Studies in Literature, Grade 12, - Lakehead...

Studies in Literature, Grade 12, University Preparation

Review Test on Sir Christopher Marlowe’s Tragedy of Doctor Faustus

Part One: Background to the play, the era, and the playwright (8 marks)

1. For people in Renaissance England, the paradigm ofvirtue was no longer a doctor of theology such as Faustus, but rather

A. an explorer such as Sir Walter Raleigh.B. a powerful monarch such as Henry VIII.C. an artist and scientist such as Leonardo da Vinci.D. a gifted and eloquent writer such as ChristopherMarlowe.

2. According to Sylvan Barnet in his preface to theSignet edition of the play, the historical figure upon whom Marlowe based hisprotagonist

A. was the fifteenth-century necromancer Simon Magnus.B. received a degree in metaphysics at WittenbergUniversity.C. assisted Martin Luther in leading the ProtestantReformation.D. indulged in ridiculous practical jokes and extravagantacts of magic.

3. Like William Shakespeare, Sir Christopher Marlowe

A. is today only admired for his historical tragedies.B. was scorned by his contemporaries as a blasphemingatheist.C. was born in the seventh year of the reign of QueenElizabeth I.D. owned a share and acted in a prominent Londontheatre company.

4. However, unlike Shakespeare Marlowe

A. was recognized for a time as London’s leadingplaywright.B. served as a confidential agent for the Englishgovernment.C. achieved success in dramatic as well as non-dramaticverse.D. made extensive use of Blank Verse for his plays’noble characters.

5. At a public performance of Doctor Faustus, theaudience could have numbered up to

A.1300.B. 1800. C. 2300. D. 5500. OVER. - 1 - Review Test on Sir Christopher Marlowe’s Tragedy of Doctor Faustus Page Two

Part One: Background to the play, the era, and the playwright (continued)

6. Like the Witches in Shakespeare’s Macbeth, in thisplay (it is generally believed) the Seven Deadly Sins entered and exited the stage

A. from the inner stage.B. through the groundlings.C. by ropes suspended from the shadow.D. through a trap-door from the cellarage.

7. During the late Elizabethan period, London authoritiesoften attempted to close the public playhouses because they considered thesebuildings

A. centres of vice, crime, immorality, and lewdness.B. a breeding ground for rats, known to cause the Plague.C. were frequented only by whores, cut-purses, and otherriff-raff.D. were financed and run by men of questionable andeven criminal backgrounds.

8. The violence of the Elizabethan stage is a reflection ofsuch English social customs as

A. hanging, drawing, and quartering traitors.B. dunking accused witches in village ponds.C. bull-fighting, bear-baiting, and cock-fighting.D. beheading Scottish and Welsh rebels captured inbattle.

Part Two: Dramatic Terminology (16 marks)

9. The play’s climax comes in which of these scenes?

A. IV, i. B. IV, vii. C. IV, viii.

D .

V ,

i i .

10. The fourth scene of the first act provides punning onwhich word?

A. lice.B. mutton.C. placket.D. familiar.

OVER. - 2 - Review Test on Christopher Marlowe’s Tragedy of Doctor Faustus Page Three

Part Two: Dramatic Terminology (continued)

11. The bawdy humour of I, iv, was intended to appealprimarily to those in the

A. pit.B. orchestra.C. galleries.D. Lords’ Room.

12. An example of foreshadowing is

A. “Whereby he is in danger to be damned.”B. “All places shall be hell that is not heaven.”C. “By desp’rate thoughts against Jove’s deity.”D. “What might the staying of my blood portend?”

13. “I see there’s virtue in my heavenly words” contains anexample of

A. sarcasm.B. innuendo.C. verbal irony.D. dramatic irony.

14. An example of a Classical Allusion is

A. “We’ll canvass every quiddity thereof.”B. “the white breasts of the Queen of Love.”C. “as Indian Moors obey their Spanish lords.”D. “like Almain rutters with their horsemen’s staves.”

15. Marlowe uses all of the following to provide comicrelief except

A. the third and fourth scenes.B. Wagner and the two scholars in I, ii.C. Faustus, Valdes, and Cornelius in I, i.D. Faustus and the deed that he must sign in blood.

OVER.

