Dr. Prinsky
Humn. 2001
Test on Vergil's The Aeneid
1. Vergil's Aeneid is an example of the literature of: (a) ancient Israel (b) ancient Greece (c) ancient Rome (d) medieval Italy
2. Vergil's Aeneid was written in which language: (a) Hebrew (b) Greek (c) Latin (d) Italian (e) English
3. The approximate period in which Vergil lived and wrote was: (a) 9th century B.C.E. (b) 7th century B.C.E. (c) 5th century B.C.E. (d) 3rd century B.C.E. (e) 1st century B.C.E.
4. The English translation of Vergil’s Aeneid by Robert Fitzgerald is, like the original language in Vergil: (a) blank verse (b) rhymed verse (c) prose (d) none of the foregoing
5. As mentioned in class lecture or Prinsky’s Notes and Questions (PNQ), a key, repeated Latin epithet for the hero in Vergil's Aeneid is: (a) dius (b) geminus (c) lacrimosus (d) pius (e) salax
6. The epithet referred to in the immediately preceding question helps emphasize Aeneas’ quality, so valued by Vergil and the Romans, of: (a) morality (b) intelligence (c) domination (d) perseverance
7. As mentioned in class lecture or Prinsky’s Notes and Questions, a key, repeated Latin epithet for the hero in Vergil’s Aeneid is: (a) pecuniosus (b) pater (c) pictus (d) polytropos (e) plaga
8. The epithet referred to in the immediately preceding question helps emphasize Aeneas’ quality, so valued by Vergil and the Romans, of: (a) cunning adaptability (b) family tradition (c) military prowess (d) enduring pain (e) great wealthiness
9. As mentioned in class lecture or PNQ, a strong emphasis in Vergil's Aeneid is on the philosophy of: (a) Aristotelianism (b) Epicureanism (c) Stoicism (d) Zoroastrianism
10. As stressed by the editor of the NAWM, Aeneas' central defining trait is: (a) religious piety (b) devotion to duty (c) ability and courage in battle (d) perseverance
11. The editor in the NAWM emphasizes about the central trait of the hero that it: (a) elevates his stature almost to that of a minor god (b) almost unreservedly flatters Augustus (c) severely limits him and forfeits much reader sympathy (d) has a strong resemblance to the central trait of Greek epic heroes
12. The writing today of an American epic comparable to the Aeneid would probably have us highlighting: (a) the Monroe Doctrine (b) Patric Henry's concept "give me liberty, or give me death" (c) the War of 1812 (d) Manifest Destiny
13. The emphasis on authority figures and their maintaining order in Vergil’s epic (e.g., Aeolus, Palinurus, Jupiter, Aeneas, Dido) is meant to endorse and compliment: (a) Julius Caesar (b) Augustus Caesar (c) Tiberius Caesar (d) Nero Caesar (e) Claudius Caesar (f) James Tiberius Kirk
14. Like Homer’s Odyssey, Vergil’s Aeneid is divided into: (a) two halves (b) three main parts (c) four main parts (d) five main parts (corresponding to acts in the drama)
15. Generally, Books 1-6 of the Aeneid correspond to: (a) Homer’s Odyssey (b) Aeschylus’ Agamemnon (c) Sophocles’ Oedipus the King (d) Plato’s Apology of Socrates
16. Generally, Books 7-12 of the Aeneid correspond to: (a) Homer’s Iliad (b) Aeschylus’ Eumenides (c) Sophocles’ Antigone (d) Plato’s Symposium
17. In Book 1 (lines 5-12) Aeneas' mission is formulated to include all the following except which one: (a) enduring and persevering (b) founding a city (c) establishing his gods (d) gaining knowledge and understanding of other peoples and cultures (e) contributing to architectural construction
18. The widespread image motif in Books 1-2 most revealing of the Romans' excelling in the arts as well as establishment and governance of empire is that of: (a) walls (b) torches (c) Vulcan's hammer (d) Aeneas' engraved sword (e) Aeneas’ embroidered cloak (f) Dido's black net stockings
19. The principal contrast between Poseidon's antagonism toward Odysseus (in The Odyssey) and Juno's against Aeneas (in the Aeneid), indicative of the difference between Homer's values (and his culture's) and Vergil's (and his culture's) is in her motive of: (a) kinship ties (b) nationalism (c) personal or private grievance (d) unrestrained emotion
