|
a. It is static language with unchanging rules. |
||
|
b. It is the language spoken by everyday people. |
||
|
c. It is the only kind of illustrious vernacular. |
||
|
d. It is synonymous with natural language. |
||
|
e. All of the above |
|
a. In written literature |
||
|
b. In everyday speech |
||
|
c. In essays |
||
|
d. In love poetry |
||
|
e. In comedies |
|
a. Courtly love |
||
|
b. Autobiography |
||
|
c. Framed narrative |
||
|
d. Lyric poetry |
||
|
e. All of the above |
|
a. Because many people were deeply offended by The Divine Comedy |
||
|
b. Because he was embroiled in the conflict between the Black Guelphs and White Guelphs |
||
|
c. Because Pope Boniface VIII was upset by his representation of the church in The Divine Comedy |
||
|
d. Because Beatrice’s family wanted the two lovers separated |
||
|
e. All of the above |
|
a. The relationship shows Dante ennobled by his love for Beatrice. |
||
|
b. The relationship watches Dante pass through stages of love for Beatrice’s physical, moral, and divine beauty. |
||
|
c. The relationship provides an example of passionate love rather than arranged matches. |
||
|
d. The relationship focuses on Beatrice’s chastity and purity. |
||
|
e. All of the above |
|
a. Tuscan |
||
|
b. Italian |
||
|
c. Latin |
||
|
d. English |
||
|
e. Occitan |
|
a. Love is an ennobling force that offers a chance for salvation. |
||
|
b. Love is problematic for Dante, because Beatrice is considered impure. |
||
|
c. Love has little to do with spirituality. |
||
|
d. Love obscures all possibility for salvation. |
||
|
e. All of the above |
|
a. Latin |
||
|
b. Tuscan |
||
|
c. English |
||
|
d. French |
||
|
e. German |
|
a. London |
||
|
b. Rome |
||
|
c. Florence |
||
|
d. Sorrento |
||
|
e. Paris |
|
a. He was part of a delegation to the Pope. |
||
|
b. He held several positions in the local government. |
||
|
c. He conducted diplomatic missions. |
||
|
d. He literally fought at the Battle of Campaldino. |
||
|
e. All of the above |
|
a. The Convivio |
||
|
b. Vita Nuova |
||
|
c. De Vulgari Eloquentia |
||
|
d. Eclogues |
||
|
e. De Monarchia |
|
a. He wrote classical epics with Christian materials. |
||
|
b. He promoted the worship of idolatrous statues from the ancient times. |
||
|
c. He rejected the influence of Scholasticism. |
||
|
d. He was uninterested in the poetics of the sublime. |
||
|
e. All of the above |
|
a. Vita Nuova |
||
|
b. De Monarchia |
||
|
c. De Vulgari Eloquentia |
||
|
d. The Divine Comedy |
||
|
e. The Convivio |
|
a. Both believed that the Church was infallible. |
||
|
b. Both believed that reason was unrelated to faith. |
||
|
c. Both believed in the joint power of the Church and the State. |
||
|
d. Both believed that only faith was an important part of the Christian worldview. |
||
|
e. Both believed that reason and faith were part of the quest for truth. |
|
a. The movement to write more in vernacular |
||
|
b. The intellectual movement interested in classical antiquity |
||
|
c. The scientific movement away from classical antiquity |
||
|
d. The movement based on literature about courtly love |
||
|
e. The political movement to end enlightened empires |
|
a. “The sweet silence” |
||
|
b. “The sweetness of love” |
||
|
c. “Sweet and still” |
||
|
d. “Sweet new style” |
||
|
e. “The sweetness of heaven” |
|
a. Verona |
||
|
b. Paris |
||
|
c. Ravenna |
||
|
d. England |
||
|
e. All of the above |
|
a. He thought the popes failed to live up the requirements of their offices. |
||
|
b. He disbelieved in the Christian doctrine. |
||
|
c. He believed that most of the teachings were incorrect. |
||
|
d. He thought that the popes were the only successful part of the Church. |
|
a. There was an increase in popularity of wanderers and troubadours. |
||
|
b. Most professional scribes found it difficult to write in Medieval Latin. |
||
|
c. The spoken language tended to take precedence in areas where the Church was weak. |
||
|
