BỘ 150 CÂU TRẮC NGHIỆM VĂN HỌC ANH: CÁC YẾU TỐ THƠ, BIỆN PHÁP TU TỪ & 3 TÁC PHẨM PHỤC HƯNG

A. Stanza

B. Verse

C. Foot

D. Meter

A. Sentences

B. Chapters

C. Paragraphs

D. Words

A. Foot

B. Verse

C. Couplet

D. Quatrain

A. One stressed syllable followed by one unstressed syllable

B. One unstressed syllable followed by one stressed syllable

C. Two consecutive stressed syllables

D. Two consecutive unstressed syllables

A. 8 syllables

B. 10 syllables

C. 12 syllables

D. 14 syllables

A. 12 lines

B. 14 lines

C. 16 lines

D. 10 lines

A. An octave and a sestet

B. Three quatrains and one rhymed couplet

C. Two sestets and a rhymed couplet

D. Four tercets and two rhyming lines

A. Sestet

B. Couplet

C. Octave

D. Quatrain

A. abba cddc effe gg

B. abab cdcd efef gg

C. aabb ccdd eeff gg

D. abba abba cde cde

A. True

B. False

A. True

B. False

A. True

B. False

A. Metaphor

B. Simile

C. Synecdoche

D. Personification

A. Simile

B. Metaphor

C. Metonymy

D. Hyperbole

A. Personification

B. Synecdoche

C. Paradox

D. Allegory

A. Metaphor

B. Hyperbole

C. Repetition

D. Irony

A. Paradox

B. Metonymy

C. Simile

D. Synecdoche

A. Synecdoche

B. Metaphor

C. Hyperbole

D. Repetition

A. Metonymy

B. Personification

C. Simile

D. Paradox

A. Irony

B. Repetition

C. Foreshadowing

D. Symbolism

A. True

B. False

A. True

B. False

A. The Victorian era

B. The Elizabethan era

C. The Romantic era

D. The Modernist era

A. Free verse

B. Blank verse

C. Spenserian stanza

D. Ballad meter

A. 21

B. 29

C. 37

D. 52

A. Epic poem

B. Elegy

C. Pastoral lyric

D. Dramatic monologue

A. 4 stanzas

B. 6 stanzas

C. 8 stanzas

D. 14 stanzas

A. Iambic pentameter

B. Iambic tetrameter

C. Trochaic trimeter

D. Anapestic tetrameter

A. True

B. False

A. Cynical and bitter

B. Passionate, romantic, and dreamy

C. Mournful and grieving

D. Sarcastic and realistic

A. "Tell me that thou wilt always be true"

B. "Come live with me and be my love"

C. "Give me thy heart forevermore"

D. "Leave thy father's house tonight"

A. William Shakespeare

B. Sir Walter Raleigh

C. Edmund Spenser

D. John Donne

A. A mythological goddess of war

B. A beautiful young country girl

C. An elderly sorceress

D. A wild animal of the woods

A. True

B. False

A. Three quatrains and a rhymed couplet

B. Six four-line stanzas (six quatrains)

C. An octave and a sestet

D. Four five-line stanzas

A. Ecstatic and sentimental

B. Skeptical, realistic, and practical

C. Angry and furious

D. Indifferent and cheerful

A. True

B. False

A. True

B. False

A. 26 April 1564

B. 26 July 1654

C. 16 August 1565

D. 14 June 1645

A. True

B. False

A. 150

B. 152

C. 154

D. 160

A. The Dark Lady

B. The Fair Youth / Young Man

C. Queen Elizabeth I

D. His wife, Anne Hathaway

A. A great fire across the city

B. The outbreak of the plague

C. A royal ban on playwriting

D. A war against Spain

A. Christopher Marlowe

B. Robert Greene

C. Ben Jonson

D. John Lyly

A. True

B. False

A. Trochaic tetrameter

B. Iambic pentameter

C. Iambic tetrameter

D. Dactylic hexameter

A. Stanza

B. Verse

C. Meter

D. Foot

A. abab

B. aabb

C. abba

D. aaaa

A. Synecdoche

B. Metonymy

C. Simile

D. Personification

A. "Shall I compare thee to a summer's day?"

B. "We need some new faces in the team."

C. "The pen is mightier than the sword."

D. "The car engine coughed and died."

A. Metaphor

B. Hyperbole

C. Simile

D. Metonymy

A. Paradox

B. Simile

C. Hyperbole

D. Synecdoche

A. Metonymy

B. Personification

C. Synecdoche

D. Simile

A. Simile

B. Metaphor

C. Personification

D. Paradox

A. Metonymy

B. Hyperbole and Simile

C. Synecdoche

D. Repetition

A. Metaphor

B. Metonymy

C. Hyperbole

D. Paradox

A. Metonymy

B. Personification

C. Synecdoche

D. Irony

A. Understatement

B. Hyperbole

C. Irony

D. Metonymy

A. Superlatives and idealistic imagery

