Term
Mark Twain: The Notorious Jumping Frog of Calaveras County
Speaker: Smiley (pg. 106, Vol C) |
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Definition
| "It might be a parrot, or it might be a canary, maybe, but it ain't--it's only just a frog." |
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Term
| Mark Twain: The Notorious Jumping Frog of Calaveras County Speaker: Simon Wheeler (pg. 107, Vol C) |
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Definition
| So he set there a good while thinking and thinking to hisself, and then he got the frog out and pried his mouth open and took a teaspoon and filled him full of quail shot--filled him pretty near up to his chin--and set him on the floor. |
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Term
| Mark Twain: Fenimore Cooper's Literary Offences (pg. 302, Vol C) |
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Definition
| There have been daring people in the world who claimed that ___ could write English, but they are all dead now--all dead but Lounsbury. I don't remember that Lounsbury makes the claim in so many words, still he makes it, for he says that Deerslayer is a "pure work of art." Pure, in that connection, means faultless--faultless in all details--and language is a detail. |
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Term
| Mark Twain: Fenimore Cooper's Literary Offences (pg. 295, Vol C) |
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Definition
| They require that when the personages of a tale deal in conversation, the talk shall sound like human talk, and be talk such as human beings would be likely to talk in the given circumstances...and help out the tale, and stop when the people cannot think of anything more to say. |
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Term
| Mark Twain: Fenimore Cooper's Literary Offences (pg. 297, Vol C) |
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Definition
| If ___ had been an observer, his inventive faculty would have worked better, not more interestingly, but more rationally, more plausibly. (His) proudest creations in the way of "situations" suffer noticeably from the absence of the observer's protecting gift. |
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Term
Charlotte Perkins Gilman: The Yellow Wall-paper
Speaker: Jane (pg. 813, Vol C) |
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Definition
I don't know why I should write this.
I don't want to.
I don't feel able. |
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Term
Charlotte Perkins Gilman: The Yellow Wall-paper
Speaker: Jane (pg. 819, Vol C) |
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Definition
"I've got out at last," said I, "in spite of you and ___! And I've pulled off most of the paper, so you can't put me back!"
Now why should that man have fainted? But he did, and right across my path by the wall, so that I had to creep over him every time! |
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Term
Charlotte Perkins Gilman: The Yellow Wall-paper
Speaker: John (814, Vol C) |
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Definition
| "What is it, little girl?" __ said. "Don't go walking about like that--you'll get cold." |
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Term
Hamlin Garland: Under the Lion's Paw
(pg. 758, Vol C) |
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Definition
| The eldest boy, now nine years old, drove a team all through the spring, ploughing and seeding, milled the cows, and did chores innumberable, in most ways taking the place of a man; an infinitely pathetic but common figure--this boy--on the American farm, where there is no law against child labor. |
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Term
Hamlin Garland: Under the Lion's Paw
Speaker: Haskins (pg. 762, Vol C) |
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Definition
| "I think you're a theif and a liar," shouted ___, leaping up. "A black-hearted houn'!" Butler's smile maddened him' with a sudden leap he caught a fork in his hands, and whirled it in the air. "You'll never rob another man, damn ye!" |
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Term
Henry James: The Art of Fiction
(pg. 918, Vol C) |
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Definition
| It is the very atmosphere of the mind; and when the mind is imaginative--much more when it happens to be that of a man of genius--it takes to itself the faintest hints of life, it converts the very pulses of the air into revelations. |
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Term
Henry James: The Art of Fiction
(pg. 919, Vol C) |
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Definition
| The glimpse made a picture; it lasted only a moment, but that moment was experience. She had got her direct personal impression, and she turned out her type. |
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Term
Henry James: The Art of Fiction
(pg. 920, Vol C) |
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Definition
| There is one point at which the moral sense and the artistic sense lie very near together; that is in the light of the very obvious truth that the deepest quality of a work of art will always be the quality of the mind of the producer. |
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Term
Henry James: The Beast in the Jungle
(pg. 448, Vol C) |
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Definition
