British Drama mcq with answer

Q1. Plot is the arrangement of carefully
(a) emanating the rational purpose of the play
(b) selected and sequenced tragic incidents to represent one complete action
(c) imitating a serious and complete action
(d) represents the action (or purpose) of the play.
Answer: (b) selected and sequenced tragic incidents to represent one complete action

Q2. Drama differs from poetry and fiction in that
(a) it is only tragedy and meant for stage play
(b) it is divided into comedy and tragedy and intended for performance
(c) it is only comedy and not for performance
(d) it is divided into comedy and tragedy and not intended for performance.
Answer: (b) it is divided into comedy and tragedy and intended for performance

Q3. Choral songs in a tragedy are often divided into three sections as
(a) strophe, turning and circling
(b) circling, epode, and counter-circling
(c) strophe, antistrophe and epode
(d) After song, epode, and turning.
Answer: (c) strophe, antistrophe and epode

Q4. All plots have some pathos but a complex plot also includes
(a) recognition
(b) reversal
(c) peripeteia
(d) both reversal and recognition.
Answer: (d) both reversal and recognition.

Q5. The end of a tragedy is
(a) catharsis
(b) Spectacle
(c) melody
(d) plot.
Answer: (a) catharsis

Q6. The finest tragedy is —- than simple.
Answer: complex

Q7. Tragedy is a representation of terrible and —- events.
Answer: piteous

Q8. Song or melody is the —- of the chorus.
Answer: musical element

Q9. The end of the tragedy is a —- of the tragic emotions of pity and fear.
Answer: katharsis

Q10. Suffering, the third element of plot is a destructive or —- act.
Answer: painful

Q11. Aristotle indicated that the medium of tragedy is drama.
(a) True
(b) False
Answer: (a) True

Q12. Plot most likely generate horrer and terror in the audience
(a) True
(b) False
Answer: (b) False

Q13. In an ideal tragedy, the protagonist will mistakenly bring about his own downfall.
(a) True
(b) False
Answer: (a) True

Q14. The term hamartia is more closer to flaw than to mistake.
(a) True
(b) False
Answer: (b) False

Q15. Aristotle gave more emphasis on the inner structure of the play rather than spectacle to arouse pity and fear.
(a) True
(b) False
Answer: (a) True

Q16. Tragic hero, does not appear in which of the following dramatistâ€™s works
(a) P.B. Shelley
(b) Aeschylus
(c) Seneca
(d) Shakespeare.
Answer: (a) P.B. Shelley

Q17. According to Aristotle, the tragic hero who should serve as the main character may not be
(a) a good man falling from prosperity to misfortune as it will inspire revulsion
(b) a good man falling from happiness to misfortune as it will inspire revulsion, not pity or fear
(c) a wicked man rsising from ill fortune to prosperity
(d) an evil man falling from prosperity to misfortune
Answer: (b) a good man falling from happiness to misfortune as it will inspire revulsion, not pity or fear

Q18. Which of the following statements about hamartia is not correct?
(a) It is translated as miscalculation
(b) Literally, it means missing the mark
(c) Aristotle uses this term in his poetics translated as success
(d) Aristotle translated it as flaw or as error.
Answer: (c) Aristotle uses this term in his poetics translated as success

Q19. The great tragedians, such as Sophocles, identify the tragic hero as one
(a) who is destined to rise
(b) who carries the evil seed of fatal flaw
(c) who destined to commit a reversible mistake
(d) who destined to commit a fatal and irreversible mistake.
Answer: (d) who destined to commit a fatal and irreversible mistake.

Q20. A good man falling from happiness to misfortune may not be tragic hero because
(a) it will only inspir revulsion, not pity or fear
(b) it will inspire sympathy, so canâ€™t arouse pity or fear
(c) it will inspire sympathy, but not pity or fear
(d) it will inspire revulsion and also pity or fear.
Answer: (a) it will only inspir revulsion, not pity or fear

Q21. The tragic hero is a great man who is not a paragon of virtue and —-
Answer: justice

Q22. The fall from fortune to disaster of a completely virtuous person would provoke moral —- at such an injustice.
Answer: outrage

Q23. The tragic hero is in effect compelled to sin because of his —-; he cannot escape it.
Answer: fatal flaw

Q24. Tragic hero is a great man, usually of noble birth who stand in —- and prosperity.
Answer: great repute

Q25. Aristotle thought of hamarti primarily as a failure to recognize someone, often a —-
Answer: blood relative

Q26. A wicked man falling from prosperity to misfortune may not a tragic hero as it may not inspire pity or fear.
(a) True
(b) False
Answer: (a) True

Q27. The downfall of a villainous person is considered as an appropriate tragedy.
(a) True
(b) False
Answer: (b) False

Q28. The fatal flaw is an essential element in the tragic hero, being the pivotal condition that causes his downfall.
(a) True
(b) False
Answer: (a) True

Q29. The concept of hamartia as tragic flaw may not apply to all tragic figures.
(a) True
(b) False
Answer: (a) True

Q30. Most critics understood hamartia to mean that the hero must have a tragic flaw.
(a) True
(b) False
Answer: (a) True

Q1. The problem play is a form of drama that emerged during
(a) during 19th century as part of the wider movement of realism
(b) during 19th century emanating the rational purpose of the play
(c) during 19th century imitating a serious and complete action
(d) during 19th century as selected and sequenced tragic incidents.
Answer: (a) during 19th century as part of the wider movement of realism

Q2. While social debattes in drama were nothing new, the problem play of the 19th century was distinguihsed by
(a) its content and are meant for stage play
(b) its intent to confront the spectator with the dilemmas experienced by the characters
(c) its character of comedy and not for performance
(d) its contents of social issues not intended for stage play.
Answer: (b) its intent to confront the spectator with the dilemmas experienced by the characters

Q3. The problem plays are characterised by their complex and ambiguous tone, which shifts violently between
(a) dark, psychological drama and more straightforward tragic material
(b) tragic, psychological drama and more straightforward comic material
(c) dark, psychological drama and more straightforward comic material
(d) comic, psychological drama and more straightforward tragic material.
Answer: (c) dark, psychological drama and more straightforward comic material

Q4. According to Henrik Ibsen, a problem play is a type of drama that presents a —- in order to awaken the audience to it.
Answer: social issue

Q5. The problem plays are characterised by their —- and ambiguous tone.
Answer: complex

Q6. The concept of problem plays arose in the 19th century, as part of an overall movement known as —-
Answer: realism

Q7. The term derives from a type of drama that was popular at the time of —-
Answer: Boasâ€™ writing

Q8. The term problem play is also used to refer to certain Shakespeare plays that do not fit the categories of tragedy, comedy, or romance.
(a) True
(b) False
Answer: (a) True

Q9. The problem plays usually reject romantic plots in favor of holding up a mirror that reflects simply what the audience wants to see and not what the playwright sees in them.
(a) True
(b) False
Answer: (b) False

Q10. The problem play is also called as thesis play, discussion play, and the comedy of ideas.
(a) True
(b) False
Answer: (a) True

Q11. Kitchen sink drama also known as kitchen sink realism is a term coined to describe a
(a) British cultural movement
(b) British socialist realism
(c) British working class people
(d) British cultural movement against romanticism.
Answer: (a) British cultural movement

Q12. Social realism developed as a reaction against
(a) British working class
(b) romanticism
(c) British aristocratic class
(d) British family tensions.
Answer: (b) romanticism

Q13. Kitchen Sink dramas gained notoriety in twentieth century British culture for their unflinching anger and criticism directed towards
(a) the social establishment
(b) the political establishment
(c) the economic establishment
(d) the social, political, and economic establishment.
Answer: (c) the economic establishment

Q14. Kitchen sink drama also known as kitchen sink realism is a term coined to describe a British —-
Answer: cultural movement

Q15. The cultural movement was rooted in the ideals of —- an artistic movement, expressed in the visual and other realist arts.
Answer: social realism

Q16. The domestic world during mid-twentieth century was believed to be the domain of the —-
Answer: feminine

Q17. The Kitchen Sink Drama were significant for the way they depicted the most intimate aspects of —-
Answer: domestic life

Q18. Whether social or domestic, the Kitchen Sink drama changed the trajectory of British theater.
(a) True
(b) False
Answer: (a) True

Q19. The chief characteristic of the Kitchen Sink drama was the way in which its characters expressed their unvarnished emotion and dissatisfaction with the working class.
(a) True
(b) False
Answer: (b) False

Q20. The kitchen-sink drama is placed in an ordinary domestic setting and typically tells a relatively mundane family story.
(a) True
(b) False
Answer: (a) True

Q21. The angry young man were a group of mostly
(a) working and middle class British playwrights
(b) novelists who became prominent in the 1980s.
(c) middle and high class British playwrights
(d) high and aristocratic class British playwrights.
Answer: (a) working and middle class British playwrights

Q22. The term Angry Young Man often applied to
(a) anyone who rails for the establishment
(b) British â€˜kitchen sinkâ€™ playwrights of the 1950s
(c) the social class playwrights
(d) the high class playwrights.
Answer: (b) British â€˜kitchen sinkâ€™ playwrights of the 1950s

Q23. The Angry Young Men were a new breed of intellectuals who were
(a) 1940s working class playwrights
(b) mostly of lower middle-class or of high class origin
(c) mostly of working class or of lower middle-class origin
(d) mostly of working class or of lower high class origin.
Answer: (c) mostly of working class or of lower middle-class origin

Q24. Angry Young Men were various —- and playwrights who emerged in the 1950s.
Answer: British novelists

Q25. The angry young men were a group of mostly —- and middle class British playwrights.
Answer: working

Q26. The term angry young men was applied most notably to —-
Answer: John Osbourne

Q27. John Osborneâ€™s play Look Back in Anger was first performed in —-
Answer: 1956

Q28. The angry young men groupâ€™s leading members included John Osborne and Kingsley Amis.
(a) True
(b) False
Answer: (a) True

Q29. Among the other writers embraced in the term angry young men are the novelists John Braine, Alan Sillitoe, and the playwrights George Bernard Shaw.
(a) True
(b) False
Answer: (b) False

Q30. The angry young men shared an outspoken irreverence for the British social system.
(a) True
(b) False
Answer: (b) False

Q1. The comedy of manners is a genre of comedy, play/television/film that flourished on the English stage during
(a) Restoration period
(b) industrial revolution
(c) class transformation
(d) 18th century.
Answer: (a) Restoration period

Q2. Plays of the type of comedy of manners are typically set in the world of the
(a) lower middle class
(b) upper middle class
(c) high class
(d) both lower middle and high class.
Answer: (b) upper middle class

Q3. The roots of the comedy of manners can be traced back to
(a) ancient Greek plays
(b) 16th century Shakespearean plays
(c) Moliereâ€™s seventeenth-century French comedies
(d) 19th century playwrighters
Answer: (c) Moliereâ€™s seventeenth-century French comedies

Q4. With witty dialogue and cleverly —- comedies of manners comment on the standards and mores of society.
Answer: constructed scenarios

