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الشعر في عصر النهضة( نموذج أسئلة)
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الكاتب:  Ruaa [ الأحد كانون الثاني 11, 2009 7:57 م ]
عنوان المشاركة:  الشعر في عصر النهضة( نموذج أسئلة)

و شكرا على ردك

ولو الشكر الك, عم نعذبك معنا
هلئ هني قصيدتين
On His Blindness

الكاتب:  القلب الصادق [ الاثنين كانون الثاني 12, 2009 3:59 م ]
عنوان المشاركة:  الشعر في عصر النهضة( نموذج أسئلة)

 الى طلاب السنة التانية الحلوين  *1  *1

My Lute, Awake! - Sir Thomas Wyatt

Figures of Speech:

"My lute awake" : It is personification; lute has a human characteristic which is 'awake'.

"As lead to grave in marble stone" : It is a metaphor ; the poet compares the effect of his song to a body which is buried in a very hard stone.

"Repulse the waves" : It is a personification; the poet personifies the rocks by using the human adjective 'repulse' or 'reject'.

       “The long love that in my thought doth harbor”
Sir Thomas Wyatt

The long love that in my thought doth harbor,
And in mine heart doth keep his residence
Into my face presseth with bold pretence.
And therein campeth, spreading his banner
She that me learneth to love and suffer
And will that my trust and lust's negligence,
Be reined by reason, shame, and reverence.
With his hardiness taketh displeasure,
Wherewithal unto the heart's forest he fleeth,
Leaving his enterprise with pain and cry.
And there him hideth and not appeareth
What may I do when my master feareth?
But in the field with him to live and die
For good is the life ending faithfully

The Theme:

In “The long love that in my thought doth harbor”, the poet talks about love.  A kind of love that must remain concealed, that can’t be expressed in public, but more important, he wants to tell us about his innermost fight.  The poet uses a warrior metaphor; to show us how difficult it is for him to keep this love unexposed and how strong is his sentiment for the lady.

"On His Blindness"
By John Milton (1608-1674)

When I consider how my light is spent1
Ere half my days2 in this dark world and wide
And that one talent3 which is death to hide
Lodged with me useless,4 though my soul more bent
To serve therewith5 my Maker, and present
My true account,6 lest he returning chide;
"Doth God exact7 day labor, light denied?"
I fondly8 ask. But Patience,9 to prevent
That murmur, soon replies,. "God doth not need
Either man's work or his own gifts.10 Who best
Bear his mild yoke,11 they serve him best. His state
Is kingly; thousands at his bidding speed,.
And post12 o'er land and ocean without rest;
They also serve who only stand and wait.13


1....light is spent: This clause presents a double meaning: (a) how I spend my days, (b) how it is that my sight is used up.
2....Ere half my days: Before half my life is over. Milton was completely blind by 1652, the year he turned 44.
3....talent: See
4....useless: Unused.
5....therewith: By that means, by that talent; with it
6....account: Record of accomplishment; worth
7....exact: Demand, require
8....fondly: Foolishly, unwisely
9....Patience: Milton personifies patience, capitalizing it and having it speak.  
10..God . . . gifts: God is sufficient unto Himself. He requires nothing outside of Himself to exist and be happy.
11. yoke: Burden, workload.
12. post: Travel.


God judges humans on whether they labor for Him to the best of their ability. For example, if one carpenter can make only two chairs a day and another carpenter can make five, they both serve God equally well if the first carpenter makes his two chairs and the second makes his five. If one carpenter becomes severely disabled and cannot make even a single chair, he remains worthy in the sight of God. For, as Milton says in the last line of the poem, "they also serve who only stand and wait."
Lines 3 to 6 of the poem allude to the "Parable of the Talents" in Chapter 25 of the Gospel of Matthew, verses 14 to 30. In this famous parable, an employer who is going away for a time gives his three servants money in proportion to their ability to increase its value. He distributes the money in talents, a unit of weight used in ancient times to establish the value of gold, silver, or any other medium used as money. Thus, a Roman might pay ten talents of gold for military supplies or seven talents of silver for a quantity of food. In the "Parable of the Talents," the employer gives the first servant five talents of silver, the second servant two talents, and the third servant one talent. After the employer returns from the trip and asks for an accounting, the first servant reports that he doubled his talents to ten and the second that he doubled his to four. Both men receive promotions. The third servant then reports that he still has only one talent, for he did nothing to increase its value. Instead, he buried it. The employer denounces him for his laziness, gives his talent to the man with ten, and casts him outside into the darkness.