| Her face and her voice, all at his service now, worked the miracle--the impression operating like the torch of a lamplighter who touches into the flame, one by one, a long row of gas-jets. ___ flattered himself the illumination was brilliant, yet he was really still more pleased on her showing him, with amusement, that in his haste to make everything right he had got most things rather wrong. |
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Term
Henry James: The Beast in the Jungle
Speaker: May Bartram(pg. 452, Vol C) |
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Definition
| She took this in, but the light in her eyes continued for him not to be that of mockery. "isn't what you describe perhaps but the expectation--or at any rate the sense of danger, familiar to so many people--of falling in love?" |
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Term
Henry James: The Beast in the Jungle
(pg. 455, Vol C) |
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Definition
| This was why he had such good--though possible such rather colourless--manners; this was why, above all, he could regard himself, in a greedy world, as decently--as in fact perhaps even a little sublimely--unselfish. |
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Term
Henry James: The Beast in the Jungle
Speaker: John Marcher (pg. 465, Vol C) |
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Definition
| "Because you've given me signs to the contrary. It isn't a question for you of conceiving, imagining, comparing. It isn't a question now of choosing...You know something I don't. You've shown me that before." |
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Term
Henry James: The Beast in the Jungle
Speaker: May Bartram pg. 467, Vol C) |
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Definition
| "However the case stands THAT isn't the truth. Whatever the reality, it IS a reality. The door isn't shut. The door's open." |
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Term
Henry James: The Beast in the Jungle
(pg. 475, Vol C) |
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Definition
| So he saw it, as we say, in pale horror, while the pieces fitted and fitted. So SHE has seen it while he didn't, and so she served at this hour to drive the truth home. |
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Term
Henry Adams: The Education of Henry Adams
(pg. 353, Vol C) |
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Definition
| He cared little about his experiments and less about his statesmen, who seemed to him quite as ignorant as himself and, as a rule, no more honest; but he insisted on a relation of sequence, and if he could not reach it by one method, he would try as many methods as science knew. |
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Term
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Definition
| Chaos is the law of nature, order the dream of man. |
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Term
Henry Adams: The Education of Henry Adams
(pg. 5, handout) |
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Definition
| He could not remember ever to have thought on the subject; to him, that there should be a doubt of his being President was a new idea. What had been would continue to be. He doubted neither about Presidents nor about Churches, and no one suggested that that little time a doubt whether a system of society which had lasted since Adam would outlast one more Adams. |
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Term
Henry Adams: The Education of Henry Adams
(pg. 7, handout) |
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Definition
| He was a ten-year-old priest and politician. |
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Term
Henry Adams: The Education of Henry Adams
(pg. 12, handout) |
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Definition
| Nature enjoyed it, played with it, the horror added to her charm, she liked the torture, and smothered her victim with caresses. |
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Term
Henry Adams: The Education of Henry Adams
(pg. 13, handout) |
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Definition
| God might be, as the Church said, a Substance, but He could not be a Person. |
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Term
Henry Adams: The Education of Henry Adams
(pg. 12, handout) |
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Definition
| Hour by hour the muscles grew rigid, while the mind remained bright, until after ten days of fiendish torture she died in convulsion. |
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Term
Robert Frost: The Oven Bird
(pg. 1400, Vol D) |
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Definition
| The question that he frames in all but words / Is what to make of a diminished thing. |
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Term
Robert Frost: Desert Places
(pg. 1405, Vol D) |
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Definition
| And lonely as it is, that loneliness / Will be more lonely ere it will be less- / A blanker whiteness of benighted snow / With no expression, nothing to express. |
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Term
Robert Frost: The Gift Outright
(pg. 1407, Vol D) |
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Definition
| Something we were withholding made us weak / Until we found out that it was ourselves |
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Term
Robert Frost: Design
(pg. 1405, Vol D) |
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Definition
| A snow-drop spider, a flower like a froth, / And dead wings carried like a paper kite. |