Q5. Congreve is considered by many critics to have been the greatest wit of the dramatists writing of —-
Answer: comedy of manners

Q6. Newell W. Sawyer has traced the —- of the comedy of manners and relates it to the changes occurring in society at large.
Answer: development

Q7. In England, William Shakespeareâ€™s —- might be considered the first comedy of manners.
Answer: Much Ado about Nothing

Q8. Marriage is a frequent subject in the plays of comedy of manners.
(a) True
(b) False
Answer: (a) True

Q9. In the 20th century, the comedy of manners reappeared in the plays of the British dramatists Noel Coward.
(a) True
(b) False
Answer: (a) True

Q10. A Comedy of Manners is a play concerned with satirizing societyâ€™s manners
(a) True
(b) False
Answer: (a) True

Q11. The Theatre of the Absurd is a theatrical style originating in
(a) France
(b) Italy
(c) Greeks
(d) Britains.
Answer: (a) France

Q12. Often Absurdist works utilise theatrical conventions such as
(a) Mime, Gibberish
(b) Mime, Gibberish, Heightened Language, Codified Language and Vignette
(c) Codified Language and Vignette
(d) Gibberish, Heightened Language, .
Answer: (b) Mime, Gibberish, Heightened Language, Codified Language and Vignette

Q13. Absurd theatre is a form of drama that emphasizes the absurdity of human existence by employing
(a) logical arguments
(b) illogical arguments
(c) disjointed, repetitious, and meaningless dialogue
(d) irrational and logical speech.
Answer: (c) disjointed, repetitious, and meaningless dialogue

Q14. The Absurd Theatre is a designation for particular plays that expressed the belief that, in a godless universe, —- has no meaning.
Answer: human existence

Q15. Theatre of the Absurd employs techniques borrowed from earlier —-
Answer: innovators

Q16. Absence, emptiness, nothingness, and —- are central features in many Absurdist plots.
Answer: unresolved mysteries

Q17. Absurdist drama reflects this kind of —- and inability to make a connection.
Answer: evasiveness

Q18. Martin Esslin coined the term Theatre of the Absurd in his 1960 essay.
(a) True
(b) False
Answer: (a) True

Q19. Absurdist Plays are absurd in that they focus not on illogical acts, urealistic occurrences, or traditional character development.
(a) True
(b) False
Answer: (b) False

Q20. The characters in Absurdist drama are lost and floating
(a) True
(b) False
Answer: (a) True

Q21. Existentialism is the philosophy that places emphasis on
(a) individual existence, freedom, and choice
(b) individual existence and freedom
(c) freedom and choice
(d) individual existence and choice.
Answer: (a) individual existence, freedom, and choice

Q22. Which of the following is important to existentialism?
(a) Subjectivity and actions
(b) Subjectivity, passionate choice and actions
(c) Subjectivity and passionate choice
(d) Passionate choice and actions.
Answer: (b) Subjectivity, passionate choice and actions

Q23. A central proposition of existentialism is that
(a) essence preceded existence
(b) existence preceeds self
(c) existence precedes essence
(d) existence preceeds both self and essence
Answer: (c) existence precedes essence

Q24. The theme of —- is common to many existentialist thinkers.
Answer: authentic existence

Q25. Despair in —- is more specifically related to the reaction to a breakdown in one or more of the defining qualities of oneâ€™s self.
Answer: existentialism

Q26. The inauthentic is the denial to live in accordance with oneâ€™s —-
Answer: freedom

Q27. The theme of death follows along with the theme of —-
Answer: nothingness

Q28. Humans exist in a state of distance from the world that they nonetheless remain in
(a) True
(b) False
Answer: (a) True

Q29. The theme of authentic existence is rare to many existentialist thinkers.
(a) True
(b) False
Answer: (b) False

Q30. Anguish is the dread of the presence of human existence the midst of.
(a) True
(b) False
Answer: (b) False

Q1. William Shakespeare was born in
(a) Stratford-upon-Avon
(b) Hempshire
(c) Ireland
(d) New South Wales.
Answer: (a) Stratford-upon-Avon

Q2. Which of the folowing was not a creation of Shakespeare?
(a) Loveâ€™s Labourâ€™s Lost
(b) The Roots
(c) Hamlet
(d) King Henry VIII.
Answer: (b) The Roots

Q3. Which of the following play of Shakespeare was not performed at Globe Theatre?
(a) King Lear
(b) Twelfth Night
(c) Romeo and Juliet
(d) Othello
Answer: (c) Romeo and Juliet

Q4. The same year that he joined the Lord Chamberlainâ€™s Men, Shakespeare wrote —-.
Answer: Romeo and Juliet

Q5. Venus and Adonis was one of the first of Shakespeare known works to be —- and was a huge success.
Answer: printed

Q6. In 1569, Shakespeare enters Kingâ€™s New School, an excellent —- in Stratford.
Answer: grammar school

Q7. Shakespeare did not attend university because university education was reserved for —- of the elite.
Answer: wealthy sons

Q8. Town records indicate that William Shakespeare was John and Maryâ€™s third child.
(a) True
(b) False
Answer: (a) True

Q9. Shakespeareâ€™s first daughter, Susanna, was baptized only six months his marriage.
(a) True
(b) False
Answer: (a) True

Q10. Shakespeareâ€™s life as a citizen of Stratford.
(a) True
(b) False
Answer: (a) True

Q11. Macbeth was written in 1605 or 1606 and performed at
(a) Hampton Court
(b) Globe Theatre
(c) Lord Chamberlainâ€™s Men Theatre
(d) Earl of Southampton.
Answer: (a) Hampton Court

Q12. The material for Macbeth was drawn from
(a) Raphael Holinshedâ€™s Chronicles of England
(b) Raphael Holinshedâ€™s Chronicles of England, Scotland, and Ireland
(c) Raphael Holinshedâ€™s Chronicles of Scotland
(d) Raphael Holinshedâ€™s Chronicles of Ireland.
Answer: (b) Raphael Holinshedâ€™s Chronicles of England, Scotland, and Ireland

Q13. What proves that Macbeth is one of the shortest plays?
(a) characters are poor
(b) scenes were excised form the folio version
(c) scenes were lost
(d) action flows from scene to scene.
Answer: (c) scenes were lost

Q14. Despite the Macbethâ€™s historical source, the play is generally classified as —- rather than a history.
Answer: tragedy

Q15. Macbeth was written performed at Hampton Court in 1606 for King James I and his brother-in-law,—-
Answer: King Christian

Q16. Macbeth is certainly not the only play with —- that is full of fabrications.
Answer: historical themes

Q17. Macbeth follows the story of a Scottish nobleman (Macbeth) who hears a —-
Answer: prophecy

Q18. Macbeth is also unique among Shakespeare’s plays for dealing so explicitly with material that was relevant to England’s contemporary political situation.
(a) True
(b) False
Answer: (a) True

Q19. Shakespeare’s portrayal of Banquo as one of the play’s few unsoiled characters is a nod to the Stuart political myth.
(a) True
(b) False
Answer: (a) True

Q20. Macbeth is a story about power struggles among the middle class
(a) True
(b) False
Answer: (b) False

Q1. The play Macbeth figures wich of the following important themes?
(a) Fate, prophecy, and equivocation
(b) Fate
(c) Prophecy
(d) Equivocation.
Answer: (a) Fate, prophecy, and equivocation

Q2. Macbethâ€™s famous soliloquy at the beginning of Act 2 introduces an important theme
(a) dagger of the mind
(b) visions and hallucinations caused by guilt
(c) Supernatural manifestations
(d) inner struggle contemplating the regicide.
Answer: (b) visions and hallucinations caused by guilt

Q3. The â€˜is a manâ€™ theme recurs in
(a) Act 1
(b) Act 2
(c) Act 3
(d) all the acts 1-3.
Answer: (c) Act 3

Q4. The play figures equivocation as one of its most important —-
Answer: themes

Q5. The oracular sisters are in fact connected —- to the Fates of Greek mythology.
Answer: etymologically

Q6. Lady Macbeth is not the only character that values ruthlessness as a —-
Answer: masculine trait

Q7. Banquoâ€™s murder makes use of contrast between light and dark —- in Shakespeareâ€™s plays.
Answer: theme

Q8. This kind of equivocation is similar to lying; it is intentionally designed to mislead and confuse.
(a) True
(b) False
Answer: (a) True

Q9. Macbethâ€™s famous soliloquy at the beginning of Act 2 introduces an important themeâ€”prophecy by guilt.
(a) True
(b) False
Answer: (b) False

Q10. One of the most compelling scenes in Macbeth takes place at the banquet haunted by Banquoâ€™s ghost.
(a) True
(b) False
Answer: (a) True

Q11. As the act 4 opens, the witches carry on the theme
(a) doubling and equivocation
(b) prophecy
(c) doubling
(d) equivocation.
Answer: (a) doubling and equivocation

Q12. In her sleepwalking, Lady Macbeth plays out which of the following theme that runs throughout the play?
(a) Prophecy and equivocation
(b) Washing and cleansing
(c) Wickedness
(d) Cleansing and wickedness.
Answer: (b) Washing and cleansing

Q13. Which of the following statements about Lady Macbeth is not correct?
(a) Lady Macbethâ€™s dissolution is swift
(b) Lady Macbethâ€™s language is choppy
(c) As Macbethâ€™s power grows, Lady Macbethâ€™s has also grows
(d) Her state of mind changes.
Answer: (c) As Macbethâ€™s power grows, Lady Macbethâ€™s has also grows

Q14. As the act 4 opens, the witches carry on the theme of —- and equivocation.
Answer: doubling

Q15. Another form of doubling or equivocation is found in the theme of —- , masks, and disguises.
Answer: costumes

Q16. Until Act 5, Macbeth has been tormented with visions and —- while Lady Macbeth has derided him for his weakness.
Answer: nightmares

Q17. In her sleepwalking, Lady Macbeth plays out the theme of —- and cleansing.
Answer: washing

Q18. On a historical note, it is generally thought the eighth king holds up a mirror in order to pander to James I.
(a) True
(b) False
Answer: (a) True

Q19. While planning Duncanâ€™s murder, Lady Macbeth counsels Macbeth to look like the innocent flower.
(a) True
(b) False
Answer: (a) True

Q20. One moral of the story is that the course of fate can be changed
(a) True
(b) False
Answer: (b) False

Q1. Which of the folowing is true about Macbeth?
(a) It is tragedy
(b) The Othello and KIng Lear are shorter than it
(c) It is a comedy of manners
(d) It is a comedy for class power struggle.
Answer: (b) The Othello and KIng Lear are shorter than it

Q2. Macbeth is a tragedy of character as proved by
(a) his character of high abmition
(b) his ambition too big and his character too small for his new role as king
(c) his character of a coward
(d) his motivation to kill the others.
Answer: (b) his ambition too big and his character too small for his new role as king

Q3. Which of the following motifs is not used in Macbeth?
(a) Blood, manipulation, reversal of nature, and hallucination
(b) Thinking, Blood, and manipulation
(c) Kiling, blood, and manipulation
(d) Thinking, killing, and blood
Answer: (c) Kiling, blood, and manipulation