- 3 -Review Test on Christopher Marlowe’s Tragedy ofDoctor Faustus Page Four


16. Marlowe intends Mephostophilis’s answers to Faustus’senquiries in I, iii, to be

A. verbally ironic.B. situationally ironic.C. examples of hyperbole.D. examples of oxymoron.

17. Faustus’s ambitions as expressed in I, iii, 101-113, areironic in that they are

A. not within the power of a fallen angel to grant.B. never realised, although they are within his power.C. essentially humanitarian and altruistic in intention.D. perfectly consistent with the ideals of RenaissanceHumanism.

18. “For such a dreadful night was never seen” (V, iii, 2)contains an example of

A. pun.B. parallelism.C. pathetic fallacy.D. sententious saying.

19. When the Pope in Act Three, Scene Three, swears,“Damned be this soul forever for this deed” (line 90), Marlowe is employing

A. innuendo.B. verbal irony.C. dramatic irony.D. situational irony.

20. In the scene with Helen of Troy we hear the most poeticspeech of the play; however, Faustus’s passionate language is ironic because

A. he is incapable of experiencing love.B. love of self has jaded his relationships.C. he himself has recognised that such as she are mereillusions.D. Mephostophilis has told us that he is using her to lureFaustus away from God. OVER. - 4 -Review Test on Christopher Marlowe’s Tragedy of

Doctor Faustus Page Five


21. Marlowe provides the best example of time telescopingin

A. I, iii.B. IV, ii.C. IV. vD. V, ii.

22. The play’s most significant conflict from an Elizabethanperspective is

A. physicalB. man vs. manC. man vs. natureD. man vs. himself

23. The play’s theme is given explicitly in the lines

A. Homo fuge! Wither should I fly?B. ...for where we are is hell / And where hell is here mustwe ever be.C. ...by aspiring pride and insolence, ...God threw him fromthe face of heaven.D. When I behold the heavens, then I repent, And curse the wicked Mephostophilis, Because thou hast deprived me of those joys.

24. The fourth scene between Wagner and the Clown,provides all of these except

A. satire on Faustus’ dabbling in magic.B. comic counterpointing of the previous scene.C. comic relief after the serious preceding scene.D. ironic commentary on Faustus’s futile attempt to cheatthe Devil.

25. This passage constitutes

A. a chorus.B. a dialogue.C. a soliloquy.D. an extended aside. OVER.- 5 -Review Test on Christopher Marlowe’s Tragedy ofDoctor Faustus Page Six

Part Three: Explication of a Passage (see p. 99 for V, ii, 140-197) 26. The dramatic tension in this passage is created by ouranxiety as to whether Faustus

A. will be torn limb from limb on stage.B. will be saved by the intervention of Christ.C. loves God more than himself or his powers.D. can somehow cheat the Devil of his bargain.

27. Between lines 140 and 170 we have an excellentexample of

A. soliloquy.B. apostrophe.C. dramatic irony.D. time telescoping.

28. “Who pulls me down?” asks Faustus in line 152; theanswer is,

A. “God.”B. “himself.”C. “Lucifer.”D. “Mephostophilis.”

29. In lines 181-6, it is most ironic that the man who hasaspired to godhead

A. would rather be an animal.B. has commanded devils and demons.C. now fears destruction by those whom he has served.D. and mastered all Christian doctrines should quote apagan philosopher.

Part Four: General Criticism (26 marks)

30. The play conforms to the Aristotelian Unity of

A. Time.B. Place.C. ActionD. none of these. OVER.- 6 -Review Test on Christopher Marlowe’s Tragedy ofDoctor Faustus Page Seven

Part Four: General Criticism (continued)

31. The purpose of the Chorus in the very first scene is to

A. fill in the details of setting and antecedent action.B. settle the audience down with a humorous speech.C. comment on Faustus’ folly in selling his soul o the Devil.D. provide the reaction of an average person to the hero’splight.

32. Aristotle might have criticized Marlowe’s choice of atragic hero, for Faustus

A. does not suffer an irreversible doom.B. is not really responsible for his suffering.C. was not of noble birth or national importance.D. does not fall due to some innate flaw in his nature.

33. To a Renaissance audience it would seem that Faustuswas destroyed by

A. gross sensuality.B. Fortune’s False Wheel.C. his overactive imagination.D. his overweening lust for power.

34. The line “A greater subject fitteth Faustus’ wit”suggests that

A. Faustus’s initial mistake was vanity.B. the powers of darkness know his weakness.C. Faustus holds Christian doctrine in contempt.D. medicine will not allow Faustus sufficient scope.

