Dr. Prinsky

English 1102

Quiz on Assigned Reading from Chapter 3 (“Plot and Structure”) and Ch. 9 (“Symbolism and Allegory”) of Roberts & Jacobs, 7th Ed., as well as My Notes and Questions on the Assigned Reading

Directions: Fill out the answers to the following on a Scantron (882) form, using pencil to bubble in your answers. Make sure you supply on the Scantron form (a) your name (first name first), (b) the class name as the “subject” (not only “Engl. 1102" — without the quotation marks — but also the section letter: e.g., Engl. 1102-ZZZ), (c) and the title of this quiz — “Quiz on Ch. 3 of RJ7" (without the quotation marks) — as “Test No.” Do not neglect Prinsky’s Notes and Questions on the assigned reading, as well as assigned material from the literature textbook. For any unfamiliar terms, check the glossary in RJ7, the index to the composition handbook, or your collegiate dictionary.

For a different and perhaps superior views of the paintings reproduced in this and other textbooks, go to google.com on the Internet, click the “tab” for “images,” and then type in the artist’s name and artwork’s title, using the plus sign and quotation marks (e.g.: Edgar Degas + “The Absinthe Drinkers”).

Ch. 3 (Plot and Structure)

1. As pointed out by Roberts and Jacobs, perhaps the key element in plot is: (a) time (b) cause and effect (c) sequence (d) space

2. As pointed out by Roberts and Jacobs, perhaps the key impetus or mainspring of plot is: (a) conflict (b) harmony (c) emotion (d) knowledge

3. Roberts and Jacobs show the parallels between the visual arts and literature in structure by using the painting: (a) Charles Wysocki’s Old Glory Farms (b) Claude Lorrain's Seaport at Sunset (c) Martin Johnson Heade’s Approaching Storm (d) Jacques Louis David’s The Death of Socrates

4. As analyzed by Roberts and Jacobs, the painting referred to in question 1 is organized by: (a) chronological sequence (b) cause and effect (c) red colors to violet colors (d) comparison and contrast

5. Human technology or the artistry of human artefacts is emphatically conveyed by all the following except which one: (a) the steps of the building in the left foreground (b) the columns of the building in the left foreground (c) the balustrade of the building in the left foreground (d) the rigging of the ship masts on the right side of the painting (e) the rowboat in the center foreground

6. Concord between the human figures is conveyed by all the following except which one: (a) the group of two figures in the extreme left foreground (b) the group of two figures immediately adjacent to the two figures in the extreme left foreground (who look toward the center foreground) (c) the group of three men (one of them doing something with his hat) in the left center foreground (d) the figure in the red clock nearly in the center foreground

7. Discord among the human figures is conveyed by which one of the following: (a) the two figures in a rowboat in the left center foreground (b) the boat with several seated figures behind the rowboat in the left center foreground (c) the two figures, one partly lying on the beach, nearly in the center foreground (d) the two figures, one seated on barrels and one doing something with his hat, in the right center foreground

8. As analyzed by Roberts and Jacobs, a main overall subject of the painting is: (a) the relation between humanity and Nature (b) the triumph of commerce in the Renaissance era (c) the relation between the genders (d) the new voyages of discovery in the Renaissance era

9. Explanation of introductory or later materials about characters' backgrounds and actions is the element of plot called: (a) exposition (b) complication (c) crisis (d) climax (e) denouement

10. The onset of the main conflict in the plot is the element of plot called: (a) exposition (b) complication (c) crisis (d) climax (e) denouement

11. The decision or action undertaken to resolve the plot's main action is the element of plot called: (a) exposition (b) complication (c) crisis (d) climax (e) denouement

12. The story's or plot's high point is called the: (a) exposition (b) complication (c) crisis (d) climax (e) denouement

13. The story's or plot's resolution or finishing up of things is the element of plot called: (a) exposition (b) complication (c) crisis (d) climax (e) denouement

14. The injection of explanation of past details into present action or circumstances is called the plot element of: (a) regression (b) digression (c) flashback (d) narration

15. One structural variation in stories or plots, which Roberts and Jacobs illustrate from Eudora Welty's "A Worn Path," is the: (a) limited action (b) moral imperative (c) violent murder (d) double take