Q4. A motif is a recurring element, event, idea, or theme in a —-
Answer: story

Q5. In the play, the Three Witches represent darkness, —- and conflict.
Answer: chaos

Q6. The disastrous consequences of Macbethâ€™s —- are not limited to him.
Answer: ambition

Q7. Macbethâ€™s generally accepted indebtedness to medieval tragedy is often seen as significant in the playâ€™s treatment of —-
Answer: moral order

Q8. Blood is often used to symbolize guilt, or the lack of it.
(a) True
(b) False
Answer: (a) True

Q9. Many people throughout the play attempt to manipulate others in order to fit their own needs and desires.
(a) True
(b) False
Answer: (a) True

Q10. One of the most common motifs in Macbeth is killing.
(a) True
(b) False
Answer: (b) False

Q1. Duncanâ€™s unsuspecting nature leaves him open to
(a) Macbethâ€™s betrayal
(b) Macbethâ€™s loyalty
(c) Macbethâ€™s guilt
(d) betrayal by his army.
Answer: (a) Macbethâ€™s betrayal

Q2. Which of the following statements about Macbeth is incorrect?
(a) Macbeth is a general in the Duncanâ€™s army
(b) Macbeth do deserve the adjective evil
(c) Macbeth is also named the Thane of Cawdor
(d) Macbeth is originally the Thane of Glamis.
Answer: (b) Macbeth do deserve the adjective evil

Q3. Which of the following makes a difference between Macbeth and Banquo?
(a) Macbeth is a general in the army of Duncan while Banquo is not
(b) Macbeth is subject of one of the witchesâ€™ prophesies while Banquo is not
(c) Both are subject of one of the witchesâ€™ prophesies but Banquo does not act to fulfill these prophesies
(d) Macbeth betrays the king while Banquo does not.
Answer: (c) Both are subject of one of the witchesâ€™ prophesies but Banquo does not act to fulfill these prophesies

Q4. Duncanâ€™s unsuspecting nature leaves him open to Macbethâ€™s —-
Answer: betrayal

Q5. After Duncanâ€™s death, both malcom and Donalbain, Duncanâ€™s sons fear for their lives rightly and both —- Scotland.
Answer: flee

Q6. Macduff is a Scottish nobleman who questions Macbethâ€™s —- and refuses to recognize him as king.
Answer: tyrannical rule

Q7. Siward, Duncanâ€™s brother, leads the English army against —-
Answer: Macbeth

Q8. The witches foresee Macbethâ€™s ascent to power and the killing of Banquo.
(a) True
(b) False
Answer: (b) False

Q9. Some critics believe that the character of hecate was added to the play by a later playwright.
(a) True
(b) False
Answer: (a) True

Q10. Both before and after the regicide, it is Duncanâ€™s particularly virtuous nature that enhances Macbethâ€™s sense of guilt.
(a) True
(b) False
Answer: (a) True

Q11. The anxiety which prompts Macbeth to the destruction of Banquo arises entirely from
(a) apprehension
(b) fear
(c) prophesy
(d) superstition.
Answer: (a) apprehension

Q12. Which of the following is not a method to dispel the curse?
(a) Spin around three times
(b) Uttering an ill-will
(c) Knock three times
(d) Spit over the left shoulder.
Answer: (b) Uttering an ill-will

Q13. Macbeth has an acquired, though not a constitutional, courage, which is equal to
(a) all special occasions
(b) only special occasions
(c) all ordinary occasions
(d) only ritual occasions
Answer: (c) all ordinary occasions

Q14. The first thought of acceding to the throne is suggested, and success in the attempt is promised, to Macbeth by the —-
Answer: witches

Q15. Macbeth commits murders with less agitation than that of —-
Answer: Duncan

Q16. Macbeth wants no disguise of his —- disposition.
Answer: natural

Q17. Macbeth is always shaken upon great, and frequently —- upon trivial, occasions.
Answer: alarmed

Q18. A distinction between Richard III and Macbeth is made in the article of courage.
(a) True
(b) False
Answer: (a) True

Q19. There are stories of accidents, misfortunes and even deaths taking place during runs of Macbeth.
(a) True
(b) False
Answer: (a) True

Q20. Only a few methods exist to dispel the curse, depending on the actor.
(a) True
(b) False
Answer: (b) False

Q1. The first witch hails Macbeth as
(a) Thane of Glamis
(b) Thane of Cawdor
(c) the king of Scotland
(d) the king of Ireland.
Answer: (a) Thane of Glamis

Q2. What does the three witches inform Banquo?
(a) That he will be the Thane of Cawdor
(b) That he will father a line of kings
(c) That he will be the Thane of Glamis
(d) That he will be the king of Scotland.
Answer: (b) That he will father a line of kings

Q3. What for the Macbeth remains uneasy despite his success as the king of Scotland?
(a) For the ghost of Banquo
(b) For the killing of Banquo and his son Fleance
(c) About the prophecy about Banquo
(d) For the manly behaviour of Lady Macbeth.
Answer: (c) About the prophecy about Banquo

Q4. The first scene changes when Macbeth and Banquo enter, discussing the weather and their —-
Answer: victory

Q5. The witches inform —- that he will father a line of kings.
Answer: Banquo

Q6. On the night of the kingâ€™s visit, Macbeth —- before entering Duncanâ€™s quarters, believing he sees a bloody dagger.
Answer: hallucinates

Q7. Seeing the murder of King Duncan, in a feigned fit of anger, Macbeth murders the —- before they can protest their innocence.
Answer: guards

Q8. Macbeth, the Thane of Glamis, and Banquo both defeated the allied forces of Norway and Ireland.
(a) True
(b) False
Answer: (a) True

Q9. Lady Macbeth frames Duncanâ€™s sleeping servants for the murder by placing bloody daggers on them.
(a) True
(b) False
Answer: (a) True

Q10. Macbeth, disturbed for the prophesy of Banquoâ€™s kingship, visits the Three Witches twice.
(a) True
(b) False
Answer: (b) False

Q11. The plot of Macbeth is set in motion ostensibly by
(a) the prophesy of three witches
(b) murder of king Duncan
(c) murder of Banquo
(d) speculation of Macbeth to be the king.
Answer: (a) the prophesy of three witches

Q12. Which of the following is not an expression of remorse in the play Macbeth?
(a) Macbethâ€™s exclamation that the Neptuneâ€™s ocean wash the blood from his hand
(b) The murder of Banquo
(c) The untimely death of Lady Macbeth
(d) Macbeth saying â€œI say. . . What, will these hands neâ€™er be clean.â€
Answer: (b) The murder of Banquo

Q13. Which of the following is true about themes in Macbeth?
(a) The most famous and poetic lines from Macbeth are expressions of remorse
(b) The natural order can also be understood as responding with tempestuous signs
(c) The relation of the natural to the supernatural in Macbeth is clear
(d) There is an air of deep uncertainty.
Answer: (c) The relation of the natural to the supernatural in Macbeth is clear

Q14. The prophecy of three witches fans the flames of —- within Macbeth and Lady Macbeth.
Answer: ambition

Q15. Ambition and —- both play a key factor in Macbeth and Lady Macbethâ€™s decision to kill Duncan.
Answer: temptation

Q16. As a morality tale of sorts, Macbeth has as its near contemporary —-
Answer: Dr Faustus

Q17. An overwhelming guilty conscience drives —- mad.
Answer: Lady Macbeth

Q18. The prophecy of three witches fans the flames of ambition within Macbeth and Lady Macbeth and serve as the primary impetus for the couple to plot the death of Duncan.
(a) True
(b) False
Answer: (a) True

Q19. The most famous and poetic lines from Macbeth are expressions of guilt.
(a) True
(b) False
Answer: (b) False

Q20. Macbeth overcomes the guilt that plagues him early on in the play while Lady Macbeth could not.
(a) True
(b) False
Answer: (a) True

Q1. The story of Macbeth is taken from
(a) Holinshedâ€™s Chronicle of the History of Scotland
(b) the Folio of 1723
(c) the book of Stationersâ€™ Company
(d) the Folio of Blount and Jaggard.
Answer: (a) Holinshedâ€™s Chronicle of the History of Scotland

Q2. Shakespeare was indebted in the supernatural parts of Macbeth to The Witch, a play by
(a) Collier
(b) Thomas Middleton
(c) Richard Grant
(d) John Bellenden.
Answer: (b) Thomas Middleton

Q3. Macbeth was written by command as one of the plays to be given before
(a) King of England and the King James of Denmark
(b) William Davenant and Charles II
(c) King James I and the King of Denmark
(d) King James I and Charles II.
Answer: (c) King James I and the King of Denmark

Q4. Macbeth was written by command as one of the plays to be given before —- and the King of Denmark.
Answer: King James I

Q5. Charles Kean and his wife Ellen Tree staged a spectacular, long-running Macbeth at the —- in 1853.
Answer: Princessâ€™s Theatre

Q6. Macbeth was first printed in the —- of 1623.
Answer: folio

Q7. William Charles Macready proved a —- Macbeth in his revival of 1837.
Answer: workmanlike

Q8. David Garrick during his management of the Drury Lane Theatre (1742-1776), revived Macbeth as written by Shakespeare.
(a) True
(b) False
Answer: (a) True

Q9. Charles Kean and his wife Ellen Tree staged a spectacular, long-running Macbeth at the Drury Lane Theatre in 1853.
(a) True
(b) False
Answer: (b) False

Q10. Margaret Websterâ€™s famous production of Macbeth with Maurice Evans and Judith Anderson set a standard for decades to come
(a) True
(b) False
Answer: (a) True

Q1. Liturgical drama in the beginning had three forms, viz.
(a) Mystery, Miracle, and Morality
(b) Tragedy, Mystery, and Miracle
(c) Mercy, Tragedy, and Morality
(d) Mercy, Anger, and Truth.
Answer: (a) Mystery, Miracle, and Morality

Q2. Which of the following statements is correct about the Doctor Faustus ?
(a) It is a typical morality play
(b) It is a belated morality play
(c) Themes and characters make it a supernatural morality play
(d) The seven sin make it a tragedy.
Answer: (b) It is a belated morality play

Q3. Which of the following is not a theme of morality play?
(a) Man begins in innocence, man falls into temptation, man repents and is saved or killed
(b) The struggle of man against the seven deadly sins
(c) The contemplation of man with seven deadly sins and to indulge in them
(d) Audience understand the greater concepts of sin and virtu.
Answer: (c) The contemplation of man with seven deadly sins and to indulge in them

Q4. The morality plays are a type of —- in which the protagonist is met by personification of various moral attributes.
Answer: allegory

Q5. Morality plays help the audience understand the greater concepts of —- and virtue.
Answer: sin

Q6. Theme was dividing in terms of —- and main.
Answer: general

Q7. Faustus follows the path told by —- and ultimately is ruined.
Answer: evil angel

Q8. The appearance of seven deadly sins shows that the playwright in â€œDoctor Faustusâ€ adopted some of the conventions of the old morality plays.
(a) True
(b) False
Answer: (a) True