d. Official documents were written in spoken language. |
||
|
e. All of the above |
|
a. The Italian Renaissance |
||
|
b. The Black Death |
||
|
c. The Crusades |
||
|
d. The Enlightenment |
||
|
e. The Scientific Revolution |
|
a. Saint Augustine |
||
|
b. Cicero |
||
|
c. Thomas Aquinas |
||
|
d. Brunetto Latini |
||
|
e. All of the above |
|
a. The search for the illustrious vernacular |
||
|
b. The historical evolution of language |
||
|
c. The language of different literary genres |
||
|
d. The difference between grammar and language |
||
|
e. All of the above |
|
a. Many people faulted the immorality of the higher levels of the clergy. |
||
|
b. Many people were unable to understand Church texts written in Latin. |
||
|
c. Many people were unable to understand the language of the Mass. |
||
|
d. Many people took issue with the Pope’s inordinate wealth and power. |
||
|
e. All of the above |
|
a. He came to prefer the idea of an enlightened emperor. |
||
|
b. He decided that only a dictator should be in power. |
||
|
c. He decided that only the Catholic Church should be in power. |
||
|
d. He came to the realization that all emperors are unjust. |
||
|
e. He came to favor the idea of an elected emperor. |
|
a. His dislike of the vernacular language |
||
|
b. His opposition to the separation of Church and State |
||
|
c. His love for Beatrice |
||
|
d. His experiences in exile |
|
a. Unlike Virgil’s hell, Dante’s underworld focuses on punishment for sins. |
||
|
b. Unlike Virgil’s hell, Dante’s underworld is concerned with destiny and future. |
||
|
c. Unlike Virgil’s hell, Dante’s underworld is not expected to last forever. |
||
|
d. Unlike Virgil’s hell, Dante’s underworld does not include examples of justice. |
|
a. Lust |
||
|
b. Gluttony |
||
|
c. Avarice |
||
|
d. Heresy |
||
|
e. Treachery |
|
a. Lust is often pure, while love tends to be crude. |
||
|
b. Lust and love are both sins that place the sinner in hell. |
||
|
c. Lust involves the subordination of reason to desire. |
||
|
d. Lust leads to moral improvement, while love is a more destructive force. |
||
|
e. Lust is moral attraction, while love is sexual attraction. |
|
a. Fraud |
||
|
b. Reason |
||
|
c. Justice |
||
|
d. Lust |
||
|
e. Violence |
|
a. “Allegory of speech” and “allegory of the poets” |
||
|
b. “Allegory of speech” and “allegory of irony” |
||
|
c. “Allegory of speech” and “allegory of the theologians” |
||
|
d. “Allegory of the poets” and “allegory of the theologians” |
||
|
e. “Allegory of the poets” and “allegory of irony” |
|
a. The Annunciation |
||
|
b. Baptism |
||
|
c. Holy Communion |
||
|
d. The Last Judgment |
||
|
e. Easter Sunday |
|
a. The circle of lust |
||
|
b. The circle of gluttony |
||
|
c. The circle of heresy |
||
|
d. The circle of treachery |
||
|
e. The circle of violence |
|
a. Easter Sunday |
||
|
b. Christmas |
||
|
c. All Saint’s Day |
||
|
d. All Soul’s Day |
||
|
e. Good Friday |
|
a. They violently fight each other in a muddy swamp. |
||
|
b. They are burned in their graves. |
||
|
c. They roll heavy stones onto one another. |
||
|
d. They are forced to lie under the surface of a marsh. |
|
a. He remains in hell. |
||
|
b. He returns to earth. |
||
|
c. He escapes into Purgatory. |
||
|
d. He emerges in Paradise. |
||
|
e. He remains in the deepest circle. |
|
a. As the denial of the soul’s immortality |
||
|
b. As the rejection free will |
||
|
c. As the choice of lust over love |
||
|
d. As the decision to indulge in various sins |
||
|
e. As the acceptance of all Christian ideas |
|
a. Fortune is represented as a fickle woman. |
||
|
b. Fortune is a “divine minister” similar to an angel. |
||
|
c. Fortune is responsible for the distribution of worldly goods. |
||
|
d. Fortune is beyond human understanding. |
||
|
e. All of the above |
|
a. Reason |
||
|
b. Compassion |
||
|
c. Temperance |
||
|
d. Fortitude |
||
|
e. Pride |
|
a. Beneath Cairo |
||
|
b. Beneath Jerusalem |
||
|
