Dr. Prinsky
Engl. 3002
Quiz on NAEL Prose Selections of Philip Sidney and Thomas Nashe
(don’t forget NNERL, PNQ, assigned introductory material in NAEL, or PDLT/HTL)
Sir Philip Sidney’s Prose: Arcadia
1. The publication history of Sidney’s Arcadia could be characterized as: (a) hindered by censorship (b) fairly straightforward (c) aided by scandal (d) complex
2. Sidney was influenced (as implied by appropriate reading, relative to Sidney, in PDLT or HTL) by the work of which ancient Greek writer: (a) Empedocles (b) Hesiod (c) Longus (d) Pindar
3. The influence of Sidney’s Arcadia, as well as of comparable Renaissance works, can be vividly seen in the writing of: (a) John Skelton (b) Walter Ralegh (c) William Shakespeare (d) Thomas Wyatt
4. The first paragraph of “[The Absent Urania]” (part of an additional selection from Sidney’s Arcadia, to be gotten from the Norton Online Archive — www.wwnorton.com/nael/noa — which represents the first three paragraphs of 1.1 [Book 1, Chapter 1] in the Evans edition of the complete work, in Penguin Classics) contains language strongly alluding to which literary genres: (a) epic and pastoral (b) comedy and allegory (c) tragedy and romance (d) satire and autobiography
5. Sentence 1 of paragraph 1 of “The Absent Urania,” like the first sentence of paragraph 1 in II.i (in NAEL), has in its length and structure the function of which kind of camera shot in film: (a) close up (b) pan left or right (c) slow motion (d) aerial or crane shot, zooming in
6. Sentence 2 of par. 2 (“‘I pray you . . . beauty?’”) of “The Absent Urania” in its length, structure, and style could be characterized, relative to the occupation of the speaker, as: (a) overly simple (b) about right (c) overly complex (d) unintentionally parodic
7. The explanation for the style referred to in the immediately preceding question is given, both explicitly and implicitly, mainly in which paragraph of “The Absent Urania”: (a) par. 1 (b) par. 2 (c) par. 3 (d) par. 4
8. The parallelism and anaphora in sentence 2 of par. 2 of “The Absent Urania” (“some were running . . . sporting their wits”) help to convey about the shepherds’ society and environment all the following except which one: (a) nationalism (b) orderliness (c) decorum (d) productivity
9. The first four paragraphs of “The Absent Urania” (= pars. 1-3 of I.i in the Evans edition) establish all the following relevant themes and subjects for Arcadia except which one: (a) separation of romantic lovers (b) social mobility (c) improvement of the self (d) combination of reason and passion
10. The name of the woman — mistress — referred to in “The Absent Urania” connects, in its Greek meaning (to be gleaned from a collegiate dictionary, including the etymology), most closely with which idea: (a) earthiness (b) sexuality (c) heavenliness (d) fidelity
11. The first sentence of par. 1 of “[The Country of Arcadia]” (= pars. 2 [infra] through 8 of I.ii of the Evans edition) (part of an additional selection from Sidney’s Arcadia, to be gotten from the Norton Online Archive) in its language is strongly allusive of all the following literary genres or modes except which one: (a) pastoral (b) elegy (c) Petrarchism (d) epic
12. The onomastic symbolism (from the Greek roots) in the name of Musidorus suggests that this character would be strongly associated with: (a) daydreaming (b) religion and spirituality (c) politics (d) arts and learning
13. The length and structure of sentence 1 of par. 2 of “The Country of Arcadia” (“There were . . . voice’s music”) help convey all of the following about Arcadia except which one: (a) orderliness (b) abundance (c) decorum (d)
religiosity
14. In “The Country of Arcadia,” the figure of speech repeated in the description of the houses of Arcadia (sentence 2, par. 2) is: (a) litotes (b) antonomasia (c) oxymoron (d) metonymy
15. The figure of speech referred to in the immediately preceding question helps convey the idea about the country of: (a) fostering the martial spirit (b) containing a harmonious balance and blend of opposites (c) dampening impulses toward misdeeds (d) encouraging conformity in society
