Keats begins, “Season of mists and mellow fruitfulness, / Close bosom-friend of the maturing sun.” The sensory emphasis chiefly builds:

Tennyson writes, “The moan of doves in immemorial elms, / And murmuring of innumerable bees.” The imagery works chiefly through:

Wordsworth sees “A host, of golden daffodils; / Beside the lake, beneath the trees, / Fluttering and dancing in the breeze.” The images build:

In Macbeth, “Light thickens, and the crow / Makes wing to the rooky wood.” The sensory details chiefly create:

Shakespeare writes, “Full fathom five thy father lies; / Of his bones are coral made; / Those are pearls that were his eyes.” The sensory detail builds:

Coleridge writes, “The ice was here, the ice was there, / The ice was all around: / It cracked and growled, and roared and howled.” What does the pattern emphasize?

Poe’s “silken, sad, uncertain rustling of each purple curtain” thrills the speaker with fear. The pattern of sound and texture stresses:

Shelley calls the West Wind an “unseen presence” from which “the leaves dead / Are driven, like ghosts from an enchanter fleeing.” The image pattern emphasizes:

Shakespeare writes of “yellow leaves, or none, or few” on “boughs which shake against the cold.” The pattern of images emphasizes:

Keats imagines wine with “beaded bubbles winking at the brim, / And purple-stained mouth.” The related images stress:

The Mariner says, “Water, water, every where, / Nor any drop to drink.” Beyond stating thirst, the image creates a mood of:

Frost places the speaker “Between the woods and frozen lake / The darkest evening of the year.” Beyond locating him, the image sets a mood of:

Hardy writes, “The tangled bine-stems scored the sky / Like strings of broken lyres.” The image denotes plants but sets a mood of:

Keats begins, “My heart aches, and a drowsy numbness pains / My sense, as though of hemlock I had drunk.” The bodily image creates:

Hamlet says it is the “witching time of night, / When churchyards yawn and hell itself breathes out / Contagion to this world.” The imagery sets a mood of:

Hardy moves from “The Century’s corpse outleant” to “At once a voice arose” in “a full-hearted evensong.” Where does the imagery turn?

In Sonnet 73, “twilight” fades “after sunset”; then the speaker says, “In me thou see’st the glowing of such fire.” Where does the register shift?

Keats writes, “I cannot see what flowers are at my feet, / Nor what soft incense hangs upon the boughs.” Where does the imagery change register?

Wordsworth recalls “beauteous forms” and then “sensations sweet, / Felt in the blood, and felt along the heart.” Where does the imagery turn?

Lady Macbeth calls, “Come, thick night, / And pall thee in the dunnest smoke of hell, / That my keen knife see not the wound it makes.” Where does the imagery turn?

Whitman leaves the lecture and “in the mystical moist night-air” looks “up in perfect silence at the stars.” Which reading do the images not support?

Shakespeare writes, “My mistress’ eyes are nothing like the sun; / Coral is far more red than her lips’ red.” Which reading do the images not support?

Blake’s tiger is “burning bright, / In the forests of the night” with “fearful symmetry.” Which reading do the images fail to support?

Keats addresses a “Fair youth, beneath the trees” who “canst not leave / Thy song, nor ever can those trees be bare.” Which reading do the images not support?

Shelley’s traveler sees “Two vast and trunkless legs of stone” and, nearby, “Half sunk, a shattered visage” in the sand. Which reading do the images not support?