Card 0 of 424
THE FLOWER GIRL: There's menners f' yer! Te-oo banches o voylets trod into the mad. \[She sits down on the plinth of the column, sorting her flowers, on the lady's right. She is not at all an attractive person. She is perhaps eighteen, perhaps twenty, hardly older. She wears a little sailor hat of black straw that has long been exposed to the dust and soot of London and has seldom if ever been brushed. Her hair needs washing rather badly: its mousy color can hardly be natural. She wears a shoddy black coat that reaches nearly to her knees and is shaped to her waist. She has a brown skirt with a coarse apron. Her boots are much the worse for wear. She is no doubt as clean as she can afford to be; but compared to the ladies she is very dirty. Her features are no worse than theirs; but their condition leaves something to be desired; and she needs the services of a dentist\].
THE MOTHER: How do you know that my son's name is Freddy, pray?
THE FLOWER GIRL: Ow, eez ye-ooa san, is e? Wal, fewd dan y' de-ooty bawmz a mather should, eed now bettern to spawl a pore gel's flahrzn than ran awy atbaht pyin. Will ye-oo py me f'them? \[Here, with apologies, this desperate attempt to represent her dialect without a phonetic alphabet must be abandoned as unintelligible outside London.\]
Who is the author of the play from which this passage is adapted?
This is Irish playwright George Bernard Shaw’s Pygmalion.
(Passage adapted from Pygmalion by George Bernard Shaw, I.26-29 (1916))
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THE FLOWER GIRL: There's menners f' yer! Te-oo banches o voylets trod into the mad. \[She sits down on the plinth of the column, sorting her flowers, on the lady's right. She is not at all an attractive person. She is perhaps eighteen, perhaps twenty, hardly older. She wears a little sailor hat of black straw that has long been exposed to the dust and soot of London and has seldom if ever been brushed. Her hair needs washing rather badly: its mousy color can hardly be natural. She wears a shoddy black coat that reaches nearly to her knees and is shaped to her waist. She has a brown skirt with a coarse apron. Her boots are much the worse for wear. She is no doubt as clean as she can afford to be; but compared to the ladies she is very dirty. Her features are no worse than theirs; but their condition leaves something to be desired; and she needs the services of a dentist\].
THE MOTHER: How do you know that my son's name is Freddy, pray?
THE FLOWER GIRL: Ow, eez ye-ooa san, is e? Wal, fewd dan y' de-ooty bawmz a mather should, eed now bettern to spawl a pore gel's flahrzn than ran awy atbaht pyin. Will ye-oo py me f'them? \[Here, with apologies, this desperate attempt to represent her dialect without a phonetic alphabet must be abandoned as unintelligible outside London.\]
In what decade was this play first performed?
Pygmalion premiered in 1913.
(Passage adapted from Pygmalion by George Bernard Shaw, I.26-29 (1916))
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THE FLOWER GIRL: There's menners f' yer! Te-oo banches o voylets trod into the mad. \[She sits down on the plinth of the column, sorting her flowers, on the lady's right. She is not at all an attractive person. She is perhaps eighteen, perhaps twenty, hardly older. She wears a little sailor hat of black straw that has long been exposed to the dust and soot of London and has seldom if ever been brushed. Her hair needs washing rather badly: its mousy color can hardly be natural. She wears a shoddy black coat that reaches nearly to her knees and is shaped to her waist. She has a brown skirt with a coarse apron. Her boots are much the worse for wear. She is no doubt as clean as she can afford to be; but compared to the ladies she is very dirty. Her features are no worse than theirs; but their condition leaves something to be desired; and she needs the services of a dentist\].
THE MOTHER: How do you know that my son's name is Freddy, pray?
THE FLOWER GIRL: Ow, eez ye-ooa san, is e? Wal, fewd dan y' de-ooty bawmz a mather should, eed now bettern to spawl a pore gel's flahrzn than ran awy atbaht pyin. Will ye-oo py me f'them? \[Here, with apologies, this desperate attempt to represent her dialect without a phonetic alphabet must be abandoned as unintelligible outside London.\]
Which hit American Broadway musical was based on this play?
My Fair Lady, written in 1956 by Lerner and Loewe, is by far the most famous adaptation of Pygmalion.
(Passage adapted from Pygmalion by George Bernard Shaw, I.26-29 (1916))
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THE FLOWER GIRL: There's menners f' yer! Te-oo banches o voylets trod into the mad. \[She sits down on the plinth of the column, sorting her flowers, on the lady's right. She is not at all an attractive person. She is perhaps eighteen, perhaps twenty, hardly older. She wears a little sailor hat of black straw that has long been exposed to the dust and soot of London and has seldom if ever been brushed. Her hair needs washing rather badly: its mousy color can hardly be natural. She wears a shoddy black coat that reaches nearly to her knees and is shaped to her waist. She has a brown skirt with a coarse apron. Her boots are much the worse for wear. She is no doubt as clean as she can afford to be; but compared to the ladies she is very dirty. Her features are no worse than theirs; but their condition leaves something to be desired; and she needs the services of a dentist\].
