Dr. Norman Prinsky

Engl. 1102 - Augusta State University

Quiz 3 on Anton Chekhov’s Play The Bear

1. When Smirnov talks about not liking to converse with women (speech 46), he uses what figure of speech, helping to create humor in the play: (a) hyperbole (b) simile (c) understatement (d) personification

2. What is referred to in the immediately preceding question, along with Smirnov’s address to Mrs. Popov beginning “Must I pay the interest or mustn’t I? I ask you” (speech 41), contributes to the subject in the play of: (a) the Russian monarchy (b) socialism (c) interpersonal communication (d) technology

3. In the episode involving Smirnov’s order of a beverage from Luka and its delivery (speeches 41-48), the implied attitude of Luka toward Smirnov in what Luka does is: (a) impartial (b) cruel (c) generous (d) hostile

4. The actor playing Smirnov has a chance to engage in what “shtick” (amusing physical stage business -- also used in movies, such as those by Laurel and Hardy) -- when tasting the first glass delivered by Luka and commenting (end of speech 45): (a) “spit take” (b) pie throwing (c) a gargle (d) trouser removing

5. When (the actor playing) Smirnov says “I’ll stay and sit here until you give me the money” (speech 45), along with further references to the second-person personal pronoun, he would (although not noted in the stage directions): (a) turn toward the audience (b) look upward toward the ceiling (and heaven) (c) turn toward where Mrs. Popov has exited earlier (d) look downward towards his feet

6. If a stage space is visible to the audience through the window from which Smirnov shouts to Semyon (speech 45), how should it be lighted -- given what Luka has said about where servants are at the play’s opening (speech 1), as well as what servants enter carrying at the play’s end (stage direction between speeches 149 and 150): (a) pure white (b) mixture of yellow, red, and orange (c) mixture of blue and violet (d) none of the foregoing

7. The theme or subject subtly connected to by the dramaturgical element referred to in the immediately preceding question is: (a) the conflict between human technology and the natural world (b) nature’s power exemplified by the spring season (c) the twilight of the Russian monarchy on the eve of the Russian Revolution (d) the inevitablity of death exemplified by the winter season

8. Smirnov’s orders to Semyon shouted through the window (speech 45) connect most directly with the motif in the play of: (a) Luka (b) Mrs. Popov (c) Toby (d) Dasha

9. As revealed in Smirnov’s words in response to Mrs. Popov’s complaint about how respectable people communicate (“No, you don’t! . . . your mourning dress” [speeches 66-67]), Russians in the later nineteenth century considered learning what language a mark of elevated culture or refinement: (a) Latin (b) English (c) Spanish (d) French

10. Smirnov’s enumeration in response to Mrs. Popov’s “That’s rude and not very clever!” (speeches 68-69) suggests that an important ingredient of Smirnov’s past (as well as present) personality is: (a) romanticism (b) military battles (c) nationalism (d) pragmatism (e) skepticism

11. Smirnov’s reference (speech 69) to what he has done three times in the past, in response to Mrs. Popov’s “That’s rude and not very clever!” (speech 68), is a foreshadowing in the play of the later action of: (a) conversing (b) offering to exit (c) dueling (d) kneeling

12. The reference by Smirnov to his past occupation in introducing himself to Mrs. Popov (speech 19) is a foreshadowing in the play of the later action of: (a) conversing (b) offering to exit (c) dueling (d) kneeling

13. The principal issue pertaining to romantic love that the dialogue of Smirnov and Mrs. Popov diverges into (speeches 69-72) could be categorized as: (a) of no concern to most people in modern America (b) of little concern to most people in modern America (c) of great concern to many people in modern America (d) a subject that should be taught in elementary schools

14. Inferential comprehension (based on several clues in the passage) suggests that the letters in her husband’s desk (speech 72) Mrs. Popov refers to were from: (a) her (b) business partners (c) neighbors (d) other women

15. Mrs. Popov’s phrasing in “and besides, now that he is dead, I am still faithful and constant” (speech 72) suggests that, assuming she is a Christian and believes in the afterlife, part of the motivation of her continuing mourning and fidelity is: (a) worrying about what frequently-visiting female acquaintances will think and say (b) spitefully maintaining an example to punish Nikolai, watching from his infernal residence (c) trying to please the household servants, including Luka (d) setting a good example for their children

16. Probably Mrs. Popov, Luka, and (perhaps) Smirnov adhere to which denomination of Christianity, given the geographical and temporal setting of the play: (a) Eastern Orthodox (b) Presbyterian (c) Southern Methodist (d) Lutheran

17. The “weeds” that both Mrs. Popov and Smirnov refer to (speeches 72-73) are: (a) undesirable plants (b) clothes (c) illicit drugs (d) Russian cigarettes (e) corsages

18. The dialogue between Mrs. Popov, from “What? How dare you . . . “ to “Mrs. Popov’s “We’ll see about that” (speeches 74-92) is technically termed (see the Glossary or Index of RJ8): (a) scansion (b) stasimon (c) stichomythy (d) synesthesia

19. The device in drama referred to in the immediately preceding question usually signals: (a) narration (b) description (c) exposition (d) argumentation

20. The qualities in Mrs. Popov attracting Smirnov, to judge from his comments about her that signal his change in attitude toward her in “If she fights . . . “ and “That’s a woman for you!” (speeches 117 and 119), are all of the following except which one: (a) refinement (b) courage (c) vigor (d) hot temper

21. Part of the explanation of why Smirnov is attracted to Mrs. Popov, with reference to the immediately preceding question, is what modern psychology labels (as a potential part of emotional attachment): (a) Oedipus Complex (b) Narcissism (c) Electra Complex (d) Rationalization (e) Libido

