Dr. Norman Prinsky

Humn. 2001 / Augusta State University

Test on Cervantes' Don Quixote (NAWLS2): Part 1, Prologue, Chs. 1-5, and 7-14; Part 2, Chs. 3, 12-17, 64-65, and 73-74

1. Cervantes' Don Quixote is an example of the national language and literature of: (a) England (b) France (c) Spain (d) Italy

2. Cervantes' Don Quixote was published in: (a) 1405 and 1415 (b) 1505 and 1515 (c) 1605 and 1615 (d) 1705 and 1715

3. According to P.M. Pasinetti's introduction in the NAWLS2, the genre of Don Quixote is: (a) allegory (b) a mingling of parody and romance (c) a combined nonfiction travelogue and novel (d) pure caricature

4. According to Pasinetti's introduction, Cervantes' attitude toward chivalry in Don Quixote is: (a) admiring and hopeful (b) critical and bitter (c) positive and negative (d) neutral and impartial

5. As pointed out in class lecture and Prinsky’s Notes and Questions (PNQ), both in theme and technique Cervantes' Don Quixote most resembles which one of the following paintings? (a) Durer's Knight, Death and the Devil (b) Ribera's The Martyrdom of Saint Bartholomew (c) Velasquez's The Maids of Honor (d) El Greco's View of Toledo

6. The resemblance between the literary work and the artistic work cited in the immediately preceding question mainly concerns the boundary between: (a) royalty and commoners (b) life and death (c) salvation and damnation (d) reality and art

7. As pointed out in class lecture or PNQ, Cervantes' Don Quixote has turned up in all the popular art forms except which one: (a) feature films (b) Broadway musical (c) television series (d) rock music

8. As played in class or referred to in Prinsky’s Notes and Questions, the musical composition in classical or art music influenced by Spain and specifically Cervantes' Don Quixote is manifested in an important work of what composer of classical or art music: (a) Franz Liszt (b) Franz Schubert (c) Robert Schumann (d) Gustav Mahler (e) Richard Strauss

9. The particular musical form of the work referred to in the immediately preceding question is: (a) piano concerto (b) fugue (c) madrigal (d) tone poem

10. Like Shakespeare’s play Hamlet, Cervantes’ novel Don Quixote has the subject of great importance to college students: (a) baccalaureate degree (b) identity or role (c) sexual congress (d) achieving wealth

11. Cervantes’ attitude toward the age of chivalry has some interesting parallels with the developments in what television and movie genre from the 1960s through 1980s: (a) Comedy (b) Mystery (c) Supernatural (d) Western

12. In the Prologue to Part 1, Cervantes takes the advice of a friend and includes prefatory material written by what kind of authors: (a) amateur (b) scientific (c) imaginary (d) professional

13. In I.i (that is, Part I, chapter 1) of the book, the description (in paragraph 1) of Senor Quijana's meals during the week is used to suggest Don Quixote's: (a) building up the strength that he shows in his adventures (b) madness being derived from malnutrition (c) desire to escape routine (d) charitable nature, embodied by his food donations to his neighbor

14. The narrator’s discussion in I.i, paragraph 2, about the name of the protagonist has to do with the thematic subject in the novel of: (a) quest for truth (b) importance of tradition (c) decline of the Church (d) increase of kings’ powers

15. In I.i, Don Quixote’s decision about whether to test his helmet a second time after the repair (par. 10) suggests that DQ is: (a) insane (b) partly sane and partly insane (c) sane (d) proudly Catholic (e) a true warrior

16. In I.i, the name that Don Quixote gives his horse (pars. 11-12) suggests that DQ is: (a) insane (b) partly sane and partly insane (c) sane (d) proudly Catholic (e) a true warrior

17. In I.ii (when Don Quixote sets off on his adventures), the formulation of his mission in DQ’s own mind (par. 1) is meant to be evaluated mainly as: (a) intellectual (b) despicable (c) scientific (d) admirable

18. In I.ii of the book (when Don Quixote sets off on his adventures), the combination of Don Quixote's description of the sunrise and Cervantes' (the narrator’s) following description of it (pars. 3 and 7) suggests: (a) reality contradicting the imaginary (b) Don Quixote's sunny disposition (c) Cervantes' Renaissance interest in astronomy and science (d) the similarity between Don Quixote's attitudes and values, and Cervantes' attitudes and values