35. Faustus’ reasoning about the consequences of sin failsto take into account God’s

A. grace.B. omnipotence.C. omnipresence.D. commandments.

OVER.

- 7 -Review Test on Christopher Marlowe’s Tragedy ofDoctor Faustus Page Eight

Part Four: General Criticism (continued)

36. Marlowe intends the Good Angel to be a

A. personification of Faustus’s better nature.B. metaphysical externalization of Faustus’ intellectC. divine messenger sent to redeem Faustus’s immortalsoul.D. hallucination consequent upon too much reading andexperimentation.

37. The Evil Angel first tempts Faustus to become like a

A. god.B. devil.C. emperor.D. magician.

38. I n I, i, 75-94, Faustus’s motivation for practicingnecromancy is his desire to

A. luxuriate in wealth and power.B. benefit his native land and city.C. “reign soul king of all our provinces.”D. enjoy unlimited carnal pleasures and youth.

39. Faustus describes as “unpleasant, harsh, contemptibleand vild”

A. law.B. theology.C. the Ten Commandments.D. the offer of Mephostophilis.

40. Faustus’s ambition is spurred on by

A. Cornelius and Valdes.B. Wagner and Beelzebub.C. the works of Bacon and Albanus.D. his vision of the Seven Deadly Sins.

OVER.

- 8 -Review Test on Christopher Marlowe’s Tragedy ofDoctor Faustus Page Nine

Part Four: General Criticism (continued)41. When Mephostophilis appears as a Franciscan atFaustus’s command, Marlowe is

A. alluding to the recent trial of a monk for treason.B. satirizing the abuses of that order by the time of theReformation.C. directly attacking the superstition of contemporaryCatholic Germany.D. paying an elaborate compliment to this order founded bySt. Francis of Asissi.

42. Mephostophilis first appears to Faustus because

A. of Faustus’ powerful incantation.B. Lucifer commanded him to do so.C. God had already damned Faustus.D. he knew a mortal soul was in danger.

43. Although Sir Philip Sydney in his Defense of Poesy(1595) had severely criticized “mixing clowns and kings” in one play, Marlowe addedsuch characters as Robin and Dick to do all of the following except

A. to contrast the lofty intellectual protagonist.B. to show how much like them Faustus gradually becomes.C. to give the audience a norm against which to judgeFaustus.D. to ridicule the lack of sensitivity and education of the

lower orders.

44. Which of the following references does NOT help usto date the play’s action?

A. ...the fiery keel at Antwerp bridge.B. Amongst the rest the Emperor is one,/ Carolus the Fifth.C. And from America the golden fleece/ That yearly stuffsold Philip’s treasury.D. And as Pope Alexander, our progenitor,/ Trod on theneck of German Frederick.

45. In this play, Lucifer, Beelzebub, and Mephostophilis

A. rise through a trap door in the stage.B. control both the weather and men’s fortunes.C. are only lesser ministers of the Infernal Powers.D. were played by young boys rather than mature actors. OVER. - 9 -Review Test on Christopher Marlowe’s Tragedy ofDoctor Faustus Page Ten

Part Four: General Criticism (continued)46. Although the devils may be taken as “independentexternal creatures,” they are also

A. symbols of Faustus’ overweening pride.B. emblematic of the sins Faustus commits.C. ministers of a hostile and alien cosmos.D. a demonstration of the powers of Nemesis.

47. The Vintner of the subplot, introduced in III, iii,parallels a character in the main plot,

A. Bruno.B. a friar.C. a wench.D. The Pope.

48. Although Dr. Faustus is a product of the Renaissance,it seems Mediaeval in that it

A. suggests that man’s soul is not fettered by God.B. justifies God’s limitations on human ambitions.C. eloquently demonstrates Hell as a physical reality.D. indicates that untrammelled free-will is destructive.

49. Marlowe’s protagonist is the type of magician that theRenaissance termed

A. Hermetic (scientific).B. a conjuror (diabolic).C. a magnus (astrologer).D. a clown (country-dweller).

50. Dr. Faustus dreams at the beginning of the play ofobtaining all the following kinds of power except

A. public.B. artistic.C. private.D. supernatural.§µ OVER. - 10 -Review Test on Christopher Marlowe’s Tragedy ofDoctor Faustus Page Eleven

Part Four: General Criticism (continued)51. Like the author of the play, Faustus may justly beaccused of being

A. an atheist.B. an agnostic.C. an Epicurean.D. a Machiavellian.

52. The protagonist of this Renaissance drama differsmarkedly from that of Mediaeval play Everyman in that Marlowe’s character is verymuch

A. a hedonist.B. a stereotype.C. an individual.D. conscience-stricken.

53. Just as Everyman’s friends gradually desert him as hemakes his way to the grave, so in Marlowe’s play

A. the protagonists fellow scholars abandon him to hisown thoughts.B. Wagner loses touch with the feelings and aspirationsof his employer.C. Mephostophilis, Lucifer and Beelzebub no longerbother to visit Faustus.D. the Emperor of Germany and the Duke of Saxonycease to patronize the hero.

