Dr. Norman Prinsky
Engl. 3002
Quiz on General Introductory Material, the Poetry of John Skelton, and Sir Thomas More’s The History of Richard III
Directions: (a) use pencil on your Scantron form answers, (b) check that your name is on the Scantron form, and (c) provide the title, not number, of the quiz: e.g., the title for this quiz would be "General Intro, Skelton, & More"
General Introductory Material
1. As suggested by the dustjacket covers for the fourth, fifth, sixth, seventh, and eighth editions of The Norton Anthology of English Literature, Volume 1, the most important period in Volume 1 of the anthology is: (a) Old English literature (b) Middle English literature (c) Renaissance English literature (d) Restoration and Eighteenth-Century Literature
2. Scrutiny of the bibliography of Dr. Prinsky’s publications, as listed on Dr. Prinsky’s ASU website, reveals that Dr. Prinsky has published in a reference book or set an article about what British Renaissance writer: (a) Thomas Wyatt (b) George Gascoigne (c) John Donne (d) Henry Vaughan (e) Richard Crashaw
3. As revealed in “Norm’s Notes on English Renaissance Literature,” the English Renaissance can be subdivided into all the following divisions except which one: (a) Tudor (b) Elizabethan (c) (Early) Stuart (d) Hanoverian
4. As revealed in “Norm’s Notes on English Renaissance Literature” (and reference to the introductory material in “The Early Seventeenth Century” in NAEL8 1235-41), the English Renaissance can be subdivided into all the following divisions except which one: (a) Jacobean (b) Caroline (c) Commonwealth (d) Restoration
5. As indicated “Norm’s Notes on English Renaissance Literature,” an exuberance to be found in the early Renaissance, both in continental Europe and in England, is a reflection of the optimism embodied in the writing of the Renaissance philosopher: (a) Pico Della Mirandola (b) Michel de Montaigne (c) Pietro Pomponazzi (d) Francesco Guicciardini
The Poetry of John Skelton
6. As pointed out by the NAEL8 intro, Skelton's career could be described as: (a) heterogeneous (b) immature (c) monotonous (d) unremarkable
7. As indicated in the NAEL8 intro, Skelton's formal verse satire of the (English) Renaissance court was: (a) The Schoolmaster (b) The Court and the Castle (c) The Bowge of Court (d) The Tennis Court Oath
8. As indicated in the NAEL8 intro, one of Skelton's great antagonists or enemies was: (a) Sir Thomas More (b) Henry VIII (c) Ann Boleyn (d) Cardinal Wolsey
9. As indicated in the NAEL8 intro, the effects of Skelton's poetry are achieved through mixing all the following except which one: (a) high style (b) low style (c) ornate rhetorical devices (d) scatology or bawdy (e) Catholic liturgy
10. "Skeltonics," as suggested by the NAEL intro, PDLT, HTL, and demonstrated in the assigned reading, are characterized by all of the following except which one: (a) short lines (b) multiple single rhyme (c) formal stateliness (d) disorderly feeling
11. Skelton's "Mannerly Margery Milk and Ale" primarily a dialogue between Margery and a clerk, mainly conveys the theme of: (a) the need for honesty in commercial trade (b) problems of the agrarian life (c) factional struggles in Henry VIII's court (d) male infidelity in romance
12. Skelton’s "Mannerly Margery Milk and Ale" has as an undertone the conflict or collision between: (a) upper and lower classes (b) Catholicism and Protestantism (c) young and old (d) English and Irish
13. The earthiness, as well as eventual outcome of “Mannerly Margery Milk and Ale” is in part suggested by what kind of repeated imagery in the poem: (a) vegetable (b) animal (c) mineral (d) economic
14. The refrain at the end of each stanza of “Mannerly Margery Milk and Ale” stands in what main relation to the plot or story within the poem: (a) parallel (b) contrasting (c) no relation
15. The two liquids associated with the female speaker of “Mannerly Margery Milk and Ale” suggest about her all the following except which one: (a) innocence (b) ruralism (c) experience (d) sophistication
