<p> 1</p><p>English 251 Exam II, Fall 2008</p><p>Part I: Quick Identification and Impact [40 points] Directions: Provide either the date or the person or the vent for each instance listed below, and IN ALL CASES, BRIEFLY IDENTIFY ITS IMPORTANT TO THE PERIOD OR THE LITERATURE, OR TO OUR UNDERSTANDING OF THE PERIOD OR THE LITERATURE. 2 Points Each, All or Nothing Spend No More Than One Minute Per Identification!!!!</p><p>1. Courtly Love emerges as a literary motif in Southern France, most likely as the result of European contact with the forces of Islam and Arabic culture. In what century C.E. does this begin?:</p><p>2. 1348:</p><p>3. Three reasons for the transformation of society from Medieval to Renaissance worlds:</p><p>4. Henry VIII on throne:</p><p>5. First Crusade called by Pope Urban II:</p><p>6. Battle of Poitiers or of Tours, won by Charles ‘The Hammer” Martel:</p><p>7. Battle of Tartry:</p><p>8. Fall of Western Rome:</p><p>9. Mary Tudor on throne:</p><p>10. Hejira:</p><p>11. 800 C.E., Christmas Day, in Rome:</p><p>12. Three Estates of Man: 2</p><p>13. The Tudor “New Men”:</p><p>14. Martin Luther Nails his 95 Theses on door of Wittenburg Cathedral:</p><p>15. Comitatus:</p><p>16. Tudor King who regulated the guilds and outlawed livery:</p><p>17. Gregory the Great in late sixth century C.E. sent whom where and why?</p><p>18. Elizabeth I on throne:</p><p>19. Gutenburg Press operable:</p><p>20. Marlowe writes “Hero and Leander” this century:</p><p>Part II: Literary Identification and Analysis [60 points] Directions: Provide the information and examples as directed. For passages, identify the writer or the work, and the importance of the passage to the literary and/or historical context. For sonnets, identify the type of pattern, whether it is Italian, Spenserian, or Shakespearian, where you find its volta, what topic it addresses, and what is actually asserts about the topic. For rhetorical devices, identify their kind and offer your own example. 6 Points each. All or Nothing. Approximately 5 minutes available for each passage</p><p>1. Device: “it was doubted whether he were more bound to Nature for the lineaments of his person, or to Fortune for the increase of his possessions.”</p><p>Kind: Your own example: 3</p><p>2. Device: As therefore the sweetest rose hath his prickle, the finest velvet his brack, the fairest flower his bran, so the sharpest wit hath his wanton will, and the holiest head his wicked way.” </p><p>Kind: Your own example:</p><p>3. Device: Venus has her mole in her cheek which made her more amiable: Helen her scar on her chin which Paris called cos amoris, the whetstone of love. Aristippus his wart, Lycurgus his wen…”</p><p>Kind: Your own example:</p><p>4. Device: This young gallant, of more wit than wealth, and yet of more wealth than wisdom….”</p><p>Kind: Your own example:</p><p>5. Sonnet: Loving in truth, and fain in verse my love to show, That the dear She might take some pleasure of my pain, Pleasure might cause her to read, reading might make her know, Knowledge might pity win, and pity grace obtain, I sought fit words to paint the blackest face of woe, Studying inventions fine, her wits to entertain, Oft turning others’ leaves, to see if thence would flow Some fresh and fruitful showers upon my sunburned brain. But words came halting forth, wanting Invention’s stay; Invention, Nature’s child, fled step-dame Study’s blows, And others’ feet still seemed but strangers in my way. Thus great with child to speak, and helpless in my throes, Biting my trewand pen, beating myself for spite, “fool,” said my Muse to me, “Look in thy heart and write.”</p><p>1. Pattern and Type: 2. volta: 3. Topic: 4. What sonnet asserts about topic: 4</p><p>6. Sonnet When I consider every thing that grows, Holds in perfection but a little moment; That this huge stage presenteth nought but shows Whereon the stars in secret influence comment; When I perceive that men as plants increase, Cheers and checked even by the selfsame sky, Vaunt in their youthful sap, at height decrease, And wear their brave state out of memory, Then the conceit of this inconstant stay Sets you most right in youth before my sight, Where wasteful Time debateth with Decay, To change your day of youth to sullied night, And all in war with Time for love of you, As he takes from you, I ingraft you new.</p><p>1. Pattern and Type: 2. volta 3. Topic 4. What sonnet asserts about topic:</p><p>7. Passage: “Thirdly, he asked me if I were shriven. I told him, so that I might have one of these three, that is to say, Doctor Crome, Sir William, or Huntingdon, I was contented, because I knew them to be men of wisdom. “As for you or any other I will not dispraise, because I know ye not.”</p><p>Work or Author: Importance: 5</p><p>8. Passage: “Methinketh,’ quod he, “the text is good enough and plain enough, needing no gloss, if it be well considered, and every part compared with other.” “Hard it were,” quod I, “to find anything so plain that it should need no gloss at all.” Work or Author: Importance:</p><p>9. Passage: “O wretched and unhappy man, what art thou, but dust and ashes? And wilt thou resist thy maker that fashioned thee and framed thee? Wilt thou forsake Him that called thee from the custom gathering among the Romish Antichristians to be an ambassador and messenger of his eternal word?