c. Beneath Rome |
||
|
d. Beneath Florence |
||
|
e. Beneath Athens |
|
a. Dido |
||
|
b. Pope Boniface |
||
|
c. Beatrice |
||
|
d. Judas |
||
|
e. Francesca |
|
a. Guinevere, Dido, and Francesca |
||
|
b. Homer, Dante, and Virgil |
||
|
c. Brutus, Cassius, and Judas |
||
|
d. Pope Nicholas, Pope Boniface, and Pope Clement |
||
|
e. Amphiaraus, Jason, and Tiresias |
|
a. The sinners in the heretic circle |
||
|
b. The furies |
||
|
c. The fallen angels |
||
|
d. The angelic messengers |
||
|
e. The sinners in the treachery circle |
|
a. The circle of violence |
||
|
b. The circle of wrath |
||
|
c. The circle of heresy |
||
|
d. The circle of treachery |
||
|
e. The circle of fraud |
|
a. Allegory |
||
|
b. Metonymy |
||
|
c. Synesthesia |
||
|
d. Simile |
||
|
e. Litotes |
|
a. Vita Nuova |
||
|
b. The Divine Comedy |
||
|
c. De Vulgari Eloquentia |
||
|
d. De Monarchia |
||
|
e. Eclogues |
|
a. The idea that the punishment fits the crime |
||
|
b. The poetic verse form used in Vita Nuova |
||
|
c. The structure of the cantos in The Divine Comedy |
||
|
d. The theme of love and lust in The Divine Comedy |
||
|
e. The idea that sinners will rise into heaven |
|
a. The space on the edge of hell for those who are not saved |
||
|
b. In The Inferno, the place for many ancient Roman, Greek, and Egyptian thinkers |
||
|
c. For Dante, the home of major figures from the Hebrew Bible |
||
|
d. The place for virtuous non-Christian adults |
||
|
e. All of the above |
|
a. A traditional type of poetry rejected by Dante in favor of new rhyme schemes |
||
|
b. A form of blank verse |
||
|
c. A poetic form with an interlocking three-line rhyme scheme |
||
|
d. A poetic form with five-line stanzas |
||
|
e. A traditional form used only in sonnets |
|
a. Francesca |
||
|
b. Judas |
||
|
c. Ciacco |
||
|
d. Alberigo |
|
a. Saint Augustine |
||
|
b. Virgil |
||
|
c. Homer |
||
|
d. Judas |
||
|
e. Saint Bernard |
|
a. The Gate to Limbo |
||
|
b. The Garden of Eden |
||
|
c. The Dark Wood |
||
|
d. The circles of Hell |
||
|
e. The Empyrean |
|
a. The secret confession of sins |
||
|
b. A lack of remorse |
||
|
c. The inability to reject one’s old life |
||
|
d. A sense of gratitude for God’s mercy |
|
a. The souls of those who are ready to enter heaven |
||
|
b. The souls of those who are not yet ready to purge their sins |
||
|
c. The souls of those who are about to enter hell |
||
|
d. The souls of the repentant who are punished for their sins |
||
|
e. The souls of those who are about to die |
|
a. It means that sinners must resign themselves to life in hell. |
||
|
b. It implies that Beatrice will return later in the poem. |
||
|
c. It suggests that paradise is close to purgatory. |
||
|
d. It highlights the idea that Dante is on a journey of poetry. |
||
|
e. It implies that time in The Divine Comedy exists outside the real world. |
|
a. The poet’s attempt to climb the mountain |
||
|
b. The poet’s attempt to find his way back to Florence from Jerusalem |
||
|
c. The poet’s descent into hell |
||
|
d. The poet’s tour of earthly paradise |
||
|
e. The poet’s tour of heavenly paradise |
|
a. Purgatory is less future-oriented. |
||
|
b. Purgatory is a place of redemptive intervention. |
||
|
c. Purgatory includes references to time. |
||
|
d. Purgatory is less rooted in the human, natural world. |
|
a. The absence of heretics and monsters in medieval church history |
||
|
b. The conflict between ancient Romans and the early Church |
||
|
c. The impossibility for sinners to repent |
||
|
d. The righteousness of the Roman Empire over time |
||
|
e. The inability to move between purgatory and paradise |
|
a. The penitent life |
||
|
b. The afterlife existence for mortal sinners |
||
|
c. The heavenly paradise |
||
|
d. The earthly paradise |
||
|
e. The lack of an afterlife |
|
a. They are punished with whips and bridles. |
||
|
b. They are forced to carry heavy rocks on their backs. |
||
|
c. They have their eyes sewn shut with wire. |