B. Realistic descriptions of peasant life

C. Irony highlighting financial debt

D. Personification of nature

A. Harsh mid-winter

B. Late autumn

C. Late spring or early summer

D. Late summer drought

A. Shear the lambs

B. Dance and sing

C. Build stone walls

D. Plow the fertile fields

A. True

B. False

A. A realistic depiction of the hardships of Elizabethan sheep farming

B. An idealized, harmonious rural world free from toil, cold, and decay

C. A wilderness fraught with predatory beasts and danger

D. A symbol of industrial corruption

A. Shepherds always tell the absolute truth.

B. Shepherds' promises are often deceitful or untrustworthy.

C. Shepherds speak with divine poetic authority.

D. Shepherds know nothing of city life.

A. Unconditional acceptance

B. Conditional skepticism (hypothetical rejection)

C. Command and assertiveness

D. Total despair

A. Flocks multiply rapidly in summer.

B. As seasons change and cold weather arrives, animals must be sheltered.

C. Shepherds abandon their sheep to move to London.

D. Sheep prefer dark barns to green pastures.

A. Rivers dry up and rocks crumble into sand.

B. Rivers rage with torrents and rocks grow freezing cold.

C. Rivers turn to gold and rocks become soft cushions.

D. Rivers remain calm and rocks remain warm.

A. The shepherd's sister who leaves the village

B. The nightingale, who becomes dumb (silent) in the cold winter

C. The goddess of flowers who blooms eternally

D. A nymph who drowns in the shallow river

A. Sweet seductive words and bitter/deceitful intentions

B. Beekeeping and sheep farming

C. Physical beauty and intellectual dullness

D. Youthful vigor and religious devotion

A. Agricultural profit and loss

B. The stages of human life: youthful passion versus aging disillusionment

C. Rainy weather versus sunny weather

D. Heavenly grace versus demonic punishment

A. They are too expensive for a country girl.

B. They are transient and perishable; they will soon wither, break, and be forgotten.

C. She already owns much better clothes.

D. She prefers city jewels to natural items.

A. Marlowe's shepherd is intellectually superior.

B. Giving in to such momentary promises is full of foolishness and lacks rational foresight.

C. Only rotten fruits should be eaten in winter.

D. Rational thinking destroys artistic imagination.

A. Celebrated and honored by peers

B. Socially alienated, unlucky, and looked down upon

C. Wealthy and powerful like a king

D. Indifferent to society's opinions

A. Without shoes

B. Useless / futile

C. Angry and loud

D. Silent and unspoken

A. Simile

B. Personification

C. Paradox

D. Hyperbole

A. Their hopefulness ("rich in hope")

B. Their extensive circle of friends ("with friends possessed")

C. Their military conquest and royal crowns

D. Their artistic skill and intellectual scope ("this man's art and that man's scope")

A. He enjoys fasting more than feasting.

B. Even his favorite creative activities (such as writing) no longer bring him happiness due to his depression.

C. He despises theater and prefers countryside life.

D. He wants to give away all his possessions.

A. "When"

B. "Yet"

C. "Crying"

D. "Wishing"

A. An eagle soaring above mountains

B. A nightingale singing in darkness

C. A lark arising from sullen earth at break of day

D. A lamb running in green pastures

A. The change from physical sickness to bodily health

B. The dramatic emotional shift from gloomy despair to radiant joy and spiritual elevation

C. The physical journey from Stratford-upon-Avon to London

D. The shift from poverty to becoming the King of England

A. He can now purchase a nobleman's estate.

B. He scorns to change his state even with kings.

C. He will retire from acting and theater completely.

D. He can repay all his creditors in London.

A. 1 time

B. 2 times

C. 3 times

D. 4 times

