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Home , 1949 Pulitzer Prize, 1983 Pulitzer Prize, Alison Lurie, Carol Shields, Doug Wright, Herman Wouk

University Interscholastic League Contest • Invitational A • 2013

Part 1: Knowledge of Literary Terms and of Literary History 30 items (1 point each)

1. The form of extended in which objects, per- 6. Not among the common two-syllable or three- sons, places, and actions in a are equated syllable units of rhythm in English-language

with meanings outside the narrative itself is a (n) prosody is the

A) . A) anapest. B) allusion. B) bacchius. C) almanac. C) dactyl. D) paradox. D) iamb. E) parody. E) trochee.

2. The term that, in drama, refers to a recounting of a 7. The playwright and novelist whose Our Town causally related series of events in the life of a per- (1928) and Bridge of San Luis Rey (1938) earned son of significance, culminating in a is him Pultizers for both drama and is

A) burlesque. A) . B) comedy. B) . C) pastoral. C) . D) tragedy. D) . E) verisimilitude. E) Doug Wright.

3. A comic book or graphic , originally Japanese, 8. The time in English between the per- that, since the early 1950s, presents in book form a iod during which French as the language of story of a , , or romance repre- English court life and the appearance of sents the style known as Modern English writings is known as the

A) anime. A) Anglo-Saxon Period. B) bunraku. B) Jacobean Age. C) kabuki. C) Middle English Period. D) manga. D) Old English Period. E) senryu. E) Renaissance.

4. The recipient of the 1983 for Fiction 9. The nineteenth-century American author of for her novel whose recent com- Omoo, Typee, Mardi, Redburn: His First ments regarding the Occupy Movement reflect her Voyage, White-Jacket; or, The World in a Man- hope for the future is of-War, and "Bartleby the Scrivener" is

A) Geraldine Brooks. A) Herman Melville. B) . B) Edgar Allan Poe. C) . C) Henry David Thoreau. D) . D) Mark Twain. E) . E) Walt Whitman.

5. The term used by E. M. Forster for a suf- 10. The presentation of material in a work in such a ficiently complex to be able to surprise the reader way, including the establishing of a or without losing credibility is a atmosphere, that later events are prepared for is

A) braggadocio. A) . B) flat character. B) . C) round character. C) . D) static character. D) reductio ad absurdum. E) tritagonist. E) scenario.

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11. A New York literary crowd flourishing during the 16. A stanza of four lines, with the first and third first half of the nineteenth century whose principle being iambic tetrameter (eight syllables) and members included Washington Irving, William the second and fourth iambic trimeter (six syl- Cullen Bryant, and James Fenimore Cooper, is the lables), rhymed abab or abcb is called

A) Agrarians. A) antistrophe. B) Black Mountain School. B) common measure. C) Knickerbocker Group. C) heroic stanza. D) Lost Generation. D) long meter. E) Muckrakers. E) poulter's measure.

12. The time period of that encom- 17. Not one of the elements of Freytag's structure

passes both World Wars is called the of the five- tragedy is the

A) Early Victorian Age. A) catastrophe. B) Edwardian Age. B) . C) Late Victorian Age. C) complication. D) Modern or Modernist Period. D) . E) Present Postmodernist or Contemporary Period. E) volta.

13. The American author of and recipient of 18. A novel in which actual persons are presented the 1993 Nobel Prize for Literature is under the guise of fiction is known as a

A) Pearl S. Buck. A) roman à clef. B) Nadine Gordimer. B) roman à thèse. C) Doris Lessing. C) roman de geste. D) Toni Morrison. D) roman-fleuve. E) Nelly Sachs. E) roman noir.

14. A pause or break in a line of verse, which in classi- 19. The American pediatrician and general practi- cal usually occurs near the middle of a line, tioner who received the 1963 Pulitzer Prize for is the Poetry for his Pictures from Brueghel is

A) cadence. A) John Berryman. B) caesura. B) Robert Haas. C) chiasmus. C) Howard Nemerov. D) elision. D) Henry Taylor. E) enjambment. E) William Carlos Williams.

