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English 16 | MODULE Tests

Submitted by:
Miguel Angelo AB English
Anggam 201816412

ENGLISH 16 MODULE I
LESSON 1

1. Scholars believed that tragedy and comedy have a common origin in the dithyramb, the hymn sung at
a festival in honor of the god Dionysius. The dithyramb’s function was religious because it was said to be
a part of worship for Dionysius, who was also known as the wine god and the god of fertility.

2. Explain the deus ex machine as:

a. A mechanical device

 The machine was a contraption like a derrick which was used to bring down to the stage the
actor representing a heavenly god who was supposed to participate in the action at certain
required points in the performance: when the human beings needed godly intervention or
when, being god, he decided, himself, to intervene.
 The term is translated as “god out of the machine.” This is an important term in literary
criticism and has an interesting origin. Since the god is usually needed to intervene in setting a
dispute or a problem or an irreconcilable predicament in the play, a situation that has no
satisfactory human solution, the god is called upon to settle it by simply appearing on stage and
causing the problem to be solved in an arbitrary manner, with no regard to the human logic or
human necessities involved in the situation.

3. Antistrophes and strophes are two major elements of an ode, which is a type of lyric poetry.
Strophes, which mean turn, is the first stanza of an ode and is essentially the first half of a debate or
argument presented by the chorus. The antistrophe, which means to turn back, is the other half of the
debate or further exploration of the argument initially presented in strophe.

LESSON 2

a. Hamartia - a tragic flaw that causes the downfall of a hero

b. Hubris – excessive pride and disrespect for the natural order of things.

LESSON 3

1. Involved Plot:

 Peripetia - meaning “reversal of situation,” this happens in a narrative as an intervening act or

an incident that is intended to bring about a certain effect, but instead brings about the exact
opposite or the reverse.
 Anagnorisis – recognition or discovery refers to the point in the play from ignorance to
knowledge of the truth. The recognition or discovery usually comes about in order to establish
the true identity of the hero, usually by some scar or mark on his body.
1. An example of the peripetia plot is when the messenger arrived from Corinth and telling Oedipus that
Polybus died and the Corinthian people wanted Oedipus to return to Corinth and make him king.
Oedipus replied that he cannot return back to the place for the same reason why he had to leave it; this
is because of what the oracle has said that he would kill his own father and marry his mother. The
messenger then told him to neglect the Oracle’s warning since it was a sickness that killed Polybus and
Merope is not his real mother – he was just an adopted son.

2. An example of Anagnorisis is when Lauis was killed by Oedipus. Lauis is Oedipus real father but at the
time of the killing, he still did not know the truth.

3. Three reasons why Aristotle says that “Plot is the soul of tragedy:”
1. For drama, characters cannot stand by itself as a dramatic element but can only be realized through
the action or the plot; character has to be performed in the acts of the actor in order to be realized.

2. For drama what matters really are the things that are done by the characters, whether it’s good or
bad. That is, the drama reaches its intended effects and conclusions only through the acts that have
been performed – for in drama, the ultimate purpose is not to exhibit the individual characteristics and
personalities.

LESSON 4

a. Homonyms or puns – diction used to create laughter. Homonym is two or more words having the
same spelling but different meanings and origins.

b. Paronyms – diction to create laughter. Paronyms are two similar-sounding words, one derived from
the other to produce a funny effect.

c. Diminutive – used to produce a funny effect also diction used to created laughter.

d. Distortion – Distortion is produced through mispronouncing words or exaggerating by loud delivery.

