Dr. Norman Prinsky

Humn. 2001: Ancient Culture through the Seventeenth Century

Test on Homer’s Odyssey, Books 9-13 and 21-23

1. In Book 9, the Cicones (Kikones) and Lotus (Lotos) Eaters both represent challenges to: (a) self-control (b) courage under fire (c) endurance of pain (d) religious reverence

2. As noted in one of the visual diagrams in Prinsky’s Notes and Questions, the Lotus (Lotos) Eaters represent a symmetrical parallel or connection (as per ancient Greek art) to: (a) Circe (Kirke) (b) Aeolus (Aiolos) (c) Scylla (Skylla) and Charybdis (Kharybdis) (d) the Sungod (Helios)

3. In Book 9, the Cyclops (Kyklopes), and Polyphemus (Polyphemos), represent all the following defects except which one: (a) lack of civilized, democratic assembly (b) disorderliness -- as exemplified in how they keep their sheep pens (c) inhospitableness -- as exemplified in the inversion of the epic's banquet motif (d) crudity -- e.g., what they drink and how

4. In Book 9, the wood that Odysseus makes his spear from in Polyphemus’ (Polyphemos') cave, like the bush he uses in his speech to Nausikaa in Book 6, is part of a pattern of subtle allusion to: (a) Artemis (b) Poseidon (c) Athena (d) Zeus (e) Hera

5. In Book 9, Odysseus' need to reveal his name to Polyphemus (Polyphemos) exemplifies the Greek concept of: (a) peristalsis (b) epanaphora (c) themis (d) arete

6. In Book 9, what Polyphemus (Polyphemos) prays for, if Odysseus is allowed to reach home, is a projection of Polyphemus’ (Polyphemos’) and the Cyclops’ (Kyklopes’) own: (a) greediness (b) unsociableness (c) lustfulness (d) inattentiveness

7. In Book 10, the children of Aeolus (Aiolus) help to suggest symbolically about Nature its: (a) force and deadliness (b) scientific foundation (c) balance and symmetry (d) divine connections

8. In Book 10, the weapons used by the Laestrygonians (Laistrygonians) against Odysseus and his crew have the symbolism of: (a) forceful nonviolence (b) advanced technology (c) mathematical logic (d) primitive barbarism

9. In Book 10, both with Circe (Kirke) and Aeolus (Aiolos), Odysseus' crew gives in primarily to: (a) pride (b) idleness (c) lust (d) unrestraint

10. With reference to the mission given by Circe (Kirke) to Odysseus toward the close of Book 10, what Odysseus says to the crew when first landing on Circe’s island -- “‘Listen to me, my comrades, brothers in hardship --/ we won’t go down to the House of Death, not yet,/ not till our day arrives’” (10.191-193) -- exemplifies: (a) dramatic irony (b) epic invocation (c) frame story (d) pathetic fallacy

11. In Book 10, in Odysseus' first interactions with (Circe) Kirke, as earlier in Book 5 with Calypso (Kalypso), strong psychological implications and symbols occur of the: (a) battle of the sexes (b) Oedipus complex (c) philosophy of Plato (d) Greek interest in athletics

12. In Book 10, with Circe (Kirke), Odysseus strikingly demonstrates his: (a) sexual self-denial (b) desire for reputation (c) feet of clay (d) stiff upper lip in the face of bad news

13. What happens to Elpenor at the end of Book 10 most clearly connects to which one of the following Biblical passages: (a) Exodus 21:13 (b) Leviticus 5:3 (c) Numbers 15:38 (d) Deuteronomy 22:8

14. In Book 11, the emphasis placed on what specific thing is reminiscent of a similar emphasis in the Bible, especially in Genesis: (a) sacred writings (b) circumcision (c) a holy mountain (d) blood

15. In Book 11, with regard to the way the dead exist in the underworld, Odysseus’ sword would seem to hold them in abeyance (prior to the interview with Tiresias/Teiresias) mainly through: (a) symbolism (b) Zeus’s threats (c) fear of bodily injury (d) politeness (e) vacuity

16. In Book 11, one of the most difficult trials, relative to self-control, that Odysseus has to face in Book 11 occurs with regard to: (a) fasting (b) his mother (c) his fellow crewman Elpenor (d) anger toward Ajax (Aias)

17. In Book 11, a particular object that both crewman Elpenor and Tiresias (Teiresias) refer to is the: (a) sandal (b) amphora (c) oar (d) loom