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Term
Robert Frost: The Pasture
(pg. 1389, Vol D) |
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Definition
| I'm going out to fetch the little calf / That's standing by the mother...I shan't be gone long.--You come too. |
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Term
Robert Frost: The Figure a Poem Makes
(pg. 1409, Vol D) |
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Definition
| It begins in delight, it inclines to the impulse, it assumes direction with the first line laid down, it runs a course of lucky events, and ends in clarification of life...It has denouement. |
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Term
Ezra Pound: To Whistler, American
(pg. 1479, Vol D) |
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Definition
| You had your searches, your uncertainties, / And this is good to know--for us, I mean, / Who bear the brunt of our America / And try to wrench her impulse into art. |
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Term
Ezra Pound: Portrait d'une Femme
(pg. 1479, Vol D) |
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Definition
| No! there is nothing! In the whole and all, / Nothing that's quite your own / Yet this is you. |
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Term
Ezra Pound: A Pact
(pg. 1481, Vol D) |
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Definition
| It was you that broke the new wood, / Now is a time for carving. / We have one sap and one root-- / Let there be commerce between us. |
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Term
Ezra Pound: In a Station of the Metro
(pg. 1482, Vol D) |
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Definition
| The apparition of these faces in the crowd; / Petals on a wet, black bough. |
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Term
| Ezra Pound: The River-Merchant's Wife: A Letter (pg. 1482, Vol D) |
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Definition
| I never laughed, being bashful. / Lowering my head, I looked at the wall. / Called to, a thousand times, I never looked back. |
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Term
William Carlos Williams: Spring and All
(pg. 1467, Vol D) |
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Definition
| ...brown leaves under them / leafless vines-- / Lifeless in appearance, sluggish / dazed spring approaches-- / They enter the new world naked |
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Term
William Carlos Williams: Spring and All
(pg. 1467, Vol D) |
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Definition
| ...rooted, they / grip down and begin to awaken |
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Term
William Carlos Williams: The Red WHeelbarrow
(pg. 1469, Vol C) |
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Definition
| so much depends / upon / a red wheel / barrow / glazed with rain / water / beside the white / chickens |
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Term
| Robert Frost: Two Tramps in Mud Time |
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Definition
| My right might be love but theirs was need |
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Term
| Robert Frost: Two Tramps in Mud Time |
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Definition
| As my two eyes make one sight. / Only where love and need are one, / And work is play for mortal stakes, / Is the deed ever really done / For Heaven and the future's sakes. |
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Term
F. Scott Fitzgerald: Babylon Revisited
(pg. 1840, Vol D) |
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Definition
| Outside, the fire-red, gas-blue, ghost-green signs shone smokily through the tranquil rain. |
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Term
F. Scott Fitzgerald: Babylon Revisited
(pg. 1842, Vol D) |
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Definition
| He believed in character; he wanted to jump back a whole generation and trust in character again as the eternally valuable element. Everything else was worn out. |
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Term
F. Scott Fitzgerald: Babylon Revisited
(pg. 1844, Vol D) |
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Definition
| They liked him because he was functioning, because he was serious; they wanted to see him, because he was stronger that they were now, because they wanted to draw a certain sustenance from his strength. |
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Term
F. Scott Fitzgerald: Babylon Revisited
(pg. 1847, Vol D) |
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Definition
| He stopped, realizing that he was blundering. They couldn't be expected to accept with equanimity the fact that his income was again twice as large as their own. |
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Term
F. Scott Fitzgerald: Babylon Revisited
(pg. 1853, Vol D) |
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Definition
| He would come back some day; they couldn't make him pay forever. |
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Term
Edith Wharton: Roman Fever
(pg. 847, Vol C) |
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Definition
| For a long time they continued to sit side by side without speaking. It seemed as though, to both, there was a relief in laying down their somewhat futile activities in the presence of the vast Memento Mori which faced them. |
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Term
Edith Wharton: Roman Fever
