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Tale Two
Can you help with answers to the questions applied in practice, a tale of two cities?

I need help with some answers practice on the test applied Tale of Two Cities.These are 25 questions on pages 5-12 on the practice questions. Any help would be appreciated. I have answered the questions, but I'm hoping to see some of the answers I have any questions about. Some seem to fit more than one answer.

Tale of Two Cities – Charles Dickens – Do the ….. (1812-1870) http://www.shmoop.com/intro/literature/charles-dickens/a-tale-of-two-cities Shmoop. html

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the prologue to Chaucer's Canterbury Tales

Criticism of the portraits in Chaucer's general prologue to the Canterbury Tales has taken various directions: some critics have praised the portraits especially for their realism, strong individuality, psychology right and vividness of felt life, others working in the direction have identified genetic real historical persons who might have sat for portraits, others appealing in the light of medieval sciences, have shown the portraits to be filled the wisdom of days of Chaucer and have some typical identities like case histories.

Similar to the tales of the Decameron

By WHClowson, The Canterbury Tales resembles Boccaccio Decameron in 4 ways:

• The stories are narrated in the succession of members of an organized group.

• This group met for the special external circumstances.

• There is a narrative and conversation links between the stories.

• There a former officer.

"The general tone of the narrative framing and the general themes of his stories are very similar to those of Chaucer. [...] In Boccaccio's apology to inappropriateness of some of his stories he makes the same defense that offered by Chaucer for the same fault — he had to say what happened, that the reader can skip any story that he wants, and that these stories are pure entertainment and should not be taken seriously. "

But most scholars believe that Chaucer This link is not well defined. Beyond no evidence that Chaucer met Boccaccio in 1373 — during his brief vist to Florence.

Unity in the fun a prologue

Chaucer in his Prologue, tried to present portraits of all the layers "of life, but this variety is only the inner frame work works with the outer circle which gives unity to all the characters. Such unity, it can be argued, is only true because of the reason (in the words of AW Hoffman) that "all the portraits are portraits of the pilgrims and pilgrims who alle "

Treatment of "Love" in the prologue

Love has been treated in the prologue from the beginning as a character, a question of body and spirit.

The love note is sounded in different keys ball through pictures, for example:

Knight: "… he loved chivalrie …"

The Prioress: "Amor vincit omnia … …"

Wife of Bath: "… the resources of the love she knew that maybe, because she Kouda that the art of Olde daunce"

Mr. Commissioner: "… Com hider, love, me!"

The pilgrims were represented affected by a variety of destructive and restorative classes of love. His characters and movements can be described as a mixture of love and love leads to calls and calls.

Character sketches in Prologue

According to William J. Long, "In the famous" Prologue "the poet makes us know the different characters of his drama. Until the day the popular literature of Chaucer had been engaged mainly with the gods and heroes of a golden age: he had been essentially romantic, and so had never attempted to study men and women as they are, or to describe so that the reader recognizes them, not as ideal heroes, but as their own neighbors. Chaucer is not only a new and realistic attempt this, but does so well that his characters were immediately recognized as true to life '

Shed light on another aspect of the characterization of Chaucer A. Compton Rickett writes: "[...] His people always moving. Never do they become shadowy or lifeless. They shout and swear, and laugh and weep, interrupt the storyteller, passes completed, and generally behave themselves as they expected in the dramatic circumstances of the narrative. It is never possible to confuse the story teller: each is distinct and inimitable, and sermon is the Pardoner, the Miller irascible, or lively exuberant women of Bath, who has had five husbands, but experience of teaching that husbands are blessings transient, has set his mind in sixth!

Foreword exact copies of Life: Ambiguity and pilgrimage-sight

The prologue begins for filing a double vision of Canterbury pilgrimage ¬¬¬¬—– small demonstration a huge tide of life.