Figures of Speech:

Alliteration: my days in this dark world and wide (line 2)
Metaphor: though my soul more bent / To serve therewith my Maker (lines 3-4). The author compares his soul to his mind.
Personification/Metaphor: But Patience, to prevent / That murmur, soon replies . . . (lines 8-9).
Paradox: They also serve who only stand and wait.


The poem is written in iambic pentameter
      1...........2........... 3............4............5
When I | con SID | er HOW| my LIFE | is SPENT


In this Monody the Author bewails a
learned Friend, unfortunatly drown'd in his Passage
from Chester on the Irish Seas, 1637. And by
occasion fortels the ruine of our corrupted
Clergy then in their height.

YEt once more, O ye Laurels, and once more
Ye Myrtles brown, with Ivy never-sear,
I com to pluck your Berries harsh and crude,
And with forc'd fingers rude,
Shatter your leaves before the mellowing year. [ 5 ]
Bitter constraint, and sad occasion dear,
Compels me to disturb your season due:
For Lycidas is dead, dead ere his prime,
Young Lycidas, and hath not left his peer:
Who would not sing for Lycidas? he knew [ 10 ]
Himself to sing, and build the lofty rhyme.
He must not flote upon his watry bear
Unwept, and welter to the parching wind,
Without the meed of som melodious tear.
Begin then, Sisters of the sacred well, [ 15 ]
That from beneath the seat of Jove doth spring,
Begin, and somwhat loudly sweep the string.
Hence with denial vain, and coy excuse,
So may som gentle Muse
With lucky words favour my destin'd Urn, [ 20 ]
And as he passes turn,
And bid fair peace be to my sable shrowd.
For we were nurst upon the self-same hill,
Fed the same flock, by fountain, shade, and rill.
Together both, ere the high Lawns appear'd [ 25 ]
Under the opening eye-lids of the morn,
We drove a field, and both together heard
What time the Gray-fly winds her sultry horn,
Batt'ning our flocks with the fresh dews of night,
Oft till the Star that rose, at Ev'ning, bright [ 30 ]
Toward Heav'ns descent had slop'd his westering wheel.
Mean while the Rural ditties were not mute,
Temper'd to th' Oaten Flute,
Rough Satyrs danc'd, and Fauns with clov'n heel,
From the glad sound would not be absent long, [ 35 ]
And old Damœtas lov'd to hear our song.
But O the heavy change, now thou art gon,
Now thou art gon, and never must return!
Thee Shepherd, thee the Woods, and desert Caves,
With wilde Thyme and the gadding Vine o'regrown, [ 40 ]
And all their echoes mourn.
The Willows, and the Hazle Copses green,
Shall now no more be seen,
Fanning their joyous Leaves to thy soft layes.
As killing as the Canker to the Rose, [ 45 ]
Or Taint-worm to the weanling Herds that graze,
Or Frost to Flowers, that their gay wardrop wear,
When first the White thorn blows;
Such, Lycidas, thy loss to Shepherds ear.
Where were ye Nymphs when the remorseless deep [ 50 ]
Clos'd o're the head of your lov'd Lycidas?
For neither were ye playing on the steep,
Where your old Bards, the famous Druids ly,
Nor on the shaggy top of Mona high,
Nor yet where Deva spreads her wisard stream: [ 55 ]
Ay me, I fondly dream!
Had ye bin there — for what could that have don?
What could the Muse her self that Orpheus bore,
The Muse her self, for her inchanting son
Whom Universal nature did lament, [ 60 ]
When by the rout that made the hideous roar,
His goary visage down the stream was sent,
Down the swift Hebrus to the Lesbian shore.
Alas! What boots it with uncessant care
To tend the homely slighted Shepherds trade, [ 65 ]
And strictly meditate the thankles Muse,
Were it not better don as others use,
To sport with Amaryllis in the shade,
Or with the tangles of Neæra's hair?
Fame is the spur that the clear spirit doth raise [ 70 ]
(That last infirmity of Noble mind)
To scorn delights, and live laborious dayes;
But the fair Guerdon when we hope to find,
And think to burst out into sudden blaze,
Comes the blind Fury with th' abhorred shears, [ 75 ]
And slits the thin spun life. But not the praise,
Phœbus repli'd, and touch'd my trembling ears;
Fame is no plant that grows on mortal soil,
Nor in the glistering foil
Set off to th' world, nor in broad rumour lies, [ 80 ]
But lives and spreds aloft by those pure eyes,
And perfet witnes of all judging Jove;
As he pronounces lastly on each deed,
Of so much fame in Heav'n expect thy meed.
O Fountain Arethuse, and thou honour'd flood, [ 85 ]
Smooth-sliding Mincius, crown'd with vocall reeds,
That strain I heard was of a higher mood:
But now my Oate proceeds,
And listens to the Herald of the Sea
That came in Neptune's plea, [ 90 ]
He ask'd the Waves, and ask'd the Fellon winds,