</p><p>Work or author: Importance:</p><p>10.Passage: “Yet for her sake whom you have vowed to serve, Abandon fruitless, cold virginity, The gentle Queen of Love’s sole enemy. Then shall you most resemble Venus’ nun, When Venus’ sweet rites are performed and one, Flint-breasted Pallas joys in single life, But Pallas and your mistress are at strife. Love [….], then, and be not tyrannous, But heal the heart that thou hast wounded thus. Work or author” Importance: 6</p><p>Part III: Essays [50 points each]</p><p>Directions: Write roughly three pages, typed, double spaced, in response to each question. At the same time, please take care to frame your response as if it is its own essay, with an introduction wherein you identify your issue and your thesis, a main body that offers both direct and indirect proofs in support of your thesis, and a conclusion, that reformulates your thesis, then considers its importance beyond itself—our in the world of the Renaissance, of Minot in 2008, of the universe as bounded by the fullness of time, et cetera. Be organized and specific. Please do remember that the devil is in the details! Good luck. And also, please provide titles for your essays. RK</p><p>I. When you say ‘thank-you,’ don’t I respond, ‘you are welcome?” When you sit down to a formal dinner, don”t you sometimes take pains to figure out which is the salad fork, and which is meant for the entrée? Do you put on both of your socks and then your shoes, or a sock and a shoe, sock and shoe? Regardless, the greater likelihood is that you follow the same pattern each and every time. We are largely composed of patterns, forms, schemas, and it is safe to say that of all creatures great and small, we are the best pattern seekers and makers, and we are ourselves largely made of that which we both seek and make. Being aware of this in some way makes us ‘self conscious,” and it is a genuine question to try to distinguish how much of our identity is the result of patterning (cultural, biological, et cetera), and how much is the real stuff of us, the original us that we just know is somewhere in there (by the way, some researchers believe that there really is NONE of us. Just pattern.). Likewise, the literature we produce predictably has its patterns, just as fashions have their age. We have just spent the last several weeks examining literature that is to some degree patterned in the old formal way. Indeed, all art before the Romantic Period (circa 1789 C.E.) was by definition formally patterned, made artificial, so as to distinguish if from everyday life and communication. So Beowulf is sung in half lines that resemble drum beats, while Sir Gawain and the Green Knight is organized in stanzaic patterns called the “bob and the wheel.” Lyly’s Euphues is constructed almost entirely out of rhetorical devices—patterns. And you can tell which of our royal queens and ladies have spent time writing and speaking for a public audience, and which have not. Those more used to the public sphere are better able to tailor their messages to their audiences, in order to gain their desired ends. They know their audience’s patterns, so to speak, and use them to construct their own. Yet even those Protestant narratives we have viewed, so disdainful of anything but plain speaking, so sure to speak straight from the heart rather than from the head —aren’t they also sort of alike in ways? While they have broken free from one kind of patterning, have they only just created another? The sonnets too, are full 7 of pattern, and oftentimes much of what interests us in poems, songs, tales, and the like, come from our recognition of the pattern, followed by our awareness of lines, characters, plots and actions departing from it in some fashion, to some degree, or when new patterns emerge out of old, when things are used in novel ways. Why, for example, do we like songs such as “Take This Job and Shove it,” or turn our baseball caps backwards on our heads, or join the Army just when everyone thought we were taking the scholarship to college, or when in literature, Sir Gawain hides under the covers rather than play the gallant lover, as is expected? Where do you see such turns from expectation happening in the literature of the Renaissance? In the world? What is going on? Why are we so interested in such things? The truth is, we may all be interested for differing reasons and so for this essay, I would like you to reflect upon this world of ours, caught as it is between that which is patterned, and that which is-- I don’t know, shall we say relatively free from pattern? Use at least three different works from our Renaissance period to explore your own relationships to form, or to formlessness, as each or either relates to meaning, to truth, to human and literary and cultural understanding as you see it, as you experience it. And then please consider the biggest question of all. So what? </p><p>II. Construct a thoughtful essay using at least two different works from our Period, and employing at least two of the following terms and perhaps one or more of your own in order to assert something and prove it:</p><p>Love….War….Religion….Politics….Intrigue…..Art……Mutability ….Voice</p><p>And remember to answer that all important question at the end: So What?</p>