22. A real issue involving romantic love and marriage that emerges from the getting together of Smirnov and Mrs. Popov is whether a successful union is based on: (a) similar financial conditions of the partners (b) oppositeness or similarity in personalities or temperaments (c) similarity or difference in political views (d) similarity or difference in attitudes toward having and raising children

23. A real issue involving romantic love and marriage that underlies the play is the assumption (sometimes unconscious or subconscious) of one romantic partner about the other that: (a) both partners feel the identical intensity of romantic love (b) both partners feel the identical intensity of physical need for each other (c) certain features are reminiscent of the other partner’s father or mother (d) certain features are undesirable in the prospective partner but can and will be changed by the other partner who disapproves of those features

24. The pistols mainly exemplify: (a) verbal symbolism (b) the nonverbal “language” of props (c) the nonverbal “language” of setting (d) the nonverbal “language” of action

25. The continuous symbolism for the audience (after the immediate viewing, subliminal) -- and to a lesser extent, of a reader -- of what is referred to in the immediately preceding question is mainly: (a) farming (b) conflict (c) female timidity (d) aristocracy

26. Relative to the challenge, Mrs. Popov’s familiarity with firearms, as shown in the play, mainly reveals what ingredient of her personality, psychology, or nature: (a) courage (b) self-control (c) intellectualism (d)

27. Smirnov’s language (see Ch. 7, “Style,” and Ch. 14, “Words,” in RJ8 -- as well as the material about word choice or diction, in your composition handbook) in his explanation to Mrs. Popov about the firearms -- “You see, there are . . . fire“ (speech 124) with humorous incongruity oscillates between: (a) formal level of usage and slang (b) Spanish and Russian (c) technical and romantic (d) urban words and rural words

28. Smirnov’s answers to Mrs. Popov’s questions -- “because it’s my business, that’s why” (speech 131) and “because I like you” (speech 134) -- reveal all of the following except which one: (a) evasiveness (b) internal struggle (c) talkativeness (d) some fear of rejection

29. The stage direction within speeches of Smirnov (speeches 69 and 136) involving chairs draws on the nonverbal “languages” of action and props to convey about him the element in his personality, psychology, or nature of: (a) physical violence and strength (b) courteous politeness and civility (c) adroitness and dexterity (d) cunning and shrewdness

30. Practical problems in drama (as opposed to referring to these objects in the strictly verbal genres of prose fiction, poetry, or nonfiction) with regard to the chairs referred to in the immediately preceding question are all of the following except which one: (a) not burdening the actor about remembering lines and gestures, plus performing an exacting, difficult action (b) the need for an exacting, difficult action to transpire at a specific moment (c) not financially burdening the acting troupe by having to supply two chairs for every performance of the play (which might run three times a week for twenty weeks) (d) worrying about safety of audience members, especially those sitting up front

31. When Smirnov exclaims to Mrs. Popov “Shoot! . . . hands” (speech 140) his language could be categorized as mainly: (a) romantic (b) aggressive (c) hostile (d) impassive

32. When (the actor playing) Smirnov shouts “Hey, you, water!” (speech 142), he: (a) looks toward the audience (b) looks toward where (the actor playing) Luka has exited (c) looks upwards toward the ceiling (and heaven) (d) looks downwards at his feet

33. The command by Smirnov “Hey, you, water!” (speech 142) seems odd in its context but could be explained by his: (a) recent long travel (b) physical struggle with Luka (c) psychological or emotional turmoil (d) new teetotaling resolve

34. The figure of speech Smirnov uses to describe his emotional state in “I haven’t been in love for five years . . . water” (speech 144 or so) is: (a) metaphor (b) simile (c) personification (d) understatement

35. The figure of speech referred to in the immediately preceding question is part of a recurrent feature of imagery in Smirnov’s language, which derives from (appropriate to Mrs. Popov’s insulting term for him): (a) seafaring (b) animal (c) vegetable (d) mineral

36. From Mrs. Popov’s speech beginning “He likes me!” (speech 135) to Luka’s “Lord in heaven!” (speech 150), meaningful or symbolic instances of the “language” of action include all of the following except which one: (a) finger pointing (b) pistol waving (c) hand grabbing (d) kneeling (e) saluting

37. From Mrs. Popov’s speech beginning “He likes me!” (speech 135) to Luka’s “Lord in heaven!” (speech 150), meaningful or symbolic instances of the “language” of action include all of the following except which one: (a) rising and beginning to exit (b) pistol throwing (c) handkerchief tearing (d) embracing and kissing (e) revolving

38. As indicated by several details in the play after the entrance of Mrs. Popov with the pistols to the end of the play, on the issue of internal struggle or internal conflict, Mrs. Popov’s falling in love could be said to be, with reference to Smirnov’s falling in love: (a) opposite (b) similar (c) unrelated (d) all of the foregoing

39. The props that the servants enter with (stage directions between speeches 149 and 150) in the nonverbal “language” of props express (perhaps subliminally to some of the audience) the symbolism of all the following except which one: (a) destruction (b) harvest (c) Nature (d) travel (e) violence

40. The reference to Toby at the very end of the play (speech 151) represents a culmination of a motif that is mainly: (a) verbal (b) nonverbal “language” of action (c) nonverbal “language” of props (d) nonverbal “language” of setting

41. The motif referred to in the immediately preceding question has set up a symbolic equation between Toby and: (a) Luka’s changing attitude toward Smirnov (b) Mrs. Popov’s changing attitude toward Nikolai Popov (c) Nikolai Popov’s changing attitude toward Luka (d) Smirnov’s changing attitude toward Nikolai Popov

42. An irony of plot is that the initial reason for Smirnov’s visit is involved with: (a) Luka (b) Mrs. Popov (c) Toby (d) Semyon (e) Dasha