This is also a diction used to create laughter.

e. Grammar and sentence construction – an amusing example of laughter produced by syntax. This
refers to the habit of people writing lists and reminders and memos on the back of a letter envelope.
ENGLISH 16 MODULE II

LESSON 1

1. The different kinds of fibula:

a) Fabula atellana – a type of comedy that was most popular early in the first century. It was
characterized by extremely broad humor.
b) Fabula crepidana – a tragedy based on Greek themes, influenced by the great Greek tragic
dramatists in the 5th century BC.
c) Fibula palliate – a comedy in Greek dress that was based on the later plays of Menender and his
group.
d) Fabula tagata – a comedy using Latin setting and characters that are characterized by a more
national and realistic subject matter.
e) Fabula praetexta – A Roman Historical drama which was invented by Gnaeus Naevius
f) Fabula tabernia or tavern play – characterized by the coarse subjects presented, a cruder type
of comedy than the togata

2. A. Livius Androcius – He is the man who introduced Greek comedu and tragedy in 240 BC as
adapted for the Roman Audience. He played a significant role in Roman Drama that span for over a
hundred of years. He is well known for his tragedies that were patterned from famous Greek dramas.

B. Gnaeus Naevius – First to write historical plays called fibula praetexta. He also wrote both
comedies and tragedies but was best known as the creator of the Roman Historical plays.

C. Titus Maccius Plautus – he is one of the most well-known Roman comedy writers. His original
contribution to Roman comedy was the frequent use of song and dance in his comedy and drama.

D. Publius Terenius Afer – He was a grammarian of the Latin language as well as a writer of
comedies. Due to his clear and entertaining language, Terence's works were heavily used by
monasteries and convents during the Middle Ages and The Renaissance.

3. It was in the middle of the Third Century B.C. when Roman drama was used to appease the god’s
during the plague, through a dance with music and a flute. It was in the 2nd stage of the development of
the Roman Drama that young people took over the dance and modified it by adding gestures and
impromptu dialogue – that is why we can say that Roman drama started as a religious activity.
LESSON 2

1. Two characteristics of the Senecan play which influences are derived from the tragedies of Euripides:

a. Realistic and Romantic

b. Crucial involvement in problems and situations that demand the use of human psychology

2. 4 Characteristics of the Senecan plays which is the basis for the claim of literary critics that the
Senecan plays that are not suitable for stage performance:

a. The plays do not indicated the entrances and exits of the different characters

b. There are lengthy speeches, very rhetorical and not sounding like dramatic dialogues

c. There is no attempt to define the characters to clarify their natures

d. There are terrible and gruesome scenes of slaughter and references of physical tortures.

3. The prologue in the Senecan tragedy “Medea” follows the conventional format of the Senecan
Prologue because the act is spoken by one character only - that character is represented by a god,
goddess or a human being.
ENGLISH 16 – MODULE III

LESSON 1

1. The study of the origin and development of the British drama is necessary because of the fact that our
drama today was derived from the drama in England. The original form from which British drama
evolved from was an old form called Mystery Play.

2. A. Mystery Play – Its aim was to “bring to life” the Biblical facts and events as well as its characters in
its dramatic form so that the viewer’s religious faith will be strengthen.

B. Morality Play – The morality play had a more direct and immediate purpose, and that was to preach,
teach, and remind viewers about their personal salvation through proper conduct and general godly
living.

C. Crafts or guilds – These were group of workers organized according to their respective craft or trade.

LESSON 2

1. The three characteristics of Elizabethan comedy:

 Its broad and crude humor

 Plots are stereotyped
 Characters are stereotyped

2. Gammer Gurton’s Needle by William Stevenson

Ralph Rolster Doister by Nicholas Udall

3. Palamon and Arcite

4. It is necessary to study the Tragedy of Gorboduc because it was the earliest English tragedy which was
written by Thomas Norton and Thomas Sackville.

5. The “mighty line” is a single verse that concentrates forcefully a certain dramatic effect.

6. These are two of Tamburlaine’s good qualities:

 He prized the glory and the power resident in the King’s crown
 He was a morally upright man, who held that virtue and righteousness were responsible for a
person’s greatness.

7. His overpowering greed for intellectual power as derived from superhuman knowledge and learning
was Doctor Faustus’ greatest flaw.
8. The true earliest plays of Shakespeare

 Romeo and Juliet

 Richard III
 Richard II

9. Shakespeare’s Golden Comedies and Dark Comedies differ from each other. While Golden comedies
are purely delightful, bright and entertaining, his dark comedies, called tragicomedies, were an added
mixture of tragedy and suffering.