A. Social status / miserable outcast condition

B. Emotional mood

C. Sovereign kingdom

D. Legal citizenship

A. Wealth

B. Psychological / emotional state of mind

C. Physical property

D. Country

A. Royal position, majesty, and worldly power

B. Geological state

C. A written document

D. Physical health

A. True

B. False

A. True

B. False

A. True

B. False

A. True

B. False

A. True

B. False

A. Synecdoche always uses "like" or "as", whereas metonymy does not.

B. Synecdoche uses a physical part to represent the whole; metonymy uses a closely linked or associated attribute.

C. Metonymy is only used in prose, while synecdoche is restricted to Elizabethan sonnets.

D. There is no functional difference; they are identical terms in modern rhetoric.

A. Personification of vision

B. Synecdoche (the eyes representing the observing, judgmental society as a whole)

C. Hyperbole describing physical blindness

D. Simile comparing men to lenses

A. Personification (attributing sensory inability to God/the cosmos) and metonymy (heaven for God)

B. Simile and oxymoron

C. Understatement and rhyme

D. Hyperbole and synecdoche

A. Anaphora / Repetition

B. Chiasmus

C. Synecdoche

D. Allegory

A. It accelerates the rhythm to reflect the relentless and rapid pace of decay brought by time.

B. It makes the reader feel romantic anticipation.

C. It shows the nymph's hesitation and indecision.

D. It mimics the melody of a shepherd's pipe.

A. An eternalized fantasy of perpetual springtime that conveniently ignores the reality of winter

B. An accurate historical account of pastoral economics in 16th-century rural England

C. A satirical jab at courtly masques

D. A metaphor for religious redemption

A. By demonstrating that May-morning leads inexorably to winter reckoning and sorrow's fall

B. By promising even more dancers from the royal court

C. By proposing that they move to an exotic tropical island

D. By stating that she dislikes all forms of music and dance

A. The luxurious yet impossible fusion of fragile organic materials with precious oceanic treasures

B. The common trade commodities of English peasants in the 1590s

C. Purely spiritual virtues of Christian theology

D. Military equipment used in border defenses

A. It disrupts the meter by adding two extra beats.

B. It suspends the main clause to emphasize the uplifting, soaring flight of the speaker's emotional state.

C. It indicates that the lines were added posthumously by another editor.

D. It shows that the speaker is uncertain of his feelings.

A. "And shallow rivers to whose falls"

B. "A honey tongue, a heart of gall"

C. "With buckles of the purest gold"

D. "Fair lined slippers for the cold"

A. Judicial accusation

B. Seductive persuasion (Courtship lyric)

C. Tragic lamentation

D. Scientific exposition

A. Validate mathematically

B. Experience / test / explore

C. Argue in court

D. Reject after examination

A. Her refusal by directly turning the shepherd's signature rhyme against him

B. Her lack of poetic skill

C. Her complete agreement with the shepherd

D. A desire to abandon rhyming verse

A. Pure bliss $\rightarrow$ gradual doubt $\rightarrow$ utter despair

B. Deep depression/alienation $\rightarrow$ envious self-pity $\rightarrow$ sudden transcendent elation

C. Philosophical curiosity $\rightarrow$ political anger $\rightarrow$ religious repentance

D. Comic humor $\rightarrow$ satirical mockery $\rightarrow$ solemn silence

A. The speaker's compulsive obsession with comparing himself unfavorably to others

B. His desire to adopt a child

C. His deep satisfaction with his current artistic identity

D. His role as a theatrical director

A. The Chivalric Romance

B. The Pastoral Idyll

C. The Gothic Horror

D. The Metaphysical Conceit

A. She sets impossible conditions ("could youth last..."), reinforcing the absolute impossibility of his pastoral fantasy.