16. In “The Country of Arcadia,” Musidorus in speaking about the countries he is traveling through (par. 3) uses the principal figure of speech: (a) chiasmus or antimetabole (b) synecdoche (c) litotes or understatement (d) hyperbole
17. In “The Country of Arcadia,” the figure of speech referred to in the immediately preceding question helps convey: (a) double-dealing (b) flightiness (c) antithetical inversion (d) egocentrism
18. In “The Country of Arcadia,” the long explanation by Klaius to Musidorus about their travels (pars. 4-5) reveals ideas about the interrelation among all of the following except which one: (a) elocution (b) economics (c) ethics (d) ecology
19. Overall, II.i — the entire chapter — of the new Arcadia (in NAEL) could be characterized by: (a) clipped brevity (b) purposeful understating (c) alternations in mood (d) ironic symmetry
20. The pervasive figure of paradox in II.i helps convey that characters and social situation are: (a) out of balance (b) martially disordered (c) cosmically in harmony (d) spiritually tranquil
21. The underlying organizing principles of Gynecia’s five apostrophes in her opening words (par. 2) are all of the following except which one: (a) spatial (b) material to metaphysical (c) moral to mental (d) minute (adj.) to majestic
22. Recurrent figures of speech as “cup of poison” (par. ) to designate what it does, and [Gynecia with her hair], suggest that the level of action and of character in the chapter is: (a) high (b) middle (c) low (d) mixed
Sir Philip Sidney’s Prose: The Apology for Poetry / Defense of Poesy (All references to paragraph numbers are to the paragraphs in the NAEL excerpt; look up “unities” in PDLT/HTL)
23. As suggested by Dr. Prinsky’s awesomely, laboriously constructed tables of paragraphing of the work (be sure to check out the latest version of the PNQ on this work), the NAEL pretty clearly relies on which previous editors’ versions for paragraphing the NAEL selections: (a) Adams and Leitch (b)Richter and Watson (c) Duncan-Jones and Van Dorsten (d) Collins and Schuckburgh (e) Cook and Kimbrough
24. Insofar as the work is organized like a classical speech or oration or piece of rhetoric, its opening section seems to be a/an: (a) confirmatio (b) (c) divisio (d) exordium (e) narratio
25. Sidney’s pun on “unelected vocation” (par. 1) to describe his status and motivation for writing the work points to the work’s argumentation against: (a) pedants (b) (other) poets (c) politicians (d) Puritans
26. Besides answering the objections of the group cited in the immediately preceding question, Sidney’s work also is aimed at answering charges by: (a) Zeno (b) Plato (c) Heraclitus (d) Aristotle
27. According to the work, poetry (literature) is superior to history writing because the former: (a) creates ideal models (b) avoids minute details (c) narrates stories chronologically (d) includes material about sex and romance
28. According to the work, poetry (literature) is superior to philosophy writing because the former: (a) emphasizes morality (b) avoids explicit discussion of ideas (c) better evokes emotions (d) subtly analyzes politics
29. In the NAEL excerpt, Sidney discusses how many main genres of poetry (literature) in the middle section (of the excerpt): (a) three (b) four (c) (d) five (e) six
30. The sentence beginning “Since then poetry is” (sent. 1, par. 35) is which main kind, classified rhetorically: (a) loose (b) periodic (c) antithetically balanced (d)
31. Both the kind of sentence (as per the immediately preceding question) and the length of the sentence “Since then poetry is” (sent. 1, par. 35) are appropriate to a section ending, which could be characterized, with reference to the classical oration, as a mini: (a) narratio (b) divisio (c) refutatio (d) peroratio
32. Although Sidney praises Spenser’s Shepheardes Calender for the moral content, he criticizes its: (a) excessive figurative language (b) unrealistic characterization (c) archaism in style (d) violation of the Aristotelian unities