Q9. The morality plays are a type of allegory in which the protagonist is met by personification of various immoral attributes.
(a) True
(b) False
Answer: (b) False

Q10. Comic scenes were also included in morality plays.
(a) True
(b) False
Answer: (a) True

Q11. Which of the following is not feature of a morality play, that Doctor Faustus has?
(a) Magic as a corrupting power
(b) Conflict between good and evil
(c) Power as a corrupting influence
(d) Creation of good and bad angels.
Answer: (a) Magic as a corrupting power

Q12. Which of the following play regarding Doctor Faustus is incorrect?
(a) Doctor Faustus deals with the themes at the heart of Christianity
(b) Doctor Faustus deals with morality more than the sin
(c) Doctor Faustus deals with seven deadly sins
(d) Doctor Faustus disobey God.
Answer: (b) Doctor Faustus deals with morality more than the sin

Q13. Doctor Faustus, despite being a magician rather than a scientist, explicitly rejects
(a) the deadly sins
(b) the moral code of conduct
(c) the medieval model
(d) supernatural thoughts.
Answer: (c) the medieval model

Q14. The conflict between —- and Evil was a recurring theme in the medieval morality plays.
Answer: Good

Q15. Doctor Faustus deals with the themes at the heart of —- understanding of the world.
Answer: Christianityâ€™s

Q16. Throughout the play, Doctor Faustus decides to remain loyal to —- rather than seek heaven.
Answer: hell

Q17. The Good Angel and the Bad Angel are characters derived from the —- plays.
Answer: medieval morality

Q18. Blood plays only one symbolic role in the play.
(a) True
(b) False
Answer: (b) False

Q19. The audience also observes the pageant of the Seven Deadly Sins in Doctor Faustus.
(a) True
(b) False
Answer: (a) True

Q20. Seeing ourselves as we are and not comparing ourselves to others is humility.
(a) True
(b) False
Answer: (a) True

Q1. Doctor Faustus is
(a) a talented German scholar
(b) a talented magician
(c) a shrewd deceit
(d) a victim of the plot of Lucifer.
Answer: (b) a talented magician

Q2. Faustus curses Mephostophilis for
(a) refusing the service
(b) depriving him of heaven
(c) creating illusion in the Court of Charles V
(d) returning to his master Lucifer.
Answer: (b) depriving him of heaven

Q3. Doctor Faustus is a well constructed play, and in the opening of the play
(a) Faustus surveys different branches of knowledge
(b) Faustus has a foretaste of what magic can do for him
(c) the audience is given an explanation of the subject matter of this tragedy
(d) Faustus as a magician is challenged by Benvolio.
Answer: (c) the audience is given an explanation of the subject matter of this tragedy

Q4. Faustus has explored the heavens and the —- from a chariot drawn by dragons.
Answer: earth

Q5. Doctor Faustus, a talented —- at Wittenburg, rails against the limits of human knowledge.
Answer: German scholar

Q6. Faustus —- Mephostophilis for depriving him of heaven.
Answer: curses

Q7. The outcome of the Doctor Faustusâ€™ pact with the devil is seen in —-
Answer: Act V

Q8. The Good Angel tells Doctor Faustus to repent, and the Evil Angel tells him to stick to his wicked ways.
(a) True
(b) False
Answer: (a) True

Q9. All the knwoledge from conventional academic disciplines has left Doctor Faustus unsatisfied, so now he turns to magic.
(a) True
(b) False
Answer: (a) True

Q10. Faustus swindles a horse-courser, and when the horse-courser returns, Faustus plays a frightening trick on him.
(a) True
(b) False
Answer: (a) True

Q11. Conflict between good and evil is best depicted by
(a) good angel and bad angel
(b) morals and sufferings
(c) thrust for knowledge and supreme power
(d) evil will gains the upper hand over good will.
Answer: (a) good angel and bad angel

Q12. Pride and sin is one of the seven deadly sins that leads to
(a) be saved by the gift of grace
(b) all other deadly sins
(c) the manâ€™s abasement
(d) worldâ€™s major belief system.
Answer: (b) all other deadly sins

Q13. The theme quest for knowledge best embodies by
(a) the gain the magical power by Doctor Faustus
(b) the creation of illusion
(c) the Renaissance aspiration for infinite knowledge
(d) the gain of spiritul knowledge.
Answer: (c) the Renaissance aspiration for infinite knowledge

Q14. Doctor Faustus is frequently accompanied by two angels, one —- and one evil.
Answer: good

Q15. Faustus was self-driven by —- and ambition.
Answer: greed

Q16. Faustus has a thirst for knowledge, but he seems unable to acquire —- .
Answer: wisdom

Q17. Knowledge bestows —- on the knower.
Answer: power

Q18. Pride is a lethal motivation because it makes the sinner forget his fallen state.
(a) True
(b) False
Answer: (a) True

Q19. The division between flesh and spirit was stronger in Christian Theology.
(a) True
(b) False
Answer: (b) False

Q20. This gap between high talk and low action seems related to the fault of valuing knowledge over wisdom.
(a) True
(b) False
Answer: (a) True

Q1. The seven deadly sins, when mentioned, conjure up ancient tales of dark deeds
(a) ancient tales of dark deeds and dark characters
(b) fairy tales of dark deeds
(c) modern tales of dark characters
(d) medieval tales of dark deeds and dark characters.
Answer: (a) ancient tales of dark deeds and dark characters

Q2. The characteristics that are considered to be the seven deadly sins can be described as
(a) gluttony, fight, lust, anger, sloth, proud, and envy
(b) pride, envy, gluttony, lust, anger, greed, and sloth
(c) fight, repent, pride, lust, sloth, anger, and worship
(d) repent, fight, glottony, pride, sloth, anger, and worship.
Answer: (b) pride, envy, gluttony, lust, anger, greed, and sloth

Q3. The deadlyness of sin was erased through
(a) repent
(b) worship
(c) the death of Christ and shedding of His blood
(d) both repent and worship.
Answer: (c) the death of Christ and shedding of His blood

Q4. Doctor Faustus supposedly sold his —- to the devil.
Answer: soul

Q5. In his descent into wickedness, the ruined Faustus committed all of the —-
Answer: deadly sins

Q6. By using the words â€œseven deadly sins,â€ it suggests that there are serious —- flaws.
Answer: character

Q7. God has indicated that these are things that he despises and that every —- is sin.
Answer: wrong

Q8. Even though God has provided a remedy for sin, then how can it be deadly?
(a) True
(b) False
Answer: (b) False

Q9. Anger is manifested by fits of wrath and rage due to intolerance of others.
(a) True
(b) False
Answer: (a) True

Q10. In Romans, Paul indicates that the Gospel reveals the righteousness of God
(a) True
(b) False
Answer: (a) True

Q11. Pride creates Doctor Faustusâ€™ inability
(a) to repent
(b) to adjust in the new situation
(c) to dispel the Gospel
(d) to dispel the evil deeds.
Answer: (a) to repent

Q12. Which of the following sin make Doctor Faustus to want more in his life?
(a) Pride
(b) Envy
(c) Gluttony
(d) Sloth.
Answer: (b) Envy

Q13. Which of the following group is not Marloweâ€™s deadly sins?
(a) Lechery, gluttony, and envy
(b) Wrath, sloth, and pride
(c) Repent, sloth, and gluttony
(d) Covetousness, envy, and gluttony.
Answer: (c) Repent, sloth, and gluttony

Q14. Doctor Faustus wanted more in his life and envied the —- of others.
Answer: powers

Q15. Glottony is temperance in accepting the —- of pleasures, and preserves of the natural balance.
Answer: natural limits

Q16. Faustus demonstrates covetoudness in various scenes, when he evokes the —-
Answer: devils magic

Q17. Despite his agreement with the —-, Faustus is a free individual.
Answer: devil

Q18. Doctor Faustus wanted to command the demons to control the world to his accord.
(a) True
(b) False
Answer: (a) True

Q19. Faustus displays Lechery in act one when he states he has not accomplished greatness.
(a) True
(b) False
Answer: (a) True

Q20. By making a deal with the devil, Faustus trades his soul for satisfaction, and a greater field of study.
(a) True
(b) False
Answer: (a) True

Q1. Which of the following statements about Mephostophilis is incorrect?
(a) He is the first in the recognized hierarchy of demons
(b) He was created for the Faustus legend
(c) He serves Faustus for 24 years
(d) He is a devil of craft and cunning.
Answer: (a) He is the first in the recognized hierarchy of demons

Q2. Which of the following statements about characterization of Doctor Faustus is correct?
(a) Wagner is the devil of Faustus
(b) Good Angel and Evil Angel are personifications of Faustus inner turmoil
(c) Lucifer refers to the Planetâ€™s brilliance
(d) Robin learns demon summoning by stealing one of Faustusâ€™ books..
Answer: (b) Good Angel and Evil Angel are personifications of Faustus inner turmoil

Q3. Lucifer originally meant Venus also refers to
(a) another name for demon
(b) another name for god
(c) the planetâ€™s brilliance
(d) father of Catholic Church.
Answer: (c)the planetâ€™s brilliance

Q4. Raymond is the King of —- who serves the Pope.
Answer: Hungary

Q5. Bruno, a man who would be Pope, selected by the German —- .
Answer: emperor

Q6. Martino, knight in the court of the German Emperor is friend to —- and Frederick.
Answer: Benvolio

Q7. When Faustus humiliates Benvolio, he seeks —- .
Answer: revenge

Q8. Faustus performs illusions at Duke of Vanholt court.
Answer: True

Q9. Hostess treats Robin and his friends badly.
Answer: False

Q10. Carter meets Faustus while carting hay to town.
Answer: True

Q11. What proves that the character of Doctor Faustus is central of the play?
(a) The attention of audience is focused upon him
(b) He was born of poor parents
(c) He was tragically treated in the play
(d) He excelled in the study of divinity.
Answer: (a) The attention of audience is focused upon him

Q12. The character of Doctor Faustus is a tragic hero because
(a) he was predominantly a bad man
(b) Mephistophilis had ultimate domination on him
(c) he was a sufferer of Mephistophilis excesses
(d) he has admirable aspirations.
Answer: (b) Mephistophilis had ultimate domination on him

Q13. Which of the following best analyse the character of Doctor Faustus?
(a) A tragic hero with limited aspirations
(b) A brilliant man with admirable aspirations
(c) A character with dual attitude
(d) A central character of the play but with bad attitude.
Answer: (c) A character with dual attitude

Q14. Faustus was born of poor parents in —- in Germany.
Answer: Rhode

Q15. At the beginning of the play, Doctor Faustus is no longer content with the —- of knowledge.
Answer: pursuit

Q16. Aristotle stated that the tragic hero is a predominantly —- man.
Answer: good

Q17. Doctor Faustus desire to be equated with God is a —- in Christian terms as well.
Answer: sin

Q18. Doctor Faustus looks sometimes forward to the medieval world, and sometimes backward to the modern world.
Answer: False

Q19. It was the glory and the ambition of the Renaissance man to have an aspiring mind.
Answer: True