15. The philosophical romanticism reaching America a 20. The group of American poets and novelists of generation or two after it developed in Europe in the 1950s and 1960s, including Allen Ginsberg, which living close to nature and recognizing the Jack Kerouac, and William Burroughs, who, in dignity of manual labor are matched by the search rebellion against the prevailing culture, ex- for intellectual companionship and a move toward pressed their revolt through literary works of spiritual living is called loose structure and slang is known as the

A) existentialism. A) Beat Generation. B) feminism. B) Connecticut Wits. C) realism. C) Harlem Renaissance. D) transcendentalism. D) Spasmodics. E) vorticism. E) Young Men from the Provinces.

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21. The device of repetition in which the same expres- 26. A false name sometimes assumed by writers and sion (word or words) is repeated at the beginning of others, often to disguise his or her true identity

two or more lines or clauses is is a (n)

A) anaphora. A) allonym. B) epanalepsis. B) ananym. C) epistrophe. C) eponym. D) polyptoton. D) heteronym. E) symploce. E) pseudonym.

22. An eighteenth-century philosophical movement that 27. The movement in literary, graphic, and cinema- gave shape to the American Revolution and the two tic art emphasizing the expression of the imagi- basic documents of the United States, the Declara- nation as realized in dreams and presented with- tion of Independence and the Constitution, is the out conscious control is

A) Commonwealth (or Puritan) Interregnum. A) aestheticism. B) Enlightenment. B) cubism. C) Great Awakening. C) impressionism. D) Renaissance. D) minimalism. E) Romantic Movement. E) surrealism.

23. The recipient of the for Drama 28. The period in American literary history ending for his Death of a Salesman, the playwright whose with the ascendancy of Jacksonian democracy Crucible serves as a comment on the 1950s' Con- and during which the first American novel, gressional House Un-American Activities Commit- William Hill Brown's Power of Sympathy, was

tee, is published is the

A) . A) Colonial Period. B) . B) Naturalistic and Symbolistic Period. C) . C) Realistic Period. D) Eugene O'Neill. D) Revolutionary and Early National Period. E) . E) Romantic Period.

24. The eighteenth-century Irish author of A Tale of the 29. Not representative of the Romantic Period in Tub, Gulliver's Travels, and "A Modest Proposal" is English literature is

A) Daniel Defoe. A) George Gordon, Lord Byron. B) Henry Fielding. B) Samuel Taylor Coleridge. C) Laurence Sterne. C) John Milton. D) Jonathan Swift. D) Percy Bysshe Shelley. E) Horace Walpole. E) William Wordsworth.

25. Long prose fiction that, in explaining the why of the 30. The derogatory title applied by Blackwood's Mag- characters' actions, places unusual emphasis on in- azine to a group of nineteenth-century British wri- terior and on the motives, circum- ters, including William Hazlitt, Leigh Hunt, and stances, and internal that spring from and de- John Keats, because of their alleged poor taste in

velop external action is called a (n) such matters as diction and rhyme is the

A) . A) Cockney School. B) novel of character. B) Lake School. C) novel of incident. C) Martian School. D) novel of manners. D) Satanic School. E) psychological novel. E) Spasmodics.

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Part 2: The UIL Reading List 20 items (2 points each)

Items 31-37 are associated with Oscar Wilde's The Importance of Being Earnest. Items 38-44 are associated with Carson McCullers's The Heart Is a Lonely Hunter. Items 45-50 are associated with Samuel Taylor Coleridge's poetry (selected).

31. In Oscar Wilde's trivial comedy for serious people, 36. In a conversation that notes that sensible men The Importance of Being Earnest, the character who would really like to be caught in the snare de- is recognized as having "been for the last three years fined by a woman's good looks, the declaration Miss Cardew's esteemed governess and valued com- "I don't think I would care to catch a sensible panion" is man" is offered by

A) Lady Bracknell. A) Augusta. B) Miss Fairfax. B) Cecily. C) Miss Lane. C) Gwendolen. D) Miss Prism. D) Merriman. E) Miss Worthing. E) Oscar.

