Avaliação - Literatura Inglesa I (Nota 10)

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The [cycle] plays gave guilds the opportunity to advertise and show off their wares. A play about Noah's 
Ark and the Flood would be sponsored by the Shipbuilders, who provided the ark itself, and the Goldsmiths 
would be in charge of the play of the Magi, donating lavish gifts as props. According to a surviving public 
proclamation from York, the guilds were also in charge of sourcing 'good players, well arranged, and openly 
speaking'. Significantly, these players weren¿t usually professionals. They were ordinary people with a 
taste for drama - so you might well see your friend, neighbour or local butcher in the cast, as Herod, Noah 
or even Jesus. 
Source: HOWES, Hetta Elizabeth. Medieval drama and the mystery plays. Access: 
https://www.bl.uk/medievalliterature/articles/medieval-drama-and-the-mystery-plays#authorBlock1 
The English Medieval cycle plays were enacted at their time by craftsmen from various guilds. According to 
professor Hetta Elizabeth Howes, 
 ... the cycle plays enacted episodes from famous Greek and Roman epic poems such as Virgil¿s Aeneid 
or Ovid¿s Metamorphosis. 
... the cycle plays were part of a bigger group of plays enacted England¿s conversion towards 
Anglicanism. 
... the cycle plays were the first series of professional plays in England. 
...the cycle plays were amateur productions which brought together craftsmen who had an interest in 
drama. 
 ...the cycle plays enact episodes from the English History, sometimes alluding to religious tropes. 
 
 
 
The triumphant march of English drama began with the first manifestations of the Elizabethan Tragedy. 
Between 1559 and 1566 five of Seneca¿s tragedies were published and the body of work attributed to him 
was published in 1581 in the historical volume of the Ten Tragedies. Furthermore, way before that time, 
Seneca was already familiar to the Elizabethans who knew Latin. His deeply rhetorical and full of blood, 
lightnings and thunder style, his seriousness and melodramatic plots offered the first models for dramatic 
writing in which passions unfolded, despite theater still being mostly commanded by medieval influences 
(...). (GASSNER, 2010, p. 227-228) 
Source: (adapted from) GASSNER, John. ''Christopher Marlowe''. In: GASSNER, John. Mestres do Teatro I. 
São Paulo: Editora Perspectiva, 2010. 
After reading the contextualization above and the affirmatives below, mark the only option indicating the 
correct set of affirmative(s). 
I. Seneca was only read in the original Latin throughout England. 
II. Seneca was one of the most prominent Roman influences for the playwrights of that time. 
III. Seneca¿s publishing record reveals that it was not as popular as scholars once believed. 
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Why was the restauration of the monasteries intended by Mary I very difficult to accomplish? 
because the majority of people of England were Puritans 
because Rome did not want to receive England back in the Catholic faith 
because Spain wanted to keep England a protestant country 
because it would involve getting back the lands already given to other people under Henry VIII and Edward 
VI 
none of the above 
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I and III, only. 
II, only. 
I, only. 
IIa III, only. 
I, II and III. 
 
 
 
Read the following excerpt from Christopher Marlowe's narrative poem, Hero and Leander: 
It lies not in our power to love or hate, 
For will in us is over-rul'd by fate. 
When two are stript, long ere the course begin, 
We wish that one should lose, the other win; 
And one especially do we affect 
Of two gold ingots, like in each respect: 
The reason no man knows, let it suffice, 
What we behold is censur'd by our eyes. 
Where both deliberate, the love is slight: 
Who ever lov'd, that lov'd not at first sight? 
(Hero and Leander, v.167-176) 
Source: https://www.poetryfoundation.org/poems/44674/hero-and-leander 
This excerpt can be considered as an example of a rather common trope in Marlowe's work. Mark the 
alternative which correctly describes this trope. 
God's relevance to the phenomena of love between humans. 
Human's capacity to transcend the material world when it comes to love. 
Human's incapacity to redesign fate and change its course of action. 
The power of human sight as it captures the outside world. 
Human's capacity to fall in love by merely beholding the beloved. 
 
 
 
Analyze the following dialogue, retrieved from the play Romeo and Juliet, and choose the most appropriate 
alternative. 
''Lady Capulet: Tell me, daughter Juliet, 
How stands your disposition to be married? 
Juliet: It is an honor that I dream not of. 
Nurse: An honor! Were not I thine only nurse, 
I would say thou hadst sucked wisdom from thy teat.'' (1.3.66- 71) 
The Nurse recurs to humour in order to characterize Lady Capulet as unwise. 
Both Lady Capulet and the Nurse convey a humorous and cheerful tone in the scene. 
Both Juliet and the Nurse recur to humour and irony to express their negative views on marriage. 
The exclamation on the Nurse's initial utterance conveys a tone of reproach towards Juliet's line. 
In such scene, the Nurse uses humour to position herself as an unwise or fool character, in opposition 
to Juliet (her wistful interlocutor). 
 
