a. the king | ||
b. the House of Lords | ||
c. popular election | ||
d. God | ||
e. The vote of church pastors |
a. Heaven | ||
b. Hell | ||
c. Chaos | ||
d. Sunshine | ||
e. A and B |
a. Michelangelo | ||
b. Charles II | ||
c. Galileo | ||
d. A and B | ||
e. A and C |
a. braille | ||
b. dictation | ||
c. a code of his own devising | ||
d. an Abacus | ||
e. A and C |
a. Anglican | ||
b. Methodist | ||
c. Protestant | ||
d. Buddhist | ||
e. A and B |
a. “Christian Doctrines” | ||
b. “On Regicide” | ||
c. “The Doctrine and Discipline of Divorce” | ||
d. “Paradise Lost” | ||
e. “Paradise Regained” |
a. He was imprisoned. | ||
b. His left index finger was chopped off. | ||
c. He was placed in the stocks for a week. | ||
d. A and B | ||
e. B and C |
a. Civil Engineer | ||
b. Poet Laureate | ||
c. Military Strategist | ||
d. Intellectual Defender | ||
e. A and D |
a. “Paradise Lost” | ||
b. “Samson Agonistes” | ||
c. “Areopagitica” | ||
d. “Paradise Regained” | ||
e. A and D |
a. Bath | ||
b. Paris | ||
c. London | ||
d. Nottingham | ||
e. Manchester |
a. One decade | ||
b. Two decades | ||
c. Three decades | ||
d. Four decades | ||
e. Five decades |
a. Royalists and Monarchists | ||
b. Royalists and Parliamentarians | ||
c. Parliamentarians and Roundheads | ||
d. Anarchists and Royalists | ||
e. Anarchists and Monarchists |
a. France | ||
b. Germany | ||
c. Spain | ||
d. Italy | ||
e. England |
a. Existentialism | ||
b. Humanism | ||
c. Stoicism | ||
d. Postmodernism | ||
e. Deism |
a. Charles I | ||
b. Charles II | ||
c. Queen Anne | ||
d. Henry VIII | ||
e. A and C |
a. Charles I | ||
b. Charles II | ||
c. Henry VIII | ||
d. Charles III | ||
e. Oliver Cromwell |
a. There was to be no king, bishops, or House of Lords. | ||
b. There were to be no churches except Anglican churches. | ||
c. There was to be no Oxford University. | ||
d. A and C | ||
e. B and C |
a. There is an emphasis on the importance of preaching. | ||
b. There is an emphasis on spiritual experience. | ||
c. There is an emphasis on the freedom of sexual expression. | ||
d. A and B | ||
e. A and C |
a. Medievalism | ||
b. Modernism | ||
c. Victorianism | ||
d. Neoclassicism | ||
e. Post Modernism |
a. Anglicism | ||
b. Puritanism | ||
c. Buddhism | ||
d. A and C | ||
e. B and C |
a. Mourns the death of a college classmate | ||
b. Mourns the death of his mother | ||
c. Mourns the death of his son | ||
d. Mourns the death of his wife | ||
e. Mourns the death of his daughter |
a. Romantic | ||
b. Victorian | ||
c. Cavalier | ||
d. Enlightenment | ||
e. Neoclassicist |
a. Latin, Greek, and Hebrew | ||
b. Latin, Sanskrit, and Aramaic | ||
c. Latin, Arabic, and Spanish | ||
d. Mandarin, Dutch, and French | ||
e. Greek, Esperanto, and French |
a. Homer, Virgil, and Dante | ||
b. Dante, Spenser, and Pope | ||
c. Homer, Dryden, and Longfellow | ||
d. Virgil, Shakespeare, and Jane Austen | ||
e. Dante, Chaucer, and Swift |
a. Pastoral elegy | ||
b. Prose polemic | ||
c. Blank verse tragedy | ||
d. Masque | ||
e. Epic |
a. Pastoral elegy | ||
b. Prose polemic | ||
c. Blank verse tragedy | ||
d. Masque | ||
e. Epic |
a. iambic pentameter | ||
b. tetrameter couplets | ||
c. heroic couplets | ||
d. Shakespearean sonnets | ||
e. Latin |
a. Pastoral elegy | ||
b. Prose polemic | ||
c. Blank verse tragedy | ||
d. Masque | ||
e. Epic |
a. Pastoral elegy | ||
b. Prose polemic | ||
c. Blank verse tragedy | ||
d. Masque | ||
e. Epic |
a. Jesus | ||
b. Samson | ||
c. Satan | ||
d. Adam | ||
e. Milton |
a. French | ||
b. Greek | ||
c. Roman | ||
d. German | ||
e. Egyptian |
a. Spenserian | ||
b. Shakespearean | ||
c. Wordsworthian | ||
d. Petrarchan | ||
e. Henrichan |
a. Lyric | ||