This is not only because as Chaucer sketched the varieties of different species of human society, but also by the presence of double vision of pilgrimage in his portrait, which is also a miniature of the real social life and this is reinforced and extended by the portraits would appear in one aspect, as a range of reasons. This range of spreads because of what sacred to the secular and the profane. All the pilgrims, in fact, gives a sacred reason —- they all seek the sanctuary. But when we moved to the real motivation among the portraits and see the difference. The Knight and the Parson are at the opposite end of the spectrum. Same is the case called and the Pardoner.

In AW Hoffman words: "And the pilgrims moving, driven by impulse and drawn by the votes, just no drive and no fully committed. and this reflects the common human ambiguity in life real "

William Blake Note: The characters of all time

William Blake said: "[...] The characters of Chaucer's pilgrims are the characters which compose All Ages and nations: the age as one falls another [rises ...] [but] we see the same characters again and again [...]. Names alter, things never change 'and this is the peculiarity of the portraits of Chaucer.

And interestingly, according to Blake is: "[...] As Newton [...] stars numbered Chaucer numbered the classes of men. "

Patron of the description of the characters in Prologue: from high to low ranks

The military is followed by the states office, the clergy by the laity, an upper middle class by a lower end with the rogues.

Chaucer was also apparently used, the agreement in order to lower causal importance of merit. There's even an arrangement that has moral standards.

Personality Chaucer

E. Talbot Donaldson proposed [in his essay "Chaucer the Pilgrim ', PMLA, LXIX (1954)] that Chaucer the pilgrim was a fictional creation of Chaucer the poet, with a distinct personality of his own which was quite different from that of his creator. This pilgrim is a success nice, very naive bourgeois who admires the success of any type, but the material above all, accepting accepts the values of the upper class, as these are embodied in the Knight, the Prioress, Monk and Friar, and recognizes the virtue and evil until they are completely obvious.

But John M. Mayor [in his essay "The Personality of Chaucer the Pilgrim, PMLA, LXXV June 9, 1960)] said that there are still many things that fall out of this theory and for which "we have to build a different kind of narrator of" one Professor Donaldson has represented. "Of course, Chaucer used a character in the Canterbury Tales, yet not used very consistently. [...] Think narrator as a sort of alter ego of the poet himself, with just as many shades of difference as allow for ironic play, no difficulty arises for alternate views. This narrator revealed to be, like his creator, perceptive, witty and sophisticated, playful, tolerant, individualistic, and, above all, ironic. Such a man is well aware of the importance of what you see, despite their knowledge that can display subtle means. [...] This real character, which is far from being a fool, understands what it sees must be clear from a number of indications. It is given to the moral Chaucer the Pilgrim, as his companion the Parson, has a wide tolerance of human weakness, and can be heated almost all of his fellow pilgrims, especially if they are easy to use. Most of what you see, both good and bad, in all seriousness that informs a deliberate irony.

Some important characters of the prologue to the Canterbury Tales:

The knight and squire:

El Caballero and the squire squire Yeoman lead the procession, as Chaucer has placed in first position.

William Blake said: 'The Gentleman is a real hero, a good great and wise man, and a total length of the portrait on horseback, as written by Chaucer can not be overcome. "He is' that species of character in every age stands as the guardian of man against the oppressor. "

The portraits of the knight and squire are of particular interest. The relationship between these two are governed by a natural for a father and son. Again there is a dramatic relationship between these two, since each of the portraits is enhanced and defined in the presence another. For example, the long list of campaigns and few opportunities Knight Squire, a number of times past, a story for the knight and squire of sprouting in participles assets. Even the appearance and clothing of both are compared.

Caballero pilgrimage is more nearly a response to the voice of the saint.

The gentleman is defined in terms of his virtues (lines 45-6) and actions to defend the faith far more than their words. knight in the struggle of the battlefield had a religious cause. He is the old model of chivalry of Edward-III time.

