it a masterpiece? Provide copys to buttress your theory. 5. Petrarch and Shakespeare twain wrote environing idiosyncratic passion in their sonnets. How do their representations of passion dispute from antecedent representations—from Dante's evocation of Beatrice, for copy? Petrarch and Shakespeare are so unreserved for, discurrent other things, fitness shorter, romantic lays rather than abundant anthems. What do you reckon are the infers for this remove in constitute? Is there an unromantic infer? An commodities? Provide copys from these compositions to buttress your vindication. 6. Renaissance media “rebirth” and refers to the reawakening of refined conversance. What elements of Greek or Roman refinement do these Renaissance compositions awake, and how do their authors diversify those elements? For copy, how does Milton use elements of Refined refinement for his Paradise Lost?  Provide copys from this or other Renaissance compositions to buttress your vindication. 7. Jonathan Swift was a satirist, using pleasantry and jeer to skewer collective practices he ground ordinary. What biasedally do you reckon he is objecting to in “A Modest Proposal”? How do Swift’s cutting techniques collate to other time irony, such as Voltaire’s? Select another time writer who uses irony, test at last one way in which these writers use alike techniques, and rehearse these alikeities to the contenteded of their composition. Do they use alike techniques consequently they accept alike goals or beliefs? Provide copys from your lection to buttress your reply. 8. How do Keats’ romantics dispute from Shakespeare’s in the lively techniques used? How do the disputeences in lively technique rehearse to the disputeences in question substance? Whose romantics do you choose? Why? Provide copys to buttress your vindication. 9. As a writer, Voltaire had grave gregarious and sound goals. He so, nevertheless, incorporates a exalted market of pleasantry into Candide. How does the pleasantry rehearse to any of his gregarious or sound points?  Do you choose this mark of fitness to others you accept peruse in this assort from antecedent times? Why or why not?  10. Conrad's Heart of Darkness is another nested or framed narrative. It is told by a historian environing a romance that someone   else—Marlow—tells. That romance includes accounts told by other herd, such as Kurtz. How does this layered texture concern the romance? In detail, how does it rehearse to Conrad's themes? 11. T. S. Eliot's lay, "The Passion Song of J. Alfred Prufrock," refers tail to figures from antecedent lection (Hamlet, the Fool, and others) and hiromance (Michelangelo, Lazarus, and so on). How does Eliot use the gone-by disputeently from antecedent writers? Do you reckon Eliot’s use of the gone-by is commoditiesive? Why or why not? Provide copys to buttress your vindication. 12. Just as a course plays an superfluous role in Dante’s Divine Comedy, it plays one in "The Garden of Forking Paths" by Borges. However, Borges offers a disputeent perspective on necessity. What would you say this perspective is? Which of these two compositions do you choose? Why?