20. In Book 1 (lines 572-596), what Aeneas and Achates notice in their first view of Tyre (and described in detail by Vergil) suggests Roman admiration of all of the following except which one: (a) building and architecture (b) work and productivity (c) fighting off enemies (d) making laws
21. In Book 1 (lines 572-596), what Aeneas and Achates notice in their first view of Tyre (and described in detail by Vergil) suggests Roman admiration of all of the following except which one: (a) instrumental and vocal music (b) trade and commerce (c) literature (especially theater and drama) (d) sailing and the sea
22. In Book 1, as exemplified by the features of the Tyrian's Temple of Juno noticed by Aeneas, as well as by those of the banquet dinnerware (at the end of Book 1), the Romans preferred art with all of the following qualities except which one: (a) naturalistic (b) narrative or historical (c) affective (stirring strong emotions) (d) not too detailed (e) propagandistic
23. As suggested in remarks about Aeneas' mission in Books 1-2, as well as the activities of Dido as a good leader depicted in Book 1, one of the Roman strengths and values portrayed is an emphasis on: (a) musical ability (b) astronomical knowledge (c) legal formulation and administration (d) sports achievement (e) military generalship
24. The epithet and character of "Staunch Achates" (in Book 1) suggest all the following except which one: (a) Aeneas as a team-player rather than Odysseus-like individualist (b) the importance of loyalty (c) extra need for restraint by a too-rash Aeneas (d) father-son relationship of Aeneas and crew
25. In Book 1, the concealment of Aeneas and Achates in a mist in Dido's palace helps convey that the description by the crew members of Aeneas to Dido, all of them unaware of Aeneas' presence, is: (a) vague (b) genuine (c) exaggerated (d) cold
26. The meeting of Aeneas, Ascanius (or Iulus), and Dido has been portrayed in paintings by all the following well-known artists except which one: (a) Guercino Barbieri (b) Francesco Solimena (c) G.B. Tiepolo (d) P.N. Guerin
27. As mentioned in the editor's introduction in NAWM and in class lecture or PNQ, the symbolism in Book 2 of the manner of Aeneas' exit from Troy with Anchises and Ascanius is: (a) the burden of the past (b) Aeneas' being set in a continuity of generations, the immortality of the family group (c) Roman worship of youth, comparable to that in modern American culture (d) cowardice sometimes necessary in war
28. The incident referred to in the immediately preceding question has been portrayed in paintings by all the following well-known artists except which one: (a) Raphael (b) G.L. Bernini (c) Antoine Coypel (d) J.M.W. Turner
29. In Book 4 (Aeneas and Dido), the outcome of Juno's aim behind arranging the "marriage” of Aeneas and Dido suggests: (a) the decisive power gods or such forces play in their intervention in human affairs (b) love is blind (c) destiny or fate can overrule even the gods, ironically (d) love has an essential divine or supernatural element
30. In Book 4, Vergil relates that the result of Aeneas' and Juno's affair was that "Towers, half-built, rose/ No farther; men no longer . . . / toiled to make . . . battlements/ Impregnable. Projects were broken off,/ Laid over, and the menacing huge walls/ With cranes unmoving stood against the sky" (114-19). This mainly suggests that romantic love: (a) makes the world go round (b) is a kind of holiday (c) needs a firm foundation (d) can be destructive
31. The insect epic simile describing the Trojans' preparation for departure in Book 4 (557-66), like the earlier insect epic simile describing the Tyrians in Book 1 (587-94), emphasizes the ideas of all the following except which one: (a) group orientation (b) human littleness (c) order (d) productivity
32. The fire imagery that culminates in Book 4, continued from Books 1-2, suggests all of the following except which one: (a) passion (b) destruction (c) the need for Stoicism (d) enlightenment
33. The attitude of Aeneas toward telling Dido about his need to leave and resume his mission (as well as his orders for the crew’s preparation) exemplifies what about the modern male’s relationship to women: (a) courage (b) cowardice (c) compassion (d) candor (e) contrition
