CLEP English Literature
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495 Terms
Periods in order
Old English to 1066, Middle English 1066-1485, Renaissance 1485-1660, Restoration 1660-1700, Eighteenth century/Augustan 1700-1785, Romantic 1785-1832, Victorian 1832-1901, Modern 1910-1945, Postwar and contemporary 1945-present.
Order trap 1
Faerie Queene (1590) → Paradise Lost (1667) → Rape of the Lock (1712) → Songs of Innocence (1789) → Rime of the Ancient Mariner (1798) → The Waste Land (1922)
Order trap 2 author chain
Beowulf poet → Chaucer → Malory → Spenser → Shakespeare → Milton → Pope → Blake → Coleridge → Austen → the Brontës → Hardy → Eliot
Order trap 3
Lycidas (1637) comes before Paradise Lost (1667)
Order trap 4
Doctor Faustus (c. 1592) → Hamlet (c. 1600) → Volpone (1606)
Order trap 6
Pilgrim’s Progress (1678) → Oroonoko (1688) → Way of the World (1700)
Order trap 7
Robinson Crusoe (1719) → Gulliver’s Travels (1726) → Tom Jones (1749) → Vicar of Wakefield (1766)
Order trap 8
Pride and Prejudice (1813) comes before Frankenstein (1818)
Order trap 9
Jane Eyre and Wuthering Heights (1847) → In Memoriam (1850) → Great Expectations (1860–61) → Middlemarch (1871–72)
“Hwæt! We Gardena in geardagum,”
anon., Beowulf (Old English). Tell: heavy alliteration, four stresses, a caesura.
“Whan that Aprill with his shoures soote”
Chaucer, The Canterbury Tales, General Prologue (Middle English). Tell: Middle English spelling; spring opening; pilgrimage.
“They flee from me that sometime did me seek”
Sir Thomas Wyatt, “They Flee from Me” (Tudor). Tell: rhyme royal; lover’s lament over betrayal.
“A Gentle Knight was pricking on the plaine,”
Spenser, The Faerie Queene (Elizabethan). Tell: archaic spelling; the Redcrosse Knight; Spenserian stanza.
“Come live with me and be my love,”
Marlowe, “The Passionate Shepherd to His Love” (Elizabethan). Tell: pastoral invitation; Raleigh wrote the reply.
“Shall I compare thee to a summer’s day?”
Shakespeare, Sonnet 18. Tell: Shakespearean sonnet; poetry confers immortality.
“My mistress’ eyes are nothing like the sun;”
Shakespeare, Sonnet 130. Tell: anti-Petrarchan parody of love clichés.
“Death, be not proud, though some have called thee”
Donne, Holy Sonnet 10 (Jacobean). Tell: Metaphysical; addresses Death; paradox that Death will die.
“Drink to me only with thine eyes,”
Ben Jonson, “Song: To Celia” (Jacobean). Tell: polished plain style; Cavalier ancestor.
“Gather ye rosebuds while ye may,”
Herrick, “To the Virgins, to Make Much of Time” (Caroline). Tell: Cavalier carpe diem.
“Had we but world enough, and time,”
Marvell, “To His Coy Mistress” (written c. 1650s; published 1681). Tell: Metaphysical; if–but–therefore argument.
“Of Man’s first disobedience, and the fruit”
John Milton, Paradise Lost (1667). Tell: blank verse; epic invocation; grand Latinate syntax.
“What dire offence from amorous causes springs,”
Alexander Pope, The Rape of the Lock (1714). Tell: heroic couplets; mock-epic opening question.
“The curfew tolls the knell of parting day,”
Gray, Elegy Written in a Country Churchyard (1751). Tell: elegiac quatrains; twilight and graves.
“Tyger Tyger, burning bright,”
Blake, “The Tyger” (1794). Tell: pounding trochaic beat; questions about creation.
“I wandered lonely as a cloud”
Wordsworth (1807). Tell: nature to memory to joy.
“It is an ancient Mariner,”
Coleridge, The Rime of the Ancient Mariner (1798). Tell: ballad stanza; archaic diction; the supernatural.
“She walks in beauty, like the night”
Byron (1815). Tell: idealized woman; light and dark in balance.
“I met a traveller from an antique land,”
Shelley, “Ozymandias” (1818). Tell: sonnet; ruined statue; power fades.
“Thou still unravish’d bride of quietness,”
Keats, “Ode on a Grecian Urn” (1819). Tell: ode; art versus time; beauty and truth.
“My heart aches, and a drowsy numbness pains”
Keats, “Ode to a Nightingale” (1819). Tell: ode; escape from suffering; mortality.
“It little profits that an idle king,”
Tennyson, “Ulysses” (1842). Tell: blank verse dramatic monologue; restless striving.
“That’s my last Duchess painted on the wall,”
Robert Browning, “My Last Duchess” (1842). Tell: dramatic monologue in couplets; the speaker reveals his own cruelty.
“How do I love thee? Let me count the ways.”
Elizabeth Barrett Browning, Sonnet 43 (1850). Tell: Petrarchan sonnet; devotion.
“The sea is calm to-night.”
Arnold, “Dover Beach” (1867). Tell: irregular rhyme; fading religious faith.
“The world is charged with the grandeur of God.”
Hopkins, “God’s Grandeur” (written 1877; published 1918). Tell: sprung rhythm; heavy alliteration; sonnet.
“I leant upon a coppice gate”
Hardy, “The Darkling Thrush” (1900). Tell: bleak century’s end; faint hope.
“Turning and turning in the widening gyre”
Yeats, “The Second Coming” (1920). Tell: apocalyptic imagery; falcon; the “rough beast.”
“Let us go then, you and I,”
T. S. Eliot, “The Love Song of J. Alfred Prufrock” (1915). Tell: modern city; paralyzed speaker; epigraph from Dante.
“Bent double, like old beggars under sacks,”
Wilfred Owen, “Dulce et Decorum Est” (written 1917; published 1920). Tell: WWI; graphic realism; ironic final line.