a. Niccolo Machiavelli | ||
b. Johan Gutenberg | ||
c. Peter Schoeffer | ||
d. Johannes Fust | ||
e. Socrates |
a. Roman Catholic | ||
b. Anglican | ||
c. Buddhist | ||
d. Protestant | ||
e. Muslim |
a. “Paradise Lost” | ||
b. “95 Theses” | ||
c. “The Bible” | ||
d. “Piers Plowman” | ||
e. “Paradise Lost” |
a. Catholicism | ||
b. Medieval Europe | ||
c. Classical antiquity | ||
d. Protestantism | ||
e. Mythology |
a. Petrarch | ||
b. Dante | ||
c. Langland | ||
d. Machiavelli | ||
e. Plato |
a. Hanover | ||
b. Protestant | ||
c. Tudor | ||
d. Catholic | ||
e. Reformation |
a. Socialism | ||
b. Capitalism | ||
c. Humanitarianism | ||
d. Humanism | ||
e. None of the above |
a. Reincarnation | ||
b. Rebirth | ||
c. Reproduction | ||
d. Recapitulation | ||
e. Reimagination |
a. Catholic Restoration | ||
b. Catholic Reformation | ||
c. Protestant Reformation | ||
d. Protestant Restoration | ||
e. None of the above |
a. Petrarch | ||
b. Machiavelli | ||
c. Michelangelo | ||
d. A and B | ||
e. Dante |
a. Niccolo Machiavelli | ||
b. Martin Luther | ||
c. John Milton | ||
d. John Wycliffe | ||
e. Johan Gutenberg |
a. John Donne | ||
b. John Dryden | ||
c. John Wycliffe | ||
d. Johan Gutenberg | ||
e. None of the above |
a. Charles I | ||
b. Charles II | ||
c. Henry V | ||
d. Henry VIII | ||
e. Henry IX |
a. 12th and 13th | ||
b. 14th and 15th | ||
c. 15th and 16th | ||
d. 16th and 17th | ||
e. 17th and 18th |
a. Print halted the corruption of texts by copyists, giving everyone identical texts. | ||
b. Scientific research became a more collaborative effort. | ||
c. Learning to read was made easier as print was standardized and made clearer. | ||
d. All of the above | ||
e. A and C only |
a. Catholicism | ||
b. Protestantism | ||
c. Buddhism | ||
d. Roman Catholicism | ||
e. None of the above |
a. “Paradise Lost” | ||
b. “Canterbury Tales” | ||
c. “The Bible” | ||
d. “Piers Plowman” | ||
e. None of the above |
a. “Toxophilus” | ||
b. “Utopia” | ||
c. “The Inferno” | ||
d. “Paradise Lost” | ||
e. None of the above |
a. 1400 | ||
b. 1500 | ||
c. 1600 | ||
d. 1650 | ||
e. 1700 |
a. Niccolo Machiavelli | ||
b. Francesco Petrarcha | ||
c. Aristotle | ||
d. Plato | ||
e. None of the above |
a. It regarded human beings as social creatures who could create meaningful lives only in association with other social beings. | ||
b. Its major premise was that every existing thing in the universe had its “place” in a divinely planned hierarchical order which was pictured as a chain, vertically extended. | ||
c. It could only be achieved through faith in God's grace. | ||
d. Both A and B | ||
e. Both B and C |
a. Court Jester | ||
b. Master of Revels | ||
c. Master of Rebels | ||
d. Master of Ceremonies | ||
e. None of the above |
a. Catherine of Aragon | ||
b. Anne Boleyn | ||
c. Mary, Queen of Scots | ||
d. Anne of Cleves | ||
e. None of the above |
a. Elizabeth I | ||
b. Elizabeth II | ||
c. Mary, Queen of Scots | ||
d. Catherine of Aragon | ||
e. None of the above |
a. Sir Thomas More | ||
b. Sir Walter Raleigh | ||
c. John Foxe | ||
d. John Lyly | ||
e. King Henry VIII |
a. “Acts and Monuments” | ||
b. “Utopia” | ||
c. “Euphues” | ||
d. “Paradise Regained” | ||
e. “Piers Plowman” |
a. Mass | ||
b. Transubstantiation | ||
c. Resurrection | ||
d. Bible | ||
e. Communion |
a. Buddhist | ||
b. Anglican | ||
c. Quaker | ||
d. Catholic | ||
e. Hindu |
a. Untypical | ||
b. Not untypical | ||
c. Exploded | ||
d. Rejected | ||
e. None of the above |
a. Anachronistic | ||
b. Euphuistic | ||
c. Marxist | ||
d. Solipsistic | ||
e. None of the above |
a. “Euphues” | ||
b. “Paradise Lost” | ||
c. “Utopia” | ||
d. “Zelauto” | ||
e. None of the above |
a. The Catholic Church | ||
b. The English Church | ||
c. The Church of God | ||
d. Both A and B | ||
e. None of the above |
a. Henry VIII | ||
b. John Lyly | ||
c. Sir Thomas More | ||
d. John Foxe | ||
e. None of the above |
a. Protestantism | ||
b. Catholicism | ||