The Nun (Prioress)

Prioress is described as first class, rich and honored. There certain peculiarities and little delicate affections. She was accompanied by what is truly magnificent, courteous and elegance.

Chaucer has represented this character with much care and tenderness that is often said that the Prioress Chaucer liked a lot, though his satire so gently —- very smoothly. But ET Donaldson believes this is only an understatement and Chaucer can not be said to be liked, and not only he was charmed by her beauty.

Eileen Power illustration shows what skill extraordinary portrait of the Prioress is full of abuses of the typical 14th century nuns. Despite these abuses are petty, it is clear that the Prioress is anything but a perfect nun and attempts to white wash.

It has been argued that the appreciation of Chaucer in the Prioress as a kind of courtesan heroine of romance actually due to Chaucer's sophisticated living, where he cared little whether the nuns are good and kind this sophistication allows itself to babble superlatives.

Of all modes Priora presence in the pilgrimage, as many point out, is the first satiric touch. In the case of default Priora is sufficiently technical that only color satirical faint. But this puts it in a place in the sequence at one end — — most obviously in that altered Monk and the Friar appear.

In the portrait of the Prioress of double vision of pilgrimage appears both in the ambiguities of an implicit surface and inner range of motivation.

On the surface there — name — and romance Eglentyne means "simple and shy" is a formula romance, but she is a nun. There gauds coral beads and green, — a religious emblem. What will the main? Are your mannered courtiers or his dedication to the divine service, she says? And on the front of the motivation, the perfect explanation lies in AWHoffman lines: "There is no such impure mixture, but innocent as Prioress … '. Knowledge deficiency can be remedied (which should attempt to Chaucer make a mild criticism the Prioress). It is because, as many believe, Chaucer has a sister or a daughter who was a nun.

Priora is the character that is found that pre-dominant in some ages. William Blake has observed that 'The characters of Chaucer women has been divided into two classes, the Reverend Mother and Wife of Bath. Are not these ages leaders of men? The mother superior at certain times predominates, and in some the Wife of Bath, in whose character Chaucer has been equally minute and exact because it is a scourge and blight. "

Wife of Bath

William Blake has observed that 'The characters of Chaucer women has been divided into two classes, the Reverend Mother and Wife of Bath. Are not these leaders of men's ages? The mother superior at certain times predominates, and in some the Wife of Bath, in whose character Chaucer has been equally minute and exact because it is a scourge and blight. "

The main features of his character are one-way common pre-occupation with sex, and an important element in the prologue is his desire to explain life in terms of its values. For example: "She is willing to admit, for the sake of their convention that chastity is the ideal state. But it is not ideal.

In the preface, he explains to her five husbands.

It was a good woman, but unfortunately not deaf. Deafness is a significant detail — the result of a blow from her fifth husband.

In medieval theory and law, of biblical origin, man is the head of the woman, and must be obeyed. The wife, however, is not receptive to this doctrine, and his deafness is the symbol of this lack of willingness to listen. Features physical in his portrait have a moral significance. Other features as in the case of the wife of Bath are as follows. The woman is a gateway teeth. Medieval students physiology held that to have the widely spaced teeth was a sign of boldness, falseness, gluttony and lust. The woman born under Venus (who was not saint) that considered as a confirmation of venereal nature. It's door teeth "gave him many opportunities to wander off the road.

The portrait of the wife begins with a standard feature of terrible women, whom the employees in the Middle Ages liked the same way that wives of men Guilds (lines 376-8). This liking for display is cleverly combined by Chaucer to his profession (cloth-making). Her stockings are scarlet and tightened with laces, and shoes are "wet and newel. It is, therefore, the Scarlet Woman, whom preachers against female vanity love to hate. But this is as Chaucerian both sexually attractive and while most ridiculously dressed.

The woman turns out to be the monster of anti feminist comedy — aggressive and angry, gossiping, lustful and wasteful. Without But it is not attractive.

