| 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 |