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| Which character says the following? “After they were dead, I called them for two days then fasting had more force than grief.” |
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| Who is described in the following passage? “If he was once as handsome as he now is ugly and, despite that, raised his brows against his Maker, one can understand how every sorrow has its source in him.” |
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| The Divine Comedy was originally titled La Commedia, so named because it is the story of a man who begins in misery and ends in joy. |
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| In the bottom ring of the ninth circle of hell in The Inferno, Judas, Brutus, and Cassius, the three betrayers of Jesus, are eternally being eaten by Lucifer. |
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| Dante’s epic teaches moral lessons through concrete, parable-like stories that show those who read his poem how to avoid spending eternity in hell by avoiding the many ways the inhabitants of the Inferno had sinned without acknowledging and repenting their error. |
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| The three symbolic obstacles that prevent Dante, in The Inferno, from climbing the symbolic mountain to symbolically make his way home to heaven in Canto 1 are a leopard, a lion, and a hound—respectively signifying sensual “sins of the flesh,” the violence that grows from pride, and the deceit and betrayal that grow out of greed. |
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| In one “novella” by Boccaccio, a young woman who has been lied to by a “holy” man states, “Look here…Even though your devil has been punished and pesters you no longer, my Hell simply refuses to leave me alone. Now that I have helped you with my Hell to subdue the pride of your devil, the least you can do is to get your devil to help me tame the fury of my Hell.” To whom is the young woman speaking? |
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| Boccaccio created this very patient character, who endured a great amount of injustice and mental anguish over the loss of her two children at the hands of her noble husband and “master” without ever complaining. Who is she? |
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| This assertive, intelligent young woman convinces her friends to leave Florence and go to the country in order to avoid The Plague and the breakdown of civilization following it, and she then comes up with the orderly and civilized idea of telling stories as daily entertainment. |
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| Who is the character in one of The Decameron’s stories who comments in the following lines on the Jewish, Christian, and Islamic faiths? “And I say to you, my lord, that the same applies to the three laws which God the Father granted to His three peoples, and which formed the subject of your inquiry. Each of them considers itself the legitimate heir to His estate, each believes it possesses His one true law and observes His commandments. But as with the rings, the question as to which of them is right remains in abeyance.” |
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| Dante’s epic teaches moral lessons through concrete, parable-like stories that show those who read his poem how to avoid spending eternity in hell by avoiding the many ways the inhabitants of the Inferno had sinned without acknowledging and repenting their error. |
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| The three symbolic obstacles that prevent Dante, in The Inferno, from climbing the symbolic mountain to symbolically make his way home to heaven in Canto 1 are a leopard, a lion, and a hound—respectively signifying sensual “sins of the flesh,” the violence that grows from pride, and the deceit and betrayal that grow out of greed. |
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| One of the young men who accompanies the 7 young women who flee the plague in Florence represents those who test the rules of society—he is a rule-breaker but one who knows the value of compromise as well. He gets to tell any story he wishes each of the ten days no matter what the day’s theme, but he always tells his story last, including the story of putting the devil back in hell. Who is this young man? |
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| In The Decameron, the author directly addresses women as the work’s primary audience. |
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| A key theme of The Decameron is that “common” individuals must look outside themselves—to the aristocratic rulers of society and to the Catholic church hierarchy—to distinguish right from wrong, create order, and define their future. |
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| A young woman is confronted with the following description of herself when she appears at a burial service for the young man whose love she rejected: “fierce basilisk of these mountains,” “this poor man slain by your cruelty,” “your barbarity…pitiless”. And she responds:”…you say and even demand that, in return for the love you show me, I must love you. ..I was born free, and to live free I chose the solitude of the countryside.” Who is this strong woman? |
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| Which important character, ‘enchanted’ by the nobility of the quest, says:”…in search of adventures…I’ve ended up blanket-tossed in some…But in spite of all that, it’s great to be waiting to see what’s going to happen next as you ride across mountains…” |
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| In Cervantes’ story, the one thing that almost keeps Don Quixote from starting off on his first adventure is his realization that he does not have a squire. |
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| In this novel, the innkeeper who knights Don Quixote does not demand payment for food and lodging, but gives his squire Sancho Panza good advice regarding money and supplies to pack before his next adventure. |
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| The following passage in Don Quixote can be said to echo elements of Dante’s Divine Comedy: “…I’m longing to come back and get you out of this purgatory where I’m leaving you.” /”Purgatory you call it, Sancho? Said Don Quixote. “You would do better to call it hell, or worse, if there is anything worse.”/”…people in hell never get out (replied Sancho), and can’t get out…I’ll rescue you from this purgatory that seems like hell.” In the passage above, it can also be said that Sancho Panza is acting as a “savior” for Don Quixote and sees clearly that the knight-errant has done nothing that deserves eternal condemnation. |
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| In Book 2, when Don Quixote asks how audiences have received the first book about him, this speaker representing the voice of education gives him the following report: “…it’s so very intelligible that it doesn’t pose any difficulties at all: children leaf through it, adolescents read it, grown men understand it and old men praise it.” Who is this speaker? |
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| Which character says, in a final ironic twist: “For me alone was Don Quixote born, and I for him…we two are as one…my only desire has been to make men hate those false, absurd histories in books of chivalry…Farewell.” |
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Which numbered statement in the following list is not correct about Cervantes’ story?
5. In the 2nd chapter of book 1, Don Quixote and Sancho Panza discuss the magic elixir of immortality called Balsam of Fierabras;
9. Sancho Panza becomes a knight’s squire in the 7th chapter of Book 1;
10. In the 9th chapter of book1, the story’s narrator finds the “rest of the story” in a Toledo market where he must also find a Moor to translate the manuscript written in Arabic. |
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| This number, important in Christianity, is the same number as the chapter in which Don Quixote receives the gift of knighthood he needs to continue his noble quest. |
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| Cervantes engages in political satire in his depiction of the Duke and Duchess, whose most pressing business is to banquet, relax, and indulge their whims rather than attacking the giants of poverty, ignorance, and oppression in the nation. |
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| Sanson Carrasco—a “modern” man of education and learning—takes on the costume and actions of a knight to defeat (and heal) Don Quixote in order to bring him to his senses and return him to reality. |
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