16. The first epithet repeatedly used by the female speaker about the clerk in the refrain of each stanza (the second and third words of the first line of each refrain) of “Mannerly Margery Milk and Ale” connects to what serious underlying religious issue in the poem: (a) the sacrament of extreme unction (b) the sacrament of communion (c) the sacrament of marriage (d) the sacrament of confession
17. Skelton's "To Mistress Margaret Hussy" ("Merry Margaret,/ As midsummer flower,/ Gentle as falcon/ Or hawk of the tower" [lines 1-4]) [found in the Norton Online Archive for Skelton or the sixteenth-century section] in accord with its second compound simile has a form or structure that is: (a) circular (b) natural and virtually nonexistent (c) linear (d) unstructured
18. The structure referred to of “To Mistress Margaret Hussy” in the immediately preceding question helps express what attitude by the speaker about Mistress Margaret: (a) condescending (b) thoughtful (c) bemused (d) lustful
19. In late medieval and early Renaissance times, the falcon or hawk of the tower (in “To Mistress Margaret Hussy”) would be considered (with relevance to this poem): (a) nugatory (b) precious (c) wicked (d) rapacious
20. Skelton's "Lullay, Lullay, Like a Child" ("With lullay, lullay, like a child,/ Thou sleepest too long, thou art beguiled" [lines 1-2]) deals with the theme of: (a) the touching pre-Romantic (that is, of the Romantic poets, like Wordsworth) hymn to a mother's care of her innocent child (b) female infidelity in romance (c) the important effect of surrounding Nature on childhood (d) class conflict between upper and lower classes
21. In Skelton’s "Lullay, Lullay, Like a Child," in the narrator’s line “With ba, ba, ba! and bas, bas, bas” (line 12) can be found a pun or paronomasia not only on the French word for “kiss” and the “by” of “lullaby,” but also a joke about “horning,” which as explained in your collegiate dictionary (for the word “horn”) refers to: (a) musicianship (b) apotheosis (c) farming (d) cuckoldry
22. The liquid imagery in “With Lullay, Lullay, like a Child” simultaneously refers not only to drunkenness but also to: (a) sexuality (b) purifying (c) baptism (d) agriculture
23. The notable alliteration in “With Lullay, Lullay, like a Child” helps to convey the narrator’s tone of: (a) veneration (b) derision (c) thoughtfulness (d) commiseration
24. In his "Colin Clout" ("And if ye stand in doubt/ Who brought this rhyme about,/ My name is Colin Clout./ I purpose to shake out/ All my conning bag,/ Like a clerkly hag" [lines 47-52]) [in the Norton Online Archive for Skelton or the sixteenth-century section; also, the beginning of the poem is given in Prinsky's N&Q on Skelton], Skelton's verse form helps convey or express: (a) the speaker's formal stateliness (b) the encomium or praise of English society in the Tudor reign (c) disorder pervading all levels of society (d) the transcendent beauty of the union of man and woman in marriage
25. The choice of the name “Colin Clout” for the persona of the poem, suggests, along with the speaker’s assertion “I purpose to shake out/ All my conning bag” (lines 50-51), disarming all the following potential criticisms of the satirist except which one: (a) irreligiousness (b) pride (c) holier-than-thou attitude (d) a schemer element
26. Skelton’s “Upon a Dead Man’s Head” (found in the Norton Online Archive for Skelton or the sixteenth-century section) connects most closely to which painting (to be found on the Google “Images” tab, as well as in paintings reproduced in NAEL8: (a) Paolo Uccello’s St. George and the Dragon (b) Titian’s Sacred and Profane Love (c) Hans Holbein’s The French Ambassadors (d) Isaac Oliver’s Portrait of a Melancholy Young Man
27. The irony of Elinour's oath in Secundus Passus of The Tunning of Elinour Rumming (lines 5-8) is its unwitting contrast of: (a) male and female (b) greed and self-sacrifice (c) animal and human (d) natural and artificial
28. In Secundus Passus of The Tunning of Elinour Rumming, the secret ingredient of Elinour's ale is: (a) excrement (b) allspice (c) hemp (d) chittlins (e) orange peels