54. The weakest part in the play Doctor Faustusstructurally and dramatically is the

A. end.B. middle.C. prologue.D. beginning.

55. Surprisingly, in a play in which there is not one

murder there are fifteen references to that staple of theElizabethan stage,

A. fire.B. gold.C. blood.D. weapons.

O V E R . - 11-Review Test on Christopher Marlowe’s Tragedy ofDoctor Faustus Page Twelve

Part Five: Matching

56. his lines constitute 38% of the play: A . P r i d e

57. abjuring the Trinity and drawing a B . G l u t t o n y magic circle: C . M e

p h o s t o p h i l i s58. Faustus’ signing his pact with Lucifer “Consummatum est”: D . F a u s t u s 59. To Christians, it is a sacrament, to E . a

J e h o v a h

a n a g r a m Mephostophilis, a ceremonial toy: F . T h e

G o s p e

l

o f

J o h n

( x i x , 3 0 )60. The leader of the Seven Deadly Sins: G . m a r r i a g e

H . c o m m u n i o n

I . p r i e s t h o o d-----------------------------------------------------------------

------------------------------------------

English12 Academic Stream

D r .

P .

V .

A l l i n g h a m

DRAMA STUDY: DOCTOR FAUSTUS

Name.................................................... B l o c k . . . .

S c o r e . . . . . . / 6 0

Multiple-Choice (55 marks) Taxonomical Levels: Knowledge, Understanding, HMP

Part One: Background, Sources & Texts, Elizabethan Theatre (8)

1. 2. 3. 4.

5. 6. 7. 8. Score:./8

Part Two: Understanding and Applying Dramatic Terminology (16)

9. 10. 11. 12. 13. 14.

15. 16. 17. 18. 19. 20.

21. 22. 23. 24.

S c o r e : .

/ 1 6

Part Three: Explication of a Passage (5): Higher Mental Processes

25. _ 26. 27. 28. 2 9 .

S c o r e : .

/ 5

Part Four: General Criticism (26): Knowledge, Application, Higher Mental Processes

30. 31. 32. 33. 34. 35.

36. 37. 38. 39. 40. 41.

42. 43. 44. 45. 46. 47.

48. 49. 50. 51. 5 2 .

5 3 .

54. 55. Score:./26

Part Five: Matching based on Vocabulary (5): Knowledge, Application

56. 57. 58. 59. 60. Score:. /5English12 Academic Stream

D r .

P .

V .

A l l i n g h a m

DRAMA STUDY: DOCTOR FAUSTUS

Name............K...E....Y................... B l o c k . . . .

S c o r e . . . . . . / 6 0

Multiple-Choice (55 marks) Taxonomical Levels: Knowledge, Understanding, HMP

Part One: Background, Sources & Texts, Elizabethan Theatre (8)

1. A 2. A 3. C 4. B

5. C 6. D 7. A 8. A Score:. 8 /8

Part Two: Understanding and Applying Dramatic Terminology (16)

9. D 10. D 11. A 12. A 13. D 14.B

15. D 16. B 17. B 18. C 19. C 20.C

21. D 22. D 23. C 24. D

S c o r e : .

1 6

/ 1 6

Part Three: Explication of a Passage (5): Higher Mental Processes

25. B 26. D 27. B 28. B 2 9 .

A

S c

o r e : .

5

/ 5

Part Four: General Criticism (26): Knowledge, Application, Higher Mental Processes

30. D 31. C 32. C 33. C 34. A 35. E

36. A 37. A 38. B 39. C 40. E 41. B

42. C 43. D 44. B 45. A 46. A 47. D

48. B 49. B 50. B 51. C 5 2 .

C

5 3 .