32. Commenting to herself in anticipation of meeting 37. Lady Bracknell's reply regarding Miss Cardew's Ernest for the first time that she has "never really family's standing in society, "That sounds not met any really wicked person before" is unsatisfactory," is an example of

A) Lady Bracknell. A) ambiguity. B) Miss Cardew. B) equivoque. C) Miss Fairfax. C) hyperbole. D) Miss Prism. D) litotes. E) Miss Worthing. E) paradox.

33. Very important to the plotline of Wilde's is 38. John Singer of Carson McCullers's The Heart Is Miss Prism's recognition of her initials on a a Lonely Hunter earns a living as a (n)

A) hand-bag. A) confectioner. B) handkerchief. B) doctor. C) receipt for a train ticket. C) engraver. D) recipe for cucumber sandwiches. D) musician. E) title page of a three-volume novel. E) watch repairman.

34. The character who claims to have an Aunt Cecily 39. "Lov[ing] to eat more than anything else in the living in the country at Tunbridge Wells is world" is

A) Algernon. A) Antonapoulos. B) Cecily. B) Blount. C) Chasuble. C) Brannon. D) Gwendolyn. D) Copeland. E) Jack. E) Singer.

35. While in the flat in Half-Moon Street, John Worthing 40. Jake Blount works "wearily during the long af- declares to Algernon that he has come up from the ternoons and evenings" running a flying-jenny,

country to town which is a (n)

A) belatedly to pay his debts. A) aeroplane. B) cautiously to visit Bunbury. B) airplane. C) daringly to retrieve his cigarette case. C) merry-go-round. D) expressly to propose to Gwendolen. D) sewing machine. E) finally to meet Cecily. E) spinning-wheel.

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41. Through Harry Minowitz, Mick learns, to varying With answering look a ready ear to lend, degrees, about all the following except I mourn to thee and say—'Ah! loveliest friend! 16

A) diagramming sentences. That this the meed of all my toils might be, To have a home, an English home, and thee!' B) fascism. Vain repetition! Home and Thou are one. C) Harry's liking Mr. Brannon. The peacefull'st cot, the moon shall shine upon, 20 D) human sexuality. Lulled by the thrush and wakened by the lark, E) repairing watches. Without thee were but a becalmèd bark,

Whose Helmsman on an ocean waste and wide 42. Portia, drunk on gin, tells her father, accusingly, Sits mute and pale his mouldering helm beside. 24 about Willie losing his And art thou nothing? Such thou art, as when A) eyesight. The woodman winding westward up the glen B) feet. At wintry dawn, where o'er the sheep-track's maze

C) job. The viewless snow-mist weaves a glist'ning haze, 28 Sees full before him, gliding without tread, D) mind. An image with a glory round its head; E) war medals. The enamoured rustic worships its fair hues,

43. The only one, other than Mick herself, who is Nor knows he makes the shadow, he pursues! 32

found in both rooms—the inside room and the 45. Coleridge's speaker in "Constancy to an Ideal Ob- outside room—is ject" addresses Thought, which constitutes an A) Jake Blount. A) apostrophe. B) Bartholomew Brannon. B) epiphany. C) Benedict Copeland. C) incantation. D) Harry Minowitz. D) oxymoron. E) John Singer. E) understatement.

44. Names mean quite a bit in McCullers's story; how- 46. The end rhyme of lines 7 and 9 of Coleridge's ever, the character whose actions suggest an over- "Constancy" exhibits whelming importance regarding how names mean is A) alliteration. A) Jake Blount. B) assonance. B) Biff Brannon. C) consonance. C) Benedict Copeland. D) dissonance. D) Mick Kelly. E) John Singer. E) resonance.

47. Lines 26-27 of "Constancy" are characterized by Items 45-48 refer to Samuel Taylor Coleridge's A) alliteration. Constancy to an Ideal Object B) assonance. Since all that beat about in Nature's range, C) consonance. Or veer or vanish; why should'st thou remain D) dissonance. The only constant in a world of change, O yearning Thought! that liv'st but in the brain? 4 E) resonance.

Call to , that in the distance play, 48. Lines 20-24 feature a comparison, the tenor of The faery people of the future day— which is the cottage and the vehicle the bark, Fond Thought! not one of all that shining swarm the two constituent parts of one of the poem's Will breathe on thee with life-enkindling breath, 8 Till when, like strangers shelt'ring from a storm, A) allusions.