c. Roman Catholicism | ||
d. Buddhism | ||
e. None of the above |
a. “95 Theses” | ||
b. “Utopia” | ||
c. “Euphues, or the Anatomy of Wit” | ||
d. “Paradise Lost” | ||
e. None of the above |
a. William Blake | ||
b. William Wordsworth | ||
c. Samuel Taylor Coleridge | ||
d. William Shakespeare | ||
e. None of the above |
a. Utopian trades | ||
b. Riches, jewels, and gold | ||
c. Suicide | ||
d. Marriage and divorce | ||
e. All of the above |
a. Treasurer of the Exchequer | ||
b. Chancellor of the Duchy of Lancaster | ||
c. Speaker of the House of Commons | ||
d. Master of Requests | ||
e. All of the above |
a. Marxism | ||
b. Feminism | ||
c. New Historicism | ||
d. Psychoanalysis | ||
e. None of the above |
a. Restoration | ||
b. Glorious Revolution | ||
c. French Revolution | ||
d. Seven Years War | ||
e. None of the above |
a. Sir Thomas More | ||
b. Sir Walter Raleigh | ||
c. John Lyly | ||
d. Sir Philip Sidney | ||
e. None of the above |
a. John Foxe | ||
b. John Lyly | ||
c. Sir Thomas More | ||
d. Sir Walter Raleigh | ||
e. None of the above |
a. Marxism | ||
b. Christian Humanism | ||
c. Feminism | ||
d. New Historicism | ||
e. Post-Humanism |
a. “Utopia” | ||
b. “Euphues” | ||
c. “Paradise Lost” | ||
d. “Paradise Regained” | ||
e. “Acts and Monuments” |
a. Hexagrams | ||
b. Epigrams | ||
c. Heroic couplets | ||
d. All of the above | ||
e. None of the above |
a. John Locke | ||
b. John Lyly | ||
c. John Foxe | ||
d. John Milton | ||
e. None of the above |
a. Sir Thomas More | ||
b. Sir Walter Raleigh | ||
c. Sir Philip Sidney | ||
d. John Milton | ||
e. All of the above |
a. Sir Thomas More | ||
b. Sir Walter Raleigh | ||
c. Sir Philip Sidney | ||
d. Sir William Shakespeare | ||
e. None of the above |
a. John Donne | ||
b. Sir Walter Raleigh | ||
c. Sir Thomas More | ||
d. John Foxe | ||
e. None of the above |
a. Sir Thomas More | ||
b. Sir Philip Sidney | ||
c. Sir Walter Raleigh | ||
d. John Foxe | ||
e. None of the above |
a. 10 | ||
b. 20 | ||
c. 30 | ||
d. 40 | ||
e. 50 |
a. Lust | ||
b. Pride | ||
c. Jealousy | ||
d. Love | ||
e. None of the above |
a. Satan | ||
b. Adam | ||
c. Eve | ||
d. Christ | ||
e. None of the above |
a. The fall of the rebel angels | ||
b. The fall of Adam | ||
c. The fall of Eve | ||
d. The fall of the son | ||
e. None of the above |
a. An epic poem is the recital of some grand enterprise in a poetical form. | ||
b. Epic poetry is of a moral nature and tends to the promotion of virtue. | ||
c. “Canterbury Tales” is an example of epic poetry. | ||
d. All of the above answers are true. | ||
e. Both A and B are true. |
a. Sex | ||
b. Emotions | ||
c. Psychology | ||
d. All of the above | ||
e. A and C only |
a. Milton | ||
b. Wordsworth | ||
c. Aristo | ||
d. Both A and B | ||
e. Both B and C |
a. “Paradise Lost” | ||
b. “The Faerie Queen” | ||
c. “The Prelude” | ||
d. “Canterbury Tales” | ||
e. None of the above |
a. Medieval | ||
b. Victorian | ||
c. Romantic | ||
d. Modern | ||
e. Industrial |
a. Catholic | ||
b. Protestant | ||
c. Buddhist | ||
d. Quaker | ||
e. None of the above |
a. A pastoral elegy | ||
b. A satire | ||
c. An epic | ||
d. A mock-epic | ||
e. None of the above |
a. Fate vs. free will | ||
b. Heaven vs. hell | ||
c. God vs. Satan | ||
d. Good vs. evil | ||
e. All of the above |
a. Drugs | ||
b. Sex | ||
c. Animals | ||
d. Propaganda | ||
e. None of the above |
a. “Canterbury Tales” | ||
b. “The Faerie Queen” | ||
c. “Paradise Lost” | ||
d. “The Prelude” | ||
e. None of the above |
a. 9 | ||
b. 10 | ||
c. 12 | ||
d. 14 | ||
e. None of the above |
a. Trochaic trimeter | ||
b. Terza rima | ||
c. Iambic pentameter | ||
d. Anapestic pentameter | ||
e. None of the above |
a. Sir Philip Sidney | ||
b. Sir Thomas More | ||
c. Thomas Wyatt | ||
d. Henry Howard, Earl of Surrey | ||
e. None of the above |
a. Sir Philip Sidney | ||
b. Sir Thomas More | ||
c. Thomas Wyatt | ||
d. Henry Howard, Earl of Surrey | ||
e. None of the above |