A

54. B 55. C Score:./26

Part Five: Matching based on Vocabulary (5): Knowledge, Application

56. A 57. E 58. F 59. G 60. A Score:. /5

Project, Presentation, and Composition Ideas for the Faustus Unit: Critical and Creative Responses: Collaborative and Individual

1. David Letterman interviews Sir ChristopherMarlowe, William Shakespeare, and Ben Jonsonabout the Elizabethan theatre. The assignment involvesresearch, role play, and oral presentation (4 studentsrequired). Ontario curricular goals met: * select, use,and adapt reading strategies to interpret challengingliterary texts (e.g., research the social, cultural, andpolitical context of a literary period before reading;reread a text to identify connections among ideas,incidents, characters, images, and themes; researchcritical assessments of an author’s work).* adapt acharacter, scene, or idea from a literary text forpresentation in another form or medium (e.g., role-play characters from a novel in a trial situation; useideas and themes from a poem as the basis of a shortstory).

2. Individual short essay assignment in which studentscompare Marlowe’s pastoral lyric “Come with Meand Be My Love” to the “Helen” effusion by Faustus(“Was this the face that launched a thousand ships. . .my paramour.” V. i. 96-115). Ontario curricular goalsmet: * analyse a range of literary works, with anemphasis on in-depth study of particular genres, authors, themes, time periods, orcountries;* analyse literary texts in performance or recorded onfilm or tape;* select, use, and adapt reading strategies to interpretchallenging literary texts (e.g., research the social,cultural, and political context of a literary periodbefore reading; reread a text to identify connections among ideas,incidents, characters, images, and themes; research critical assessments of an author’swork);* analyse how literary texts provide insight intodiverse human experiences and perspectives (e.g., compare the representations of heroes in arange of poems and novels).

3. After students have viewed and discussed the filmDamn Yankees and the 1967 Richard Burton version ofDoctor Faustus, have two teams of students debatewhich is the more effective treatment of the ‘making apact with the Devil’ motif. Ontario curricular goals met:* assess the extent to which their created or adaptedworks expand understanding of ideas, themes, and issues in the original literarytexts (e.g., use a class-developed rubric to assess the effectiveness of the created or adaptedworks; make an oral presentation explaining how the work created or adaptedunderlines the continuing relevance of the original text).* explain how representation, form, style, andtechniques in media works convey messages with social, ideological, and political implications;* explain the relationship between media works andtheir audiences (The Ontario Curriculum Grades 11 and 12, p. 48).

OVER.

- 1 -Faustus Unit: Critical and Creative Responses:Collaborative and Individual Page Two

4. Instead or merely reading the first two acts of the play(or assigning that reading), have students sign up forreader’s theatre dramatizations of key scenes inthose acts. Each group should have a prologue tointroduce the scene and an epilogue that discussesthe scene’s contributions to the play.

Numberof students Scene Characters

6 I, i Wagner, Faustus, two Angels, Valdes, Cornelius3 I, iii Faustus, a devil, Mephostophili s4 II, i Faustus, two Angels, Mephostophili s13 II, ii Two Angels, Faustus, Lucifer, Belzebub, Sins.

Ontario curricular goals met:* describe how authors use rhetorical and literarydevices, such as pun, caricature, cliché, hyperbole, antithesis, paradox, wit, sarcasm, andinvective, to enhance the meaning of texts.* design and create, individually or collaboratively,literary or media works in response to literary texts (e.g., write a satire exposing the humanfoibles and social follies of characters in literary texts; write and perform an original shortplay extending a theme in literature);* assess the extent to which their created or adaptedworks expand understanding of ideas, themes, and issues in the original literarytexts (e.g., use a class-developed rubric to assess the effectiveness of the created or adaptedworks; make an oral presentation explaining how the work created or adaptedunderlines the continuing relevance of the original text).

5. Write and perform a radio-play about a typicalCanadian teenager’s making a Faustian pact inorder to become a successful hockey player or rockstar. Ontario curricular goals met: * design and create,individually or collaboratively, literary or mediaworks in response to literary texts (e.g., write a satireexposing the human foibles and social follies ofcharacters in literary texts; write and perform anoriginal short play extending a theme in literature).

6. Write the personal journal or diary of Dr. Faustus,Wagner, or Mephostophilis, taking into account all eventsin the play in which that character takes a part. Ontariocurriculum goals met: * adapt a character, scene, or ideafrom a literary text for presentation in another form or

medium (e.g., role-play characters from a novel in a trialsituation; use ideas and themes from a poem as the basisof a short story). OVER.