34. The incident referred to in the immediately preceding question most closely parallels Odysseus’ leave taking of: (a) Kalypso (or Calypso) (b) Kirke (or Circe) (c) Nausikaa (d) Penelope
35. As explained in class lecture or PNQ, Vergil's attitude toward Dido's death is primarily: (a) admiring (b) humorous (c) disapproving (d) neutral
36. The attitude referred to in the immediately preceding question, based on Vergil’s philosophy of stoicism, comes from Vergil’s emphasis on: (a) governing emotion (b) veneration of the gods (c) giving free vent to emotion (d) incipient monotheism (e) disapproval of Platonism
37. In Book 6 (Aeneas in the Underworld), the abstract allegorical personifications that Aeneas encounters at the entrance to the Underworld suggest in regard to death: (a) Vergilian sadness (b) a well-earned reward at life's close (c) the essential harmony and tranquility of life (d) emphasis on the Roman achievement in originality of oil painting
38. In Book 6, the amount of space given to Aeneas' discussion with his dead crew member Palinurus (lines 456-512), considering Palinurus' job and comparing what we learn about the same crew member doing the same job for Odysseus in The Odyssey, suggests Vergil's: (a) belief in democratic equality among men (b) favoring of authority figures (c) greater belief in the importance of individuality than in Homer (d) greater belief in friendship between males than in Homer
39. In Book 6, an aspect of Vergil's underworld that would be appealing to Medieval Christianity, including that of Dante, is its: (a) resemblance to that of Homer's in The Odyssey (b) differentiation of areas and rewards or punishments (c) reference to the harrowing of hell (d) demonizing of the Turks and Islam
40. In Book 6, in his meeting with Dido, one of the main traits revealed about Aeneas is: (a) cold self control (b) out of sight, out of mind (c) better late than never (d) heroes (big boys) cry
41. The incident referred to in the immediately preceding question has a parallel with, and been adapted by Vergil from, Odysseus’ meeting in the underworld (Book 11 of The Odyssey), and getting the cold shoulder, from: (a) Kirke (b) Elpenor (c) Teiresias (d) Leda (e) Aias
42. In Book 8 (the shield of Aeneas), the shield has all the following except which one: (a) war and peace (b) empire and destiny (c) joy and sorrow (d) love and marriage
43. In Book 8, the shield has all the following except which one: (a) hostility to foreigners (b) law giving (c) emphasis on heritage (d) religion
44. In Book 8, the center of the shield picks up the motif elsewhere in the epic of praise for: (a) Cicero (b) Octavian (c) Achilles (d) Seneca (e) Lucretius
45. In Book 12 (The Death of Turnus), the opening (in our excerpt in NAWM) discussion between Jupiter and Juno conveys a sense of all the following except which one: (a) fate (b) joy (c) reconciliation (d) order
46. In the conversation between Jupter and Juno in Book 12 (The Death of Turnus) is emphasized the Vergilian value (applicable to the upcoming union of the Trojans and Latins/Italians, as well as to Vergil's own Roman empire) of: (a) rational negotiation and compromise (b) utter subjugation of subject peoples (c) avoidance of foreign intermarriage (d) happiness inherent in all things
47. In Book 12, Vergil's treatment of Turnus' sister is meant to make the reader feel toward Turnus: (a) anger (b) admiration (c) sympathy (d) impartiality
48. In Book 12, the ending note of the epic could best be described as: (a) joyful (b) triumphant (c) gloomy (d) optimistic
49. Overall in the NAWM selections from the Aeneid, the visual art most emphasized through repetition and motif is: (a) sculpture (b) painting (c) ceramics (pottery) (d) architecture
50. Important musical works based on or paralleling Vergil's Aeneid material were done by: (a) Guillaume de Machaut and Josquin des Prez (b) Thomas Morley and Carlo Gesualdo (c) Wolfgang Mozart and George F. Handel (d) Henry Purcell and Hector Berlioz