Q20. Doctor Faustus was brought up by relatives who sent him to the university at Wittenberg.
Answer: True

Q1. Doctor Faustus has elements of
(a) both Christian morality and classical tragedy
(b) Aristotlean tragedy
(c) both classical tragedy and Aristotlean tragedy
(d) only Christian morality.
Answer: (a) both Christian morality and classical tragedy

Q2. Which of the following is an example of Christian morality?
(a) Men sits on high, though God is the judge of the world
(b) The devils tempting people into sin and the angel urging them to remain true to God
(c) Faustus allows his soul to be claimed by Lucifer
(d) Avoid temptation and sin and do not repent if indulge in temptation.
Answer: (b) The devils tempting people into sin and the angel urging them to remain true to God

Q3. Doctor Faustus has elements of both —- and classical tragedy.
Answer: Christian morality

Q4. In the Elizabethan age there was a strictly dichotomised attitude towards —- and wrong.
Answer: right

Q5. The play contains Medieval and Renaissance concepts of —-
Answer: Hell

Q6. Faustusâ€™s story is a tragedy in Christian terms, because he gives in to temptation and is damned to hell.
(a) True
(b) False
Answer: (a) True

Q7. Faustus expresses atheistic beliefs and turns his back on the redemptive power of God.
(a) True
(b) False
Answer: (a) True

Q8. Faustusâ€™s principal sin is his great pride and repent.
(a) True
(b) False
Answer: (b) False

Q9. Despite its pantheon of gods, the classical world believed in
(a) humanity
(b) god
(c) knowledge
(d) supernatural power.
Answer: (a) humanity

Q10. The basic difference Aristotle draws between tragedy and other genres is
(a) the pleasure of emotions, the audience feel
(b) tragic pleasure of pity and fear, the audience feel watching a tragedy
(c) the tragic flaw, the audience feel
(d) the protagonist responsible for its own feet.
Answer: (b) tragic pleasure of pity and fear, the audience feel watching a tragedy

Q11. The hero represents —- or everyman.
Answer: mankind

Q12. The classic discussion of Greek tragedy is —- .
Answer: Aristotleâ€™s Poetics

Q13. Faustusâ€™ end is —-, but just; there is no other fair outcome to his actions
Answer: tragic

Q14. The ancient Greeks extolled the perfection of the human body and the clarity of human thought.
(a) True
(b) False
Answer: (a) True

Q15. Doctor Faustus doomed to make a serious error in judgement.
(a) True
(b) False
Answer: (a) True

Q16. Faustus is born into nobility.
(a) True
(b) False
Answer: (b) False

Q1. Which of the following statements about volpone is incorrect?
(a) There are various views noted in letters and diaries
(b) Volpone was first performed in 1605
(c) There were no review on its first performance
(d) It was not popular with audience.
Answer: (a) There are various views noted in letters and diaries

Q2. The successful characterization of Volpone lies
(a) in the fact that characters represents various types of human personality
(b) in the fact that the character has symbolic order of the actionsâ€™s meaning
(c) in the fact that all characters in the persuit of deceiving other is deceived himself
(d) in the fact that all characters have lust for wealth.
Answer: (b) in the fact that the character has symbolic order of the actionsâ€™s meaning

Q3. Volpone relies on medieval beast fables especially one titled
(a) The Hare and the Tottoise
(b) The Rabbit and the Lion
(c) The Fox Who Feigned Death
(d) The Crow and the Fox.
Answer: (c) The Fox Who Feigned Death

Q4. Jonson was a serious —- who modeled his plays on classic Roman and Greek tragedies.
Answer: classicist

Q5. There is a —- running throughout the play, through the associations the charactersâ€™ names create with animals.
Answer: fable

Q6. The main plot of Volpone is a —- .
Answer: fable

Q7. The topic of Volpone is quite serious, although this is —-
Answer: comedy

Q8. Volpone is considered Jonsonâ€™s most popular work.
(a) True
(b) False
Answer: (a) True

Q9. The action of Volpone is set in Venice, which many Englishmen thought was a center of debauchery and sin.
(a) True
(b) False
Answer: (a) True

Q10. Corvino a scavengeris the poor merchant who canâ€™t get enough
(a) True
(b) False
Answer: (b) False

Q11. Volpone was set in
(a) Venice
(b) Scotland
(c) Wittenberg
(d) Newhempshire.
Answer: (a) Venice

Q12. Which of the following statement substantiate that Volpone is a dark comedy ?
(a) All characters are cheated
(b) All the characters are equally greedy
(c) All characters have lust for power
(d) All characters are deceiving and being deceited.
Answer: (b) All the characters are equally greedy

Q13. The comedy of humours is comedy based on
(a) lust of the Volpone
(b) sin of choloric in Mosca
(c) the exaggeration of the Greek explantaion for health
(d) ancient system of medicine.
Answer: (c) the exaggeration of the Greek explantaion for health

Q14. At the time of opening of Volpone Jonson was attacked as a meere —-.
Answer: Empyrick

Q15. Volpone means —- in Italian.
Answer: fox

Q16. Volpone is a single and aging —- magnifico.
Answer: Venetian

Q17. In Volpone all of the characters are equally —-
Answer: greedy

Q18. In fact comedy should have a happy endihg but in Volpone people are punished at the end of the play.
(a) True
(b) False
Answer: (a) True

Q19. A comedy of humor always deals with the characters more than anything else.
(a) True
(b) False
Answer: (a) True

Q20. Desperate not to be outfoxed by his servant, Volpone hide himself.
(a) True
(b) False
Answer: (b) False

Q1. Which of the following statements is correct about the text of Volpone.
(a) The opening part is superflous
(b) Dedication gives the information for the purpose of writing of this play
(c) The prologue sets illogical tone
(d) The work is of serious intelluctual and immoral weight.
Answer: (b) Dedication gives the information for the purpose of writing of this play

Q2. The construction of first scene of the play volpone is
(a) deceitful
(b) straight forward
(c) superflous
(d) of conceit situation.
Answer: (b) straight forward

Q3. Through the device of Volponeâ€™s con, Jonson makes his satiric commentary on
(a) lust
(b) desire for wealth
(c) greed
(d) situational irony.
Answer: (c) greed

Q4. When Volpone loses control with Celia, he breaks the —- rules.
Answer: implicit

Q5. The idea of satirizing a —- for talking too much and fussing over her appearance are considered fairly tired clichÃ©s and are also sexist.
Answer: woman

Q6. Against the greed for pleasure, Celia and Bonario are posited as the twin voices of —- .
Answer: moral criticism

Q7. Mosca opens the act 3 with a —-
Answer: soliloquy

Q8. Lady Politic Would-be was identified by her husband, Sir Politic, as the reason the couple came to Venice.
(a) True
(b) False
Answer: (a) True

Q9. Volponeâ€™s prayers to be rescued from Lady Politic are answered when Mosca finally hatch a conspiracy.
(a) True
(b) False
Answer: (b) False

Q10. This scene I of Act 2 introduces us to the Sir Politic Would-be subplot of Volpone.
(a) True
(b) False
Answer: (a) True

Q11. Sir Politic and Peregrine are walking along
(a) a canal
(b) along a courtyard
(c) along an avenue
(d) along a street.
Answer: (a) a canal

Q12. The Fourth Act is marked by
(a) return of Mosca
(b) Volponeâ€™s near complete disappearance
(c) Mosca constructing a plot
(d) verdict of Scrutineo.
Answer: (b) Volponeâ€™s near complete disappearance

Q13. The issue of social class had been treated indirectly in the play through the character of
(a) Volpone
(b) Scrutineo
(c) Mosca
(d) Sir Politic
Answer: (c) Mosca

Q14. Volponeâ€™s greed for —- and self-gratification made him a prisoner of his desires.
Answer: pleasure

Q15. Everything seems to be going well for Volpone, until —- enters.
Answer: Mosca

Q16. Voltore makes a cryptic —- to Mosca: though he is in summer now.
Answer: threat

Q17. A central motif in the final act is that of the —- -made-reality
Answer: disguise

Q18. We can say that it in fact strengthens the moral message of the play that a sympathetic character gets punished for his vice.
(a) True
(b) False
Answer: (a) True

Q19. After laughing at his expense, Peregrine claims that he and Sir Politic are even, and apologizes for the burning of the knightâ€™s papers.
(a) True
(b) False
Answer: (a) True

Q20. Sir Pol decides, at Peregrineâ€™s suggestion that he will hide in a wine cask made of tortoise-shell.
(a) True
(b) False
Answer: (a) True

Q1. Volpone, the playâ€™s title character is its protagonist. His name means
(a) the Fox in Italian
(b) crow in Italian
(c) parasite in Italian
(d) greedy in Italian.
Answer: (a) the Fox in Italian

Q2. Jonson uses all the characters as an instrument of
(a) idisguise
(b) satire
(c) greed
(d) lust.
Answer: (b) satire

Q3. A dwarf as his name in Italian indicates
(a) Mosca
(b) Volpone
(c) Nano
(d) Androgyno.
Answer: (c) Nano

Q4. Castrone is an —- , one of the three servants whom Volpone keeps for entertainment.
Answer: Eunuch

Q5. Peregrine is a young gentleman English —- who meets and befriends Sir Politic Would- be.
Answer: traveller

Q6. The Notario are the —- or officer of the Scrutineo.
Answer: Register

Q7. Mosca is Volponeâ€™s —- , a combination of his slave, his servant and his lackey.
Answer: parasite

Q8. Voltore is one of the three legacy hunters or carrion-birds continually circle around Volpone.
(a) True
(b) False
Answer: (a) True

Q9. The Commendatori are the court officers who detain Corbaccio, Corvino, Voltore, Mosca.
(a) True
(b) False
Answer: (a) True

Q10. Celia seems willing to do anything to avoid dishonor, too ready to sacrifice herself to be believable.
(a) True
(b) False
Answer: (a) True

Q11. In the first act, each legacy hunter arrives to present a gift to
(a) Volpone
(b) Mosca
(c) Lady Politico
(d) Celia.
Answer: (a) Volpone

Q12. The third act begins with a soliloquy from
(a) Celia
(b) Mosca
(c) Volpone
(d) lady Politico.
Answer: (b) Mosca

Q13. In the final act, Volpone returns home tired and worried that he is actually
(a) cheated
(b) revealed
(c) growing ill
(d) revealed and punished.
Answer: (c) growing ill

Q14. Volpone gloats in front of each legacy —-
Answer: hunter

Q15. At the end, there is a small note from the playwright to the —- .
Answer: audience

Q16. Volpone is dead in the eyes of the —- and that Mosca will not let him return to the world of the living.
Answer: world

Q17. Volpone takes place in —- Venice, over the course of one day
Answer: seventeenth-century

Q18. The judges order that Celia and Bonario be arrested and separated.
(a) True
(b) False
Answer: (a) True

Q19. The third act begins with a soliloquy from Celia.
(a) True
(b) False
Answer: (b) False

Q20. Just at the beginning, we see Volponeâ€™s latest con in action.
(a) True
(b) False
Answer: (a) True

Q1. Which of the following play earned Richard Sheridan the title of â€œthe modern Congreveâ€?
(a) The Critic
(b) The Rehearsal
(c) The School for Scandal
(d) The Relapse.
Answer: (c) The School for Scandal

Q2. The School for Scandal was first of all performed at
(a) Drury Lane Theatre
(b) Covent Garden Theatre
(c) Westminster Theatre
(d) Richmond Theatre.
Answer: (a) Drury Lane Theatre

Q3. The Sheridanâ€™s first play â€œThe Rivalsâ€ was produced at
(a) Drury Lane Theatre
(b) Covent Garden Theatre
(c) Richmond Theatre
(d) Westminster Theatre.
Answer: (b) Covent Garden Theatre

Q4. Which of the following play was not a work of Richard Sheridan?
(a) The School for Scandal
(b) St Patrickâ€™s Day
(c) The Glorious First of June
(d) The Rehearsal.
Answer: (d) The Rehearsal.