Apart from five husbands and other youthful company we are told that he had spent "many a strange strumming." Then: "Of remedies of love she knew by chance

For her Koud that the art of Olde daunce "

(Lines 475-6)

The "Resources" and "Olde daunce" does not suggest virtue. All in all this is quite contract to the chastity, modesty and refinement of the Prioress.

Criticism of the portraits in Chaucer's general prologue to the Canterbury Tales has taken various directions: some critics have praised the portraits especially for their realism, strong individuality, psychology, business and vividness of felt life, others working on the genetic address real historical persons have indicated they could have sat for portraits, others appealing in the light of medieval sciences, have shown the portraits that are full of the wisdom of days of Chaucer and have some identities Typical as medical records.

Resemblance to the Tales of Decameron

According WHClowson, The Canterbury Tales resembles Decameron of Boccaccio Four ways:

• Stories are told in succession by members of an organized group.

• This group met for the special circumstances external.

• There is a narrative and conversation links between the stories.

• A former officer.

"The general tone the narrative framing and the general themes of his stories are very similar to those of Chaucer. [...] In Boccaccio's apology for the inconvenience of some of their stories that makes the same defense that offered by Chaucer for the same fault — he had to say what happened, that the reader can skip any story they want, and that these stories are purely entertainment and should not be taken seriously. "

But most of Chaucer scholars believe that this link is not well defined. Beyond There is no evidence that Chaucer met Boccaccio in 1373 — during his brief vist to Florence.

Unit deviation in the Prologue

Chaucer in his prologue, tried to present portraits of all the layers "of life, but this variety is only the inner frame work functions with the outer circle that unites all characters. Such unity, it can be argued, is only true because of the reason (ie AW Hoffman) that "all portraits are portraits of the pilgrims," and pilgrims alle "

The treatment of "Love" in the prologue

Love has been treated in the prologue from the beginning as a character, a matter of body and spirit.

The love note is sounded in different keys ball through the portraits, such as:

The Knight: "… He loved chivalrie …"

The Prioress: "… Amor vincit omnia …"

Wife of Bath: "… the resources of love she knew that maybe, because she Kouda that the art of Olde daunce "

The Pardoner: "… com hider, love, me!"

The pilgrims were represented as affected by a variety of destructive and restorative classes of love. Their characters and movements can be described as a mixture of love which leads and love that calls and summons.

Character sketches in Prologue

According to William J. Long, "In the famous" Prologue "the poet makes us meet the various characters of his drama. To this day the popular literature of Chaucer had been occupied mainly with the gods and heroes of a golden age: he had been essentially romantic, and so had never attempted to study men and women as they are, or to describe for the reader recognizes them, not as heroes ideals, but as their own neighbors. Chaucer is not only a new and realistic attempt this, but does so well that his characters were immediately recognized as true to life '

Shed light on another aspect of the characterization of Chaucer A. Compton Rickett writes: `The people are always in motion. Never do they become in shade or lifeless. They shout and swear, and laugh and weep, interrupt the storyteller, passes completed, and in general behave themselves as we would expect them in the dramatic circumstances of the narrative. It is never possible to confuse the story teller: each is distinct and inimitable, whether the sermon forgiving, irascible Miller, or nice lush Wife of Bath, who has had five husbands, but the experience of his teaching that husbands are transient blessings, has set his mind in sixth!

Foreword copies the exact life:-sight ambiguity and pilgrimage

The prologue begins by introducing a double vision of pilgrimage Canterbury ¬¬¬¬—– a small manifestation of a huge tide of life.

This is not true, because Chaucer sketched only the variety of different species of human society, but also by the presence of the Dual View of pilgrimage in his portrait, which is also a miniature of the real social life and this is reinforced and extended by the portraits would appear in one aspect, as a range of reasons. This range of differential ground of the sacred to the secular and the profane. All pilgrims, in fact grant a sacred reason —- they all seek the sanctuary. But when we moved to real motivation among the portraits and see the difference. The Knight and the Parson are at the opposite end of the spectrum. Same is the case called and the Pardoner.