Hope and Despair meet in the porch of Death! B) hyperboles.

Yet still thou haunt'st me; and though well I see, C) . She is not thou, and only thou are she, 12 D) paradoxes. Still, still as though some dear embodied Good, E) similes. Some living Love before my eyes there stood UNIVERSITY INTERSCHOLASTIC LEAGUE PAGE 5 Literary Criticism Contest • Invitational A 2013 • page 6

Items 49-50 refer to Samuel Taylor Coleridge's 51. The thematic concern of Elizabeth Barrett Browning's sonnet is summed up in Phantom A) lines 1-2. All look and likeness caught from earth, B) lines 3-6. All accident of kin and birth, C) lines 7-9. Had pass'd away. There was no trace Of aught on that illumined face, 4 D) lines 10-12.

Upraised beneath the rifted stone E) lines 13-14. But of one spirit all her own;—

She, she herself, and only she, 52. The repetition of the word love, first as the verb Shone through her body visibly. 8 love and then as the possessive noun love's in 49. The metrical pattern of Coleridge's "Phantom" is the last two lines of the poem, is an example of

A) dactylic tetrameter. A) anaphora. B) iambic pentameter. B) echo. C) iambic tetrameter. C) . D) iambic trimeter. D) litotes. E) trochaic pentameter. E) ploce.

50. The overriding structure upon which "Phantom" 53. The sonnet form that Browning follows in this depends is the poem is the

A) closed couplet. A) caudate sonnet. B) couplet. B) English sonnet. C) octameter. C) Italian sonnet. D) pantoum. D) Miltonic sonnet. E) sestet. E) Spenserian sonnet.

54. The rhyme scheme of lines 10, 12, and 14 is characterized by

Part 3: Ability in Literary Criticism A) anisobaric rhyme. 15 items (2 points each) B) eye rhyme. Items 51-55 refer to Elizabeth Barrett Browning's C) internal rhyme. D) pararhyme. If thou must love me, let it be for nought E) true rhyme. If thou must love me, let it be for nought Except for love's sake only. Do not say 55. The sonnet's turn, its volta, is found at the be- 'I love her for her smile—her look—her way ginning of

Of speaking gently,—for a trick of thought 4 A) line 2. That falls in well with mine, and certes brought B) line 5. A sense of pleasant ease on such a day'— For these things in themselves, Belovèd, may C) line 9. Be changed, or change for thee, —and love, so wrought, D) line 12. May be unwrought so. Neither love me for E) line 13. Thine own dear pity's wiping my cheeks dry, — A creature might forget to weep, who bore Thy comfort long, and lose thy love thereby! 12 Items 56-59 refer to Edgar Allan Poe's But love me for love's sake, that evermore Thou mayst love on, through love's eternity. Alone

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Alone Items 60-61 refer to Robert Morgan's

From childhood's hour I have not been Audubon's Flute As others were—I have not seen As others saw—I could not bring Audubon in the summer woods My passions from a common spring. 4 by the afternoon river sips From the same source I have not taken his flute, his fingers swimming on My sorrow—I could not awaken the silver as silver notes pour 4 My heart to joy at the same — And all I loved—I loved alone. 8 by the afternoon river, sips Then—in my childhood—in the dawn and fills the mosquito-note air Of a most stormy life—was drawn with silver as silver notes pour From every depth of good and ill two hundred miles from any wall. 8

The mystery which binds me still— 12 And fills the mosquito-note air From the torrent, or the fountain— as deer and herons pause, listen, From the red cliff of the mountain— two hundred miles from any wall, From the sun that round me rolled and sunset plays the stops of river. 12 In its autumn tint of gold— 16 From the lightning in the sky As deer and herons pause, listen, As it passed me flying by— the silver pipe sings on his tongue From the thunder and the storm— and sunset plays the stops of river, And the cloud that took the form 20 his breath modeling a melody 16 (When the rest of Heaven was blue) Of a demon in my view. the silver pipe sings on his tongue, coloring the trees and canebrakes, 56. Lines 5 and 6 of Edgar Allan Poe's "Alone" feature his breath modeling a melody A) eye rhyme. over calamus* and brush country, 20 B) feminine ending. coloring the trees and canebrakes C) Leonine rhyme. to the horizon and beyond, D) masculine rhyme. over calamus and brush country E) triple rhyme. where the whitest moon is rising 24

57. Lines 13 and 14 of Poe's poem are characterized by to the horizon and beyond

A) compound rhyme. his flute, his fingers swimming on B) feminine rhyme. where the whitest moon is rising. Audubon in the summer woods. 28 C) Leonine rhyme.