19. In I.ii, DQ’s description of the sunrise (par. 3) is meant to recall similar language in: (a) Homer (b) Vergil (c) Marie de France (d) Dante

20. In I.ii, together with DQ’s formulation of his mission (par. 1), the simile describing DQ’s finding of the Inn (par. 7) as well as of the Inn itself (in DQ’s mind) (par. 7) could be categorized as mainly: (a) secular (b) imperialistic (c) religious (d) educational

21. In I.iii (DQ at the Inn), the Host gives advice (pars. 8-10; “He then inquired . . . . he least expected it”) that contains elements of: (a) literary criticism (b) compassion (c) practicality (d) selfishness (e) all of the foregoing

22. In I.iii, when DQ beats the mule drivers (pars. 13-21; “At this point . . . out of respect to him”)) the reader's sympathy is directed (significantly and thematically) to Don Quixote because he: (a) is so very insane (b) hasn't done any physical injury to the drivers (c) is a much higher social class than they are (d) has been treated by them without inhumanely, like an inanimate object

23. In I.iii, in par. 24 especially (“Don Quixote thereupon inquired”), in the relationship between DQ and the two prostitutes, what is suggested about language and imagination (through DQ's language and imagination) by the behavior of the women is their (language's & imagination's) ability to: (a) mislead from truth (b) seduce to fornication (c) transform to real (d) gain money or power

24. In I.iv (DQ and the farmer & servant; DQ with the merchants), in the argument between the farmer and DQ about the treatment of the farmer's young servant, DQ shows himself: (a) surprisingly shrewd (b) appallingly humble (c) thoughtlessly violent (d) anachronistically Socialist

25. In I.iv, the underlying thematic connection between the two apparently disparate adventures of DQ that are described at length in the chapter are the criticisms of all the following except which one: (a) money orientation (b) lack of compassion and sympathy (c) overvaluing the physical and devaluing the metaphysical or spiritual (d) smug and intolerant religiosity

26. In I.v (DQ returned home after being beaten), DQ's reply to Pedro's query "cannot your Grace see that I am not Don Rodrigo de Narvaez . . . but Pedro Alonso, your neighbor?" (par. 8) brings up in a "signature passage" the issue relevant to every modern college student and busy urbanite in any developed country, especially the U.S., of: (a) dependence on technology (b) alienation from neighbors (c) multiple roles (d) anomie

27. In I.v (DQ returned home after being beaten), when the Curate says to DQ's neice that he will hold an auto da fe of Don Quixote's books, the principal motif suggested is that of: (a) education (b) religion (c) narcissism (d) mobility

28. In I.vii of the book (DQ sets out with Sancho), the family’s actions and words about DQ’s library (pars. 8-16) suggest: (a) engagement in fantasy by the sane, pragmatic world (b) concern about DQ’s place in the Catholic church (c) inevitable scornfulness of book learning by non-readers (d) more attention to the monetary value of the books themselves than their contents

29. In I.vii of the book (DQ sets out with Sancho), which initiates the motif of promises of Sancho's governorship, one of the novel's ironies is that: (a) Sancho can't control his own wife (b) Cervantes himself was a governor in South America (c) DQ so frequently breaks his word (d) in Part II the fantasy will become a reality

30. In I.viii of the book (DQ attacks the windmills), the windmills that DQ attacks symbolize all the following except which one? (a) shallow religion or Christianity (b) emphasis on the material world (c) commercialism (d) routine

31. I.viii of this novel contributed a proverbial expression in English that contains what key word: (a) frying (b) milling (c) putting (d) tilting

32. In I.viii, the attack by DQ on a particular group (pars. 24-42), suggests how knight errantry can: (a) improve the moral level of the practitioner (b) lead to irreligious behavior (c) help restore patriotism to a country (d) cause fixation on becoming wealthy

33. In I.ix, the discussion by Cervantes or the narrator about what is required to continue the story of DQ suggests the subject or motif in the novel of the quest for: (a) truth (b) riches (c) fame (d) love