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Reread these lines from Othello and Romeo and Juliet, respectively, and choose the correct alternative 
comparing the notion of ''pilgrimage'' on them. 
(1) ''She'd come again, and with a greedy ear/ Devour up my discourse, which I, observing,/ Took once 
apliant hour and found good means/ To draw from her a prayer of earnest heart/ That I would all my 
pilgrimage dilate,/ Where of by parcels she had something heard/ But not intentively. I did consent,/ And 
often did beguile her of her tears/ When I did speak of some distressful stroke/ That my youth suffered.'' 
(1.3.151-160) 
(2) ''If I profane with my unworthiest hand/ This holy shrine, the gentle sin is this:/ My lips, two 
blushingpilgrims, ready stand/ To smooth that rough touch with a tender kiss.'' (1.5.92-95) 
 While quote (1) alludes to an abstract notion of ''pilgrimage'', bound to time rather than space, quote (2) 
is a reference to Romeo's literal trips to be with his lover. 
 The first extract alludes to the denotational meaning of the word ''pilgrimage'', for Othello had travelled 
to distant lands. In the second, in contrast, Romeo evokes the image of the pilgrims to metaphorically 
undermine himself in comparison to his beloved and idealized maid. 
 Both extracts allude to a metaphorical idea of ''pilgrimage''. The difference lies in the contexts: Othello 
alludes to a trip to a distant past when talking to his lover and Romeo refers to his very lips as ''pilgrims'' 
that would find his lover's. 
 In both passages the characters convey devotion to their beloved maids, but only the second quote 
refers to the literal meaning of ''pilgrimage''. 
 None of these scenes allude to a metaphorical meaning for ''pilgrimage'', since both Othello and Romeo 
have faced long trips to be with their lovers. 
 
 
 
The English sonnet was the island¿s adaptation from the authentic continental sonnet originated during the 
Middle Age. Even though he did not invent the sonnet form, Petrarch, actually, must be both the last 
medieval poet and the first modern poet, with the diffusion and ennobling of the classic sonnet (two closed 
quatrains and two rhymed tercets). (...) [The English sonnet] was also composed by fourteen verses, but 
with a different rhyme mechanism (...) The sonnet fashion in England lasted for around twenty years: from 
1580 until the death of Elizabeth I, in 1603, with Shakespeare inthe wake of his brilliancy. (1564-1616). 
Source: (adapted from) GUEIROS, Nehemias. ''Estudo: Mistério do Soneto Shakespeariano''. In: 
SHAKESPEARE, William. 50 Sonetos (trad. Ivo Barroso). Rio de Janeiro: Nova Frontera, 2015. 
According to the text above, the classic sonnet is composed by¿ 
...twelve lines, divided into two ''closed'' quatrains and three variously rhymed couplets. 
...twelve lines, divided into one ''closed'' quatrains and two couplets. 
...thirteen lines, divided into three ''closed'' quatrains and three variously rhymed couplets. 
... fourteen lines, divided into two ''closed'' quatrains and three tercets. 
... twelve lines, divided into three ''closed'' quatrains and one couplet. 
 
 
 
The introduction of the sonnet in England goes back to Wyatt and Henry Howard, Earl of Surrey, during the 
reign of Henry VIII (...) [The later publishing of] Songes and Sonnets (1557) containing 20 sonnets from 
Wyatt and 16 from the Earl of Surrey, many of them being direct translations of Petrarch. (...) But it was 
only in 
1591, when it comes to public, by means of an adventurous editor¿s independent publication (Thomas 
Newman's), the collection of sonnets written by Sir Philip Sidney, called Astrophel and Stella, and 
composed by 108 sonnets. Then, the sonnet's fashion was consolidated in the Elizabethan age. Sidney's 
sonnets were majorly influenced by Petrarch, but also by other French sonneteers such as Ronsard and his 
followers. 
Source: (adapted from) GUEIROS, Nehemias. ''Estudo: Mistério do Soneto Shakespeariano''. In: 
SHAKESPEARE, William. 50 Sonetos (trad. Ivo Barroso). Rio de Janeiro: Nova Frontera, 2015. 
Throughout the sixteenth century, Sir Philip Sidney and Thomas Wyatt were responsible for both... 
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 ... writing in Italian to preserve the Petrarchan origin of the sonnets and distributing their manuscripts 
throughout London. 
 ... translating some of Petrarch's sonnets and publishing their own collection of sonnets, particularly 
Sidney's Astrophel and Stella. 
 ... rejecting completely the traditional Petrarchan sonnet form and starting anew the creation of an 
English Sonnet. 
... bringing Petrarch's Canzionere copies from Italy and distributing them in London. 
... reproducing Petrarch's sonnets in Italian and copying it in manuscripts distributed in London. 
 
 
 
 
 
 
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