Dr. Prinsky

Engl. 3002: English Renaissance Literature

Test on Poetry of Christopher Marlowe, Sir Walter Ralegh, and Thomas Campion

Christopher Marlowe

1. Marlowe’s poem “Hero and Leander” represents a genre of poetry popular in the English Renaissance, known as: (a) eclogue (b) encomium (c) epithalamion (d) epyllion

2. As suggested in NAEL, the popularity of Marlowe’s “Hero and Leander,” like the popularity of Shakespeare’s “Venus and Adonis,” suggests the attraction in the Renaissance of what today would be called: (a) soft porn (b) the bio-pic (c) historical docudrama (d) reality TV

3. The overall shape of “The Passionate Shepherd to His Love,” taking into account (among other things) repetition, is: (a) linear (b) triangular (c) hexagonal (d) circular

4. The shape referred to in the immediately preceding question helps reveal the speaker’s: (a) straightforward, plain exhortation (b) a sense of rivalry in romantic love (c) obsession, insistence, and persuasion (d) multiple perspectives of reality

5. Besides lyric poetry, “The Passionate Shepherd to His Love” represents the important literary genre (cutting across the other principal system of literary genres of poetry, prose fiction, and drama) of: (a) comedy (b) allegory (c) pastoral (d) satire

6. To achieve his purposes, the speaker in “The Passionate Shepherd to His Love” artfully excludes all the following except which one: (a) the slightest hint of temperature differential (b) rugged features in the natural world (c) the seasonal cycle (d) the chronological flow of time

7. In “The Passionate Shepherd to His Love,” punning occurs on: (a) “fields” and “yields” (b) “falls” and “posies” (c) “pull” and “gold” (d) “dance” and “sing”

8. In “The Passionate Shepherd to His Love,” can be found (as in the lady’s belt or lady’s shoes or lady’s dress) a real and symbolic combination of: (a) male and female (b) art and nature (c) reason and passion (d) politics and religion

9. The verse form (rhyme scheme, number of syllables per line) helps convey the idea of: (a) sanctimony (b) sophistication (c) sulkiness (d) simplicity (e) sesquipedalianism

Sir Walter Ralegh

10. Ralegh’s “The Nymph’s Reply” represents one of at least how many answers, replies, or responses in poetry to Christopher Marlowe’s “The Passionate Shepherd to His Love” (as suggested by PNQ), including John Donne’s “The Bait” (in NAEL), from the English Renaissance into the twentieth century: (a) three (b) five (c) seven (d) ten

11. The allusion to Philomel[a] in “The Nymph’s Reply” evokes all the following ideas in association with romantic love except which one: (a) rape (b) incest (c) murder (d) cannibalism (e) mutilation

12. Ralegh’s speaker in “The Nymph’s Reply” makes notable use (e.g., in lines 12 and 26) of the rhetorical device particularly suited to judging, comparison, and contrast: (a) balanced antithesis (b) hysteron proteron (c) argument(um) ad hominem (d) epanalepsis (e) anadiplosis

13. The extended metaphor of theater in “What is our life?” helps express the idea of the contrast in life between: (a) what people say vs. what people do (b) public and private (c) what it appears to be vs. what it really is (d) upper class vs. lowerclass (e) what governments promise vs. what they deliver

14. The musical setting of “What is our life?” — as played in class — makes use of a device (usually illustrated in music textbooks by Thomas Weelke’s “As Vesta was”) sometimes used in Renaissance music of: (a) three-part harmony (b) homophonic texture (c) through-composition (d) word painting

15. Besides the punning on “play” and “playing” in “What is our life?” the other most significant pun in the poem is on the word: (a) “wombs” (b) “spectator” (c) ”act” (d) “earnest”

16. The tone of Ralegh’s sonnet “Three things there be that prosper up apace” is mainly: (a) philosophical (b) amorous (c) religious (d) satiric

17. In Ralegh’s “Three things there be that prosper up apace” can be found all the following (rhetorical or acoustic) figures, except which one: (a) synecdoche (b) alliteration (c) chiasmus (d) pun

18. In Ralegh’s “Three things there be that prosper up apace” can be found all the following (rhetorical or acoustic) figures, except which one: (a) parallelism (b) simile (c) apostrophe (d) paradox

19. In “The Lie,” stanzas 2-5 deal with the untruthful or untrustworthy basis of all components of the aristocracy except which one: (a) court (b) church (c) magnificos (d) writers

20. In “The Lie,” stanzas 6-12 deal with the untruthful or untrustworthy basis of the modes and philosophies of behavior and action of: (a) the lower class (b) the middle class (c) the upper class (d) human beings generally

21. In “The Lie,” the line length helps convey the idea of: (a) hyperbolic affectation (b) plain truth (c) spiritual forgiveness (d) careful reasoning

22. Throughout “The Lie,” vivid and thematic use (including characterization of the speaker and speaker’s one) is made of the rhetorical or stylistic device of: (a) anacoluthon (b) ant(h)imeria (c) antipophora (d) anaphora (e) antimetabole

23. One of the most notable rhetorical or stylistic devices in “Farewell, false love” ((especially in stanzas 2-4), also a grammatical device, is the: (a) compound sentence (b) sentence fragment (c) complex sentence (d) compound-complex sentence

