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1 | |
After the rise of Christianity, the popularity of the ancient myths fell but NOT because... |
| | A) | of the pagan deities. |
| | B) | the concept of the Hero was negated by Christ as a role model. |
| | C) | of the rise of women's rights and presence in the educated classes. |
| | D) | of economic and political upheaval. |
| | E) | of the disappearance of literacy. |
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2 | |
Who does the text site as examples of the Hero cast in a Christian model? |
| | A) | Hercules and Adonis. |
| | B) | Orpheus and Eurydice. |
| | C) | Roland and Beowulf. |
| | D) | Lancelot and King Arthur. |
| | E) | all of the above. |
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3 | |
Christian readers justified reading pagan works such as Virgil because he foretold of a child redeeming Rome, which they felt was a reference to... |
| | A) | the pagans as their spiritual predecessors. |
| | B) | the coming of Christ. |
| | C) | the child-like rule of Pope Leo IV. |
| | D) | the justification of the Children's Crusades. |
| | E) | the coming of a state of Paradise filled with child-like wonder and innocence. |
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4 | |
In the Inferno, Dante relies on mythological images and referents from Virgil including... |
| | A) | fairies and elves. |
| | B) | satyrs and nymphs. |
| | C) | the poet Virgil as guide. |
| | D) | the ghost of Dante's father. |
| | E) | the Emperor Augustus. |
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5 | |
In the Courtly Love tradition, Ovid's ___________ influenced love poems by such writers as Petrarch or Dante. |
| | A) | New Life |
| | B) | Art of War |
| | C) | Art of Love |
| | D) | Courts of Gods |
| | E) | Courts of Gold |
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6 | |
Which is NOT among the most prevalent methods in which ancient myths are transmitted? |
| | A) | Updated in language. |
| | B) | Translations into various languages. |
| | C) | Borrowing ancient themes to counterpoint contemporary issues. |
| | D) | Alliterative devices. |
| | E) | Using them as artistic emblems or symbols. |
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7 | |
Ottavio Rinuccini, a court poet of the Medeci family, was responsible for the staging of the first opera because... |
| | A) | he was such a fan of Homer. |
| | B) | he was committed to the worship of Apollo. |
| | C) | he felt the ancients sang rather than chanted the ancient works. |
| | D) | he felt that the scandal of church disapproval would highlight his career. |
| | E) | he desired to be immortalized with the Gods. |
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8 | |
Examples of the legacy of the ancient myths on cultural history do NOT include... |
| | A) | the various adaptations of classic themes to support historical causes. |
| | B) | an exclusively contemporary world view. |
| | C) | the interpretation of classic themes for contemporary concerns. |
| | D) | the "double view" that a classic reference adds in terms of ancient and modern. |
| | E) | a depth of meaning, bonding and transcending language, politics and culture. |
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9 | |
To the romantic mind, the image of Icarus conveyed the... |
| | A) | realistic aim for aerial flight. |
| | B) | quest for higher knowledge. |
| | C) | promise of eternal youth. |
| | D) | image of Christ. |
| | E) | all of the above. |
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10 | |
Icarus fell in popularity because he... |
| | A) | came to represent lascivious behavior. |
| | B) | came to believe in Christ. |
| | C) | came to represent the obsessive human-centered world. |
| | D) | represented a belief that humans are insignificant. |
| | E) | represented nobility at its most oppressive. |
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11 | |
Prometheus conveyed the concept of _________to the Romantic Era. |
| | A) | realism in mythology |
| | B) | rebellion against oppressive authority |
| | C) | unleashed passions |
| | D) | omnipotent force |
| | E) | all of the above |
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12 | |
The mythic image of Prometheus is tied to several historic figures, including... |
| | A) | Napoleon. |
| | B) | Kublai Khan. |
| | C) | Marco Polo. |
| | D) | Duke of Wellington. |
| | E) | Marc Antony. |
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13 | |
The mythic image of Prometheus is also linked to fictional and mythical characters, including... |
| | A) | Frankenstein's monster and the Furies. |
| | B) | Frankenstein's monster and Hecate. |
| | C) | Satan and Faust. |
| | D) | Beethoven and Mozart. |
| | E) | the philosophers of Greece and the philosophers of Italy. |
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14 | |
The Renaissance writer might turn to Eros as... |
| | A) | service to the God of Love. |
| | B) | representative of Cupid with his arrows of desire. |
| | C) | a symbol for expressing more secular and intellectual aesthetics. |
| | D) | a poetic device for more erotic drives. |
| | E) | all of the above. |
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