29. The secret ingredient of her ale has, Elinour says, all the following virtues except which one: (a) gives the ale a better head (b) improves the drinker's complexion (c) energizes the drinker's libido and sexual energy (d) overcomes or avoids any drowsiness
30. The skeltonics in The Tunning of Elinour Rumming are appropriate to suggesting the disorder in all the following except which one: (a) morality (b) romantic love (c) the lower classes (d) alcoholism
Sir Thomas More’s History of Richard III
31. As indicated in the NAEL8 intro to Sir Thomas More, PDLT, and HTL, More's great work of literature in Latin was: (a) Utopia (b) Republic (c) Odi et Amo (d) Metamorphoses
32. As pointed out in the NAEL8 intro, a great Humanist friend of More, who himself was author of a key work of world literature (included in NAWM), the title of which, in Latin, puns on More's name, was: (a) Machiavelli (b) Erasmus (c) Voltaire (d) Ascham
33. The play by modern British dramatist Robert Bolt -- and two subsequent feature films based on the play -- about Sir Thomas More is: (a) The Importance of Being Earnest (b) Murder in the Cathedral (c) Book of Martyrs (d) A Man for All Seasons
34. An oddity about the composition of History of King Richard III, noted in the NAEL8 introduction, is the work's: (a) verse form (b) length (c) bilingualism (d) typeface
35. In the NAEL excerpt from History of King Richard III, More interprets and portrays Jane Shore as a remarkable example of: (a) chastity falsely accused of promiscuity (b) one of the string of Henry VIII's executed spouses (c) the caprices of fortune (d) a forerunner of Elizabeth I as an enduring political ruler
36. In the NAEL selection from his The History of King Richard III, one of the numerous ironies that More focuses on is: (a) Richard's real kindness beneath the wicked exterior (b) the inversion of the status of women and men during Richard's reign (c) Jane Shore's wickedness surpassing even Richard's (d) the present callous disregard of Jane Shore despite her past kindness to others
37. One repeated rhetorical figure or device of More's prose style, striking in the NAEL selection (and pointed out by my study questions), which helps express the many ironic contrasts More finds in history and within people is: (a) synecdoche (b) antithesis (c) personification (d) hyperbole
38. The key sentence opener for the rhetorical figure referred to in the immediately preceding sentence is the word: (a) But (b) And (c) For (d) Thus
39. The antonomasia in S1P1 (“protector” rather than “King” or “Richard”) is ironic because Richard: (a) robs (b) overprotects (c) retreats (d) cowers
40. The periodic sentence of S2P1 (“And when he had . . . naught of her body”) counterbalances a multiplicity of justifications versus: (a) the well known simple, sexual innocence of Jane (b) a multiplicity of evils (c) the straightforwardness of English law (d) an underlying simple cause
41. The sentence “In which she . . . her soul” (S4P1) contains an ironic contrast between the male spectators’: (a) fear of Richard III versus love of him (b) superficial Protestantism but underlying Catholicism (c) moral approval versus sexual desire (d)
42. The sentences “In which she . . . her soul” (S4P1), “Which was haply . . . required her” (S3P2), and “Whose Judgment . . . hard bond” (S4P3) show that one stylistic element of English Renaissance prose was, grammatically, the: (a) simple sentence (b) compound sentence (c) complex sentence (d) compound-complex sentence (e) sentence fragment
43. The sentence “Proper she was, and fair” (S1P3) utilizes the device of (a) polysyndeton or many connectives (b) anastrophe or sentence inversion (c) hypotaxis or connection by subordinate conjunctions (d) figuration or many figures of speech (e.g., metaphor)
44. The rhetorical device referred to in the immediately preceding sentence emphasizes the adjective and thus the historian’s: (a) censure (b) impartiality (c) admiration (d) humorousness
45. The polysyndeton in the historian’s sentence “And finally in many . . . covetous” (S11P4), especially in “either for that . . . or for that . . . or for that,” suggests that human motivation and historical analysis may be: (a) complex (b) simple (c) irrational (d) spiritual