||
|
d. They must walk through thick smoke. |
||
|
e. They are forced to walk through a wall of flames. |
|
a. He must be allowed by Cerberus to pass. |
||
|
b. He must walk through an immense wall of flames. |
||
|
c. He must be escorted into the terrace by an angelic messenger. |
||
|
d. He must first be ferried across the River Lethe. |
||
|
e. He must be escorted into the terrace by his own lover, Beatrice. |
|
a. Sonnet |
||
|
b. Aubade |
||
|
c. Ode |
||
|
d. Elegy |
||
|
e. Doggerel |
|
a. The punishments prevent hope from being reborn in sinners. |
||
|
b. The punishments keep the sinners from entering the path to salvation. |
||
|
c. The punishments allow the sinners to purge their sins. |
||
|
d. The punishments remind the sinners that they are damned to hell. |
|
a. In the southern hemisphere |
||
|
b. In the northern hemisphere |
||
|
c. In Florence |
||
|
d. In Rome |
||
|
e. In the western hemisphere |
|
a. Rachel and Leah |
||
|
b. Brutus and Cassius |
||
|
c. Dido and Aeneas |
||
|
d. Pope Boniface and Pope Clement |
||
|
e. Homer and Virgil |
|
a. Pope Boniface |
||
|
b. Pope Clement |
||
|
c. Saint Stephen |
||
|
d. John the Baptist |
||
|
e. Saint Augustine |
|
a. The planets |
||
|
b. The seven deadly sins |
||
|
c. The Augustan calendar |
||
|
d. The seven sacraments |
||
|
e. The holy days |
|
a. Vita Nuova |
||
|
b. The Convivio |
||
|
c. De Vulgari Eloquentia |
||
|
d. The Divine Comedy |
||
|
e. Eclogues |
|
a. The ability to move from purgatory into heaven |
||
|
b. The translation of culture from one civilization to another |
||
|
c. The movement from one circle of hell to another |
||
|
d. The idea that the punishment fits the crime |
||
|
e. The ability to make a religious pilgrimage |
|
a. A condition of temporal punishment for those who have committed minor sins |
||
|
b. A place for cleansing and purification |
||
|
c. The place of transition between earth, heaven, and hell |
||
|
d. The setting for the middle portion of Dante’s The Divine Comedy |
||
|
e. All of the above |
|
a. It separates heaven from hell. |
||
|
b. It prevents sinners from escaping hell. |
||
|
c. It washes away the memory of sin. |
||
|
d. It separates Dante from the other sinners. |
|
a. Cato |
||
|
b. Beatrice |
||
|
c. Virgil |
||
|
d. Homer |
||
|
e. Ulysses |
|
a. Beatrice |
||
|
b. Sapia |
||
|
c. Cato |
||
|
d. Sordello |
||
|
e. All of the above |
|
a. A vision purges a character’s earthly sins |
||
|
b. The themes usually involve life after death |
||
|
c. A character’s body is separated from his soul |
||
|
d. A guide leads the narrator on a spiritual journey |
||
|
e. All of the above |
|
a. An ancient Greek statesman |
||
|
b. A character who appears in the lust circle of hell |
||
|
c. A character who appears in the ninth circle of hell |
||
|
d. The example Dante uses to show a perfect Christian man |
||
|
e. An ancient pagan that Dante meets in purgatory |
|
a. The seven deadly sins |
||
|
b. The seven types of sin that keep people from heaven |
||
|
c. The three components of the perfect confession |
||
|
d. The eight beatitudes |
||
|
e. All of the above |
|
a. The wise |
||
|
b. The warriors of faith |
||
|
c. The justice rulers |
||
|
d. The contemplative |
||
|
e. The lovers |
|
a. The deadly sins |
||
|
b. The historical religious eras |
||
|
c. The liberal arts |
||
|
d. The sacraments |
||
|
e. The Roman rulers |
|
a. It is a symbol of divine love. |
||
|
b. It alludes to the Garden of Eden. |
||
|
c. It symbolizes perfection and paradise. |
||
|
d. It is a symbol of the Virgin Mary. |
||
|
e. All of the above |
|
a. The deadly sins |
||
|
b. The steps to confession |
||
|
c. The beatitudes |
||
|
d. The angelic hierarchy |
||
|
e. The sacraments |
|
a. English |
||
|
b. Latin |
||
|
c. Italian |
||
|
d. Tuscan |
||
|
e. Occitan |
|
a. His use of allegory |
||
|
b. His opposition to the separation of Church and State |
||
|
c. His belief in the infallibility of the popes |
