William Butler Yeats: The Collected Poems of W.B. Yeats, Richard J. Finneran, ed.

(A Coat) The rhyme present in "take it"' (line 8) and 'naked" (line 10) is best termed

heteroamorous rhyme

(A Coat) The central trope on which "A Coat" is based is

metaphor

(No Second Troy) The poem's dominant trope, employed no fewer than four times, is

rhetorical question

(No Second Troy) The poem's central comparison rests on a(n)

classical allusion

(No Second Troy) Critics of Yeats's work agree that the subject of the poem is Irish revolutionary leader

Maud Gonne

(No Second Troy) The phrase "little streets" (line 4) is best recognized as a(n)

metonymy

(Long-Legged Fly) The woman who is the focus of stanza 2 is

Helen

(Long-Legged Fly) The type of rhyme present in the pairing of "lost"' (line 2) and "'post" (line 4) is

eye rhyme

(Long-Legged Fly) The reference to "topless towers" (line 11) alludes to Dr. Faustus, the work of Elizabethan playwright

Christopher Marlowe

(Long-Legged Fly) Each of the poem's stanzas is composed of approximations of the

ballad stanza

(The Song of Wandering Aengus) The poem draws on the rich tradition of

Celtic mythology

(The Song of Wandering Aengus) Because the poem is composed of the speech of a single character, it may be recognized as a(n)

dramatic monologue

(Among School Children) The form chosen for the poem is the

ottava rima

(Among School Children) The *king of kings" mentioned in line 44 is

Alexander the Great

(Among School Children) The difference between the images worshiped by nuns and mothers is that

mothers worship living images

(Among School Children) The poet achieves an additional layer of meaning through the ambiguity present in

line 57’s “Labour”

(Among School Children) In the description of Pythagoras (line 45), the poet employs a striking

epithet

(Among School Children) Thematically, the last stanza explores the

inextricable link between artists and their art

(Easter, 1916) "Easter, 1916" offers a meditation on

an Irish rebellion against English occupiers

(Easter, 1916) The phrase "terrible beauty" is best recognized as an example of

oxymoron

(Easter, 1916) Lines 57-59 allude to

The Old Testament

(Easter, 1916) The rhetorical figure whereby a speaker retracts or corrects something said, as in lines 65-66, is termed

metanoia

(To Some I Have Talked with by the Fire) The phrase "white hush" (line 15) is best recognized as an example of

synesthesia

(To Some I Have Talked with by the Fire) The biblical allusion in line 9 characterizes the "dreams" of line 8 as untouched by

humankind’s fallen state