1.1

1. After study of the introductory material in any of the four main one-volume Shakespeares about who took what roles in the English Renaissance drama, scrutiny of the list of characters prefixed at the beginning of the play indicates that the number of roles for young boys of between twelve to fifteen years old in the play is: (a) zero (b) one (c) two (d) three (e) four

2. The figure of speech in "Home-keeping youth . . . homely wits" (1.1.2) is: (a) simile (b) pun (c) understatement (d) hyperbole

3. The figure of speech referred to in the immediately preceding question helps suggest about staying home that it: (a) dulls the mind (b) improves emotional stability (c) spoils physical appearance (d) enhances family ties

4. Valentine's words to Proteus "But since thou lov'st . . . / to love begin" (1.9.10) in relation to in 2.6 and 3.1 prove: (a) providentially accurate (b) somewhat unclear (c) ironically opposite (d) impartially unrelated

5. With regard to what Proteus does in 2.6 and 3.1, his speech to Valentine, "If ever danger do . . . beadsman, Valentine" (1.1.16-18) proves: (a) providentially accurate (b) somewhat unclear (c) ironically opposite (d) impartially unrelated

6. The first portion of 1.1, from Valentine's "cease to persuade" to Valentine's "and so farewell" (lines 1-63), in the dialogue between Proteus and Valentine represents a/an: (a) warning about problems of foreign travel (b) discussion of whether a university education is needed (c) debate about the superiority of Italy to England (d) argument about the benefits of romantic love

7. The rhetorical figure that pervades Proteus's speech "He after honor hunts" through "sick with thought" (1.1.64-70) is: (a) chiasmus (b) antithesis (c) hyperbole (d) understatement

8. The rhetorical figure referred to in the immediately preceding question helps convey all of the following contrasts except which one: (a) love vs. glory (b) differing relationships to friends (c) stability vs. change in personality or behavior (d) male vs. female psychologies

9. The pervasive paronomasia in 1.1 (first between Valentine and Proteus, and then between Proteus and Speed), a figure of speech or rhetoric that depends on doubling of meanings or transforming a word's definition from one meaning to another, foreshadows all of the following motifs or subjects in the play except which one: (a) bribery (b) metamorphosis (c) duplicity (d) misunderstanding (e) infidelity

10. When Proteus says to Speed, "Well, sir, here is for your pains" (1.1.130-31) the dramaturgical devices evoked by the language or text are: (a) the nonverbal "language" of action or physical gesture (b) the nonverbal "language" of props (c) the nonverbal "language" of setting (d) the use of music in song or dance (e) a and b

11. What is portrayed by the dramaturgical device or devices referred to in the immediately preceding question is: (a) Speed's cleverness (b) Speed's perseverance (c) Proteus's miserliness (d) Speed's acquisitiveness (e) Proteus's impatience

12. The dialogue between Proteus and Speed is carried on mainly in: (a) blank verse (b) rhymed verse (c) free verse (d)prose

13. The ideas or themes suggested by the element of form referred to in the immediately preceding question primarily relates to: (a) Proteus's upper class status (b) Speed's lower class status (c) the exalted romanticism of the dialogue's subject (d) Proteus's commitment to remaining free of love's entanglements

14. In 1.1, all of the following are used except which one: (a) blank verse (b) rhymed verse (c) free verse (d) prose

1.2

15. Most of the early part of 1.2, marked from Lucetta's answer "As of a knight well-spoken, neat, and fine" (1.2.6), through Lucetta's "Pardon the fault, I pray" (1.2.40) is marked by which language form: (a) blank verse (b) rhymed verse (c) free verse (d) prose

16. The language form referred to in the immediately preceding question helps impart all the following ideas or elements except which one to this part of the scene: (a) wittiness (b) repartee (c) artificiality or artfulness (d) informality