Speaker: Mrs. Slade (pg. 846, Vol C) |
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Definition
| She wished that Jenny would fall in love--with the wrong man, even; that she might have to be watched, out-maneuvered, rescued. |
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Term
Edith Wharton: Roman Fever
Speaker: Mrs. Ansley (pg. 850, Vol C) |
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Definition
| "I wasn't thinking of you. I was thinking--it was the only letter I ever had from him!" |
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Term
Edith Wharton: Roman Fever
Speaker: Mrs. Ansley (pg. 851, Vol C) |
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Definition
| "I cared for that memory." |
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Term
Edith Wharton: Roman Fever
Speaker: Mrs. Slade (pg. 851, Vol C) |
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Definition
| "Girls have such silly reasons for doing the most serious things. And your marrying so soon convinced me that you'd never really cared." |
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Term
Edith Wharton: Roman Fever
Speaker: Mrs. Slade (pg. 852, Vol C) |
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Definition
| "After all, I had everything; I had him for twenty-five years. And you had nothing but that one letter that he didn't write." |
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Term
Ernest Hemingway: In Our Time
(pg. 12, On the Quai at Smyrna) |
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Definition
| You didn't mind the women who were having babies as you did those with the dead ones. They had them all right. Surprising how few of them died. |
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Term
Ernest Hemingway: In Our Time
(pg. 13, Ch. 1) |
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Definition
| Everybody was drunk. The whole battery was drunk going along the road in the dark. We were going to the Champagne. |
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Term
Ernest Hemingway: In Our Time
(pg. 15, Indian Camp) |
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Definition
| The Indians rowed with quick choppy strokes. ___ lay back with his father's arm around him. |
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Term
Ernest Hemingway: In Our Time
(pg. 19, Indian Camp) |
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Definition
"Is dying hard, Daddy?"
"No, I think it's pretty easy...It all depends."...In the early morning on the lake sitting in the stern of the boat with his father rowing, he felt quite sure that he would never die. |
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Term
Ernest Hemingway: In Our Time
(pg. 25, The Doctor and the Doctor's Wife) |
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Definition
| In the cottage the doctor, sitting on the bed in his room, saw a pile of medical journals on the floor by the bureau. They were still in their wrappers unopened. It irritated him. |
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Term
Ernest Hemingway: In Our Time
(pg. 26, The Doctor and the Doctor's Wife) |
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Definition
| He sat with the gun on his knees. He was very fond of it. Then he heard his wife's voice from the darkened room. |
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Term
Ernest Hemingway: In Our Time
(pg. 34, The End of Something) |
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Definition
| He looked across the bay to the hills that were beginning to sharpen against the sky. Beyond the hills he knew the moon was coming up. |
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Term
| Ernest Hemingway: In Our Time (pg. 61, Ch. 6) |
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Definition
| ___ looked straight ahead brilliantly. The pink bedstead hung twisted toward the street...Up the street were other dead. |
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Term
Ernest Hemingway: In Our Time
(pg. 69, Soldier's Home) |
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Definition
| There is a picture which shows him on the Rhine with two German girls and another corporal...The German girls are not beautiful. The Rhine does not show in the picture. |
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Term
Ernest Hemingway: In Our Time
(pg. 103, Ch. 12) |
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Definition
| When he started to kill it was all in the same rush. The bull looking at him straight in front, hating. |
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Term
Ernest Hemingway: In Our Time
(pg. 133, Big Two-Hearted River: Part 1) |
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Definition
| Even the surface had been burned off the ground. |
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Term
Ernest Hemingway: In Our Time
(pg. 134, Big Two-Hearted River: Part 1) |
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Definition
| ___'s heart tightened as the trout moved. He felt all the old feeling. |
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Term
Ernest Hemingway: In Our Time
(pg. 138, Big Two-Hearted River: Part 1) |
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Definition
| He was very hungry and he wanted to make his camp before he cooked. |
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Term
Ernest Hemingway: In Our Time
(pg. 139, Big Two-Hearted River: Part 1) |
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Definition