b. Epic | ||
c. Satiric | ||
d. Virgilian | ||
e. Panegyric |
a. Invocation of a muse | ||
b. A cry of lament | ||
c. Prayer to the Sun | ||
d. A and B | ||
e. A and C |
a. Samuel Johnson | ||
b. Edmund Spencer | ||
c. Samuel Taylor Coleridge | ||
d. T. S. Eliot | ||
e. John Milton |
a. Virgil | ||
b. Shakespeare | ||
c. Chaucer | ||
d. A and B | ||
e. B and C |
a. Virgil, Shakespeare, and Spenser | ||
b. Homer, Virgil, and Spenser | ||
c. Chaucer, Shakespeare, and Spenser | ||
d. Gilgamesh, Petrarch, and Dryden | ||
e. Dryden, Jane Austen, and T.S. Eliot |
a. He followed the Shakespearean rather than the Petrarchan sonnet form. | ||
b. He followed the Petrarchan rather than the Shakespearean sonnet form. | ||
c. He followed the Spenserian rather than the Shakespearean sonnet form. | ||
d. He followed the Spenserian rather than the Petrarchan sonnet form. | ||
e. He followed the Henrichan rather than the Spenserian sonnet form. |
a. “How Soon Hath Time” | ||
b. “Captain or Colonel” | ||
c. “Avenge O Lord” | ||
d. “Methought I saw my late espoused saint” | ||
e. “Drink to Me only with thine eyes” |
a. Pastoral elegy | ||
b. Prose polemic | ||
c. Blank verse tragedy | ||
d. Masque | ||
e. Epic |
a. Eve | ||
b. Adam | ||
c. God | ||
d. Satan | ||
e. Raphael |
a. Nine | ||
b. Ten | ||
c. Eleven | ||
d. Twelve | ||
e. Fourteen |
a. to justify the ways of God to humankind. | ||
b. to justify the ways of humankind to God. | ||
c. to justify the ways of Heaven to Hell. | ||
d. to justify the ways of Hell to Heaven. | ||
e. to justify the ways of angels to humankind. |
a. Their surnames | ||
b. The names of pagan gods | ||
c. The names of foreign countries | ||
d. The names of the angels they will become | ||
e. The names of mythical animals |
a. The fall of the Son | ||
b. The fall of the Rebel Angels | ||
c. The fall of God | ||
d. The death of Michael | ||
e. The death of Abdiel |
a. Gunpowder | ||
b. Adamantine armor | ||
c. The Chariot of Paternal Deity | ||
d. The Thunderbolt | ||
e. The Longbow |
a. Transubstantiation | ||
b. Free will | ||
c. Predestination | ||
d. Sufficience | ||
e. Divine Effluence |
a. A toad | ||
b. A serpent | ||
c. A lion | ||
d. A tiger | ||
e. A cormorant |
a. Baal | ||
b. Beelzebub | ||
c. Michel | ||
d. A and B | ||
e. A and C |
a. Uriel | ||
b. Urania | ||
c. Calypso | ||
d. Calliope | ||
e. Xanadu |
a. Death is Satan’s father. | ||
b. Death is Satan’s son. | ||
c. Death is Satan’s brother. | ||
d. Death is Satan’s daughter. | ||
e. Death is Satan’s muse. |
a. The Son | ||
b. Raphael | ||
c. Michael | ||
d. Adam | ||
e. Eve |
a. visible, inaccessible | ||
b. inaccessible, omnipresent | ||
c. nonexistent, invisible | ||
d. invisible, omnipresent | ||
e. None of these |
a. Michelangelo | ||
b. Raphael | ||
c. Pandosto | ||
d. Baal | ||
e. Uriel |
a. William Wordsworth | ||
b. Percy Bysshe Shelley | ||
c. William Blake | ||
d. John Keats | ||
e. Lord Byron |
a. William Blake | ||
b. Alfred Lord Tennyson | ||
c. Elizabeth Barrett Browning | ||
d. T.S. Eliot | ||
e. Jane Austen |
a. Raphael | ||
b. Eve | ||
c. Adam | ||
d. The Son | ||
e. Satan |
a. Michelangelo | ||
b. Raphael | ||
c. Uriel | ||
d. Urania | ||
e. Michael |
a. Adam and Eve hold hands and walk across an arid plain. | ||
b. Adam and Eve promise to be fruitful and multiply. | ||
c. Adam and Eve curse their God. | ||
d. Adam and Eve curse Satan. | ||
e. Adam and Eve are introduced to Michael. |
a. Nature is immediately wounded by Eve’s transgression. | ||
b. Satan is immediately wounded by Eve’s transgression. | ||
c. Raphael is immediately wounded by Eve’s transgression. | ||
d. Abdiel immediately flees the Council of Rebel Angels. | ||
