Engl 200: Exam 3

*Feel free to either write your answers in this document

or upload a separate document to Scholar

Part 1: Passage identification and analysis (80 points)

You will need to identify the title and author (last name is just fine) of unidentified passages as
well as provide a detailed paragraph on what is significant about each passage. In terms of your
“significance” answer, remember that there are many different kinds of significance a given
passage might have: for example, the passage might be important to the text’s literary quality--
contributing to characterization, themes, or the genre of the text. There are other kinds of
significance as well: for example, the text might demonstrate theological points, historical or
cultural context, or gender constructions. Basically, think of the “significance” answer as
offering an interpretation or analysis of the passage. Please also include at least 3 key terms in
each of your answers and underline or highlight them.

Passages to Identify and Analyze

Each passage analysis is worth 20 points. Please label your passage ID with the number
assigned here or simply write your answer below each passage.

1.)
The day was now departing; the dark air
released the living beings of the earth
from work and weariness; and I myself

alone prepared to undergo the battle

both of the journeying and of the pity,
which memory, mistaking not, shall show.

O Muses, o high genius, help me now;

O memory that set down what I saw,
here shall your excellence reveal itself!

I started: “Poet, you who are my guide,

see if the force in me is strong enough
before you let me face that rugged pass.”

This is an excerpt from Dante’s Inferno. There are 3 features to this story that deem Inferno
worthy of the honor of being a classic Epic. We have a hero who is hesitant to go on a grand
journey, Dante. Dante’s hesitation stems from a place of self doubt concerning his worthiness,
seeing as the success of this journey is a rarity. Dante is preceded by Aeneas, a great classical
hero, who underwent a similar journey. His self doubt introduces a purely human element, as
Dante’s vulnerability reflects the reader’s own struggles with fear and uncertainty, particularly
regarding the afterlife. Nonetheless, he continues on through this journey, showing exemplary
heroism. The second element is its identification of an upcoming journey. Dante goes on a
journey through the underworld. His call upon the Muse is the third element which makes this
an amazing Epic. The Epic Convention of the Muse was a way for Dante to gain encouragement
for the perilous journey to come. Later in the story, because of his call upon the Muse, Virgil
appears as a divine intervention to assure Dante regarding his journey through Hell.

2.)

I must eat my dinner.

This island’s mine by Sycorax, my mother,
Which thou tak’st from me. When thou cam’st first,
Thou strok’st me and made much of me, wouldst give me
Water with berries in ’t, and teach me how
To name the bigger light and how the less,
That burn by day and night. And then I loved thee,
And showed thee all the qualities o’ th’ isle,
The fresh springs, brine pits, barren place and fertile.
Cursed be I that did so! All the charms
Of Sycorax, toads, beetles, bats, light on you,
For I am all the subjects that you have,
Which first was mine own king; and here you sty me
In this hard rock, whiles you do keep from me
The rest o’ th’ island.

This is a passage from Shakespeare’s The Tempest. Throughout The Tempest, Shakespeare plays
upon the power dynamics that colonialism creates between the colonized and the colonizer.
Here, Caliban is addressing Prosperous. Caliban represents the indigenous figure dispossessed of
his land and autonomy. While Prospero is a symbol of the exploiter learning from the natives of
a land simply to oppress them in return. We see that Caliban holds the island to a divine esteem.
He personifies it by calling it barren and fertile, meaning that is a blank canvas full of
possibilities. It is a place of restoration and new birth.

3.)

The reward of sin is death? That’s hard.

Si peccasse negamus, fallimur,
et nulla est in nobis veritas.
If we say that we have no sin,
We deceive ourselves, and there’s no truth in us.
Why then belike we must sin,
 And so consequently die.
Ay, we must die an everlasting death.
What doctrine call you this? Che sarà, sarà:
What will be, shall be! Divinity, adieu!
These metaphysics of magicians,
And necromantic books are heavenly!

This is Marlowe’s Dr. Faustus Here he is reading a few passages from the Bible. The first of
which is Romans 6:23. The next passage referred to is 1 John 1:8. Though they are separate
references, when placed into context with one another, they validate the beliefs of Calvinists.
Faustus, specifically, uses these texts to validate him turning toward things that are seemingly
sacrilegious and evil. His entitlement and conceit caused him to do actions that, in the end, he did
not want to pay for. Faustus being delivered in the form of a play is the sole reason that it is not
seen as offensive. Drama, in the literary world, is seen to be the “lesser” of the arts. Plato said
that the drama was the cause of rebellion and the ruin of man. The medium of a play allows for
humor to be displayed, to balance the dark content.

4.) Choose either passage A or B from the same author/text for this last passage analysis. We
discussed this plan in class and let me know if you have questions/concerns at all.

Passage A:
OF Mans First Disobedience, and the Fruit
Of that Forbidden Tree, whose mortal tast
Brought Death into the World, and all our woe,
With loss of Eden, till one greater Man
Restore us, and regain the blissful Seat, [ 5 ]
Sing Heav'nly Muse, that on the secret top
Of Oreb, or of Sinai, didst inspire
That Shepherd, who first taught the chosen Seed,
In the Beginning how the Heav'ns and Earth
Rose out of Chaos: Or if Sion Hill [ 10 ]
Delight thee more, and Siloa's Brook that flow'd
Fast by the Oracle of God; I thence
Invoke thy aid to my adventrous Song,
That with no middle flight intends to soar
Above th' Aonian Mount, while it pursues [ 15 ]
Things unattempted yet in Prose or Rhime.
And chiefly Thou O Spirit, that dost prefer
Before all Temples th' upright heart and pure,
Instruct me, for Thou know'st; Thou from the first
Wast present, and with mighty wings outspread [ 20 ]
Dove-like satst brooding on the vast Abyss
And mad'st it pregnant: What in me is dark
Illumin, what is low raise and support;
That to the highth of this great Argument
I may assert Eternal Providence, [ 25 ]
And justifie the wayes of God to men.

