Dr. Prinsky

English 3002/6315: English Renaissance Literature

Test on Marlowe's Dr. Faustus

1. As pointed out by Greenblatt and Logan in their NAEL general introduction to Marlowe, one of Marlowe's occupations prior to the theater was: (a) secret agent (b) Lord Chancellor (c) exchequer clerk (d) university professor

2. As pointed out and discussed by Greenblatt and Logan in their general introduction to Marlowe, Marlowe's first major dramatic success, with the distinctive Marlovian hero, was: (a) Endymion (b) Coriolanus (c) Prometheus Bound (d) Tamburlaine

3. As pointed out in the general NAEL introduction to Marlowe, Marlowe in his first successful plays pioneered in the English drama: (a) boisterous comedy (b) female roles played by women rather than young boys (c) impressive blank verse (d) the indoor stage

4. As pointed out in the general NAEL introduction to Marlowe and in HTL/PDLT, Marlowe's plays include not only the genre tragedy but also the genre: (a) comedy (b) chronicle play (c) romance (d) tragicomedy

5. As indicated in the HTL article "Inscription," as well as in the PDLT article on the “Faust theme,” a classic novel — Dr. Faustus — of world literature is "inscribed" in the literary presentation of the legend by Marlowe and others; this novel is by the extremely important twentieth-century fiction writer of world literature: (a) Marcel Proust (b) Thomas Mann (c) Alberto Moravia (d) Jorge Luis Borges

6. As pointed out in the NAEL introduction to Dr. Faustus, Marlowe's protagonists all can be classified as: (a) pietists (b) overreachers (c) introverts (d) misogynists

8. As evident from the opening and later scenes, Marlowe's Dr. Faustus makes use of the convention of ancient Greek drama of: (a) swordplay (b) flute girls (c) limitation of plot's action to one day (d) a Chorus

9. The opening seven lines of the Prologue (prior to Scene 1 [1604 edition] or 1.1 [Act 1, Scene 1; 1616 edition]), in the context of the whole Prologue, help create (metapoetically) a parallel between the progress of Faustus and the progress of: (a) (b) (c) Marlowe (d) Wagner

10. The imagery of the Prologue helps establish imagistic motifs, carried through the rest of the play, of all of the following except which one: (a) rising and falling (b) male vs. female (c) eating (d) solid vs. not solid

11. In the opening of the play (Sc.1/1.1), immediately after the Prologue, Marlowe makes expressive dramaturgical use of the component of the Renaissance stage, the: (a) huts and windlass (b) alcove (curtained recess, inner stage) (c) “shadow” or “heavens” (d) cellar or “hell”

12. Through “the language of setting” referred to in the immediately preceding question, the idea is subliminally suggested (more to the audience than the reader) about Faustus’s: (a) piety (b) nonchalance (c) secretiveness (d) concupiscence

13. Marlowe shows his affiliation with the University Wits (and his reliance on the audience's knowledge or forbearance) and sugggests Faustus's extensive knowledge by having Faustus in the opening scene quote, in the original, from all the following languages except which one: (a) Greek (b) Latin (c) Italian (d) German

14. In Sc. 1/1.1 (and repeatedly later in the play), the appearance of the Good and Bad angels could be symbolically enhanced through which component of the “language of setting” of the English Renaissance stage: (a) the gallery or upper stage (b) the alcove (curtained recess, inner stage) (c) huts and windlass (d) the two doors on either side of the lower stage

15. In the early lines of the play (in Sc.1/1.1), the audience would not be confused about what the good angel tells Faustus to consider "blasphemy" ("that is blasphemy"), though an unwary reader might, by way of the dramaturgical component, implied in the passage, of, primarily: (a) the language of action (b) lighting effects (c) the language of setting (d) sound effects

16. With reference to the immediately preceding question, as well as elsewhere early in the play (including Sc.1/1.1), Marlowe, like many another playwright before and since, makes repeated dramaturgical use of the grammatical element of: (a) proper nouns (b) factitive verbs (c) predicate adjectives (d) demonstrative pronouns

17. Through emphatic numerological symbolism (including explicit reference to the important number) when the guests arrive in Sc. 1/1.1, an ironic inversion is created of the: (a) holy trinity (b) sabbath day (c) apostles of Jesus (d) great flood

18. In Sc. 2/1.2, the subplot and so-called "comic relief" provided by Faustus' servants actually do more than provide some sort of psychological safety-valve release, rather mainly: (a) ensuring that every member of the dramatist's acting company is utilized (b) parodying and satirizing characters, actions, and values in the main plot (c) evoking audience sympathy for the lower classes and homeless (d) alluding to specific current events and people of Marlowe's time