e. Uriel sees through Satan’s innocent disguise as a cherub. |
a. An Epic Council | ||
b. An “Arming of the Hero” Scene | ||
c. A “Tragic Recognition” Speech | ||
d. An Invocation to the Muse | ||
e. A Narrator who “sings” the narrative |
a. Satan contemplates his reflection in a pool of water. | ||
b. Adam contemplates his reflection in a pool of water. | ||
c. Eve contemplates her reflection in a pool of water. | ||
d. God contemplates his reflection in a pool of water. | ||
e. All of these |
a. Satan lays dazed on the burning lake. | ||
b. Satan assembles his fallen legions. | ||
c. Adam and Eve fall from the state of Paradise. | ||
d. A and B | ||
e. A and C |
a. “What is the precise relationship between Satan, Sin, and Death?” | ||
b. “How, exactly, was Eve tempted to eat of the Tree of Knowledge?” | ||
c. “How, exactly, was Adam convinced to eat of the Tree of Knowledge?” | ||
d. A and B | ||
e. B and C |
a. A debate is held in Hell by Satan and his compatriots concerning whether to attempt to recover Heaven. | ||
b. Satan encounters Sin and Death. | ||
c. Satan embarks on his passage across the great gulf of Chaos. | ||
d. The Narrator invokes his muse by the name of “Holy Light.” | ||
e. The demons begin exploring Hell, engaging in philosophical debates, and entering singing competitions. |
a. The Book of “Genesis” | ||
b. The Book of “Revelations” | ||
c. “The Odyssey” | ||
d. “Canterbury Tales” | ||
e. The Edeniad |
a. John the Apostle | ||
b. John the Baptist | ||
c. Michael the Archangel | ||
d. Joseph, Jesus’s stepfather | ||
e. Moses |
a. Judea | ||
b. Egypt | ||
c. Syria | ||
d. Jerusalem | ||
e. Babylonia |
a. First Mary, then Joseph | ||
b. First Andrew and Simon (Peter), then Mary | ||
c. First Mary, then James and John | ||
d. First Peter, then Paul and Mary | ||
e. Gabriel the Angel |
a. superior | ||
b. inferior | ||
c. equal | ||
d. irrelevant in comparison | ||
e. A and B |
a. One | ||
b. Two | ||
c. Three | ||
d. Four | ||
e. Five |
a. The top of the Pantheon in Rome | ||
b. The Pinnacle of the Temple in Jerusalem | ||
c. The top of a “Mountain high” | ||
d. “Up to the middle Region of thick Air” | ||
e. C and D |
a. Belial | ||
b. Beelzebub | ||
c. Venus | ||
d. Satan | ||
e. Cupid |
a. God/Yahweh | ||
b. Judea | ||
c. Lot | ||
d. A and B | ||
e. B and C |
a. England’s first poet | ||
b. England’s first dramatist | ||
c. England’s poet laureate | ||
d. England’s greatest civil engineer | ||
e. England’s greatest Cavalier Poet |
a. A quest for knowledge of the self | ||
b. A quest for knowledge of other countries | ||
c. A quest for knowledge of the future | ||
d. A quest for Forbidden Knowledge | ||
e. A quest for knowledge of the Angels |
a. One and Two | ||
b. Three and Four | ||
c. Five and Six | ||
d. Eight and Nine | ||
e. Eleven and Twelve |
a. plain | ||
b. extravagant | ||
c. luminescent | ||
d. Latinate | ||
e. Sophistic |
a. A brief summary of “Paradise Lost” | ||
b. A detailed description of Satan | ||
c. A detailed description of Milton himself | ||
d. A and B | ||
e. B and C |
a. The Baptism of Jesus | ||
b. The Crucifixion of Jesus | ||
c. The story of Luke | ||
d. The Ascension of Jesus | ||
e. The Second Coming of Jesus |
a. Hunger | ||
b. Sexual desire | ||
c. Seeking God’s Will and Guidance | ||
d. What it means to be the “Son of God” | ||
e. Temptation |
a. “Paradise Lost” | ||
b. “Areopagitica” | ||
c. “On Christian Doctrine” | ||
d. “Samson Agonistes” | ||
e. “Comus” |
a. The Great Flood | ||
b. The Parting of the Red Sea | ||
c. The Immaculate Conception | ||
d. The Temptation of Christ | ||
e. None of these |
a. Religious conviction | ||
b. Political patriotism | ||