17. The interchange in drama of short passages or single lines between two characters, which can be found in much of the ancient Greek drama, and is exemplified by the dialogue of Julia and Lucetta in much of 1.2, is called: (a) stichomythia (b) peroration (c) exordium (d) refutation

18. The stylistic element referred to in the immediately preceding question mainly helps convey which element of the dialogue between Julia and Lucetta (again, similar to its use in the ancient Greek drama): (a) narration (b) description (c) exposition (d) argumentation

19. In 1.2, the nonverbal "language" of props, with regard to a piece of paper on stage that represents a letter, comes to symbolize in the prop for the audience (or reader) all of the following except which one: (a) Lucetta's perceptiveness (b) Julia's peevishness (c) Lucetta's liveliness (d) Julia's romantic susceptibility (e) Julia's and Lucetta's basic shared ill will

20. Given the number of main characters, their relationship, and the content of their dialogue in 1.1 and in 1.2, the relationship between the two scenes is mainly: (a) contrast (b) parallelism (c) unrelatedness (d) unchronological

21. An extended metaphor intermingled with punning on a particular technical vocabulary that is used in 1.2 between Julia and Lucetta, with apt relationship to the notions of concord or discord between persons is: (a) musical (b) astronomical (c) sculptural (d) geographical (e) physiological

22. Important issues or subjects brought up in 1.2, still relevant today, are all of the following except which one: (a) distinctive features of female psychology (b) conflict between public image and private feeling (c)antagonism between upper and lower social classes (d) the power of written communication in the romantic relationship

1.3

23. In the catalog of proper activities for young men given by Proteus's uncle and reported by Panthino to Antonio, Proteus's father ("He wondered that Your Lordship" to "In having known no . . . in his youth"; 1.3.4-16), occurs a natural allusion by Shakespeare to which exciting endeavor of the Renaissance era: (a) scientific discovery, especially relating to magnetism (b) advancements in medical science (c) the recent founding of English universities (d)naval exploration of the globe

24. As 1.3 proceeds, an agreement is reached between Panthino and Antonio on furthering the education of Proteus through: (a) university attendance (b) court experience (c) trade apprenticeship (d) church training

25. As outlined by Panthino, the education of Proteus is expected to encompass all of the following except which one: (a) music lessons (b)horse-riding (c) manual dexterity (d) language arts

26. The key prop in 1.3, a letter, acquires the symbolism or meanings in the scene of all the following except which one: (a) youthful zeal in romantic love (b) deception (c)harmony between children and parents (d) uncomfortableness in maneuvering after making a mistake

27. To make the number of syllables come out correct (for Shakespeare's blank verse) in Antonio's "With Valentinus in the Emperor's court" (1.3.67), the word "Emperor's" should be pronounced as having: (a) one syllable (b) two syllables (c) three syllables (d) four syllables

28. As suggested by the concluding rhymed couplet (in the pronunciation of Shakespeare's time) by Proteus of 1.3, Proteus experiences conflicts in the combination of all of the following except which one: (a) familial love (b) love of friends (c) familial duty (d) patriotic duty (e) romantic love

2.1

29. An important prop in the beginning of 2.1, a glove, represents a thematic or symbolic parallel (particularly with regard to 1.3) between: (a) Proteus and Valentine (b) Panthino and Speed (c) Antonio and Valentine (d) Panthino and Proteus (e) Speed and Keanu Reaves (f) Speed and Sandra Bullock

30. The rhymed verse of Valentine's fourth speech in the scene ("Ha! Let me see" to "thing divine" [2.1.3-4]) helps convey Valentine's: (a) adoption of an artful mask of disinterestedness (b)movement into romanticism (c) elevation into the aristocracy (d) renewal of interest in literature

31. The eight (!) initial items of Speed's catalog of the new "special marks" of Valentine ("first, you have learned" through "beggar at Hallowmas" [2.1.17-24]) are held together by all the following stylistic devices except which one: (a) parallelism (b) infinitives (c) analogies or similes (d) polysyndeton (multiple coordinate conjunctions between phrases or clauses) (e) isocolon (approximately equal number of words in each phrase or clause)