What hard mishap hath doom'd this gentle swain?
And question'd every gust of rugged wings
That blows from off each beaked Promontory,
They knew not of his story, [ 95 ]
And sage Hippotades their answer brings,
That not a blast was from his dungeon stray'd,
The Ayr was calm, and on the level brine,
Sleek Panope with all her sisters play'd.
It was that fatall and perfidious Bark [ 100 ]
Built in th' eclipse, and rigg'd with curses dark,
That sunk so low that sacred head of thine.
Next Camus, reverend Sire, went footing slow,
His Mantle hairy, and his Bonnet sedge,
Inwrought with figures dim, and on the edge [ 105 ]
Like to that sanguine flower inscrib'd with woe.
Ah! Who hath reft (quoth he) my dearest pledge?
Last came, and last did go,
The Pilot of the Galilean lake,
Two massy Keyes he bore of metals twain, [ 110 ]
(The Golden opes, the Iron shuts amain)
He shook his Miter'd locks, and stern bespake,
How well could I have spar'd for thee young swain,
Anow of such as for their bellies sake,
Creep and intrude, and climb into the fold? [ 115 ]
Of other care they little reck'ning make,
Then how to scramble at the shearers feast,
And shove away the worthy bidden guest.
Blind mouthes! that scarce themselves know how to hold
A Sheep-hook, or have learn'd ought els the least [ 120 ]
That to the faithfull Herdmans art belongs!
What recks it them? What need they? They are sped;
And when they list, their lean and flashy songs
Grate on their scrannel Pipes of wretched straw,
The hungry Sheep look up, and are not fed, [ 125 ]
But swoln with wind, and the rank mist they draw,
Rot inwardly, and foul contagion spread:
Besides what the grim Woolf with privy paw
Daily devours apace, and nothing sed,
But that two-handed engine at the door, [ 130 ]
Stands ready to smite once, and smite no more.
Return Alpheus, the dread voice is past,
That shrunk thy streams; Return Sicilian Muse,
And call the Vales, and bid them hither cast
Their Bels, and Flourets of a thousand hues. [ 135 ]
Ye valleys low where the milde whispers use,
Of shades and wanton winds, and gushing brooks,
On whose fresh lap the swart Star sparely looks,
Throw hither all your quaint enameld eyes,
That on the green terf suck the honied showres, [ 140 ]
And purple all the ground with vernal flowres.
Bring the rathe Primrose that forsaken dies.
The tufted Crow-toe, and pale Jasmine,
The white Pink, and the Pansie freakt with jeat,
The glowing Violet. [ 145 ]
The Musk-rose, and the well attir'd Woodbine,
With Cowslips wan that hang the pensive hed,
And every flower that sad embroidery wears:
Bid Amaranthus all his beauty shed,
And Daffadillies fill their cups with tears, [ 150 ]
To strew the Laureat Herse where Lycid lies.
For so to interpose a little ease,
Let our frail thoughts dally with false surmise.
Ay me! Whilst thee the shores and sounding Seas
Wash far away, where ere thy bones are hurld, [ 155 ]
Whether beyond the stormy Hebrides,
Where thou perhaps under the whelming tide
Visit'st the bottom of the monstrous world;
Or whether thou to our moist vows deny'd,
Sleep'st by the fable of Bellerus old, [ 160 ]
Where the great vision of the guarded Mount
Looks toward Namancos and Bayona's hold;
Look homeward Angel now, and melt with ruth.
And, O ye Dolphins, waft the haples youth.
Weep no more, woful Shepherds weep no more, [ 165 ]
For Lycidas your sorrow is not dead,
Sunk though he be beneath the watry floar,
So sinks the day-star in the Ocean bed,
And yet anon repairs his drooping head,
And tricks his beams, and with new-spangled Ore, [ 170 ]
Flames in the forehead of the morning sky:
So Lycidas sunk low, but mounted high,
Through the dear might of him that walk'd the waves;
Where other groves, and other streams along,
With Nectar pure his oozy Lock's he laves, [ 175 ]
And hears the unexpressive nuptiall Song,
In the blest Kingdoms meek of joy and love.
There entertain him all the Saints above,
In solemn troops, and sweet Societies
That sing, and singing in their glory move, [ 180 ]
And wipe the tears for ever from his eyes.
Now Lycidas the Shepherds weep no more;
Hence forth thou art the Genius of the shore,
In thy large recompense, and shalt be good
To all that wander in that perilous flood. [ 185 ]
Thus sang the uncouth Swain to th' Okes and rills,
While the still morn went out with Sandals gray,
He touch'd the tender stops of various Quills,
With eager thought warbling his Dorick lay:
And now the Sun had stretch'd out all the hills, [ 190 ]
And now was dropt into the Western bay;
At last he rose, and twitch'd his Mantle blew:
To morrow to fresh Woods, and Pastures new.