34. In I.x, the discussion between DQ and Sancho about medical treatment (pars. 8-16; “‘Do not let it worry you . . . . outrage upon me’”) helps convey: (a) the contrast between imaginary and real (b) the rise of science in the Renaissance (c) Don Quixote’s devout Catholicism (d) Sancho Panza’s surprising book learning about the subject

35. In I.x, with regard to food (pars. 23-28; “‘I have here . . . title of knight-errant”), as earlier in I.viii (pars. 17-19; “Don Quixote laughed long . . . . merry song”), what is suggested is: (a) kosher vs. non-kosher (b) consuming or not consuming wine or other alcoholic beverages (c) idealism vs. physicality (d) Don Quixote’s wistfulness about his weekly diet before taking up knight errantry (e) Sancho Panza’s beginning to favor for his own meals what Don Quixote has read about in romances

36. In I.xi, the setting evokes from DQ a long passage, which Cervantes or the narrator with deceptive irony calls “this long harangue” that “might very well have been dispensed with” (pars. 7-11; “Happy the age . . . . keep it cool”); actually, the passage contains all of the following important subjects or themes, except which one (some of the terminology in the answers may have to be looked up in a collegiate dictionary): (a) the Greco-Roman concept of the Four Ages (b) DQ’s former interest in studying natural science (c) the concept of the Noble Savage (d) Cervantes’ own acknowledgment about his tendency toward digression (e) a Utopian ideal

37. In I.xi, in DQ and Sancho's meeting with the goatherds around the campfire, the goatherds by their treatment of DQ and Sancho are revealed as: (a) made savage by primitive living conditions (b) kinder than the civilized folk DQ and Sancho have met (c) indifferent to DQ and Sancho (d) sex-crazed as the goat-god Pan

38. In I.xi, the goatherds’ treatment of DQ’s injured ear (especially in relation to I.x) represents: (a) how desire for money (payment for the treatment) has even invaded rural folk (b) withdrawal into fantasy comparable to DQ’s (e.g., how he communicates with a neighbor in I.v) (c) rural folk’s surprising knowledge about medical advances discussed in books (d) a transformation of fantasy into actuality

39. In I.xii-xiv (the Marcela-Grisostomo story), a main parallel of Marcela with DQ is that she also has: (a) committed herself to an imaginary loved one of the opposite sex (b) read too much fanciful literature (c) caused harm pursuing a worthy ideal (d) neglected nature and the physical world at the expense of the spiritual one

40. In I.xii (as well as chs. xiii and xiv), a parallel between Marcella, Grisostomo, and DQ is that: (a) are engaging in pretend identities or roles (b) are infatuated by knight errantry (c) are deeply learned in the epics of Homer and Vergil (d) are, each one, longing to find the right romantic partner

41. In I.xiii, in the juxtaposition of DQ’s account of his love and Ambrosio’s account of Grisostomo’s love is suggested: (a) how romantic love is at odds with Christian brotherly love (b) the harm done when romantic love is overlaid by art or artificial conventions (c) how romantic love in Italy differs from romantic love in Spain (d) Cervantes’ disapproval of Aeneas’ treatment of Dido in Vergil’s Aeneid

42. In I.xiv, a joke about some men listening to the speech of Marcella is that, in relation to Marcella, they: (a) mentally visualize their own sweethearts during the speech (b) develop plans to gain her love through expensive gifts (c) disregard her words and fall in love with her physical appearance (d) immediately begin writing romantic poetry to gain her favor

43. In I.xviii, the dust referred to symbolizes: (a) distortion of perception by romances (b) the inevitability of death (c) Don Quixote’s earthy, materialistic desire for wealth (d) Jesus’ advice to the disciples about what to do when leaving a town rejecting their preaching

44. In I.xviii (DQ versus the armies of sheep), part of Cervantes' satire on chivalry and romances involves his joke about knights' shields having references to such things as: (a) parrots (b) insects (c) frogs (d) cats

45. In I.xxii (DQ's and Sancho's meeting with the convicts in chains), one way a parallel is suggested between DQ and the convicts is through the convicts’: (a) devotion to their women (b) harmful education from the wrong books (c) euphemistic, transformational language (d) love of the sea (e) basic humanitarian idealism