| He had not been unhappy all day. This was different though. Now things were done. There had been this to do. Now it was done. It had been a hard trip. He was very tired. That was done. He had made his camp. He was settled. Nothing could touch him. |
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Term
Ernest Hemingway: In Our Time
(pg. 143, Ch. 15) |
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Definition
| The corridor was high and narrow with tiers of cells on either side. All the cells were occupied. The men had been brought in for the hanging. |
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Term
Ernest Hemingway: In Our Time
(pg. 147, Big Two-Hearted River: Part 2) |
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Definition
| ___ felt awkward and professionally happy with all his equipment hanging from him. |
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Term
Ernest Hemingway: In Our Time
(pg. 150, Big Two-Hearted River: Part 2) |
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Definition
| The reel ratcheted into a mechanical shriek as the line went out in a rush. |
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Term
Ernest Hemingway: In Our Time
(pg. 151, Big Two-Hearted River: Part 2) |
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Definition
| He did not want to rush his sensations any. |
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Term
Ernest Hemingway: In Our Time
(pg. 155, Big Two-Hearted River: Part 2) |
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Definition
| Beyond that the river went into the swamp. ___ did not want to go in there now. |
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Term
T.S. Eliot: The Love Song of J. Alfred Prufrock
(pg. 1577, Vol D) |
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Definition
| Let us go then, you and I, / When the evening is spread out against the sky...The muttering retreats / Of restless nights in one-night cheap hotels |
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Term
T.S. Eliot: The Love Song of J. Alfred Prufrock
(pg. 1578, Vol D) |
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Definition
| I have measured out my life with coffee spoons |
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Term
T.S. Eliot: The Love Song of J. Alfred Prufrock
(pg. 1580, Vol D) |
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Definition
| We have lingered in the chambers of the sea / By sea-girls wreathed with seaweed red and brown / Till human voices wake us, and we drown. |
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Term
T.S. Eliot: Tradition and the Individual Talent
(pg. 1582, Vol D) |
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Definition
| ..."tradition" should positively be discouraged...It involves, in the first place, the historical sense, which we may call nearly indispensable to anyone who would continue to be a poet beyond his twenty-fifth year; and the historical sense involves a perception, not only of the pastness of the past, but of its presence... |
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Term
T.S. Eliot: Journey of the Magi
(pg. 1603, Vol D) |
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Definition
| We returned to our places, these Kingdoms, / But no longer at ease here, in the old dispensation, / With an alien people clutching their gods. / I should be glad of another death. |
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Term
T.S. Eliot: Burnt Norton
(pg. 1603, Vol D) |
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Definition
| Time present and time past / Are both perhaps present in time future, / And time future contained in time past. / If all time is eternally present / All time is unredeemable. |
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Term
F. Scott Fitzgerald: The Great Gatsby
Speaker: Nick/narrator(pg. 2) |
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Definition
| ...what foul dust floated in the wake of his dreams that temporarily closed out my interest in the abortive sorrows and short-winded elations of men. |
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Term
F. Scott Fitzgerald: The Great Gatsby
Speaker: Nick/narrator (pg. 7) |
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Definition
| It was a body capable of enormous leverage--a cruel body. |
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Term
F. Scott Fitzgerald: The Great Gatsby
Speaker: Nick/narrator (pg. 9) |
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Definition
| It was the kind of voice that the ear follows up and down, as if each speech is an arrangement of notes that will never be played again. |
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Term
F. Scott Fitzgerald: The Great Gatsby
Speaker: Daisy (pg. 12) |
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Definition
| "Look! I hurt it. You did it, ___. I know you didn't mean to but you DID do it." |
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Term
F. Scott Fitzgerald: The Great Gatsby
Speaker: Daisy (pg. 17) |
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Definition
| "I've been everywhere and seen everything and done everything. Sophisticated--God, I'm sophisticated!" |
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Term
F. Scott Fitzgerald: The Great Gatsby
Speaker: Nick/narrator (pg. 20) |
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Definition
| But I didn't call to him, for he gave a sudden intimation that he was content to be alone--he stretched out his arms toward the dark water in a curious way, and, as far as I was from him, I could have sworn he was trembling. |