18. The symbolism of this object referred to in the immediately preceding question would seem to relate to all of the following except which one: (a) marriage (b) journeying (c) the sea (d) Poseidon

19. In both Book 11 and Book 12, the alternate form of the prophecies Odysseus gets from Tiresias/Teiresias regarding the cattle ("kine" or "beeves") of the Sun(god)/Helios suggests primarily the theme of: (a) avoidance of gluttony (b) free will (c) the gods' control over human affairs (d) perseverance

20. In Book 11 occurs the culmination of which motif of the Odyssey, initiated in Book 1: (a) the Prometheus story (b) the Oedipus story (c) the Agamemnon story (d) the Hephaestus-Aphrodite story

21. The motif referred to in the immediately preceding question connects to all the following main ideas or subjects except which one: (a) a wife’s fidelity (b) a son’s active maturity (c) human free will (d) gods’ sexual jealousies

22. In Book 11, Odysseus’ meeting with Achilles/Akhilleus suggests all the following ideas or subjects (some discusssed in the NAWLS2 editors’ introduction to Homer and the Odyssey): (a) wives vs. mistresses (b) the values of war and death vs. the values of intellect and life (c) the value of living vs. reputation of a dead hero (d) fathers and sons

23. In Book 11, Odysseus’ seeing and addressing Ajax/Aias connects with all the following except which one, as referred to the Art, Music, and Literature portions of the course: (a) ancient Greek vase art (b) ancient Greek mural art (c) ancient Greek music (d) ancient Greek drama (dramatic lament)

24. In Book 11, the trait that comes closest to getting Odysseus into trouble in his visit to the underworld, and which earlier in Book 9 initiates the encounter with Polyphemos, is: (a) temper (b) curiosity (c) daring (d) concern for reputation

25. In Book 12, the particular god who helps the crew fashion their hearing protection against a fatal music concert (young people should remember the lesson about music and hearing protection) is: (a) appropriately, the gods’ premier artisan (Hephaestus), who made Achilles’/Akhilleus’ armor (b) appropriately, the guide/Wayfinder (Hermes), helping Odysseus find the way home (c) ironically, the one (Poseidon) who has continually been tormenting Odysseus (d) ironically, the one (Helios) who causes their deaths for a crime in Book 12

26. In Book 12, what Odysseus chooses to do when actually encountering the Sirens (or "Seirenes" in Fitzgerald's translation) primarily reflects his: (a) perseverance (b) capacity for deep feeling (c) self-restraint (d) concern for reputation (e) curiosity

27. The British rock group that did a song, played in class or referred to in PNQ, based on the siren episode in the Odyssey in Book 12 was (listed alphabetically): (a) Cream (b) Genesis (c) Jethro Tull (d) Led Zeppelin (e) Mott the Hoople (f) Procol Harum (g) Yes

28. In Book 12, what Scylla (Skylla) and Charybdis (Kharybdis) mainly show about the human condition symbolically, both in Circe’s (Kirke's) discussion of them with Odysseus and in the actual encounter, is that: (a) it's sometimes an unavoidable choice of the lesser of two evils (b) the sexual principle runs deep and apparently through all things (c) irreverence inevitably spells disaster (d) daring can conquer all things

29. In Book 12, the cattle ("beeves" or "kine") of the Sun(god)/Helios episode illustrates, besides the necessity of self-control and reverence for the gods, the dangers of: (a) sexuality (b) knowledge (c) music (d) persuasion

30. In Book 12, as in Book 10, the main troublemaker in Odysseus’ crew is, ironically: (a) the crew’s only woman (b) Odysseus’ kinsman (c) Athena in drag (again) (d) the crew’s only non-Ithacan/Ithakan

31. In Book 13, Homer's description of the manner of the Phaeacians’ / Phaiakians' rowing in their nautical taxi taking Odysseus home suggests all the following except which one: (a) great skill (b) orderliness (c) societal unity (d) wise fearfulness

32. In Book 13, the simile describing how deeply Odysseus sleeps on the boat-ride home shows Homer's psychological insight into: (a) SNAFU (b) TGIF (c) ASAP (d) BMOC (e) BYOB (f) SWAT

33. In Book 13, Odysseus' reaction, on awakening on the beach, to the issue of the Phaeacians’ / Phaiakians' gifts shows all the following except which one: (a) activity rather than passivity (b) emphasis on quick thinking (c) the usefulness of music as a tranquilizer (d) concern for wealth's power