16. A main reason for Faulkner’s scrambling of the structure of “A Rose for Emily” (the story is not told straightforwardly from beginning to end) is: (a) comparison and contrast of the modern generation with the older generation (b) the author’s following of Mississippi tradition in storytelling (c) paralleling the reader’s confusion with the main character’s feeble-mindedness (d) a de-emphasis on any exciting or intriguing action in the plot

17. The one solid date that can be used to establish a chronology in the story is: (a) 1787 (b) 1832 (c) 1894 (d) 1929

18. The two actions of Colonel Sartoris that are described (par. 3) depict him as all the following except which one: (a) racist (b) freethinking (c) sexist (d) compassionate

19. The two actions of Colonel Sartoris described (par. 3) counterpose what two eras in American history: (a) pre Civil War and post Civil War (b) Colonial Period and Revolutionary Period (c) the Roaring Twenties and the Depression (d) the Federalist Age and the Romantic Age

20. The first action of the next generation of town leaders after Colonel Sartoris with reference to Emily Grierson (par. 4) suggests their: (a) Southern Pride (b) diffidence (c) Northern business connections (d) unchivalrousness

21. What Emily Grierson does not do, with reference to her meeting with the town leaders in her parlor (par. 7), suggests her: (a) ingrained sense of Southern hospitality (b) shyness around men of marriageable age (c) irritated wish for them to leave as soon as possible (d) hostility toward any male authority figure

22. An underlying link in action and theme between sections I and II of the story (especially from pars. 1-14 to par. 15), though the time periods are separated by many years, is that: (a) Emily triumphs over the town’s leaders (b) the Grierson family expands (c) Emily remains committed to her religious values (d) the town continues to drift toward loss of religious faith

23. The parallelism and contrast built into the sentence “After her father’s . . . at all” (sentence 3, par. 15) help convey through the reference to Emily’s action that she: (a) had greater love for her father than for her suitor (b) had greater understanding of men than women (c) held balanced love and hatred toward the key men in her life (d) had greater love for her suitor than for her father

24. How the town leaders split about what to do with reference to the complaints from Emily’s neighbors in section II (pars. 15-24) helps reveal: (a) the hatred of the Republican party in the South for years after the Civil War (b) the contrast between the genteel older generation and the practical modern generation (c) the resentment of politicians toward increasingly vocal citizens (d) the underlying money-orientation of all politicians of all generations

25. The reference to the behavior of “old lady Wyatt” (sentences 1-2 of par. 25; cf. par. 31) is a foreshadowing of which element in Emily Grierson’s behavior: (a) insanity (b) dignity (c) anxiety (d) noblesse oblige

26. The way Emily Grierson behaves just after her father’s death (par. 27) foreshadows her action toward: (a) Tobe (b) Colonel Sartoris (c) Homer Barron (d) Judge Stevens

27. The similes in sentence 2, par 29; the third-from-last sentence, par. 24; sentence 3, par. 51; and sentence 1, par. 1 — all suggest about Emily Grierson: (a) her need for (b) a more-than-human quality (c) her libidinousness (d) her down-to-earth quality

28. Homer Barron’s actions when first in town (par. 30) characterize him as which one: (a) a sensitive introvert (b) an unabashed homosexual (c) a coarse extrovert (d) a hypocritical puritan

29. Possible motivations of Emily in taking up with Homer Barron (pars. 25, 29-33) are all the following except which one: (a) financial need for a “sugar daddy” (b) supercilious defiance of the town (c) rebellion against the dead father (d) fear of losing a last chance for romantic love

30. In the drugstore episode (pars. 34-42), in her wilful not answering of the druggist’s question, Emily demonstrates the positive trait of: (a) shyness in talking about matters of sex or romance (b) defiance of unjustified male authority (c) loathing toward drugs of any kind (d) honorable or moral refusal to lie

31. What the druggist does after going to the store room (par. 42) demonstrates all the following except which one: (a) fearfulness of the ferocious Grierson hauteur (b) timidity because of Emily’s threatening Amazon stature (c) acquiescence to the Grierson iron will (d) triumph through getting the last word