Q5. A Trip to Scarborough, a play by Richard Sheridan was acted on
(a) 24 February 1777
(b) 17 January 1775
(c) 8 May 1777
(d) 15 October 1778.
Answer: (a) 24 February 1777

Q6. After his marriage Sheridan turned to the theatre for a —- .
Answer: livelihood

Q7. Sheridan was recognized as one of the most persuasive —- of his time.
Answer: orators

Q8. Sheridanâ€™s financial difficulties were largely brought about by his own —- and procrastination.
Answer: extravagance

Q9. Sheridan was one of the orator who manages the unsuccessful impeachment of —- .
Answer: Warren Hastings

Q10. What Sheridan learned from the Restoration dramatists can be seen in his play —- .
Answer: The School for Scandal

Q11. The School for Scandal does contain two subtle portraits in Joseph Surface and Lady Teazle.
(a) True
(b) False
Answer: (a) True

Q12. The Critic, which since its first performance in October 1779 has been thought much funnier than its model, The Rehearsal (1671), by George Villiers.
(a) True
(b) False
Answer: (a) True

Q13. After his marriage Sheridan turned to the theatre as he was very fond of play writing.
(a) True
(b) False
Answer: (b) False

Q14. Richard Sheridan was intimately associated with Covent Garden Theatre.
(a) True
(b) False
Answer: (b) False

Q15. Sheridan had become member of Parliament for Stafford in September 1780
(a) True
(b) False
Answer: (b) False

Q16. On the opening of The School for Scandal, the reviews heralded that it was
(a) real comedy
(b) a comedy of manners
(c) a comedy of Restoration period
(d) a comedy of scandal.
Answer: (a) real comedy

Q17. The comedy School for Scandal shows that
(a) the society progressed with the restoration period
(b) a dramatic change, in moral attitudes about marriage and love, has taken place
(c) there is a deviation of social order in the society
(d) it fully fall in line with the restoration values.
Answer: (b) a dramatic change, in moral attitudes about marriage and love, has taken place

Q18. The most interesting switch that Sheridan depicted in The School for Scandal is
(a) how conservative England had become by late 18th century
(b) portraying love marriage
(c) not to create affairs between the characters of his play
(d) that bad are rewarded and the good are punished.
Answer: (c) not to create affairs between the characters of his play

Q19. The School for Scandal shows that a dramatic change, in moral attitudes about —- and —-, has taken place.
Answer: marriage, love

Q20. Post-World War II audiences are understandably sensitive to the —- made about moneylenders.
Answer: disparaging remarks

Q21. Sheridan’s play “The School for Scandal” (1777) witnesses a decided swing away from most of the contemporary plays. Much of this change is due to a falling away of the —- .
Answer: Restoration values

Q22. By current standards, the play appears artificial in the —- dress, and motivations.
Answer: characters’ speech

Q23. The main goal of the Restoration comedies of manners is to mock —-
Answer: society

Q24. Anti-Semitism is the significant problem that runs throughout the play.
(a) True
(b) False
Answer: (a) True

Q25. Though there is a restoration of social order in these comedies, we can gain an insight into historical events
(a) True
(b) False
Answer: (a) True

Q26. By current standards, the School for Scandal appears realistic in the characters’ speech, dress, and motivations.
(a) True
(b) False
Answer: (b) False

Q27. By the current standard, there is no strong character in the School for Scandal to drive the play.
(a) True
(b) False
Answer: (a) True

Q28. The comedy of manners in England were classed as Comedy of love.
(a) True
(b) False
Answer: (b) False

Q1. In scene I of Act I Lady Sneerwell, a wealthy young widow, and her hireling Snake discuss her various
(a) scandal-spreading plots
(b) issues of guardianship
(c) fidelity in various plots
(d) affairs of Maria and Charles.
Answer: (a) scandal-spreading plots

Q2. When Sir Oliver and Mr. Moses arrive, they find the Charles butler
(a) dishevel
(b) very well dressed
(c) waiting for them
(d) begging for some money.
Answer: (b) very well dressed

Q3. On meeting with Sir Peter, Sir Oliver amused by
(a) Sir Peter’s love affaire
(b) Sir Peter’s fidelity
(c) Sir Peter’s marriage to a young wife
(d) Sir Peter’s wealth.
Answer: (c) Sir Peter’s marriage to a young wife

Q4. Sir Peter and Lady Teazle concluded to separate because of
(a) authority of guardianship
(b) inheritance of wealth
(c) Sir Peter’s absurdity towards Lady Teazle
(d) Sir Peter’s fidelity with Maria
Answer: (d) Sir Peter’s fidelity with Maria

Q5. Charles and his raucous guests drink heavily and sing merry songs, as they prepare
(a) for a night of gambling
(b) for a night of music
(c) for a night of fortune
(d) for a night of lovemaking.
Answer: (a) for a night of gambling

Q6. Lady Sneerwell and Joseph are plotting to alienate Maria from —- by putting out rumors of an affair between Charles and Lady Teazle.
Answer: Charles

Q7. Sir Peter Teazle rather than getting a beautiful, retiring woman, he is tied to an —- .
Answer: absolute beast

Q8. Sir Peter argues with his wife, Lady Teazle, refusing to be ruined by her —- .
Answer: extravagance

Q9. When Mr Moses and Sir Oliver arrive at Charles Surface’s house they find the butler very well dressed, but he asks Mr. Moses for a —- .
Answer: loan

Q10. Though Charles is impudent, he is very honest and straightforward in his —-
Answer: Business dealings

Q11. Sir Oliver, Sir Peter, and Rowley hatch a plan that will allow Sir Oliver to judge Charles and Joseph Surface for their moral character.
(a) True
(b) False
Answer: (b) False

Q12. Lady Sneerwell confides that Joseph wants Maria, who is an heiress, and that she wants Charles.
(a) True
(b) False
Answer: (a) True

Q13. Lady Sneerwell is very talented in hatching plots, she is proud of her abilities and she wants to use them on her next project.
(a) True
(b) False
Answer: (a) True

Q14. Sir Peter Teazle, an old man, married a young woman six months ago and his life has been running smoothly since then.
(a) True
(b) False
Answer: (b) False

Q15. Sir Peter tries to convince Maria to turn her attentions from Charles to Joseph, but Maria will not pay any heed to it.
(a) True
(b) False
Answer: (a) True

Q16. When Joseph anxiously awaiting a visit from Lady Teazle, the servant draw a screen across the window because
(a) of tempered opposite neighbour
(b) Lady Teazle just left
(c) Lady Teazle does not want to meet Joseph
(d) he wants to hide the presence of Lady Teazle.
Answer: (a) of tempered opposite neighbour

Q17. When Sir Oliver points to his own portrait and asks how much it will cost, Charles
(a) asks for over 400 pounds for it
(b) refuses to sell it
(c) refuses to sell it, since Sir Oliver was bad to him
(d) refuses to sell it because it is priceless.
Answer: (b) refuses to sell it

Q18. When Sir Oliver enters Sir Peter’s house, Candour, Sneerwell, Backbite, and Crabtree are all at Sir Peter’s house, and think
(a) that Joseph was wounded in a duel and is at death’s door
(b) that Sir Peter caught was caught with Lady Teazle
(c) that Sir Oliver is a physician who has come to treat Sir Peter’s wounds
(d) that their information is all correct.
Answer: (c) that Sir Oliver is a physician who has come to treat Sir Peter’s wounds

Q19. Charles sells all but one of the family portraits to —- .
Answer: Premium

Q20. Sir Oliver, reflecting on Charles’s character with Moses, is met by Rowley, who has brought him the —- sent to Stanley.
Answer: Hundred pounds

Q21. Mr Moses and Sir Oliver are in Charles’s parlor and Mr Moses points out that all the stories about Charles are —- .
Answer: True

Q22. Lady Sneerwell complains to Joseph that Sir Peter, now that he knows the truth about Joseph, will allow Charles to marry —- .
Answer: Maria

Q23. Maria declines to give Charles her hand, citing his supposed involvement with —-
Answer: Lady Sneerwell

Q24. When Sir Oliver offers to purchase his own painting for over 400 pounds, Charles agrees to sell it.
(a) True
(b) False
Answer: (b) False

Q25. Sir Oliver (as Mr Stanley) visits Joseph. Joseph, like Charles, does not recognize his long-lost uncle.
(a) True
(b) False
Answer: (a) True

Q26. Sir Oliver is shown to be a good judge of character, since he can look past Charles’s roguishness and find the good in him.
(a) True
(b) False
Answer: (a) True

Q27. In Scene II Act V Sir Oliver arrives, Joseph takes him for “Stanley” and orders him in.
(a) True
(b) False
Answer: (b) False

Q28. At Sir Peter’s house, Lady Sneerwell, Mrs Candour, Sir Benjamin, and Crabtree exchange confused rumors about the Teazle affair
(a) True
(b) False
Answer: (a) True

Q1. At the beginning of the play Lady Teazle targets
(a) Sir Peter Teazle, Joseph and Charles
(b) Sir Peter Teazle and Maria
(c) Maria and Charles
(d) Joseph and Charles.
Answer: (a) Sir Peter Teazle, Joseph and Charles

Q2. The School for Scandal is generally considered as Sheridan’s
(a) sentimental play
(b) masterful play
(c) Restoration comedy
(d) Restoration sentimental play.
Answer: (b) masterful play

Q3. Sheridan’s success of School for Scandal lies in his
(a) depiction of sentimentalism
(b) attack on sentimentalism
(c) skillful combination of comedy of manners and sentimental comedy
(d) depiction of revolt against the dominant sentimental comedy.
Answer: (c) skillful combination of comedy of manners and sentimental comedy

Q4. As a dramatist, Sheridan has created virtually all that a comedy of intense qualities could provide such as
(a) amusing characters
(b) funny intrigues
(c) witty dialogue
(d) all the above
Answer: (d) all the above

Q5. Which of the following add up to account for Sheridan’s early success?
(a) His wit to wrung the last drop of laughter from every situation possible
(b) Penetrating insight of human relationship
(c) Surprising episodes as compared to laughter and wit
(d) Array of comic characters of highly uncivilized society.
Answer: (a) His wit to wrung the last drop of laughter from every situation possible

