| 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 | ||
| e. The pope who exiled Dante |
| a. He promotes the separation of Church and State. | ||
| b. He declares papal authority infallible. | ||
| c. He declares emperors infallible. | ||
| d. He says that all empires should be ruled by dictators. | ||
| e. He promotes the union of Church and State. |