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1 | |
How many years apart were the early Greek tragedies from the early Greek epics? |
| | A) | 300 |
| | B) | 2 |
| | C) | 20 |
| | D) | 19 |
| | E) | 1500 |
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2 | |
Early Greek tragedies reworked ancient myths to... |
| | A) | include local aristocratic families. |
| | B) | highlight current concerns. |
| | C) | compete in the City of Dionysus. |
| | D) | reinterpret the significance of the old myths. |
| | E) | all of the above. |
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3 | |
One of the overriding themes of these tragedies was... |
| | A) | the joy of mortality. |
| | B) | the lawful order versus obligations to blood. |
| | C) | creating shrines for the worship of Gods and Goddesses. |
| | D) | creating a link with the Underworld. |
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4 | |
One of the elements of early Dionysian rituals that continues in the later Greek tragedies is the dithyramb, which means... |
| | A) | a slow rhythmic religious chant. |
| | B) | the precipice of a Greek temple. |
| | C) | a banner which is blazoned with the phallic symbols of the God Dionysus. |
| | D) | a virgin priest. |
| | E) | an ecstatic choral song. |
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5 | |
What does the phallic symbols represent in Dionysian rituals? |
| | A) | Procreativity |
| | B) | The commitment of the God Dionysus to his promises |
| | C) | Irresistible natural forces |
| | D) | Sensuality |
| | E) | All of the above |
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6 | |
What is NOT included in the myths of the God Dionysus? |
| | A) | Drunken behavior |
| | B) | Mercilessness |
| | C) | Sacrificial scapegoat figures |
| | D) | Human sacrifice |
| | E) | Moral restraint |
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7 | |
Tragedy is said to rely on a sense of catharsis for... |
| | A) | enlightenment. |
| | B) | social order. |
| | C) | release of intense emotion. |
| | D) | contact with the Gods and Goddesses. |
| | E) | inspiration. |
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8 | |
Satyrs are... |
| | A) | mythical creatures with horns on their heads. |
| | B) | mythical creatures with horses' ears. |
| | C) | mythical creatures with lascivious natures. |
| | D) | mythical creatures with large penises. |
| | E) | all of the above. |
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9 | |
The satyr play was NOT seen as... |
| | A) | obscene. |
| | B) | reconciling conflicts. |
| | C) | exploiting human sexual behavior. |
| | D) | poking fun at the sexuality of the Gods and Goddesses. |
| | E) | allowing the hero to ascend into heaven. |
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10 | |
The chorus of the satyr play was usually comprised of... |
| | A) | virgins. |
| | B) | priests. |
| | C) | satyrs. |
| | D) | the Gods and Goddesses. |
| | E) | all of the above. |
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11 | |
Greek comedies developed out of... |
| | A) | ribald exchanges during the Dionysian procession. |
| | B) | the trickster Prometheus' exploits. |
| | C) | the awareness of one's own limitations. |
| | D) | inverting the social order. |
| | E) | women's rights. |
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12 | |
A comedy's happy ending serves to... |
| | A) | validate sacrifice. |
| | B) | reintegrate disparate elements. |
| | C) | confer immortality on the lovers. |
| | D) | explore the mysteries of life. |
| | E) | all of the above. |
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13 | |
The concept of the "tragic vision" in Greek Tragedy refers to... |
| | A) | the more a Hero knows himself, the more extreme his emotions. |
| | B) | the more a Hero earns, the greater his fall to Hades. |
| | C) | the greater a Hero's fame, the more monsters he must defeat. |
| | D) | the stronger a Hero is, the more he needs love. |
| | E) | all of the above. |
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14 | |
In the culture of the Greek tragedies, the role of Hero was questioned in terms of... |
| | A) | reincarnation. |
| | B) | self-control. |
| | C) | unrealized potential. |
| | D) | reconciliation between female and male. |
| | E) | all of the above. |
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15 | |
In terms of the influences of Apollo's creed of enlightenment, the Greek culture was dismayed by the Hero's... |
| | A) | lascivious nature. |
| | B) | promiscuous behavior. |
| | C) | alignment with ancient worship of the Goddess. |
| | D) | excesses. |
| | E) | lack of immortality. |
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16 | |
In the tradition of Greek tragedy, the Hero comes to learn that his best qualities lead to... |
| | A) | sensuality. |
| | B) | civilization. |
| | C) | self-destruction. |
| | D) | love. |
| | E) | the best women. |
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17 | |
Contrasting Dionysus with Apollo could be seen as... |
| | A) | integrity versus promiscuity. |
| | B) | instinct versus taboo. |
| | C) | domesticity versus violence. |
| | D) | intoxication versus freedom. |
| | E) | rationalism versus social order. |
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18 | |