Q6. The play The School for Scandal excels in its blend of sentimentalism with the attack on —- .
Answer: sentimentalism

Q7. The School for Scandal is a marvelous array of comic characters of a highly —- society.
Answer: civilized urbane

Q8. Sheridan’s time was an age of —-, fashion, costume, color and gossip.
Answer: conversation

Q9. The society during Sheridan’s period was elaborate and —- .
Answer: artificial

Q10. Small talk, scandalizing, drinking, and gambling were more important than —-
Answer: occupation

Q11. The School for Scandal is generally considered as Sheridan’s masterful play.
(a) True
(b) False
Answer: (a) True

Q12. Historically, comedy of manners preceded Restoration comedy.
(a) True
(b) False
Answer: (b) False

Q13. As a dramatist, Sheridan has created virtually all that a comedy of intense qualities could provide.
(a) True
(b) False
Answer: (a) True

Q14. The School for Scandal badly treated the social temper-the tastes, customs, and morals of the modish society.
(a) True
(b) False
Answer: (a) True

Q15. The School of Scandal stirs uproar and wins admiration.
(a) True
(b) False
Answer: (a) True

Q16. Much of the success of Sheridan’s The School for Scandal lies in
(a) the rich humorous exposition of characters
(b) provoking laughter and entertainment
(c) poor delineation of characters
(d) comic representation of characters.
Answer: (a) the rich humorous exposition of characters

Q17. The School for Scandal opens with a scene in which
(a) Joseph Surface introduces plot against Charles Surface
(b) Lady Sneerwell introduces many of the complications through an idle, gossiping conversation
(c) Lady Sneerwell targeting his neighbour
(d) Lady Sneerwell hatching a plot with her venomous wit.
Answer: (b) Lady Sneerwell introduces many of the complications through an idle, gossiping conversation

Q18. In order to develop the difference between Charles and Joseph, Sheridan has made
(a) entry of Sir Oliver to uncover the real character of Charles
(b) made Sir Oliver uncover the real character of Joseph with the scandalous rumor
(c) Rowley withhold the really important information of the scene until the end
(d) made Sir Oliver hid his identity
Answer: (c) Rowley withhold the really important information of the scene until the end

Q19. The character Charles Surface is depicted as a young bachelor notorious for his extravagance and —- .
Answer: dissipation

Q20. Lady Sneerwell presides over a —- composed of Mrs Candour, Crabtree, Sir Benjamin Backbite, Snake and Joseph.
Answer: scandalous school

Q21. Fooled by Joseph Surface’s pretentions, Sir Peter Teazle promotes a marriage between —-
Answer: Joseph and Maria

Q22. Backbite is gossip who will —-, even those he does not know.
Answer: slander anyone

Q23. Both Sir Peter and Sir Oliver are kindly but Sir Oliver has more common sense and —-
Answer: broader humanity

Q24. No one in The School for Scandal acts as he does simply because some circumstance compels him: people act out of their own characters and shape events accordingly.
(a) True
(b) False
Answer: (a) True

Q25. Sneerwell describes Joseph as a rude nave.
(a) True
(b) False
Answer: (b) False

Q26. Sir Peter Teazle is named after the teasel, a thorny and prickly plant which suggests Sir Peter’s vexatious nature.
(a) True
(b) False
Answer: (a) True

Q27. In the role of tester, Sir Oliver will be the prime mover in the events to follow, as well as a hero.
(a) True
(b) False
Answer: (b) False

Q28. When Sir Peter Teazle visits Joseph Surface one day, he discovers his wife hiding behind a screen, whom he now brands as a villain.
(a) True
(b) False
Answer: (a) True

Q1. Which of the following themes is not a characteristics of the play The School for Scandal?
(a) Admiration
(b) Pitfalls of idleness
(c) Steadfast integrity
(d) Hypocricy.
Answer: (a) Admiration

Q2. Pitfalls of idleness is
(a) a sentimental theme
(b) an implied theme in the play
(c) wrongdoing in the play
(d) misdeed in the play.
Answer: (b) an implied theme in the play

Q3. Amid all the wrongdoing in the play, it is easy to overlook
(a) Maria’s refusal of gossip
(b) Maria’s repeated denounce of practice
(c) moral resolve of Maria
(d) hypocrisy shown by Maria
Answer: (c) moral resolve of Maria

Q4. Joseph Surface pretends to be a paragon of honor and —- .
Answer: rectitude

Q5. An implied theme in the play is that idleness breeds —-
Answer: mischief

Q6. Charles Surface has a reputation as a scoundrel.
(a) True
(b) False
Answer: (a) True

Q7. Spreading scandal was commonplace in London’s high society of the 1770s.
(a) True
(b) False
Answer: (a) True

Q8. Telling or listening to scandalous stories, as well as reading about them, was apparently one of the favorite pastimes in of working class.
(a) True
(b) False
Answer: (b) False

Q1. Which of the following play earned George Bernard Shaw The Nobel Prize?
(a) Saint Joan
(b) The Quintessence of Ibsenism
(c) The Doctor’s Dilemma
(d) Candida.
Answer: (a) Saint Joan

Q2. Which of the following plays was not written by George Bernard Shaw?
(a) Caesar and Cleopatra
(b) The Merchant of Venice
(c) Pygmalion
(d) Major Barbara
Answer: (b) The Merchant of Venice

Q3. In 1906 the Shaws moved into a house, now called —- .
Answer: Shaw’s Corner

Q4. After marriage Shaw settled in —-.
Answer: Ayot St. Lawrence

Q5. Influenced by his reading, he became a dedicated Socialist and a charter member of the Fabian Society.
(a) True
(b) False
Answer: (a) True

Q6. Shaw’s plays were first performed in the 1870s.
(a) True
(b) False
Answer: (b) False

Q7. George Bernard Shaw’s Saint Joan was first produced in New York City in 1923 and in London in 1924. Shaw published it with
(a) a long preface
(b) a long epilogue
(c) detailed scenes
(d) seven scenes.
Answer: (a) a long preface

Q8. Twenty-five years later King Charles has a dream, in which Joan and good number of the other characters show up to have
(a) a chat in the battle
(b) a chat in his royal bedroom
(c) a chat in the hundred year war
(d) a chat in the battlefield of Orelon.
Answer: (b) a chat in his royal bedroom

Q9. Michael Holroyd has characterised the play as a tragedy without —- .
Answer: villains

Q10. Joan gets captured and put on trial for —- .
Answer: heresy

Q11. There are no villains in the play Saint Joan.
(a) True
(b) False
Answer: (a) True

Q12. Shaw start thinking about Joan of Arc in 1923 and write the play the same year.
(a) True
(b) False
Answer: (b) False

Q1. Immediately upon meeting Baudricourt Saint Joan asks him supply her with
(a) horse, armor, and troops
(b) extra troops and foods for the soldier
(c) horse, armor and troops for a rescue operation
(d) back supply and extra troops for military expedition.
Answer: (a) horse, armor, and troops

Q2. The scene III dramatizes the turning point of
(a) Second World War
(b) battle of Orleans
(c) the battle of French with the British
(d) The First World War.
Answer: (b) battle of Orleans

Q3. Charles the Dauphin and his court are at the central French town of —- .
Answer: Chinon

Q4. What persuades Baudricourt to support Joan is her appeal to —-
Answer: Nationalism

Q5. Shaw praises Joan as “very capable” and “a born boss,” but reminds us that she was, after all, an adolescent girl.
(a) True
(b) False
Answer: (a) True

Q6. Scene III raises the question of how much Joan is actually commanding the situation around her, and how much others are using her to advance their own agenda.
(a) True
(b) False
Answer: (b) False

Q7. The chronology of the play advances by almost two months, to Orleans on April 29, 1429, the date on which French forces, led by Joan, entered the city
(a) True
(b) False
Answer: (a) True

Q8. Two years after scene V, May 30, 1431, Joan’s trial is coming to its close
(a) at the castle of Rouen
(b) in a room in Orleans
(c) in a room in Vaucouleurs
(d) in the battle field of Orleans.
Answer: (a) at the castle of Rouen

Q9. All the arguments that Shaw has been making about Joan throughout the play-her Nationalism, Protestantism, her Rationalism, her Imagination-come to fruition in
(a) scene V
(b) scene VI
(c) epilogue
(d) scene IV.
Answer: (b) scene VI

Q10. Several battles after Joan and Dunois recaptured Orleans, —-, the Earl of Warwick; and Chaplain Stogumber are in a tent in an English camp.
Answer: Richard de Beauchamp

Q11. Joan thanks Dunois for his friendship, and wonders why all these courtiers and —- hate her.
Answer: knights and churchmen

Q12. Scene V illustrates the way in which “commonsense” and realism is turning against Joan.
(a) True
(b) False
Answer: (a) True

Q13. After Ladvenu leaves, Charles sleeps and dreams, Joan appears to him in his dream and Joan reacts to news of her rehabilitation with typical commonsense.
(a) True
(b) False
Answer: (a) True

Q1. Joan, a simple peasant girl, hears voices which she claims to be those of
(a) Saint Margaret, Saint Catherine and archangel Michael
(b) Saint Margaret and archangel Michael
(c) Saint Catherine and Saint Maragaret
(d) Saint Catherine and archangel Michael.
Answer: (a) Saint Margaret, Saint Catherine and archangel Michael

Q2. Saint Joan is betrayed and captured by the English at the siege of
(a) Orleans
(b) Compiègne
(c) Stogumber
(d) Vaucouleurs.
Answer: (b) Compiègne

Q3. Joan accepts the ultimate punishment of death at the stake as preferable to such an —- .
Answer: imprisoned existence

Q4. In the Epilogue, 25 years after Joan’s execution, a new trial has cleared her of —- .
Answer: heresy

Q5. De Stogumber vehemently opposes the immediate execution of Joan.
(a) True
(b) False
Answer: (b) False

Q6. Church officials on both sides of the trial have a long discussion on the nature of her heresy.
(a) True
(b) False
Answer: (a) True

Q7. In Scene 3 (29 April 1429), Dunois and his page are waiting for the wind to turn so that he and his forces can lay siege to Orléans
(a) True
(b) False
Answer: (a) True

Q8. Most good stories start with a fundamental list of ingredients such as
(a) conflict, complication, climax, suspense, denouement, and conclusion
(b) conflict and complication
(c) suspense and climax
(d) denouement, and conclusion.
Answer: (a) conflict, complication, climax, suspense, denouement, and conclusion

Q9. In Scene Four, we see the Earl of Warwick and the Chaplain de Stogumber forming plans
(a) to rescue Joan
(b) to take Joan down
(c) execute Joan
(d) to chain Joan.
Answer: (b) to take Joan down

Q10. The first scene does a great job of establishing —- .
Answer: Joan’s character

Q11. Once Joan wins over Charles and gets control of the army, she can really get down to —-
Answer: business

Q12. Joan’s friends warn her that if she continues the fight and gets captured, they won’t lift a finger to help her escape.
(a) True
(b) False
Answer: (a) True