19. A main parallel between the subplot in Sc. 2/1.2 and the main plot in Scene 1 (and later the subplot in Scene 4 with the main plot in Scene 3) stems from the desire in the leading characters in the scenes for: (a) romantic love (b) knowledge (c) spiritual salvation (d) power

20. A group in society satirically targeted in Wagner’s final speech in Sc. 2/2.2 is likewise targeted in the assigned readings in which pair of the following sixteenth-century English Renaissance writers: (a) John Skelton and Thomas More (b) Samuel Daniel and Michael Drayton (c) Philip Sidney and Thomas Nashe (d) Walter Ralegh and Thomas Campion

21. Many editions (both of the 1604 and 1616 versions) call for the sound effect of thunder in conjunction with Faustus’ Latin incantation at the opening of Sc. 3/1.3; probably the most effective entrance for Mephistopheles at this point could be made by combining all of the following devices used in the English Renaissance theater except which one: (a) tympany drums (b) cannonballs (c) the huts (d) trapdoor in the lower stage

22. In Sc. 3/1.3, the costume-change that Faustus demands of Mephistopheles when the latter first appears, makes a joke most reminiscent of the sentiments in the writing (read in this course) of: (a) Sir Thomas Wyatt (b) John Lyly (c) William Shakespeare (d) Edmund Spenser

23. In Sc. 3/1.3, one irony early in the play is Mephistophilis' revelation to Faustus about Faustus's summoning of the demon that: (a) Greek works better than Latin (b) Mephistophilis was not really compelled by Faustus's incantation to appear (c) the demon was glad to be able to escape punishment temporarily in the upper world (d) university professors are already demonic themselves, as shown in the classroom

24. In Sc. 3/1.3, the conscious, purposeful associating with Lucifer by the fallen is suggested by what notable rhetorical figure in Mephastophilis’ lines “Unhappy spirits that fell with Lucifer,/ Conspired against our God with Lucifer,/ And are forever damned with Lucifer”: (a) metonymy (b) homeoteleuton (c) epistrophe (d) anadiplosis

25. Toward the end of Sc. 3/1.3, Faustus’ hubristic words to Metphastophilis “Learn thou of Faustus manly fortitude” are especially belied in: (a) Sc. 5/2.1 (b) Sc. 9/3.3 (c) Sc. 11/4.5 (d) Sc. 12/4.7

26. In Sc. 4/1.4, all the emphasis on the sartorial, starting with the punning by the Clown (1604)/Robin (1616) on “goings out,” helps to convey an idea applicable to Faustus of: (a) superficial values (b) courageous action (c) foreign travels (d) intellectual capacity

27. An expressive, repeated symbolic use of human anatomy occurs in Sc. 5/2.1,2.2 in the actor playing Faustus bringing attention to his: (a) head (b) forearm (c) thigh (d) calf (e) foot

29. In Sc. 5/2.2, one metapoetic implication occurs from the use of which one of the following to distract Faustus from right thought and right action — a forerunner of the: (a) def poetry jam (b) rock concert (c) Broadway musical (d) epic movie

30. In Sc.6/2.3, an implication is that Faustus, as a parallel to the subplot, will use magic for purposes that are: (a) political (b) avaricious (c) religious (d) inconsequential

31. The reaction of Marlowe's English audience to how Faustus and Mephistophilis act toward the Pope in Scene 7/3.1-3.2, would most likely have been: (a) favorable (b) neutral (c) unfavorable (d) complete shock

32. In the 1616 version, the play helps condition the audience's response to Faustus's and Mephistophilis' actions toward the Pope (Scene 7/3.1-3.2) by the Pope's and Raymond's behavior to Bruno, which involves mainly the dramaturgical components of all the following except which one: (a) the language of action (b) the language of props (c) the language of setting (d) lighting effects

33. The ceremony performed by the Friars at the end of Scene 7/3.2 would have reminded the audience of the Pope's relationship to which English monarch: (a) William I (b) Richard II (c) Edward IV (d) Henry VIII

34. The ceremony performed by the Friars at the end of Scene 7/3.2 is associated with a charming 1958 movie (one of your Engl. 3002/63155 teacher's favorites) starring: (a) Tina Louise, Robert Ryan, Aldo Ray, Fay Spain (b) Kim Novak, Jimmy Stewart, Jack Lemon, Ernie Kovacs (c) Debbie Reynolds, Gower Champion, Helen Wood, Bob Fosse (d) Leslie Caron, Michael Wilding, Estelle Winwood, Keenan Wynn