32. The label on the bottle Emily purchases at the drugstore (par. 42) has an ironic symbolic appropriateness because its contents are used on: (a) a dog (b) a businessman (c) a rat (d) a lover (e) a fox

33. As suggested by par. 44, most devoted to decorum and propriety in the town are some of the town’s: (a) women (b) Episcopalians (c) men (d) Baptists (e) young people

34. The episode with the Baptist minister (par. 44) echoes most nearly that with: (a) Colonel Sartoris (par. 3) (b) the new aldermen (pars. 4-14) (c) the preceding aldermen (pars. 17-24) (d) the druggist (pars. 34-42)

35. The last sentence of par. 45 reveals that the townspeople’s joyful anticipation is ironically mixed with expectation of: (a) getting rid of some troubling Griersons (b) gaining prosperity for the town from Northerners (c) stopping Homer Barron’s sexual escapades around town (d) corruption increasing among the town’s aldermen

36. How Homer Barron enters Emily’s house after he returns to town (par. 46) suggests: (a) commercialism (b) secrecy (c) brashness (d) politeness

37. The repeated phrasing to describe the exact shade of Emily’s hair color (pars. 48 and 60) helps to convey Emily’s personality traits of all the following except which one: (a) inflexibility (b) determination (c) magnetism (d) strength

38. The kind of lessons Emily chooses to give to students (pars. 49-50) could be characterized as all the following except which one: (a) old-fashioned (b) delicate (c) intellectual (d) feminine (e) artistic

39. Her actions with regard to the updating of the postal service in town (par. 50) suggest about Emily all of the following except which one: (a) poverty (b) stubbornness (c) gentility (d) rebellion

40. As repeated in the story, probably the most notable feature of the interior of Emily’s house (a point noted several times in most of the story’s five sections) is: (a) silk fabrics (b) dust (c) glaring light (d) paintings

41. The feature repeatedly emphasized about the interior of Emily’s house (as per the immediately preceding question) helps convey, cumulatively, the symbolism of: (a) romanticism (b) death (c) meticulousness (d) enlightenment (e) artfulness

42. Not long after Emily’s death, the action taken by Tobe (the name cited in par. 14) after letting in the town’s ladies (par. 54) reveals about him: (a) fidelity to his employer’s dead father (b) dread of legal fees (c) loyalty to his employer (d) fear of racist lynching

43. What is revealed about her sleeping habits for many years (pars. 57-60) reveals about Emily all the following except which one: (a) her interpretation of the marriage vows (b) her perseverance or stubbornness (c) her unusual practice of necrophilia (d) her iron will

Ch. 9 (Symbolism and Allegory)

44. As pointed out by Roberts and Jacobs, the anonymous wall painting Hercules and the Infant Telephus reveals the symbolism of the conflict between: (a) male and female (b) loyalty and disloyalty (c) poverty and wealthiness (d) work and pleasure

45. Behind the seated woman of the anonymous wall painting Hercules and the Infant Telephus, the dark child by what he is holding is symbolically identified (see one of the sections in Ch. 22 of RJ7) as: (a) Cupid (b) Pan (c) Mercury (d) Apollo (e) Hylas

46. According to Roberts and Jacobs, for symbolism to occur, ideas or values or persons or ways of life must be associated with: (a) other ideas (b) a specific thing (c) conflicting emotions (d) the male or female gender

47. Roberts and Jacobs discuss at length the symbolism of the Greek myth of: (a) Sisyphus (b) Phaeton (c) Io (d) Niobe

48. According to Roberts and Jacobs, one of the two main kinds or categories of symbol is the: (a) consubstantial or associative (b) pragmatic or utilitarian (c) universal or cultural (d) Aristotelian or Neoplatonic

49. According to Roberts and Jacobs, one of the two main kinds or categories of symbol is the: (a) deconstructive or Derridadean (b) kinetic or kinesthetic (c) metonymic or synecdochic (d) authorial or contextual

50. Roberts and Jacobs discuss at length as an example of allegory the film: (a) Apocalypse Now (b) Star Wars (c) Magnum Force (d) Clara's Heart