Q13. After Charles gets crowned at Rheims, Joan’s buddies agitated and hatched plots.
(a) True
(b) False
Answer: (b) False

Q1. The Dauphin, a reluctant ruler of the kingdom that is rightfully his is later
(a) King Charles VII
(b) King Charles V
(c) the real heir of the kingdom
(d) was opposed by Joan.
Answer: (a) King Charles VII

Q2. Which of the following statements is not true about Joan?
(a) The focus of the play
(b) The most cruel oppressor
(c) The human and patriotic
(d) The saint.
Answer: (b) The most cruel oppressor

Q3. The Dauphin seeks to avoid —-, and, in Shaw’s play, he is all but forced by Joan into his royal position.
Answer: responsibility and decision-making

Q4. Captain Jack Dunois is described by Shaw a good natured and capable man who has no affectations and no —-.
Answer: foolish illusions

Q5. The Earl of Warwick exemplifies the pragmatism of which Shaw writes in his preface.
(a) True
(b) False
Answer: (a) True

Q6. Bishop Cauchon emerges in Shaw’s play as a man who wants to do the wrong
(a) True
(b) False
Answer: (b) False

Q1. There were two major social and cultural forces in the middle ages, they are
(a) church and feudalism
(b) admiration and power struggle
(c) feminism and social class
(d) pride and religion.
Answer: (a) church and feudalism

Q2. Medieval society was rigidly divided by
(a) religion and orthodoxy
(b) class and position
(c) religion and power struggle
(d) feminism and class
Answer: (b) class and position

Q3. Joan is able to inspire such admiration, that she launches a movement which eventually unites a —- .
Answer: Country

Q4. Joan was an early pioneer of women’s —- .
Answer: equality

Q5. In his preface, Shaw points to the major social and cultural forces of the Middle Ages.
(a) True
(b) False
Answer: (a) True

Q6. Saint Joan chronicles the life of a Protestant saint
(a) True
(b) False
Answer: (b) False

Q1. Which of the following play earned Harold Pinter Tony Award for Best Play?
(a) The Homecoming
(b) The Birthday Party
(c) The Hothouse
(d) Betrayal.
Answer: (a) The Homecoming

Q2. Which of the following plays was not written by Harold Pinter?
(a) No Man’s Land
(b) Roots
(c) Family Voices
(d) Party Time
Answer: (b) Roots

Q3. Harold Pinter was suffering with —- cancer.
Answer: oesophageal

Q4. Working as both a screenwriter and as a playwright, Pinter composed a script called —- for a trilogy of films to be contributed by Samuel Beckett, Eugene Ionesco, and Pinter.
Answer: The Compartment

Q5. In the early 1980s after his marriage to Antonia Fraser and the death of Vivien Merchant, Pinter’s plays become overtly political, serving as critiques of oppression, torture, and other abuses of human rights.
(a) True
(b) False
Answer: (a) True

Q6. Pinter composed 27 screenplays and film scripts for cinema and television, many of which could not be filmed.
(a) True
(b) False
Answer: (b) False

Q7. Harold Pinter’s play The Birthday Party, the finished full length play was first premiered at
(a) the Arts Theatre in Cambridge
(b) at London’s Aldwych Theatre
(c) at Lyric Opera House in Hammersmith
(d) at Booth Theatre in New York.
Answer: (a) the Arts Theatre in Cambridge

Q9. Harold Pinter had worked on themes and motifs that he would carry over into The Birthday Part from an earlier work —-, a one-act play.
Answer: The Room

Q10. Martin Esslin dubbed the The Birthday Party as —-
Answer: Theatre of the Absurd

Q11. Harold Pinter’s The Birthday Party was the playwright’s first commercially-produced, full-length play.
(a) True
(b) False
Answer: (a) True

Q12. The Birthday Party when opened on May 19 at the Lyric Opera House in Hammersmith, it met with harsh reviews and closed down within a week.
(a) True
(b) False
Answer: (a) True

Q1. Which of the following is not true about The Birthday Party?
(a) It was a tragedy
(b) It was Harold Pinter’s first commercially-produced play
(c) Harold Pinter began writing The Birthday Party after acting in a theatrical tour
(d) The play was heavily criticized by the reviewers.
Answer: (a) It was a tragedy

Q2. Who is described disheveled and unshaven in the Act I?
(a) McCann
(b) Stanley
(c) Meg
(d) Petey.
Answer: (b) Stanley

Q3. McCann, at the living room table, methodically tears Petey’s —- into strips.
Answer: newspaper

Q4. Through the hatch, Meg explains that Goldberg and McCann had eaten all the —-
Answer: breakfast food

Q5. On hearing the news of arrival of two new visitors, Stanley appears concerned, suspicious, and disbelieving.
(a) True
(b) False
Answer: (a) True

Q6. Paralleling the first scene of the play, Petey is having breakfast, and Meg asks him innocuous questions, with important differences revealing the details of the party.
(a) True
(b) False
Answer: (b) False

Q7. The nearly unanimous negative reviews that assaulted the 1958 London premier of Pinter’s The Birthday Party baffled him and dampened his spirits of writing.
(a) True
(b) False
Answer: (b) False

Q1. Goldberg and McCann represent not only the West’s most autocratic religions, but its
(a) two most persecuted races
(b) class society
(c) oppressed society
(d) aristocratic society.
Answer: (a) two most persecuted races

Q2. Which of the following statements is not true Stanley Webber?
(a) He is the tenant of Petey Boles
(b) He is a saint
(c) He is as dangerous as a cornered animal
(d) He is palpably a Jewish name.
Answer: (b) He is a saint

Q3. Like his wife, Petey Boles is in his —- .
Answer: sixties

Q4. Lulu is a woman in her twenties whom —- tries vainly to rape during the birthday party in Act II.
Answer: Stanley

Q5. Lulu is a neighbor who first appears carrying Stanley’s birthday present.
(a) True
(b) False
Answer: (a) True

Q6. Nat Goldberg, in his fifties, is the older of the two strangers who come to interrogate and intimidate Stanley before taking him away.
(a) True
(b) False
Answer: (a) True

Q7. Pinter creates an atmosphere of menace through a variety of
(a) dramatic elements and techniques
(b) admiration and power struggle
(c) ritualistic celebration
(d) disjointed information.
Answer: (a) dramatic elements and techniques

Q8. The play ends with Stanley’s forced removal from the house by
(a) Goldberg and Lulu
(b) Goldberg and McCann
(c) Lulu and Petey
(d) Lulu and McCann
Answer: (b) Goldberg and McCann

Q9. Pinter creates an atmosphere of menace through a variety of dramatic elements and —- .
Answer: techniques

Q10. With the hosting of the birthday party, the play reaches its climax of —-
Answer: menace

Q11. Stanley tries to frighten Meg by prophesying the arrival of wheel-barrow which, of course, does not come for her.
(a) True
(b) False
Answer: (a) True

Q12. The play ends with Stanley’s willing removal from the house by Goldberg and McCann.
(a) True
(b) False
Answer: (b) False

Q1. For which of the following play Arnold Wesker got inspiration working at Bell Hotel in Norwich?
(a) The Kitchen
(b) Chicken Soup with Barley
(c) The Nottingham Captain
(d) Four Seasons.
Answer: (a) The Kitchen

Q2. Which of the following plays was not written by Arnold Wesker?
(a) Caritas
(b) Family Voices
(c) The Mistress
(d) When God Wanted a Son.
Answer: (b) Family Voices

Q3. Wesker’s play The Merchant tells the plot of Shakespeare’s —- from Shylock’s point of view.
Answer: The Merchant of Venice

Q4. In 2005, Arnold Wesker published his first novel, Honey, which recounted the experiences of Beatie Bryant, the heroine of his earlier play —-
Answer: Roots

Q5. Arnold Wesker met his future wife Dusty while working at the Bell Hotel in Norwich.
(a) True
(b) False
Answer: (a) True

Q6. Many of Wesker’s plays have underlying social themes.
(a) True
(b) False
Answer: (b) False

Q7. Roots is the second play by Arnold Wesker
(a) in the Wesker Trilogy
(b) in the Chicken tetralogy
(c) in the political trilogy
(d) in the social trilogy.
Answer: (a) in the Wesker Trilogy

Q8. The play Roots focuses on
(a) Norfolk farm labourers
(b) Beatie Bryant
(c) Ronnie Kahn
(d) an alien east London family.
Answer: (b) Beatie Bryant

Q9. Beatie Bryant makes the transition from being an uneducated working-class woman obsessed with —-
Answer: Ronnie

Q10. The story of Roots, briefly, is about Beatie Bryant, the daughter of —-
Answer: Norfolk farm labourers

Q11. Beatie’s spirit is effervescent and sunny, but her words are not hers, they’re Ronnie’s.
(a) True
(b) False
Answer: (a) True

Q12. Roots is written in the country dialect of the people on which it focuses.
(a) True
(b) False
Answer: (a) True

Q1. Which of the following is not true about Roots?
(a) It was a comedy of menace
(b) Nealla Spano develops her portrayal of Beatie carefully
(c) It is part of the Wesker trilogy
(d) The play opens at a ramshackle house in Norfolk.
Answer: (a) It was a comedy of menace

Q2. Who is focused in the play Roots?
(a) Nealla Spano
(b) Beatie
(c) Gloria Barret
(d) Bonnie Gallup.
Answer: (b) Beatie

Q3. The production of the play Roots at the Jewish Repertory Theatre is intelligent, if not —- .
Answer: inspired

Q4. If Mr Wesker says too little in —-, he says too much in Act III
Answer: Act I

Q5. Roots is part of the Wesker trilogy and is, by consensus, among the playwright’s best works.
(a) True
(b) False
Answer: (a) True

Q6. Arnold Wesker’s achievement in Roots is to show the Bryants simultaneously as individuals, as a family and as victims of an economic and political system.
(a) True
(b) False
Answer: (b) False

Q7. Gloria Barret as Mrs Bryant comes on rather more stylishly than her words or her condition allow.
(a) True
(b) False
Answer: (a) True

Q1. There were three sources of pressure in the play the play Roots, they are
(a) current affairs, author’s attitude and the characters
(b) feudalism, admiration and power struggle
(c) feminism, social class, and author’s attitude
(d) pride, characters, and current affairs.
Answer: (a) current affairs, author’s attitude and the characters

Q2. Which of the following depicts the elementary theatrical situation in the play Roots?
(a) heroine outgrown alone with the family
(b) heroine ditched by her fiancé
(c) fiancé revolted against the heroine’s family
(d) heroine’s extra marital love.
Answer: (b) heroine ditched by her fiancé

Q3. Arnold Wesker has tried his best explores the theme of —- .
Answer: self-discovery

Q4. The elementary theatrical situation is that of a —- ditched by her fiancé.
Answer: heroine

Q5. The inner framework contains social and political issues, held together dramatically by the playwright’s urgent concern for them and by his conviction.
(a) True
(b) False
Answer: (a) True

Q6. From the contemporary sociological angle, Beatie Bryant is a working-class girl, newly awakened to the joys of extra-marital love
(a) True
(b) False
Answer: (b) False

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