In AW Hoffman words: "And the pilgrims who move, pushed by the impulse and drawn by vows, no drive and no perfectly just committed. and this reflects the common human ambiguity in real life "

William Blake Note: The characters of all time

William Blake said: "[...] The characters of Chaucer's Pilgrims are the characters that make up all ages and nations: the age as one falls another [rises ...] [but] we see the same characters again and again [...]. Names alter, things never change 'And this is the peculiarity of the portraits of Chaucer.

And interestingly, according to Blake is: "[...] As Newton numbered stars [...] Chaucer numbered the classes of men. "

Patron of the description of the characters in Prologue: from high to low ranks

The establishment military is followed by the states office, the clergy by the laity, an upper middle class for a low one, with the crooks at the end.

Chaucer also had used apparently, the agreement in order to lower causal importance of merit. There's even an arrangement that has moral standards.

Personality of Chaucer

E. Talbot Donaldson proposal [in his essay "Chaucer the Pilgrim, PMLA, LXIX (1954)] that Chaucer the pilgrim was a fictional creation of Chaucer the poet, with a distinct personality of a his own which was quite different from that of his creator. This pilgrim is a success nice, very naive bourgeois who admires the success of all types, but the material above all, agree to accept the values of the upper class, as these are embodied in the Knight, the Prioress, Monk and Friar, and recognizes the virtue and evil only when completely obvious.

But John M. Mayor [in his essay "The Personality of Chaucer the Pilgrim, PMLA, LXXV June 9, 1960)] says there are still many things that fall out of this theory and for which "we have to build a different kind of narrator of" one Professor Donaldson has represented. "Of course, Chaucer a character used in the Canterbury Tales, yet not used very consistently. [...] Think narrator as a sort of alter ego of the poet himself, with just as many shades of difference as allow for ironic play, no difficulty arises for alternate views. This narrator is revealed to be, like his creator, insightful, witty and sophisticated, playful, tolerant, individualistic, and, above all, ironic. Such a man is well aware of the importance of what you see, despite that can show their knowledge through subtle means. [...] This real character, which is far from being a fool, understands what it sees must be clear from a number of indications. It is given to the moral Chaucer the pilgrim, like his companion the Parson, has a wide tolerance of human weakness, and can be heated to almost all his companions Pilgrims, especially if they are easy to use. Most of what you see, both good and bad, which reports in all seriousness with deliberate irony.

Some important characters of the prologue to the Canterbury Tales:

The knight and squire:

The knight and squire squire's head Yeoman the procession, as Chaucer has placed them in the first position.

William Blake says: 'El Caballero is a true hero, a good great and wise man, and a total length of the portrait on horseback, as written by Chaucer can not be overcome. "He is' that species of character which stands in each age the guardian of man against the oppressor. "

The portraits of the knight and squire are of particular interest. The relationship between these two are governed by a natural that of a father and son. Again there is a dramatic relationship between these two, since each of the portraits is enhanced and defined in the presence of another. For example, the long list Knight campaigns and few opportunities for Squire, a number of times past, a story for the knight and squire of sprouting in active participles. Even appearances and clothing of both are compared.

Caballero pilgrimage is more nearly a response to the voice of the saint.

The gentleman is defined in terms of its virtues (Lines 45-6) and actions to defend the faith far more than their words. knight in the struggle of the battlefield had a religious cause. He is the older model time of chivalry Edward III.

The Nun (Prioress)

Prioress is described as first class, rich and honored. There Were certain peculiarities and little delicate affections. She was accompanied by what is truly magnificent, courteous and elegance.

Chaucer has represented this character with such care and tenderness is often said that Chaucer really liked the prioress much, despite his satire so gently —- very smoothly. But ET Donaldson believes this is just an understatement and Chaucer can not be said to be liked, and not only he was charmed by her beauty.