- 2 -Faustus Unit: Critical and Creative Responses: Collaborativeand Individual Page Three

7. Compare the role of the Chorus in the film adaptationor Dr. Faustus to that of another video adaptation of anElizabethan play, such as Branagh’s Henry V or BazLuhrmann’s Romeo and Juliet. Ontario curriculum goalsmet: *assess the extent to which their created or adaptedworks expand understanding of ideas, themes, and issuesin the original literary texts (e.g., use a class-developedrubric to assess the effectiveness of the created or adaptedworks; make an oral presentation explaining how the workcreated or adapted underlines the continuing relevance ofthe original text).

8.Compare Faustus as an Aristotelian tragic hero to theprotagonist of a modern tragedy such as Willy Loman inDeath of a Salesman or John Proctor in The Crucible.Ontario curriculum goals met:* produce critical responsesto interpretations of texts and theories of literary criticism(e.g., analyse a particular interpretation of a novel toidentify significant evidence from the text that is notincluded in the interpretation; debate the critical view thatmeaning resides solely in the text).

9. Analyze Richard B. Sewall’s “Tragic Forum” orSidney Lamb’s chapter on Marlowe from Tragedy (1965)in terms of thesis, textual proof, and points of argument.Ontario curriculum goals met: * Explain how elements ofinformational texts contribute to meaning.

10. Have five groups (one for each of the plays five acts)present tableaux of what they feel are the mostsignificant moments in each of the five acts. Ontariocurriculum goals met:* design and create, individually orcollaboratively, literary or media works in response to literary texts (e.g., write a satire exposing the humanfoibles and social follies ofcharacters in literary texts; write and perform an originalshort play extending a themein literature).

11. One minute monologues: answering questions inrole.

12. Who am I? Twenty questions for 35 parts. In thisguessing game, each student has drawn a character’sname out of hat. In turn, each one comes forward and the

class has to guess the identity of the student in twenty orfewer questions. Ontario curriculum goals met:* read anddemonstrate an understanding of a range of literary textsfrom various periods and countries.

OVER.

- 3 -Faustus Unit: Critical and Creative Responses: Collaborativeand Individual Page Four

13. Reader Response Journals. The issues presented inthe play that might serve as topics for reflection include the following, whichmight be assigned as is or worked up into statements or questions to which students wouldrespond:

Temptation internal conflict dilemma - choosing between equally attractive or unpleasant choices wasting one’s talent practical jokes nationalism currying favour with the rich and powerful satisfying social institutions is there an afterlife? repentance forgiveness bad bargains desire for forbidden pleasures addiction pride gets in the way being your own worst enemy.

14. Obituary Posters: Write two obituaries, one for SirChristopher Marlowe (based on at least one print andone internet source) and one for Doctor Faustus, withpictures. The assignment requires some non-fiction study(composing a concise biographical sketch from a variety ofprint and on-line resources) and the ability to synthesize aninterpretation of an entire literary work in the study of asingle character. This assignment might be given to pairs ofstudents. The class should brainstorm points for anappropriate marking rubric.

- 4 - Orally-delivered Pop Quiz: Act One Of Dr. Faustus

These questions will be asked orally so students’ answers willnecessarily be brief. N.B. Answers are given in italics.

1. Why does Wagner use the word “sirrah” when addressingRobin in I. iv?

The word is used with social inferiors to put them intheir place.

2. What does the expression “Zounds” mean? By God’swounds.

3. Who are Bannio and Belcher? Two devils who serveWagner.

4. For whom does Mephostophilis work before his pact withFaustus? Lucifer.

5. For how long will Faustus enjoy supernatural powers? 24years.

6. Name one thing that Faustus says he will do for his nativecity once he has magic powers.Any one of the following is a satisfactory answer:A. Make the Rhine circle the town.B. The schools will be provided with silk for student’sclothing.C. Expel the Spanish invaders from the Low Counties.D. Wall all Germany with brass.

7. Translate the Italian expression “Che sera,sera.” Whateverwill be will be.

8. Why does the Chorus refer to us, his audience, as“gentles”?

Flattering our intelligence and level of education.

9. What Aristotelian term describes Faustus’ “self-conceit”that leads to his damnation? Tragic flaw or Hamartia.

10. In what German university town is much of the play set?Wittenburg.

11. According to Mephostophilis what is “the shortest act forconjuring” up a devil? Praying to the Prince of Hell (Satanor Lucifer).

Studies in Literature, Grade 12, - Lakehead...

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