46. In I.xxii, one serious subject generally implied is the: (a) transformation of ardent romantic love into bitter hatred (b) power of idealism to convert criminals into good citizens (c) rampant injustice of most legal systems (d) conflict between the individual and the state

47. In I.lii (DQ's adventures just before being returned home again), describing DQ's behavior toward the procession of religious penitents and priests bearing the covered image of the Virgin Mary, Cervantes once again implies about chivalry and knight errantry their: (a) essential irreligious physical violence (b) harmony with the Church (as in the Crusades) (c) easy ability to be manipulated by Church officials (d) fundamental ideal and goal of repentance

48. In I.lii, an underlying symbolism about the religious procession is that: (a) Spain needs God on its side in the war with Italy (b) DQ’s actual deep-seated disrespect toward women (c) a recurrence of the Black Death is raving the countryside (d) in a sense the Virgin Mary is being held captive to ritual and to selfish motives

49. In II.iii (DQ, Sancho, and Samson Carrasco discuss the reception of Part I of Don Quixote), one academic field of study comically prominent in the discussion of the characters is: (a) biology (b) esthetics (c) archeology (d) physics

50. In II.iii, Homer's Odyssey and Vergil's Aeneid are discussed primarily in terms of the conflict between: (a) good and evil (b) Greece and Rome (c) realism and idealism (d) ancient and modern

51. In II.xii-xv (DQ's encounter with the Knight of the Mirrors), an odd, repeated motif suggesting the theme of the world's intrusion on DQ, as well as the theme of perception, is that of: (a) sunlight (b) noses (c) lances (d) glass

52. In II.xii-xv, the disguise adopted by Samson to defeat DQ symbolizes all of the following except which one? (a) magic or deception (b) Samson's genuine self-knowledge, as demonstrated by his behavior following the joust (c) DQ's partial ignorance of his own identity (d) Samson as doppelganger or double of DQ (e) the Manchegan plan, paralleling the Book of Proverbs, of answering a fool according to his folly

53. As described in II.xiv (particularly par. 40, "While Don Quixote tarried to see Sancho ensconced in the cork tree . . . "), DQ's opponent apparently loses the fight primarily because of: (a) magic (b) rashness (c) compassion (d) timidity

54. In the specifics of the immediately preceding question, including par. 40, occurs an inversion of an interestingly similar incident with DQ and Rocinante in: (a) I.iv (b) I.xvii (c) I.xxii (d) I.lii

55. In II.xvi (DQ's encounter with Don Diego de Miranda, the sage in the green greatcoat), one of the important literary themes touched on is: (a) death (b) destiny vs. free will (c) the battle of the sexes (d) parents and children

56. In II.xvii (DQ's encounter with lions in cages on carts, and subsequent discussion of it with Don Diego), all of the following are suggested except which one: (a) Don Quixote's affinity with Three Stooges slapstick (a cottage-cheese filled helmet) (b) the true need for valor in the modern world (c) the cruelty of humanity towards the animal kingdom (d) the long-range meaning of an incident sometimes being different from its anticipated initial results

57. In II.lxiv (DQ's encounter with the Knight of the White Moon), the symbolism of DQ's antagonist is all of the following except which one: (a) DQ's madness (b) the questionable rationality of the sane world (c) DQ's imagination, chastity, and purity (d) the long life awaiting DQ when he is cured of his madness

58. In II.lxv (explanations by the Knight of the White Moon to Don Antonio and others about the plan to return DQ home), the reactions of Don Antonio to Carrasco's implementation of the plan to return DQ home shows about the real, sane world its: (a) empathy (b) selfishness (c) money-mindedness (d) chivalry

59. The main plot event with which the novel ends in II.lxxiv suggests the theme of: (a) the necessity of dreams and illusions (b) the triumph of family love over disaster (c) the importance of classical literature (d) the waste from war and battle

60. In II.lxxiv, Sancho and Carrasco in their attempt to cure DQ: (a) rely on Catholic ritual (b) introduce DQ to a new girlfriend (c) themselves turn fantasists (d) devote themselves to the new scientific inquiries important in the Renaissance (e) buy a certificate for DQ to the La Mancha Osaka Spa