B. She changes her mind completely and packs her bags to meet him.

C. She threatens to report the shepherd to the town magistrate.

D. She reveals that she is already married to a nobleman.

A. Sadly and gloomily

B. By chance / accidentally, and happily / with joy

C. Quickly and angrily

D. Formally and politely

A. Romantic melodrama

B. Pragmatic realism

C. Medieval scholasticism

D. Surrealist fantasy

A. He was personally infected with the bubonic plague.

B. Theaters were shuttered, depriving him of public performance, social standing, and regular income.

C. He was forced to move to France.

D. His publisher went bankrupt.

A. Modern machinery

B. The bounties of the natural world

C. Imports from distant conquered empires

D. Urban craft markets in London

A. A lingering bitterness toward the royal court

B. Absolute confidence in the superior, incomparable value of reciprocal love over worldly monarchy

C. Fear of royal persecution

D. A desire to overthrow King James I

A. Hyperbole

B. Sensory imagery

C. Bleak cynicism

D. Alliteration

A. The leftover food from summer banquets

B. Human beings / people facing the grim hardship of winter

C. The rocks and rivers

D. Other species of birds

A. Assert that youth indeed lasts forever

B. Emphasize that the shepherd's premise exists only in an impossible, hypothetical world

C. Express certainty about the future

D. Confess her unrequited passion for Marlowe

A. Morning, spiritual renewal, and ecstatic joy

B. Impending doom and death

C. Royal oppression and censorship

D. Treachery and deceit

A. War and vengeance (Ares)

B. Love and beauty (Venus / Aphrodite)

C. Underworld and death (Hades)

D. Wisdom and strategic warfare (Athena)

A. Balanced antithesis

B. Inverted syntax without meaning

C. Hyperbolic monologue

D. Synecdoche

A. A triumphant literary hero

B. An outcast wallowing in self-despising and professional envy

C. Completely oblivious to public criticism

D. Ready to physically challenge Greene to a duel

A. "If these pleasures may thee move" / "If these delights thy mind may move"

B. "Curse my fate"

C. "And trouble deaf heaven"

D. "In folly ripe"

A. The inevitable transition from boundless youthful freedom to domestic enclosure and confinement

B. The modernization of agricultural England

C. The triumph of shepherds over wolves

D. The growth of wool export markets

A. Because he does not believe in God

B. Because God/heaven seems indifferent and unresponsive to his desperate emotional wailing

C. Because his voice has been lost to illness

D. Because the church in London was shut down

A. Its brisk, song-like four-beat rhythm evokes the lighthearted musicality of pastoral song and dance.

B. It was exclusively reserved for funeral dirges.

C. It prevents the use of end rhymes.

D. It makes the poems impossible to memorize.

A. A joyful celebration

B. An unavoidable settlement of accounts / day of judgment brought by time

C. A mathematical puzzle

D. A summer vacation

A. Leave the poem completely unresolved

B. Deliver a powerful, definitive punchline that overturns the preceding twelve lines of despondency

C. Add six extra syllables to each line

D. Mimic the meter of French dramatic alexandrines

A. Marlowe urges seizing present youthful delight (Carpe Diem), while Raleigh reminds the lover of inevitable decay and mortality (Memento Mori).

B. Marlowe preaches Christian repentance (Memento Mori), while Raleigh champions hedonistic freedom (Carpe Diem).

C. Both poems exclusively champion Carpe Diem without any acknowledgment of time.

D. Both poems are strictly philosophical treatises on Stoicism.

A. The glorious triumph of technological advancement over agriculture

B. The transience of pristine beauty and the immutable law of decline in nature and human experience

C. The eternal endurance of Edenic innocence

D. The superiority of rural isolation over city life

A. She remains completely silent and obeys the shepherd's demands.

B. She exercises critical agency, rational discernment, and intellectual authority, demystifying male romantic rhetoric.

C. She asks for financial compensation before accepting the proposal.

D. She admits female intellectual inferiority to male poets.

A. It vividly illustrates the exhaustion and poverty of shepherd laborers.

B. It completely erases real physical labor, transforming the countryside into a magical playground of effortless consumption and leisure.

C. It advocates for socialist agrarian reforms in Elizabethan England.

D. It depicts shepherds as dangerous outlaws hiding from the crown.

A. In Marlowe, time is frozen in an eternal, static springtime; in Raleigh, time is an unstoppable, destructive linear force that erodes all beauty.

B. In Marlowe, time moves backwards; in Raleigh, time does not exist.

C. Marlowe is deeply worried about aging, whereas Raleigh believes youth can be extended indefinitely.

D. Both poets view time as an illusion that has no impact on human love.

A. He begins by envying social and material capital, but concludes that reciprocal love constitutes the supreme spiritual currency that renders worldly crowns worthless.

B. He calculates how much money the theater will generate once the plague ends.

C. He concludes that spiritual love is useless unless backed by royal land ownership.

D. He asserts that true wealth is purely intellectual, despising both love and money.

A. Raleigh invents a totally new blank verse meter to silence Marlowe.

B. Raleigh adopts Marlowe's rhyming couplets (`aabb`) to systematically take every couplet of promise and turn it into a couplet of refutation.

C. Raleigh reverses the alphabet of the rhyme scheme from `zz` to `aa`.

D. Raleigh abandons rhyme completely in the final stanza.

A. Marlowe uses nature as an ornamental backdrop of seduction, while Shakespeare uses nature (the lark arising from sullen earth) as an objective correlative for psychological transformation.

B. Shakespeare describes rural shepherd life, while Marlowe describes London cityscapes.

C. Neither Marlowe nor Shakespeare includes natural imagery in their poems.

D. Marlowe views nature with dread, whereas Shakespeare views nature as a source of material income.

A. Raleigh demonstrates that organic plant matter quickly rots, and rigid jewels cannot sustain emotional truth or warmth in the face of winter.