What Happens in “Lycidas” :

1–5 The poet complains that he is unready

6–36  No matter, Lycidas was a poet and his death must not pass without song. I too shall die
one day and want someone to sing for me. Moreover, Lycidas and I grew up and made poetry together, to the delight of many.

37–49  “But O the heavy change now, thou art gon”: nature languishes in Lycidas’s absence.

50–63  The nymphs were powerless to save him, as Calliope was powerless to save her son, the
poet Orpheus.

64–76 Lycidas died young, before poetry could make him famous. Since life and fame are
uncertain, why not devote oneself to the here and now, to the pleasures of love?

76–84  Phoebus answers that true fame is found in heaven, “not in broad rumour.”

85–87  “That strain I heard was of a higher mood.” The sudden appearance of the god
Phoebus Apollo both initiates a series of such appearances and marks an abrupt
departure from the low style and natural imagery of pastoral tradition
(signified here by the Virgilian river Mincius and the Theocritan river Arethusa).
This departure, however, is not without pastoral precedent; what follows is prophecy.

88–102 “[T]he Herald of the Sea” insists that Lycidas died because his boat was defective,
not because of a storm.

103–7 The River Cam (standing in for Cambridge University) laments that the death of
Lycidas was a great loss to scholarship.

108–31 St. Peter laments that the death of Lycidas was a great loss to the Church, which is at
present guarded by negligent and greedy shepherds (who compound their wickedness
by composing bad songs/sermons/poems). A day of judgement is coming, though.

132–33 [Now that Phoebus Apollo, the Herald of the Sea, the River Cam, and St. Peter are gone,]  
we return to the traditional imagery and subject-matter of pastoral poetry.

134–53 The poet relaxes his mind and imagines the flowers that would deck Lycidas’s body, were it to be recovered from the sea.

154–64 Where is the body? Is it still among the Hebrides? Or has it drifted south with the
current, down to Land’s End and Mt. St. Michael? Bring him home, Michael, as dolphins
brought the poet Arion.

165–85 In fact, grief is inappropriate for three reasons: because (a) Lycidas is not dead; on the
contrary, (b) he enjoys the society of the saints at the Marriage Supper of the Lamb; and
because (c) he now protects travellers in the region where he drowned.

186–93 We learn that the preceding verses were composed by an uncouth swain over the course of a day. “At last he rose… / To morrow to fresh Woods, and Pastures new.”

أتمنى من أعماق القلب للجميع بالنجاح و التوفيق *ورود  *1  *1  *1  *ورود

الكاتب:  Ruaa [ الاثنين كانون الثاني 12, 2009 4:10 م ]
عنوان المشاركة:  الشعر في عصر النهضة( نموذج أسئلة)

القلب الصادق
شكرا كتير الك,

الكاتب:  حلواني [ الاثنين كانون الثاني 12, 2009 5:51 م ]
عنوان المشاركة:  الشعر في عصر النهضة( نموذج أسئلة)

شكرا جزيلا والله يوفقك

الكاتب:  حلواني [ الثلاثاء كانون الثاني 13, 2009 9:15 م ]
عنوان المشاركة:  الشعر في عصر النهضة( نموذج أسئلة)

بليز أخي القلب الصادق طلبا وليس أمرا مجموعة من الأسئلة المؤتمتة للسير ثوماس وايت

الكاتب:  حلواني [ الخميس كانون الثاني 15, 2009 5:12 م ]
عنوان المشاركة:  الشعر في عصر النهضة( نموذج أسئلة)

بنتظارك أخي القلب الصادق الراااااااااااااائع

الكاتب:  القلب الصادق [ الخميس كانون الثاني 15, 2009 7:41 م ]
عنوان المشاركة:  الشعر في عصر النهضة( نموذج أسئلة)

الى حلواني و كل طلاب السنة التانية  *1  *1

Read the following lines from "My lute, Awake!" and answer the following questions:

1. MY lute awake, performe the last
   2. Labour, that thou and I shall waste :
 3. And end that I have now begonne :
     4. And when this song is song and past:
 5. My lute ! be styll, for I have done .

