|
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 |