32. The catalog referred to in the immediately preceding question has as its main point, which attitude toward Valentine and the subjects mentioned: (a) warm praise (b) neutral analysis (c) humorous satire (d) objective narration (e) bitter criticism

33. From Valentine's "Are all these things perceived in me?"[2.1.31] to Speed's "to comment on our malady" [2.1.38-39], the punning on the word "without" plays on how many different senses of this word: (a) two (b) three (c) four (d) five

34. Later in the scene, after the passage referred to in the immediately preceding question, punning is to be found on all the following words except which one: (a) "favor" (b) "count" (c) "love" (d) "read"

35. A serious and generally relevant point about the romantic relationship implied by the interchange between Valentine and Speed from Valentine's "But tell me, dost though know my lady Silvia?" to Speed's "so your affection would cease" (2.1.40-83) is: (a) biased perception (b) careful investigation (c) reinforcement from friends (d) meddling in-laws

36. The second main prop in 2.1 creates what relationship between 2.1, 1.2, and 1.3: (a) contrast (b) parallel (c) neither contrast or parallel (d) reverse chronological

37. The general area of human experience or activity on which Speed draws to make his pun on "interest" in "He should give her interest, and she gives it him" (2.1.98-99) has which main connotations or associations overall: (a) romance (b) war (c) business (d) recreation (e) politics

2.2

38. The two main props in 2.2, rings, symbolize for audience and reader, at this point in the play, all of the following except which one: (a) Proteus's romantic love (b) Julia's romantic love (c) Proteus's commitment to fidelity (d) Julia's commitment to fidelity (e) Julia's and Proteus's commitment not to have long separations from each other

39. The seventh speech of the scene, Proteus's "Here is my" (2.4.8 ff.), mandates which nonverbal "language" of action from the actor playing Proteus: (a) leg bending (b) arm extension (c) waist bending (d) back turning

40. With reference to the immediately preceding question, the actual anatomical part emphasized of the actor playing the character, used frequently in Shakespeare's plays, comes to symbolize for the audience (even more so than for the reader): (a) submission (b) fidelity (c) courtesy (d) hostility

41. Julia's exit and Proteus' comment on the exit counterpose what two facets of not only the romantic relationship but human life in general: (a) female coyness vs. male earnestness (b) the promise to keep leave-taking short vs. the reality of long, repetitive leave-takings (c) female orientation toward verbalizing vs. male orientation toward terseness (d) sincere emotion vs. language

42. To give a climactic sense to the ending of the scene, 2.2, Shakespeare uses: (a) blank verse (b) rhymed verse (c) free verse (d) prose

2.3

43. Unusual or even unique in Renaissance drama is the use in the scene of which category of actor playing a role: (a) dog (b) female (c) baby (d) African

44. The predominant language form in 2.3 is: (a) blank verse (b) rhymed verse (c) free verse (d) prose

45. The predominant language form referred to in the immediately preceding sentence has appropriate significance or associations with all the following except which one: (a) discussion of ordinary matters (b) conversation between members of the lower class (c) the influence of romantic love (d) relative unconcern about display of wit

46. Lance's sentence in his first speech, beginning "My mother weeping" (2.3.6) and ending "one tear" (2.3.9), grammatically and rhetorically, is which kind of sentence: (a) loose sentence (b) compound sentence (c) periodic sentence (d) imperative sentence

47. The grammatical and rhetorical device mentioned in the immediately preceding question helps convey: (a) Lance's difficulty in being able to generate long lists (b) how an apparently small item can counterbalance a group of weightier items (c) an inability to see relationship between things (d) Lance's sense of command

48. Lance's opening speech in 2.3 makes ironic parallels and contrasts with, especially, the interchange between: (a) Proteus and Valentine in 1.1 (b) Julia and Lucetta in 1.2 (c) Antonio and Panthino in 1.3 (d) Proteus and Julia in 2.2