The unique gifts bestowed upon Heroes by the Gods and Goddesses can most often be seen as... |
| | A) | the cause of trouble as well as escape. |
| | B) | the prizes of victorious conflict with the Gods and Goddesses. |
| | C) | giving the Hero total protection from all harm. |
| | D) | arousing intense emotion. |
| | E) | fatal. |
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19 | |
Greek tragedy explores the Dionysian potential to... |
| | A) | burst beyond limits. |
| | B) | explore potential. |
| | C) | break barriers. |
| | D) | provoke awesome changes. |
| | E) | all of the above. |
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20 | |
One difference in the Tragic Hero that departs from earlier representations is that he is... |
| | A) | not half-animal. |
| | B) | not half-divine. |
| | C) | more supernatural and magical. |
| | D) | not married. |
| | E) | all of the above. |
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21 | |
The Tragic Hero depends on scenarios of... |
| | A) | sexual encounters with Gods and Goddesses. |
| | B) | monsters. |
| | C) | domestic violence. |
| | D) | apocalypse. |
| | E) | romance. |
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22 | |
The effect of adding an actor to oppose the chorus in Greek tragedy had the effect of... |
| | A) | intensifying emotion. |
| | B) | allowing women to act. |
| | C) | allowing multiple perspectives to be considered. |
| | D) | allowing more people on stage. |
| | E) | increasing employment among the performing arts. |
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23 | |
The lack of one narrative voice in Greek tragedy, as compared with earlier performance of the ancient myths, had the effect of... |
| | A) | not having to be realistic. |
| | B) | not having to have Gods and Goddesses. |
| | C) | not telling the audience the setting. |
| | D) | not telling the audience how to respond. |
| | E) | not allowing audiences to leave. |
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24 | |
The emphasis on suffering in Greek tragedy was due to the belief that... |
| | A) | to be wise one must suffer. |
| | B) | suffering was the sacrifice required by the Gods and Goddesses. |
| | C) | only Heroes suffered. |
| | D) | only women's suffering could be ignored. |
| | E) | suffering was the mark of the Goddess |
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25 | |
Though the Tragic concept of the universe was that it was governed by the Gods and Goddesses, the universe was really... |
| | A) | anima-centered. |
| | B) | soul-centered. |
| | C) | human-centered. |
| | D) | Goddess-centered. |
| | E) | dream-centered. |
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26 | |
In the Tragic concept of the universe, the Gods and Goddesses most often communicate with humans... |
| | A) | by hieroglyph. |
| | B) | by storms at sea. |
| | C) | by sacred dances. |
| | D) | in riddles. |
| | E) | in offerings. |
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27 | |
The "mystery" of the Tragic universe refers to... |
| | A) | women. |
| | B) | birth of the Gods and Goddesses. |
| | C) | a universe spinning toward Hades. |
| | D) | a universe that is not morally neat. |
| | E) | extinctions of previous cultures. |
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28 | |
The "divine law" that the Gods and Goddesses are supposed to enforce... |
| | A) | punishes Goddess worshippers. |
| | B) | punishes the weak. |
| | C) | rewards the strong. |
| | D) | rewards the good. |
| | E) | requires human sacrifice. |
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29 | |
The Tragic Hero's quest is to find... |
| | A) | a perfect mate. |
| | B) | Nirvana. |
| | C) | rational people. |
| | D) | enough clarity to understand the divine. |
| | E) | enough strength to be alone. |
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30 | |
The Tragic Hero's quest... |
| | A) | is always rewarded with immortality. |
| | B) | is always punished for hubris. |
| | C) | invariable fails. |
| | D) | invariably proves fatal. |
| | E) | ends in the Hero becoming impotent. |
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31 | |
The term "peripetia" means... |
| | A) | sudden death. |
| | B) | study of asteroids. |
| | C) | walking stories. |
| | D) | sudden joy. |
| | E) | sudden reversals. |
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32 | |
The term "anagorisis" means... |
| | A) | excessive emotions. |
| | B) | castration of Gods. |
| | C) | purging of religious fervor. |
| | D) | powerful sexuality. |
| | E) | powerful recognition. |
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33 | |
In the Greek tragedy, moral freedom refers to the belief that... |
| | A) | one is responsible for one's actions . |
| | B) | one is responsible for one's own fate. |
| | C) | that despite any intervention of the Gods and Goddesses one must take responsibility for one's own fate. |
| | D) | one must reject the role of victim. |
| | E) | all of the above. |
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34 | |
When the Tragic Hero achieves moral transcendence, the audience... |
| | A) | received redemption. |
| | B) | was reassured of the value of the struggle. |
| | C) | received immortality |
| | D) | was sexually liberated. |
| | E) | offered sacrifices to redeem him. |
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