This is Milton’s Paradise Lost. This passage, specifically, is the opening invocation of the poem.
It lays a foundation containing the epic’s theme and tone, all while showcasing Milton’s
ambition to highlight theological topics. Milton draws upon the classical tradition of epic poetry
by beginning with an invocation, or call, upon a muse. Milton’s muse differs from others,
however, because it is a “Heav’nly Muse”, which invokes divine inspiration. He aligns his
passage, when using the symbols of Mount Sinai, Mount Sion (Zion), and Genesis, with the
Judeo- Christian tradition. With that context, the symbols of the forbidden tree and his reference
to “one greater Man”, paints the picture of Protestant redemption through Christ.

Part 2: Short Essay (70pts)

Think of the essay as a mini-version of a literary analysis paper--where you want to create a
main point/argument/thesis and then support that idea using a few examples and analysis. There
are more detailed strategies on Scholar (under Assignments) as well.

Important note:

● As you write out your essay, please include at least 5 key terms. Underline or highlight
your key terms as well.
 ● While there is no set page/word requirement, a 5-paragraph essay or something that is
about 2-3 pages tends to be a nice length.

● A reminder that you need to focus on authors/texts from this time period (which include
everything from Dante to the end of our semester)— the play Everyman is considered
Medieval in its themes/concepts though so you can use that play as a representation of
“Medieval” ideas that are transformed in something like Dante or Marlowe.

Essay prompt to answer:

Writers in the early modern/Renaissance period were often rethinking literary conventions. Write
an essay in which you discuss how the authors of 1 or 2 texts from this time period transformed
and reinterpreted concepts from our earlier texts. Some questions you might think through to get
started include: Where do we see authors providing new perspectives on familiar stories or
ideas? How have these authors reflected on past conventions and used new forms, concepts, and
styles to express their individuality? How did authors use the past to understand their present (for
example, using past ideas/conventions to think through conflicts in their time)?

Virgil’s Aeneid is the predecessor of Dante’s Inferno. There are striking similarities regarding
the journeys both Dante and Aeneas embark upon. However, there are differences in tone,
themes, and literary tools that each author used.

Virgil is a clear inspiration to Dante, which we see as he calls upon him in his introduction,
“Poet, you who are my guide, see if the force in me is strong enough before you let me face that
rugged pass.” Here, Virgil is the Poet Dante is referring to. This is a common tool used in Epics.
The narrator often invokes the muse, to gain encouragement or to gain help in telling the story of
the journey they embark upon.

In Virgil’s Aeneid, Aeneas is guided by a priestess, Sibyl of Cumae. Her guidance was a matter
of physical direction, instead of moral. However, Dante is led both physically and spiritually on
his journey. Virgil is a symbol of human reason. Later, when Dante is guided by Beatrice she
works in the role of the divine. This may be because women were made to seem more spiritual
and pure than men, giving Beatrice the worthiness Dante felt he lacked to be qualified for this
journey.

Both Dante and Aeneas embark on journeys that take a large measure of heroism. Both of our
heroes take a journey through the underworld, however they are each for different historic and
cultural purposes. Aeneas’ journey through the underworld is political and prophetic. It is
intended to confirm his legitimacy as the leader of Roman and to fulfill their imperial agenda.
Dante’s journey had a different meaning.
Dante’s journey is deeply personal and spiritual, but there are cultural implications as well. His
journey serves as a path of self discovery, starting with his invocation of the muse. It continues
through to a place of repentance leading to restoration and eventual salvation. He embarks on the
journey, not necessarily of his own volition, but as a divine intervention. This journey led him
back to righteousness and away from sin. It symbolizes the soul’s struggle toward redemption.

Both Virgil and Dante provide a rich spectrum of symbolism and imagery. The Aeneid
highlights Roman ideals, such as sacrifice, imperialism, and the inevitability of fate. It addresses
the cost of heroism and the sacrifices necessary to gain and protect national glory. Aeneas’
journey is an appeal of Rome to the world, that its mandate to rule is one of the divine. Dante’s
Inferno has strong Jude’s-Christian symbolism due to the story being a result of medieval
Christian values and theology. His journey reflects the tension between divine justice and human
frailty. It is an allegory for the soul’s journey towards salvation and reformation.

Virgil is to Dante as Homer is to Dante. Virgil was a clear inspiration for Dante’s Inferno, but
there are differences between each of them. While both Dante and Aeneas undertake underworld
journeys guided by supernatural figures, their experiences and purposes diverge significantly.
Aeneas’ is outward, political, and stems from Roman ideals of empire. Dante’s is introspective,
moral, and rooted in Christian redemption. Each author explores the intersection of human str

Exam 3 Key Terms List:

Didactic Literature
Classical (literature/concepts of time period)
Medieval
Early Modern
Renaissance (as “Rinascimento” or “Rebirth”)
Renaissance Humanism
Protestant Reformation
Calvinism
Colonialism/Imperialism
Power Dynamics
English Civil War
Printing Press
Personification
Restoration (of Monarchy)
Epic
Epic Conventions
In Medias Res
Allegory
Genre
Drama/plays
Metatheatre
Romance (genre)
Heroism
Metaphor
Conceit
Symbol
Myth
Mythology
Legend
Imagery
Meter
Rhythm
Terza Rima
Blank Verse
Iambic Pentameter
End-Stopped Lines
Enjambment (opposite of end-stopped)