49. Unwittingly comic use of props is made by Lance of all of the following except which one in 2.3: (a) a stone (b) a shoe (c) a staff (d) a hat

50. The props referred to in the immediately preceding question help satirically undercut all the following except which one: (a) Lance's ability with analogies (b) Lance's own depth of feeling (c) the asserted emotionality of what is being discussed (d) Lance's facility in enargia, defined in Classical and Renaissance rhetoric as vivid description which recreates something or someone in the mind's eye of the listener or reader

51. The rhetorical figure underlying or pervading Panthino's speech beginning "Tut, man, I mean thou'lt lose the flood" and ending with "thy service" (2.3.40-43) is: (a) chiasmus (b) paradox (c) anadiplosis (d) homeoteleuton

52. The rhetorical figure referred to in the immediately preceding question reveals what about Panthino in his speech: (a) relaxed sense of duty (b) emotional unruliness (c) greed (d) logical mind

53. The same rhetorical figure referred to in the immediately preceding question reveals what about how Lance interprets Panthino in Panthino's speech: (a) verbosity (b) fidelity (c) impetuosity (d) lethargy

2.4

54. Although the Greenblatt (Norton) Shakespeare has no added (hence in square brackets) stage direction "[Exit]" after Speed's line to Valentine about Thurio "'Twere good you knocked him" (2.4.7), the one-volume editions by Bevington, Evans and Tobin, and Orgel and Braunmuller all do add the stage direction, probably because: (a) Valentine has struck Speed across the mouth (b) Speed has no more lines in this lengthy scene (c) Speed remains sullenly silent after Valentine's scolding (d) Speed is overawed by the aristocracy

55. In her response to the interchange between Valentine and Thurio ("A fine volley . . . off" [2.4.32-33]), Silvia in her metaphors or imagery implicitly criticizes all the following except which one: (a) male aggressiveness (b) over-dramatized male display (c) aristocratic over-refinement (d) rapid and therefore shallow temper

56. In the first portion of the scene, puns can be found in all the following passages, except which one: (a) "I'll double your folly" (b) "their bare liveries, that they live by your bare words" (c) "with all good grace to grace a gentleman" (d) "I will send him hither to you presently"

57. In his statement to Valentine "I think 'tis no unwelcome news to you" (2.4.79), the Duke uses the figure of speech: (a) personification (b) understatement (c) antonomasia (d) hyperbole

58. The figure of speech referred to in the immediately preceding question helps express or convey: (a) the Duke's reserved or temperate nature (b) Valentine's lukewarm feeling about Proteus (c) the Duke's reserved feeling about Proteus's father (d) the Duke's lukewarm feeling about Valentine

59. In Silvia's speech to Valentine "Too low . . . a servant" (2.4.104) is a reference to: (a) the position of one of the actors in the gallery or second story of the stage (b) the relative heights of the actors playing the two roles (c) unbreachable gulf in social status between the two persons (d)

60. The repeated word "servant" in 2.4 mainly alludes to: (a) the dictatorship of the Duke's rule (b) the relatively low rank or finances of Silvia's suitors (c) the excessively-pampered personality of Silvia (d) the conventions of Courtly Love (e) the strange behavior of Courtney Love (f) the suicide of Kurt Cobain

61. In connection with the play's overall themes, probably the key word in Valentine's long speech to Proteus ("Ay, Proteus, but that life" to "name of love" [2.4.126-140]) is: (a) "penance" (b) "imperious" (c) "altered" (d) "fasts"

62. At several points in 2.4, in imagery as well as direct reference, a point is made about a connection between romantic love and: (a) money (b) sex (c) proximity (d) narcissism

63. The speech by Proteus that concludes 2.4 gathers or collects in it important motifs in the scene and play of all the following except which one: (a) vision (b) reason (c) fire (d) money