D) masculine rhyme. *a type of plant E) recessed rhyme. 60. The in Robert Morgan's "Audubon's 58. Lines 13, 14, 15, 17, and 19 of Poe's "Alone" exhibit Flute" modulates between

A) anaphora. A) auditory and gustatory. B) epanalepsis. B) auditory and tactile. C) epistrophe. C) gustatory and tactile. D) hypozeuxis. D) tactile and olfactory. E) tautology. E) visual and auditory.

59. The words torrent and fountain and the phrases "com- 61. Morgan's four-line stanza poem is a fine exam-

mon Spring" and "drawn from every depth" comprise a ple of a non-rhyming

A) barbarism. A) octave. B) claque. B) pantoum. C) controlling image. C) quintain. D) dead metaphor. D) sestet. E) pleonasm. E) tristich. UNIVERSITY INTERSCHOLASTIC LEAGUE PAGE 7

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Items 62-65 refer to Stevie Smith's 62. The potential of Stevie Smith's "Private Means is Dead" lies in its use of the Private Means is Dead A) euphemism. Private Means is dead B) kenning. God rest his soul, officers and fellow-rankers said. C) nonce word.

Captive Good, attending Captain Ill D) pun. Can tell us quite a lot about the Captain, if he will. E) repartee.

Major Portion 63. The "significant" names, the names that are sug- Is a disingenuous person gestive of the characters' qualities or physical And as for Major Operation well I guess traits, so readily recognized in Smith's com- We all know what his reputation is mentary on war, are

The crux and Colonel A) carmen figurata. Of the whole matter B) errata. (As you may read in the Journal C) malaphorisms. If it's not tattered) D) malapropisms. E) redende names. Lies in the Generals Collapse Debility Panic and Uproar

Who are too old in any case to go to the War. 64. The meaning of the second stanza (lines 3-4) finds direction in its obvious

A) ambiguity. B) barbarism. C) hyperbole. D) . E) litotes.

65. The tone of Smith's poem is A) comically sarcastic. B) deceivingly optimistic. C) earnestly nostalgic. D) flippantly celebratory. E) gently reverent.

Required tie-breaking essay prompt on the next page.

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Part 4: Tie-Breaking Essay (required)

Note well: Contestants who do not write an essay will be disqualified even if they are not involved in any tie.

Note well: Any essay that does not demonstrate a sincere effort to discuss the assigned topic will be disqualified. The judge(s) should note carefully this criterion when breaking ties: ranking of essays for tie-breaking purposes should be based primarily on how well the topic has been addressed.

Three sheets of paper have been provided for this essay; your written response should reflect the Handbook's notion that an essay is a "moderately brief discussion of a restricted topic": something more than just a few sen- tences.

Read Samuel Taylor Coleridge's "Fancy in Nubibus," and compose an essay that addresses Coleridge's focus on the poet's imagination.

Fancy in Nubibus* Or, the Poet in the Clouds

O! It is pleasant, with a heart at ease, Just after sunset, or by moonlight skies, To make the shifting clouds be what you please, Or let the easily persuaded eyes 4 Own each quaint likeness issuing from the mould Of a friend's fancy;* or with head bent low And cheek aslant see rivers flow of gold 'Twixt crimson banks; and then, a traveller, go 8 From mount to mount through Cloudland, gorgeous land! Or list'ning to the tide, with closèd sight, Be that blind bard,* who on the Chian* strand By those deep sounds possessed with inward light, 12 Beheld the Iliad and the Odyssee Rise to the swelling of the voiceful sea.

1819

*[in the] clouds *the imagination *Homer *from Chios, a Greek island famed for its association with Homer

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