Eileen Power illustration shows how the portrait of extraordinary ability of the Prioress is full of abuses of the typical 14th century nuns. Despite these abuses are petty, it is clear that the Prioress is anything but a perfect nun and attempts to white wash.

It has been argued that the appreciation of Chaucer in the Prioress as a kind of courtesan heroine of romance actually due to Chaucer's sophisticated living, where he cared little whether the nuns are good and kind this sophistication allows itself to babble superlatives.

Anyway Prioress presence in the pilgrimage, As many point out, is the first satiric touch. In the case of default Priora is sufficiently technical that only faint satiric coloring. But this puts in a place in the sequence at one end — — most obviously altered in Monk and the Friar appear.

In the portrait of the Prioress of the double vision of pilgrimage appears in both the ambiguities of an implicit surface and inner range of motivation.

On the surface there is a name — means romance — Eglentyne and "simple and shy" is a formula romance, but it is a nun. There gauds coral beads and green, — a religious emblem. What will the main? Are his courtly manners and his commitment to divine service, she says? And on the front of the motivation, the perfect explanation is AWHoffman lines: "No such a mixture is impure, but innocent as Prioress … '. Knowledge deficiency can be remedied (which should attempt to Chaucer criticism softer in the Prioress). It is because, as many believe, Chaucer has a sister or a daughter who was a nun.

Priora is the character who is found to be predominant in some ages. William Blake observed that 'The characters of Chaucer women has been divided into two classes, the Reverend Mother and Wife of Bath. Are not these leaders of men's ages? The Mother Superior at certain times predominates, and in some the Wife of Bath, in whose character Chaucer has been equally minute and exact because it is a scourge and blight. "

Wife of Bath

William Blake has observed that 'The characters of Chaucer women has been divided into two classes, the Reverend Mother and Wife of Bath. Are not these leaders of men's ages? The mother superior at certain times predominates, and in some the Wife of Bath, in whose character Chaucer has been equally minute and accurate because it is a scourge and blight. "

The main features of her character are common sense and pre-occupation with sex, and an important element in the prologue is his desire to explain life in terms of its values. For example: "She is willing to admit, for the sake of their convention that chastity is the ideal state. But it is not ideal.

In the preface, he explains to her five husbands.

She was good, but unfortunately not deaf. Deafness is a significant detail — the result of a blow from her fifth husband.

In medieval theory and law, of biblical origin, man is the head of women, and must be obeyed. The wife, however, is not receptive to this doctrine, and his deafness is the symbol of this lack of willingness to listen. Physical characteristics in her portrait have a moral significance. Other features as in the case of the wife of Bath are as follows. The woman is a gateway teeth. Medieval students of physiology held that to have the widely spaced teeth was a sign of boldness, falseness, gluttony and lust. The woman born under Venus (who was not saint) regards as a confirmation that of venereal nature. It's door teeth "gave him many opportunities to wander off the road.

The portrait of the wife begins with a characteristic Standard terrible women, whom the employees in the Middle Ages liked the same way that wives of men Guilds (lines 376-8). This taste for the screen is cleverly combined by Chaucer to his profession (cloth-making). Her stockings are scarlet and tightened with laces, and shoes are "wet and newel. It is therefore the Scarlet Woman, whom preachers against female vanity love to hate. But this is as Chaucerian both sexually attractive and, while most ridiculously dressed.

The woman turns out to be the monster of anti feminist comedy — aggressive and angry, gossiping, lustful and wasteful. However, it is attractive.

Apart five husbands and other youthful company we are told that he had spent "many a strange strumming." Then: "Of remedies of love she knew by chance

For her Koud that the art of Olde daunce "

(Lines 475-6)

The "Resources" and "Olde daunce" not suggest virtue. All in all this is quite contract to the chastity, modesty and refinement of the Prioress.

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