24. The rhetorical or stylistic device referred to in the immediately preceding question helps convey all the following main facets about romantic love in “Farewell, false love” except which one: (a) reliosity (b) disorder (c) energy (d) ubiquitousness (e) power

25. The rhyme scheme adopted by Ralegh in “Nature, that washed her hands in milk” helps convey what favored component in Ralegh’s poetry: (a) poulter’s measure (b) complex rhyme scheme (c) narrative drive (d) epigrammatic conclusion

26. The verb “save” at the end of the first half of “Nature, that washed her hands in milk” (line 18) refers to: (a) a woman’s reciprocating a lover’s attentions (b) a king’s pardoning a condemned prisoner (c) God’s rescuing humanity from our natural physical and sinful condition (d) people’s recognizing the need for ecological preservation

Thomas Campion

27. While Thomas Campion was a notable (in more than one sense of the word “notable”) advocate for quantitative versification in English, the principal advocate in the English Renaissance for accentual versification (in the debate of quantitative versus accentual) was: (a) Samuel Daniel (b) Walter Ralegh (c) Edmund Spenser (d) Thomas Wyatt

28. Important Roman lyric poets who had some influence on English Renaissance poets, including Campion, were all the following, except which one: (a) Catullus (b) Gellius (c) Martial (d) Ovid

29. Important Roman lyric poets who had some influence on English Renaissance poets, including Campion, were all the following, except which one: (a) Propertius (b) Statius (c) Tibullus (d) Vergil

30. “My Sweetest Lesbia” exemplifies which genre of lyric poem: (a) carpe diem (b) dream vision (c) encomium (d) pastoral elegy

31. Each of the three stanzas of “My Sweetest Lesbia” focuses on: (a) a component of sexual pleasure (b) romantic love in each social class (c) a different Ptolemaic sphere (d) a period of the life cycle

32. “I care not for these ladies” touches on all the following subjects or themes except which one: (a) urban vs. rural (b) art vs. nature (c) salvation vs. sinfulness (d) public vs. private (e) upperclass vs. lowerclass

33. The length of lines used in “I care not for these ladies” is appropriate in focusing on the idea of: (a) complexity (b) longevity (c) simplicity (d) rationality

34. Like a passage in act 3, scene 2, of Shakespeare’s Hamlet, “I care not for these ladies” makes use of a pun (R- or X-rated) on the word: (a) ”country” (b) “fruit” (c) “showers” (d) “wrought”

35. The focus on a particular object in “When to her lute Corinna sings” is reminiscent of some poems (covered in this course) by: (a) Michael Drayton (b) Shakespeare (c) Edmund Spenser (d) Thomas Wyatt

36. The main subject of “When to her lute Corinna sings” could be summarized as: (a) the power of words (b) the power of music (c) the power of compounding words and music (d) the lover’s complete solipsism

37. “Rose-cheeked Laura” was written to illustrate the theory of versification stressing: (a) length of lines (b) length of syllable-sound (c) length of the whole poem (d) length of caesuras

38. The punning in “Rose-cheeked Laura” primarily depends on the technical terminology or vocabulary of: (a) botany and sexuality (b) anatomy and physiology (c) music and religion (d) science and medicine

39. “Now winter nights enlarge” deals with the recreational capacity, during the season referred to, of: (a) language (b) music (c) dancing (d) romantic love (e) all the foregoing

40. In “There is a garden in her face,” the female subject is mainly depicted, especially by implication of the refrain, as: (a) choosy (b) moral (c) prudish (d) religious

41. The contents of the garden in “There is a garden in her face” could be described as all the following except which one: (a) routine (b) anomalous (c) Biblically allusive (d) rare (e) agronomically erudite

42. As indicated in the explanatory material about figurative language in Prinsky’s Notes and Questions on Chs. 13 (general introduction to poetry) and 17 (figurative language) of Roberts’ and Jacob’s Literature: An Introduction to Reading and Writing (Pearson/Prentice-Hall)(on Prinsky’s Engl. 1102 webpage), “There is a garden in her face” is pervaded by which main kind of Tenor and Vehicle form: (a) first form (b) second form (c) third form (d) fourth form

43. The word “them” in the third stanza of “There is a garden in her face” (line 13) (hint: line 12) has as its principal antecedent: (a) peers and princes (b) fruits (c) cherries (lips) (d) roses and lilies

44. The word “watch” (line 13) in “There is a garden in her face” has the primary meaning of: (a) defend (b) gaze (c) inspect (d) stare (e) daydream

45. In the gender of its speaker, the poem “Think’st thou to seduce me then” has affinities with all the following except which one: (a) Henry Howard, Earl of Surrey’s “O happy dames” (b) Walter Ralegh’s “The Nymph’s Reply” (c) Shakespeare’s Sonnet 20 (“A woman’s face”) (d) John Donne’s “Break of Day”

46. The line length in “Think’st thou to seduce me then” relates to the poem’s subject of the necessity of: (a) speedy action (b) rhetorical mastery (c) moderate tempo in courtship (d) fidelity in marriage

47. The line length in “Fain would I wed” helps express all of the following in the speaker except which one: (a) thoughtfulness (b) yearning (c) indecisiveness (d) speediness (e) melancholia

48. A pun missed by NAEL annotation on “quickness” (line 4) in “Fain would I wed” is one of the word’s meanings in the English Renaissance of: (a) celibacy (b) pregnancy (c) lethargy (d) gullibility