 6. As to be heard where eare is none :
7. As lead to grave in marble stone :
       8. My song may pearse her hart as sone .
           9. Should we then sigh? or singe, or mone ?
  10. No, no, my lute !  for I have done .

1. In which line the poet thinks that his music won't affect on his beloved ?
a. line 4
b. line 6
c. line 7
d. line 8

2. Which line expresses the idea that somehow there is a hope ?
a. line 2
b. line 4
c. line 8
d. line 10

3. Which line denotes to the second world ?
a. line 3
b. line 4
c. line 5
d. line 7

4. Which line the poet personifies his musical instrument ?
a. line 1
b. line 3
c. line 7
d. line 9

بالاضافة رح نزّل الباقي انشالله  *1  *1

الكاتب:  حلواني [ الخميس كانون الثاني 15, 2009 9:02 م ]
عنوان المشاركة:  الشعر في عصر النهضة( نموذج أسئلة)

جزاك الله خيرا اخي بانتظارك دوما وكل دقيقة...
شكرا كلمة قليلة للتعبير عن إمتناني لك

الكاتب:  القلب الصادق [ السبت كانون الثاني 17, 2009 1:46 م ]
عنوان المشاركة:  الشعر في عصر النهضة( نموذج أسئلة)

حلواني و كل طلاب السنة التانية *1  *1


Read the following stanza from "They flee from me" and answer the following questions:
1. They flee from me that sometime did me seke
2. With naked fote, stalkyng in my chamber
3. once I have seen them gentle, tame, and meke,
4. That now are wild, and do not once remember
5. That sometyime they put them selves in danger,
6. To take bread at my hand, and now they range,
7. Busily sekyng with a continuall change.

1. In the second line the word 'stalkyng' means:
a. standing up carefully
b. going out carefully
c. walking carefully
d. none of the above.
2. In the third line the word 'gentle' refers to
a. women in general
b. men in general
c. A & B
d. neither A nor B.
3. What does the poet mean by the word 'danger' in the fifth lines ?
a. under his control
b. under his power
c. under his obligation
d. all of them.
4. In which line the poet compares girls to birds ?
a. line 4
b. line 5
c. line 6
d. line 7
5. " They flee from me " is a remembrance of a
a. missed woman
b. loved woman
c. naked woman
d. kissed woman.


Read the following lines from “The long love that in my thought doth harbor” and answer the questions below:
1.The long love that in my thought doth harbor,
2. And in mine heart doth keep his residence
3. Into my face presseth with bold pretence.
4. And therein campeth, spreading his banner
5. She that me learneth to love and suffer
6. And will that my trust and lust's negligence,
7. Be reined by reason, shame, and reverence.
8. With his hardiness taketh displeasure,
9. Wherewithal unto the heart's forest he fleeth,
10. Leaving his enterprise with pain and cry.

1. The main theme of this poem is
a. only love
b. a special kind of love
c. a secret love
d. all of the above.
2. In the first line the word 'harbor' can mean
a. port
b. station
c. boat
d. none of the above.
3. In which line the poet refers to his emotions ?
a. line 4
b. line 5
c. line 6
d. line 7
4. In which line the poet decides to leave away ?
a. line 8
b. line 9
c. line 10
d. none of the above.
5. In this poem, the poet uses a
a. warrior metaphor
b. secret metaphor
c. leader metaphor
d. A & B.

بتمنى انو كون حققت الفائدة المرجوة للجميع
مع تمنياتي الخالصة بالنجاح و التوفيق  
 *1  *1  *ورود

الكاتب:  حلواني [ السبت كانون الثاني 17, 2009 2:44 م ]
عنوان المشاركة:  الشعر في عصر النهضة( نموذج أسئلة)

جزاك الله ألف خير ما بتقصر
وما قصرت والله

*1  *1

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