35. In Sc. 8/3.3, the tricks that Robin and Dick play--complete with onstage business of "goblet, goblet, who's got the goblet"--on the vintner have the thematic point of: (a) providing comic relief (b) promulgating one of the first literary censures of alcoholism (c) parodying Faustus's actions with the Pope (d) paralleling Bruno's behavior to Raymond

36. Language of setting material in the Benvolio's/the Knight's (Scene 9/IV.ii-iv) actions regarding Faustus that is present in the 1616 edition but absent in the 1604 edition helps to express nonverbally Benvolio's: (a) innocence (b) courage (c) mercantilism (d) arrogance

37. The response of Benvolio/the Knight to Faustus's performance before the Emperor (Scene 9/IV.ii-iv) is responded to symbolically by Faustus for Benvolio's/the Knight's: (a) becoming a fly in the ointment (b) poking his nose in (c) horning in (d) not minding his own beeswax

38. When Faustus comically cheats that archetypal thief, a horse trader ("courser") (Scene 10/IV.v-vi), Faustus and Marlowe give a whole new meaning to the proverbial expression of: (a) counting your chickens before they hatch (b) pulling someone's leg (c) skating on thin ice (d) going to the dogs

39. The episode alluded to in the immediately preceding question exemplifies Marlowe's vivid use of, primarily, the dramaturgical component of: (a) the language of action (b) the language of props (c) the language of setting (d) music or sound effects

40. The gift that Faustus bestows on the Duke and Duchess in Scene 11/IV.vii goes all the way back to the puns describing Faustus in the Prologue (prior to Scene 1) as having "The fruitful lot of scholarism graced" (line 16) as part of the motif of the: (a) banquet (b) river (c) edifice (d) covering

41. One of the allusive and thematic overtones of the motif referred to in the immediately preceding question connects to the: (a) Garden of Eden (b) Flood of Noah (c) Tower of Babel (d) Seven Seals of the Apocalypse

42. One of the suggestions and thematic overtones of the motif referred to in the two immediately preceding questions is Faustus’ quest for: (a) bliss with a perfect female companion (b) elevation of his country’s political position (c) victory of Protestantism over Catholicism (d) internalization of knowledge and power

43. The unnamed figure who accosts Faustus near play's end (Scene 12/V.i), urging him to repent would seem to embody the allegorical or symbolic meanings of all the following except which one: (a) venerable ageing (b) wisdom (c) piety (d) scholarship

44. The unnamed figure cited in the immediately preceding question demonstrates in action how Faustus, twice in the play, could have escaped damnation if Faustus had stalworthly faced the demons': (a) deprivation of riches (b) offer of women (C) divestment of his magic power (d) physical torture

45. When Faustus directs his magic at the figure referred to in the two immediately preceding questions, a motif or pattern is formed of Faustus's three main targets of his magic in Scenes 7, 9, 10, and 12 (1604), or Acts III, IV, and V (1616), respectively, which mainly shows (in the status of the targets): (a) ascent (b) circle (c) descent (d) horizontal line (e) amorphousness

46. Material at the play's end that appears in the 1616 but not 1604 version is which two of the following items (both answers needed for this question): (a) descending and ascending throne; appearance of the mouth of hell (b) dance of beautiful female demons; debate between Augustinian friars and devils dressed as judges (c) scene of Faustus's brief but futile return to classroom teaching at the university; students' presentation of Bible to Faustus (d) allusion to Shakespeare's Venus and Adonis; allusion to Shakespeare's Rape of Lucrece

47. The material of the 1616 edition referred to in the immediately preceding question is omitted from the 1604 edition primarily because of: (a) ever-stricter censorship during the English Renaissance (b) equipment available in the city theater but not in touring productions (c) Marlowe's increasing poetic sophistication in his career (d) Marlowe's switch of acting companies from the Lord Admiral's Men to the Lord Chamberlain's Men

48. One of the two important sound effects in the play's conclusion (Scene 13/V.ii) helps convey the notions of all the following except which one: (a) misspent time (b) truncated time (c) inevitability of final judgment (d) the underlying monotony of time

49. Notable props in 5.3 (1616 version, not in 1604) — called attention to by the Scholars, who come onstage — point back with grim irony to a scene between Faustus and: (a) the haughty Pope (b) the heckling Knight (Benvolio, in the 1616 version) at the Emperor’s court (c) the horse courser (d) the Duke and Duchess