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Term
F. Scott Fitzgerald: The Great Gatsby
Speaker: Nick/narrator (pg. 35) |
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Definition
| Yet high over the city our line of yellow windows must have contributed their share of human secrecy to the casual watcher in the darkening streets, and I was him too, looking up and wondering. I was within and without, simultaneously enchanted and repelled by the inexhaustible variety of life. |
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Term
F. Scott Fitzgerald: The Great Gatsby
Speaker: Nick/narrator (pg. 41) |
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Definition
| Suddenly one of these gypsies, in trembling opal, seizes a cocktail out of the air, dumps it down for courage and, moving her hands like Frisco, dances out along on the canvas platform. |
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Term
F. Scott Fitzgerald: The Great Gatsby
Speaker: Nick/narrator (pg. 48) |
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Definition
| It was one of those rare smiles with a quality of eternal reassurance in it, that you may come across four or five times in life. |
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Term
F. Scott Fitzgerald: The Great Gatsby
Speaker: Gatsby (pg. 65) |
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Definition
| "I'll tell you God's truth. I am the son of some wealthy people in the Middle West--all dead now. I was brought up in America but educated at Oxford, because all my ancestors have been educated there for many years. It is a family tradition." |
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Term
F. Scott Fitzgerald: The Great Gatsby
Speaker: Nick/narrator (pg. 86) |
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Definition
| ___, pale as death, with his hands plunged like weights in his coat pockets, was standing in a puddle of water glaring tragically into my eyes. |
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Term
| F. Scott Fitzgerald: The Great Gatsby Speaker: Nick/narrator (pg. 89) |
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Definition
| Her throat, full of aching, grieving beauty, told only of her unexpected joy. |
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Term
F. Scott Fitzgerald: The Great Gatsby
Speaker: Daisy (pg. 92) |
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Definition
| "They're such beautiful shirts. It makes me sad because I've never seen such--such beautiful shirts before." |
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Term
| F. Scott Fitzgerald: The Great Gatsby Speaker: Nick/narrator (pg. 95) |
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Definition
| There must have been moments that afternoon when ___ tumbled short of his dreams--not through her own fault, but because of the colossal vitality of his illusion. |
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Term
F. Scott Fitzgerald: The Great Gatsby
Speaker: Nick/narrator (pg. 100) |
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Definition
| At any rate ___ asked him a few questions (one of them elicited the brand new name) and found that he was quick and extravagantly ambitious. |
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Term
F. Scott Fitzgerald: The Great Gatsby
Speaker: Nick/narrator (pg. 107) |
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Definition
| She was appalled by West Egg, this unprecedented "place" that Broadway had begotten upon a Long Island fishing village--appalled by its raw vigor that chafed under the old euphemisms and by the too obtrusive fate that herded its inhabitants along a short-cut from nothing to nothing. |
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Term
F. Scott Fitzgerald: The Great Gatsby
Speaker: Gatsby (pg. 110) |
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Definition
| "Can't repeat the past? Why of course you can!" |
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Term
F. Scott Fitzgerald: The Great Gatsby
Speaker: Nick/narrator (pg. 111) |
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Definition
| At his lips' touch she blossomed for him like a flower and the incarnation was complete. |
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Term
F. Scott Fitzgerald: The Great Gatsby
Speaker: Nick/narrator (pg. 130) |
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Definition
| Angry as I was, as we all were, I was tempted to laugh whenever he opened his mouth. The transition from libertine to prig was so complete. |
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Term
F. Scott Fitzgerald: The Great Gatsby
Speaker: Nick/narrator (pg. 180) |
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Definition
| So we beat on, boats against the current, born back ceaselessly into the past. |
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Term
| Mark Twain: Fenimore Cooper's Literary Offences (pg. 302, Vol C) |
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Definition
| A work of art? It has no invention; it has no order, system, sequence, or result; it has no lifelikeness, no thrill, no stir, no seeming of reality; its characters are confusedly drawn, and by their acts and words they prove that they are not the sort of people the author claims they are; its humor is pathetic; its pathos is funny; its conversations are--oh! indescribable; its love-scenes odious; its English a crime against the language. Counting these out, what is left is Art. I think we must all admit that. |
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