||
|
d. His interest in medieval cosmology |
||
|
e. His use of terza rima |
|
a. He says that God’s ways are similar to those of Roman emperors. |
||
|
b. He says that God’s ways are extremely simple. |
||
|
c. He says that God’s ways are beyond human understanding. |
||
|
d. He says that God’s ways are only available to those in heaven. |
||
|
e. All of the above |
|
a. The light of glory |
||
|
b. Natural light |
||
|
c. Revelations |
||
|
d. The light of grace |
||
|
e. All of the above |
|
a. The Renaissance concept of the planets |
||
|
b. The Ptolemaic universe |
||
|
c. Ancient Roman cosmology |
||
|
d. Ancient Greek cosmology |
||
|
e. The Enlightenment concept of the universe |
|
a. The politics of Florence |
||
|
b. The politics of Ravenna |
||
|
c. The politics of ancient Greece |
||
|
d. The politics of Italian city-states |
||
|
e. The politics of the Roman Empire |
|
a. With his exclusion from purgatory |
||
|
b. With a vision of the Trinity |
||
|
c. With his return to hell |
||
|
d. With his death |
||
|
e. With his declaration of disbelief |
|
a. Easter Sunday |
||
|
b. Wednesday after Easter |
||
|
c. Good Friday |
||
|
d. All Saint’s Day |
||
|
e. All Soul’s Day |
|
a. The soul’s union with the body |
||
|
b. The soul’s ascent to heaven |
||
|
c. The soul’s tour of purgatory |
||
|
d. The soul’s descent into hell |
||
|
e. The soul’s punishment for sin |
|
a. The lustful |
||
|
b. Those with the most constancy of characters |
||
|
c. The proud |
||
|
d. The best emperors and rulers |
||
|
e. The souls of those who abandoned their vows |
|
a. Prudence |
||
|
b. Justice |
||
|
c. Temperance |
||
|
d. Fortitude |
||
|
e. All of the above |
|
a. Virgil |
||
|
b. Thomas Aquinas |
||
|
c. Judas |
||
|
d. Cacciaguida |
||
|
e. Saint Peter |
|
a. Virgil |
||
|
b. Beatrice |
||
|
c. Cato |
||
|
d. Ulysses |
||
|
e. Homer |
|
a. Saint James |
||
|
b. Saint John |
||
|
c. Saint Peter |
||
|
d. Saint Thomas |
||
|
e. Saint Paul |
|
a. The Inferno |
||
|
b. The Convivio |
||
|
c. The Purgatorio |
||
|
d. The Paradiso |
||
|
e. All of the above |
|
a. It is the ability to move above the earthly state into heaven. |
||
|
b. It is the ability to reunite with the body. |
||
|
c. It is the ability to commit sins while in the human body. |
||
|
d. It is the ability to separate from the body in order to reach hell. |
||
|
e. It is the ability to reject heaven in order to remain in the human body. |
|
a. It symbolizes Dante’s distrust of the Church. |
||
|
b. It is the home of the angels. |
||
|
c. It separates heaven from hell. |
||
|
d. It reminds Dante of his own pride. |
||
|
e. It is a place for repentant sinners. |
|
a. He believed that eternal life in heaven was the real one. |
||
|
b. Because he was pagan, he did not believe in heaven. |
||
|
c. Because he was an early Christian, he believed that heaven was inaccessible. |
||
|
d. He believed that heaven, hell, and earth were indistinguishable. |
||
|
e. He believed that sinners were accepted into heaven. |
|
a. Faith, hope, and love |
||
|
b. Faith, wisdom, and love |
||
|
c. Love, compassion, and pride |
||
|
d. Justice, temperance, and faith |
||
|
e. Justice, compassion, and faith |
|
a. The poet who leads Dante on a tour of hell |
||
|
b. Dante’s enemy |
||
|
c. Dante’s patron |
||
|
d. The emperor of Italy in Dante’s lifetime |
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e. The pope who exiled Dante |
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a. He promotes the separation of Church and State. |
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b. He declares papal authority infallible. |
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c. He declares emperors infallible. |
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d. He says that all empires should be ruled by dictators. |
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e. He promotes the union of Church and State. |