10. A. Midsummer Night’s Dream – A Golden Comedy

B. Measure for Measure – A Dark Comedy or Tragicomedy

11. Two Senecan Influences in Hamlet:

 The theme: Revenge

 The use of ghost

LESSON 3

1. The 3 categories that classify the Jacobean dramatists:

a) Dramatists of the Old School

b) The Satiric Dramatists
c) The Romantic Playwrights

2. The “Roman Plays” were the dramas written as deriving from the Roman Plays of Plautus and Terence
in Classical times.

3. The cultural atmosphere was one of discontent and rebelliousness because of social inequality and
the unequal distribution of wealth; a let-down from the glorious earlier aspects of the Elizabethan
Period that preceded.

4. The title of the Classical Tragedy is “Sejanus.”

5. It was the “Tragedy of Sophonisba.”

6. According to the critics, the Duchess of Malfi has a moving and magnificently conceived death in
Elizabethan Literature.

7. They are named so because they were created during the Jacobean Period.
8. In The Faithful Shepherdress’s preface, Fletcher says that the tragicomedy is so named because it
contains no tragic deaths among its characters, but that it also brings some character or characters close
to tragic death and/or disasters.

9. The title of the drama is “Who Would’ve Though?” or “Law Tricks.”

10. Its Miguel de Cervantes’s “Quixote de la Mancha.”

LESSON 4

1. They used the world Caroline in the title Caroline Period because it covers the reign of Charles I

2. Three group classifications to which the Caroline playwrights belonged:

a) Representative Caroline Dramatists

b) Caroline Dramatists in the “School of Jonson”
c) Drama and Dramatists at the Royal Court

3. The greatest dramatist of the Caroline Period was John Ford.

4. The most productive dramatist of the Caroline Period was James Shirley.

5. They were called “psychopathic tragedies” because the dramatic interest and the appeal of his plays
were due to the sharp portrayal of the aberrations of his characters.

6. Jonson’s influence on the other dramatists was borrowed not from the content of his plays but from
his structures and how he organized his plays.

LESSON 5

1. Restoration period was so named because it was on this period when the Parliament asked King
Charles II to return from his exile and establish the Restoration of monarchy in England.

2. Between the return of Octavius Augustus Caesar to Roman power after the many wars, and the return
of Charles II to the British monarchy. Thus, although King Charles II was bi true parallel to Augustus
Caesar, the Restoration Period came to be called variously, Augustan Age or the Neo-classical Period,
the justification being that the Restoration Period esteemed and abundantly applied the principles of
the ancient Greek and Roman Classics.

3. In this Period, the standard morality of Puritan morality was replaced with the demand for socially
correct manners and correct behaviour as a sign of gentility and quality.
4. Three reasons why John Dryden was the foremost literary figure in the Restoration Period?

 He is acknowledged as one of the masters of English verse

 He is the foremost critic of this period
 He was the acknowledge master of the structure and spirit of the heroic play

5. It evoked laughter and ridicule because the characters and situations were “out of place” and since
these went against the demand for social fitness and correctness.

6. A. Sir William Davenant, John Dryden, Roger Boyle

B. Thomas Otway, Nathaniel Lee, and Thomas Southerne

C. John Dryden, Sir George Etherege and William Wycherley

D. Sir John Vanbrugh, George Farquhar, William Congreve

ENGLISH 16 – MODULE IV

LESSON 1

1. Mystere generally includes all kinds of serious drama – secular or religious. Its meaning refers to a
performance that was a type of pageant, serious but colourful, and religious intention, while Mirale is a
production that dramatizes the lives of saints. On the other hand, Moralite is known as the morality
play, an allegory portrayed in dramatized form.

2. The cyclic dramas were passed to a group that consists of non-professional actors but tradesmen and
jobbers who spent their weekend involving themselves with drama. They are called confreries.