c. Her weakness as a woman | ||
d. Her love for Samson |
a. the prediction is never fulfilled. | ||
b. the prophet Enoch had made the same prediction centuries earlier. | ||
c. Samson doesn’t know he himself will fulfill the prediction. | ||
d. the prediction is finally fulfilled much later when Jesus defeats Dagon. | ||
e. B and D |
a. he genuinely wants to fight Samson even though Samson is blind. | ||
b. he wants to get respect from the Philistine general standing beside him. | ||
c. he wants Samson to break out of prison and kill some more Philistines. | ||
d. he wants to encourage Samson. | ||
e. he wants to seem more heroic than he really is. |
a. history play | ||
b. tragedy | ||
c. comedy | ||
d. Biblical mystery play | ||
e. Morality Play |
a. Dalila pays Samson’s ransom from prison. | ||
b. Dalila refuses to pay Samson’s ransom in prison. | ||
c. Never records Dalila’s visit to Samson in prison. | ||
d. Never records Dalila’s cutting of Samson’s hair. | ||
e. Never records Samson’s pulling down of the pillars. |
a. Samson will not fight him. | ||
b. He does not want to fight Samson. | ||
c. He must hurry to catch up with Dalila. | ||
d. He has been called back to his hometown of Gath. | ||
e. He is going to try to stop Samson from pulling at the pillars. |
a. both statements end up happening that day. | ||
b. both statements end up not happening that day. | ||
c. Samson is echoing the older prediction of the prophet Enoch. | ||
d. both statements will later be fulfilled by Christ. | ||
e. C and D |
a. Manoa. | ||
b. Dalila. | ||
c. the Chorus. | ||
d. a Messenger. | ||
e. Harapha. |
a. the Chorus has just stated it hates this kind of lavish, external beauty. | ||
b. Samson hates this kind of lavish, external beauty. | ||
c. Dalila usually dresses in a more understated Puritan manner. | ||
d. Samson is blind. | ||
e. A and C |
a. Medieval Mystery Plays | ||
b. Greek Epic | ||
c. Greek Drama | ||
d. French Chanson de Gestes | ||
e. Medieval Morality Plays |
a. He experiences some “rousing motions” which might be from God. | ||
b. Manoa convinces him to do it or the Philistines will execute Samson. | ||
c. The Chorus demands he stay in his prison cell and Samson reacts against them. | ||
d. He wishes to see Dalila one last time in the crowd. | ||
e. B and C |
a. Greek Olympic Games | ||
b. A Roman Circus | ||
c. A Gladiator competition | ||
d. A play | ||
e. A and B |
a. one who is in agony. | ||
b. one who inflicts agony. | ||
c. one who struggles for or champions a cause. | ||
d. one who predicts the future. | ||
e. one who “postdicts” the past. |
a. In “Samson,” Samson is blind, but he is not in “Judges.” | ||
b. In “Samson,” Manoa is Samson’s father, but he is not in “Judges.” | ||
c. In “Samson,” Samson is married to Dalila, but he is not in “Judges.” | ||
d. In “Samson,” Dalila cuts Samson’s hair, but she does not in “Judges.” | ||
e. In “Samson,” Samson cuts his own hair, but he does not in “Judges.” |
a. In “Samson,” Harapha is Samson’s enemy, but he is not in “Judges.” | ||
b. In “Samson,” Samson is a Jew, but he is not in “Judges.” | ||
c. In “Samson,” Samson marries the Woman of Timnah, but not in “Judges.” | ||
d. In “Samson,” Samson never worships Dagon, but he does in “Judges.” | ||
e. In “Samson,” Harapha is attracted to Dalila, but not in “Judges.” |
a. it can be acted out on a very small stage. | ||
b. it was written to be read but not acted upon a stage. | ||
c. people will read it in secret and not publically admit they read it. | ||
d. it was written to be acted in a church. | ||
e. B and C |
a. get revenge on his enemies | ||
b. re-instated as a Judge | ||
c. retire | ||
d. convert | ||
e. A and B |