a. “Astrophil and Stella” | ||
b. “Utopia” | ||
c. “Paradise Lost” | ||
d. “Canterbury Tales” | ||
e. None of the above |
a. “Paradise Lost” | ||
b. “The Odyssey” | ||
c. “The Iliad” | ||
d. All of the above | ||
e. None of the above |
a. Terza rima | ||
b. Metaphysical poetry | ||
c. Rhyme royal | ||
d. The Petrarchan sonnet | ||
e. None of the above |
a. Thomas Wyatt | ||
b. Henry Howard, Earl of Surrey | ||
c. John Donne | ||
d. Both A and B | ||
e. Both A and C |
a. Homer | ||
b. Dante | ||
c. Virgil | ||
d. Milton | ||
e. Chaucer |
a. John Milton | ||
b. Ludovico Ariosto | ||
c. Sir Philip Sidney | ||
d. William Shakespeare | ||
e. None of the above |
a. “Romeo and Juliet” | ||
b. “Hamlet” | ||
c. “Titus Andronicus” | ||
d. “The Spanish Tragedy” | ||
e. “Much Ado about Nothing” |
a. “Macbeth” | ||
b. “Two Gentlemen of Verona” | ||
c. “The Winter’s Tale” | ||
d. “The Tempest” | ||
e. “Faustus” |
a. Psychological, Sexual | ||
b. Religious, Didactic | ||
c. Emotional, Psychological | ||
d. Sexual, Religious | ||
e. Scientific, Didactic |
a. Tragi-comedy | ||
b. Romance | ||
c. Satire | ||
d. Comedy | ||
e. Tragedy |
a. Masque | ||
b. Satire | ||
c. Tragedy | ||
d. Comedy | ||
e. Romance |
a. Very great | ||
b. Insignificant | ||
c. Somewhat significant | ||
d. Impossible | ||
e. None of the above |
a. Clowns | ||
b. Women | ||
c. Politicians | ||
d. Pantomimes | ||
e. Musicians |
a. Tragedy | ||
b. Comedy | ||
c. Romance | ||
d. A and B only | ||
e. B and C only |
a. Large hillside amphitheaters | ||
b. Large indoor theaters | ||
c. Small indoor theaters | ||
d. All of the above | ||
e. None of the above |
a. When Elizabeth I came to the throne, there were no specially designed theatre buildings in England. | ||
b. When Elizabeth I came to the throne, there were dozens of specially designed theatre buildings in England. | ||
c. When Elizabeth I came to the throne, there were three specially designed theatre buildings in England. | ||
d. When Elizabeth I came to the throne, there were ten specially designed theatre buildings in England. | ||
e. None of the above |
a. “The Curtain” | ||
b. “The Globe” | ||
c. “The Rose” | ||
d. “The Anchor” | ||
e. None of the above |
a. Chaucer | ||
b. Langland | ||
c. Homer | ||
d. Shakespeare | ||
e. None of the above |
a. “Henry IV, Part I” | ||
b. “Henry IV, Part II” | ||
c. “Titus Andronicus” | ||
d. All of the above | ||
e. A and B only |
a. Medieval | ||
b. Romantic | ||
c. Victorian | ||
d. Elizabethan | ||
e. None of the above |
a. Tragedies | ||
b. Comedies | ||
c. Romances | ||
d. All of the above | ||
e. A and B only |
a. Benvolio | ||
b. Lady Capulet | ||
c. Mercutio | ||
d. Falstaff | ||
e. Romeo |
a. The idea that William Shakespeare was a homosexual. | ||
b. The idea that William Shakespeare never lived. | ||
c. The idea that William Shakespeare was a Catholic. | ||
d. All of the above | ||
e. A and B only |
a. M. H. Abrams | ||
b. Stephen Greenblatt | ||
c. Helen Vendler | ||
d. Wayne C. Booth | ||
e. None of the above |
a. “Romeo and Juliet” | ||
b. “Hamlet” | ||
c. “Much Ado about Nothing” | ||
d. “Henry IV, Part I” | ||
e. “Titus Andronicus” |
a. “The Jew of Malta” | ||
b. “Doctor Faustus” | ||
c. “Edward II” | ||
d. All of the above | ||
e. A and C only |
a. It burned down and was reconstructed hundreds of years later. | ||
b. It was situated on the Thames River. | ||
c. It was lit from natural sunlight as well as by candle light. | ||
d. All of the above | ||
e. A and C only |
a. The Red Bull | ||
b. The Curtain | ||
c. The Rose | ||
d. The Globe | ||
e. All of the above |
a. Queen Elizabeth I | ||
b. Queen Elizabeth II | ||
c. Queen Anne | ||
d. Both A and B | ||
e. None of the above |
a. Tragedy | ||
b. Comedy | ||
c. Romance | ||
d. Satire | ||
e. None of the above |
a. Tragedy | ||
b. Comedy | ||
c. Romance | ||
d. History | ||
e. Satire |
a. Masque | ||
b. Satire | ||
c. Burlesque | ||
d. Tragedy | ||
e. Comedy |