| 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 |