Dr. Prinsky

English 1102

Quiz on Chapters 3 (“Structure”) and 9 (“Symbolism and Allegory”) of Roberts & Jacobs, Eighth Edition

Directions: Fill out the answers to the following on a Scantron (882) form, using pencil to bubble in your answers. Make sure your name, the class name, and the subject (which is the title of this quiz: Quiz on RJ8, Chs. 3 & 9) are supplied by you on the Scantron form. Do not neglect Prinsky’s Notes and Questions, as well as assigned material from the textbook. For any unfamiliar terms, check the glossary in RJc3, 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”).

1. In Ch. 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

2. As analyzed by Roberts and Jacobs in Ch. 3, 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

3. 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

4. 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

5. 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

6. 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

7. 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

8. 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

9. 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

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

11. 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

12. 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

13. In Ch. 3, 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

14. In Ch. 8, Roberts and Jacobs discuss the symbolism in Welty’s “A Worn Path” of: (a) the path referred to in the title (b) the log bridge (c) the mistletoe tree (d) the black dog (e) the paper windmill

15. The time of the year (by month and season) that Welty's "A Worn Path" is set conveys the symbolism of: (a) harvest (b) new growth (c) death (d) planting

16. The time of the year that Welty's "A Worn Path" is set (exact time of the month) also conveys (besides what is noted in the immediately preceding question) the symbolism of: (a) marrying (b) building (c) fighting (d) giving

17. The forename of the character, through its mythological allusion (check your collegiate dictionary, as well as the relevant subsection of Ch. 22, “Myths,” in RJ8), conveys the symbolism of all the following except which one: (a) nuptials (b) rebirth (c) cycles (d)death

18. The plot structure of this story as the continual overcoming of obstacles by Phoenix Jackson suggests the author’s and reader’s attitude toward her as: (a) pitiable (b) admirable (c) despicable (d) unknown

19. The demonstrative essay on the story in Ch. 3 notes that the obstacles are: (a) psychological (b) increasingly difficult (c) physical (d) increasingly easy (e) rather random

20. The sample essay on the structure of Welty's "A Worn Path" points out that a key structural element in the short story is: (a) a series of poetic symbols (b) clash of personalities (c) withheld information (d) change of tone

21. The difficulty of the journey of Phoenix Jackson is exacerbated by all the following except which one: (a) the clothing she wears (b) the season or month of the year (c) her age (d) her knowledge of the way

22. The figure of speech used to describe Phoenix Jackson’s wrinkles (pars. 2 and 73) is: (a) metaphor (b) simile (c) understatement (d) personification

23. The figures of speech used to describe Phoenix Jackson’s wrinkles (pars. 2 and 73) may imply all the following ideas (related to her situation with her grandson) except which one: (a) being trapped (b) chastity (c) protecting (d) familial descent

24. Phoenix Jackson’s daydream (par. 15) reveals fairly clear symbolic yearnings for all the following except which one: (a) the return of her deceased husband (b) food (c) escape from destitution (d) the restoration of her grandson’s health

25. In her encounter with the young Caucasian hunter (pars. 37-60), the latter is revealed to be all of the following except which one: (a) considerate (b) aggressive (c) generous (d) sexist (e) racist

26. In her encounter with the young Caucasian hunter (pars. 37-60), Phoenix is revealed to be clever in how she manipulates the hunter by appealing to his: (a) machismo (b) skillfulness (c) libido (d) affluence

27. The reason that Phoenix Jackson wants the money that she steals from the hunter (pars. 37-60) and extorts from the hospital personnel (pars. 70-101) is: (a) humorous (b) admirable (c) despicable (d) unknown

28. The way Phoenix Jackson refers to her taking of the money from the hunter (pars. 35-60) suggests the author’s attitude toward her as: (a) humorous (b) admirable (c) despicable (d) unknown

29. By what they say and do, the hospital staff (pars. 71-100), individually or collectively, are revealed to be all the following except which one: (a) racist (b) condescending (c) benevolent (d) slothful

30. Further symbolism of the gift that Phoenix intends to get her grandson, beyond symbolism mentioned by Roberts and Jacobs (in Chs. 3 and 8), would include all the following except which one: (a) cyclicality (b) appropriate physical therapy for the grandson’s condition (c) suitability to the exact time of year (d) foundation for advancement of academic learning

31. In Welty's "A Worn Path," the word furrow (par. 19) means: (a) animal-skin garment (b) narrow channel (c) great distance (d) handcasting an object

32. In Welty's "A Worn Path," the word nary (par. 24) means: (a) scarcely (b) frighteningly (c) closely (d) emptily

33. In Welty's "A Worn Path," the word pullets (par. 29) means: (a) small round balls (b) large pliers (c) young hens (d) strong emotions

34. In Welty's "A Worn Path," the word ravine (par. 32) means: (a) great or admirable leader (b) extremely hungry (c) ivy-like plant (d) deep gorge or gully

35. In Welty's "A Worn Path," the word lolling (par. 35) means: (a) turning over and over (b) a kind of candy (c) hanging loosely (d) singing softly

36. In Welty's "A Worn Path," the word cur (par. 53) means: (a) blasphemous oath (b) mongrel dog (c) recovery from illness (d) monetary debt

37. Welty's "A Worn Path," as indicated by the reference to the main character's coming from Natchez Trace (par. 78), is set in: (a) Mississippi (b) Louisiana (c) Alabama (d) Tennessee

38. In Welty's "A Worn Path," the word lye (par. 91) means: (a) obvious untruth (b) way plants are growing (c) concentrated chemical liquid (d) deep, restful sleep

39. In Welty's "A Worn Path," the word obstinate (par. 93) means: (a) proud or arrogant (b) nervous (c) almost used up (d) very stubborn

40. As pointed out by R & J in Ch. 9 of RJ8, 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

41. 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. 18) as: (a) Cupid (b) Pan (c) Mercury (d) Apollo (e) Hylas

42. According to Ch. 9 of RJ8, 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

43. In Ch. 9, R & J discuss at length the symbolism of the Greek myth of: (a) Sisyphus (b) Phaeton (c) Io (d) Niobe

44. According to R & J in Ch. 9, 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

45. According to R & J in Ch. 9, 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

46. In Ch. 9, R & J discuss at length as an example of allegory the film: (a) Apocalypse Now (b) Star Wars (c) Magnum Force (d) Clara's Heart