B. Raleigh claims that coral and amber were illegal to possess under Queen Elizabeth I.

C. Raleigh argues that shepherds should only wear iron and steel.

D. Raleigh proves that the shepherd stole those items from merchant ships.

A. Projection of personal inadequacy through social comparison, leading to toxic envy and paralyzing alienation.

B. Aggressive narcissism and grandiose delusions of royal authority.

C. Total amnesia regarding his own theatrical achievements.

D. Stoic detachment and peaceful acceptance of poverty.

A. Cognitive reframing: an intrusive memory of genuine love shatters the depressive feedback loop and restores self-worth.

B. A complete loss of rational sanity.

C. A deliberate attempt to flatter a wealthy patron for monetary loans.

D. A descent into deeper self-loathing.

A. Because she has evaluated the offers with rational wisdom and realizes ephemeral goods cannot satisfy timeless existential needs.

B. Because the shepherd did not offer her sufficient quantities of sheep.

C. Because she wishes to marry an emperor instead of a king.

D. Because she is physically unable to travel to the mountains.

A. Sophisticated, highly educated courtly poets pretending to express the naive, uncorrupted simplicity of unlettered shepherds.

B. Monks pretending to be soldiers on foreign battlefields.

C. Merchants advocating for the abolition of private property.

D. Kings renouncing their thrones to live as hermit monks.

A. Petrarchan sonnets place the volta strictly between the octave and sestet (line 9); Shakespeare places his emotional pivot in line 9, yet delays the full philosophical resolution until the final couplet (lines 13–14).

B. Shakespeare eliminates the volta entirely.

C. Shakespeare places the volta in the very first line of the poem.

D. Petrarchan sonnets never include emotional shifts.

A. Having experienced the fickleness of royal favor and political volatility, Raleigh understood deeply that worldly promises and fortune are inherently ephemeral.

B. Raleigh wanted to establish a wool manufacturing company in Virginia.

C. Raleigh had never visited the English countryside and hated farming.

D. Raleigh was competing with Marlowe for the position of Archbishop of Canterbury.

A. Cacophony representing urban pollution

B. Euphony: liquid /l/ and soft /s/ and /m/ sounds create a soothing, hypnotic auditory experience of pastoral bliss

C. Harsh plosives indicating impending violence

D. Staccato rhythm mimicking military drums

A. Harsh alliteration of the aggressive /r/ sound alongside gutteral /g/ and hard /k/ consonants, auditorily conveying the hostility of winter.

B. Gentle whispering sibilance celebrating spring.

C. Complete absence of consonant sounds.

D. Soft, soothing vowels mimicking birdsong.

A. Natural blossoms wilt and die within days of being plucked, making the shepherd's very tokens of love the ultimate symbols of transience.

B. Myrtle leaves are toxic to human skin.

C. Wool cannot be dyed into attractive colors.

D. Elizabethan law banned commoners from wearing flowers.

A. Kings are subject to political betrayal, assassination, and public burdens, whereas the transcendent security of being genuinely loved offers an inviolable sovereign sanctuary.

B. He believes all kings are inherently evil and should be executed.

C. He knows that kings have less money than successful London playwrights.

D. He was already heir to the English throne.

A. Promethean rebellion

B. Apollonian rationality, order, restraint, and truth

C. Nihilistic violence

D. Romantic delirium

A. An incantatory, circular structure that encloses the beloved in a persuasive, inescapable loop of romantic temptation

B. A sign of poetic exhaustion and lack of vocabulary

C. A warning that the shepherd will abandon her if she refuses

D. A transition into dramatic prose

A. Because she acknowledges the theoretical beauty of the pastoral dream, expressing melancholy that reality and mortal limits forbid its fulfillment.

B. Because she is afraid of the shepherd's physical retaliation.

C. Because she hopes the shepherd will return with diamonds instead.

D. Because she is playing a deceitful game to raise her dowry.

A. He achieves internal peace by realizing that external societal approval is trivial compared to the intimate, transformative validation found in love.

B. He writes anonymous letters to destroy Robert Greene's career.

C. He appeals directly to Queen Elizabeth I for a royal pension.

D. He buys new clothes to appear wealthy in public gatherings.

A. Neo-Platonism (the belief that love elevates the human soul toward the divine)

B. Radical Utilitarianism

C. Feudal Scholasticism

D. Scientific Positivism

A. How mortal human beings grapple with the destructive effects of Time, Fortune, and Decay in their pursuit of enduring happiness and love

B. How to establish profitable agricultural colonies in the New World

C. The political debate over the succession of King James I

D. The technical rules of staging dramatic tragedies at the Globe Theatre