34. In Book 13, the manner in which Athena informs Odysseus about where he has been landed primarily suggests the motif of: (a) testing or trial (b) arete (c) reverence for the gods (d) banquet hospitality

35. In Book 13 -- especially in the conversation between Odysseus and Athena -- Odysseus, Athena, Homer, and the ancient Greeks all are emphatically shown to enjoy: (a) storytelling (b) sex (c) pancakes (d) sports (e) seclusion

36. In Book 13, the disguise that Athena gives Odysseus suggests all of the following except which one: (a) restraint necessitated for Odysseus and Telemachus / Telemakhos (b) the need for compassion and hospitality for the stranger and friendless (c) an object lesson to the suitors of the level to which all human beings may fall (d) the low moral level to which Odysseus has himself fallen with Circe / Kirke and Calypso / Kalypso

37. As pointed out in class (or PNQ or lecture audios), Homer's delving into the ancestry of Odysseus' bow in Book 21 has parallels with a motif across literature and film (concerning epic heroes) extending into which one of the following movies: (a) Vertigo (b) Big (c) Kidnapped (d) Jaws (e) Charade (f) Emanuelle (g) Emanuelle in Bangkok

38. In Book 21, the details of the test specified by Penelope suggest the need for the attributes of: (a) strength and courage (b) perseverance and courage (c) strength and skill (d) strength and daring

39. In Book 21, the identical reaction of Penelope, Eumaeus/Eumaios, and the cowherd to the start of the archery contest reveals an ancient Greek endorsement of: (a) open expression of emotions (b) archery (c) skill in Olympic sports (d) betting (e) just doing it (f) Nike shoes

40. In Book 21, Telemachus’/Telemakhos' attempts at stringing the bow, including the fourth one, have what kinds of overtones: (a) Promethean (b) Oedipal (c) tragic (d) Christian

41. In Book 21, the suitors' fear that the beggar will be able to pass the bow test has what kind of overtones: (a) Homer's higher rating of nobles' character than commoners' character (b) inevitably better physical condition of commoners than nobility (c) Oedipal, or generation gap (d) their genuine reverence toward the gods, particularly Zeus

42. In Book 22, the details associated with the deaths of both Antinous / Antinoos and Eurymachus / Eurymakhos involve symbolism pointing to the: (a) ancient Greeks' scientific interest in the physics and mathematics of trajectory (b) ancient cult of Aphrodite (c) elementary ancient Greek knowledge of physiology (d) alimentary nature of the suitors' misdeeds

43. In Book 22, Eurymachus’ / Eurymakhos' reaction to the death of Antinous / Antinoos, including Eurymachus’ / Eurymakhos' conversation with Odysseus, again differentiates Eurymachus’ / Eurymakhos' wickedness from Antinous’ / Antinoos' by showing Eurymakhos' as: (a) covert (b) unintelligent (c) frank (d) negligible

44. In Book 22, Telemakhos vividly demonstrates new maturity by: (a) saving up (b) taking blame (c) keeping quiet (d) backing down

45. In Book 22, the response of Athena, disguised as Mentor, to the calls from the combatants on each side mainly suggests the motif in the epic of: (a) wealth (b) hospitality (c) testing (d) hubris

46. In Book 22, Odysseus' response to the nurse's exulting when she enters the scene of the battle suggests the ancient Greek valuing of: (a) self-restraint (b) simple joyfulness (c) efficient slaughter (d) skillful dancing

47. In Book 23, Penelope's resistance to believing the nurse's news that Odysseus is back and has eliminated the suitors suggests all of the following except which one: (a) a learned pattern of habitual pessimism (b) symmetrical parallel with Telemachus’ / Telemakhos' words and behavior in Books 1-4 (c) avoidance of pain from further disappointed hopes (d) mistrust because of the nurse's habitual exaggerating

48. The reunion of Odysseus and Penelope in Book 23 could be characterized as: (a) not suspenseful (b) reserved (c) gushing (d) unhappy

49. In Book 23, the details surrounding Odysseus' and Penelope's bed, and their talk about it, suggest all the following except which one: (a) endurance (b) special connection with the gods (c) testing or trial (d) preference for natural things, not associated in any way with art

50. In Book 23, Penelope's initial attitude toward Odysseus as well as the couple's concerns about the suitors' kin (and the action of Book 24) all together make the content of Book 22 in some sense: (a) dull (b) inartistic (c) anticlimactic (d) maudlin