33. Sidney’s main criticism of the English drama of his time (and reflecting contemporary Renaissance thought) is for: (a) excessive figurative language (b) unrealistic characterization (c) archaism in style (d) violation of the Aristotelian unities
Thomas Nashe’s Prose: Pierce Penniless, His Supplication to the Devil
34. In its mixture of elements (e.g., fiction and nonfiction, a melange of components), Pierce Penniless, His Supplication to the Devil could best be categorized as which kind of satire (with reference to PDLT/HTL): (a) burlesque (b) Horatian (c) Juvenalian (d) Menippean
35. As explained in lecture or PNQ, what prompts the pamphlet for Pierce Penniless (a stand-in for Thomas Nashe) and was a major concern of the University Wits was the issue of: (a) employment and money (b) laws and tyranny (c) war and soldiering (d) sex and marriage
36. Characteristics of Nashe’s prose style are all the following except which one: (a) specific diction (b) understatement (c) hyperbolic metaphor (d) alliteration
37. The characteristics of prose style referred to in the immediately preceding question help convey about Pierce (and Nashe): (a) judiciousness (b) combativeness (c) energy (d) humor and satire
38. In “[An Invective Against Enemies of Poetry]” (to be downloaded from the Norton Online Archive), Pierce (or Nashe) indicates that one of the virtues of poetry, perhaps surprising to some of its main critics, is or would be all of the following improvements except which one: (a) of their writing (b) of their fluency (c) of readers’ economic status (d) of their mental abilities (e) of readers’ morality
39. In “[An Invective Against Enemies of Poetry],” Pierce (or Nashe)asserts that the degeneration of literacy causes some modern authors to think that writers of what genre are geniuses who have created masterpieces: (a) burlesques (b) bestsellers (c) beast epics (d) billboards
40. At the conclusion of “[An Invective Against Enemies of Poetry],” Pierce (or Nashe) gives a demonstration of literature’s power to: (a) charm (b) humiliate (c) enrich (d) misinform
41. In “[The Defense of Plays],” Pierce (or Nashe) argues that contemporary drama improves all of the following except which one: (a) patriotism (b) moral aspirations (c) concern for reputation (d) commonwealth finances (e) civil order
42. In “[The Defense of Plays],” Pierce (or Nashe) contrasts British actors with their (European) continental counterparts, arguing (partly through allusion) for the superiority of the former because of: (a) establishment of a special guild (= trade union) for the profession (b) education in the comic arts (c) exclusion of women from the profession (d) egalitarian enrichment of all members of an acting company
Thomas Nashe’s Prose: The Unfortunate Traveller, Or the Life of Jack Wilton
43. With Philip Sidney, Thomas Nashe joins a group of pioneers of long prose fiction in the English Renaissance, which included all of the following except which one: (a) George Gascoigne (b) John Lyly (c) Thomas Lodge (d) Thomas Deloney (e) Thomas Browne
44. In “[Roman Summer],” Nashe’s or Jack Wilton’s prose style shows significant adjustment (particularly in pars. 1-4) to the aim of: (a) description (b) exposition (c) argumentation (d) satire
45. With reference to the immediately preceding question, Nashe’s or Jack Wilton’s prose style has a prevalence of all of the following except which one: (a) regular sentence order (Subject, Verb, Object) (b) more abstract diction than concrete diction (c) parallelism within and between sentences (d) variation in sentence length
46. The merchant’s summer banqueting house that is mentioned symbolizes all of the following except which one: (a) combination of art and nature (b) religious inspiration (c) technology (d) original sin
47. In the care for the sick, particularly in relation to non-professionals and hospital upkeep (par. 4), Catholics, according to Jack (or Nashe) are, in relation to Protestants: (a) inferior (b) about the same (c) superior (d) furtive