LESSON 2

1. The 3 great dramatic classicists of France

 Pierre Corneille – his plays used great characters and involves them in magnificent and
exceptional plots that prefigures his own Classical masterpieces.
 Jean Baptiste Poquellin – Moliere as he was known was the greatest comic dramatist among the
modern comedy writers. He raised comedy to what it is today.
 Jean Baptiste Racine – His one big object in drama writing is the dramatic effect of his
production. His great genius lies in the ability to select a historical figure or event and expand it
into a play of significant and universal relevance.

2. John Baptiste Racine was responsible for stabilizing the form of the drama tragedy through the strict
adherence to the Unity of Time, Place and Action.

LESSON 3

1. The one general characteristic that differentiated the two is the flexibility regarding adherence to the
traditional rules which is an exercise of freedom taking the form of a tolerant relativity that is
manifested in the setting up of new rules and procedures of drama.

2. With the emergence of new procedures as well as other elements produces knowledge and expands
the artistic approach of the drama itself.

LESSON 4

1. A. Voltaire

B. Prosper Jolyot de Crebillon

C. Jean- Francois Ducis

2. Social Dramas allowed the projection of realism on the stage

3. Comedie larmoyante is teaful comedy in English

LESSON 5

1. Jean-Jacques Rousseau was a French philosopher and writer of the Age of Enlightenment. His Political
Philosophy, particularly his formulation of social contract theory (or Contractarianism), strongly
influenced the French Revolution and the development of Liberal, Conservative and Socialist theory.

2. Victor Hugo is the author of Les Miserables, who was also the dramatist who led in the struggle
against the hard-line classicists.

LESSON 6

1. Dumas's most famous work is La Dame aux camelias, known in English as Camille

2. Realism expresses a message that depicts situations realistically, whereas romanticism illustrates
messages by using fiction. Romanticism focuses on plot, hyperbole, metaphor and feeling.

LESSON 7

1. Estelle – Materialistic and Pathos

2. Garcin – freedom and responsibility

3. Inez – Reason is Unable to Deal with the Depths of Life. and human dignity
ENGLISH 16 MODULE V TESTS

Lesson 1

1. Tragic drama or tragedy as an art form does not exist in Sanskrit drama. The reason for this
incompatibility with the Greek drama form is the Hindi belief in karma, which automatically decrees a
kind cosmic justice in every thought, word and deed, so that no incident in human life can be seen as
tragic – everything is acceptable and just and everything that is happening in human life is as it should
be.

2. Rasa is an extraordinary response by a viewer of a properly produced Sanskrit play. It is also described
as a feeling of impersonal calm, joy, and delight. On the other hand, Catharsis is what you call an
audience’s feeling of pity and terror when viewing a performance of Greek tragedy.

LESSON 2

1. Ching hsi plays derived their inspiration from old materials, such as historical religious and popular
romantic works.

2. Four categories covered by the Ching Hsi actor’s technique:

 Ch’ang pai – Dialogue and singing

 Tung tso – Stage “business”
 Hsing t’ou – Costume and make up
 Tao and Ch’ang – Gestures with weapons and other stage props

3. Four main character roles:

 Sheng
 Tan
 Ching
 Ch’ou

LESSON 3

1. While Ching hsi is derived from old materials, Kabuki play has elements of absolute realism
particularly as these surfaces in the portions of dramatic violence.

2. Hamanichi is used as a runway connecting the stage clear to the back of the auditorium and it brings
the actor among the audience whenever the action of the play requires it.

LESSON 4

1. The two types of play under the Sandiwara category are historical plays and musical comedies.
2. An intriguing fact about the Wayang Golek is that the doll-puppets are supposed to imitate human
beings who are imitating shadow puppets. This is an imitation of Wayang Wong.

3. Wayang Wong uses live actors while Wayang Kulit and Wayang Golek use puppets.

LESSON 5

1. The big innovation adopted by the Gesher Theater is its position as “one of the world’s few bilingual
theatre.”

2. The central innovative element that marks Duo-Oman theatre is that it practices interdisciplinary art,
where combinations of entertainment and art disciplines come together in a single performance.