THE MOTHER: How do you know that my son's name is Freddy, pray?
THE FLOWER GIRL: Ow, eez ye-ooa san, is e? Wal, fewd dan y' de-ooty bawmz a mather should, eed now bettern to spawl a pore gel's flahrzn than ran awy atbaht pyin. Will ye-oo py me f'them? \[Here, with apologies, this desperate attempt to represent her dialect without a phonetic alphabet must be abandoned as unintelligible outside London.\]
The title of this play is taken from which ancient Greek work?
Pygmalion is a character in Ovid’s Metamorphoses—specifically, an artist who falls in love with a beautiful ivory statue he’s sculpted.
(Passage adapted from Pygmalion by George Bernard Shaw, I.26-29 (1916))
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THE FLOWER GIRL: There's menners f' yer! Te-oo banches o voylets trod into the mad. \[She sits down on the plinth of the column, sorting her flowers, on the lady's right. She is not at all an attractive person. She is perhaps eighteen, perhaps twenty, hardly older. She wears a little sailor hat of black straw that has long been exposed to the dust and soot of London and has seldom if ever been brushed. Her hair needs washing rather badly: its mousy color can hardly be natural. She wears a shoddy black coat that reaches nearly to her knees and is shaped to her waist. She has a brown skirt with a coarse apron. Her boots are much the worse for wear. She is no doubt as clean as she can afford to be; but compared to the ladies she is very dirty. Her features are no worse than theirs; but their condition leaves something to be desired; and she needs the services of a dentist\].
THE MOTHER: How do you know that my son's name is Freddy, pray?
THE FLOWER GIRL: Ow, eez ye-ooa san, is e? Wal, fewd dan y' de-ooty bawmz a mather should, eed now bettern to spawl a pore gel's flahrzn than ran awy atbaht pyin. Will ye-oo py me f'them? \[Here, with apologies, this desperate attempt to represent her dialect without a phonetic alphabet must be abandoned as unintelligible outside London.\]
Who is one of the protagonists of this play?
The two main characters of Pygmalion are the Cockney flower vendor Eliza Doolittle and the phonetics professor Henry Higgins.
(Passage adapted from Pygmalion by George Bernard Shaw, I.26-29 (1916))
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THE FLOWER GIRL: There's menners f' yer! Te-oo banches o voylets trod into the mad. \[She sits down on the plinth of the column, sorting her flowers, on the lady's right. She is not at all an attractive person. She is perhaps eighteen, perhaps twenty, hardly older. She wears a little sailor hat of black straw that has long been exposed to the dust and soot of London and has seldom if ever been brushed. Her hair needs washing rather badly: its mousy color can hardly be natural. She wears a shoddy black coat that reaches nearly to her knees and is shaped to her waist. She has a brown skirt with a coarse apron. Her boots are much the worse for wear. She is no doubt as clean as she can afford to be; but compared to the ladies she is very dirty. Her features are no worse than theirs; but their condition leaves something to be desired; and she needs the services of a dentist\].
THE MOTHER: How do you know that my son's name is Freddy, pray?
THE FLOWER GIRL: Ow, eez ye-ooa san, is e? Wal, fewd dan y' de-ooty bawmz a mather should, eed now bettern to spawl a pore gel's flahrzn than ran awy atbaht pyin. Will ye-oo py me f'them? \[Here, with apologies, this desperate attempt to represent her dialect without a phonetic alphabet must be abandoned as unintelligible outside London.\]
Which of the following is not a subject of the play?
The play’s premise is as follows: a professor of linguistics (Henry Higgins) and an old friend (Colonel Pickering) make a wager that the professor can take a Cockney street vendor (Eliza Doolittle) and, through intensive guidance and tutelage, transform her into a duchess who can be presented in high society without anyone suspecting. Irish famine is the only subject that does not appear in the play.
(Passage adapted from Pygmalion by George Bernard Shaw, I.26-29 (1916))
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CECILY: Uncle Jack would be very much annoyed if he knew you were staying on till next week, at the same hour.
ALGERNON: Oh, I don’t care about Jack. I don’t care for anybody in the whole world but you. I love you, Cecily. You will marry me, won’t you?
CECILY: You silly boy! Of course. Why, we have been engaged for the last three months.
ALGERNON: For the last three months?
CECILY: Yes, it will be exactly three months on Thursday.
ALGERNON: But how did we become engaged?
CECILY: Well, ever since dear Uncle Jack first confessed to us that he had a younger brother who was very wicked and bad, you of course have formed the chief topic of conversation between myself and Miss Prism. And of course a man who is much talked about is always very attractive. One feels there must be something in him, after all. I daresay it was foolish of me, but I fell in love with you, Ernest.
Who is the author of this play?
This is Oscar Wilde’s The Importance of Being Earnest.
(Passage adapted from The Importance of Being Earnest, A Trivial Comedy for Serious People by Oscar Wilde, II.i (1895))
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CECILY: Uncle Jack would be very much annoyed if he knew you were staying on till next week, at the same hour.
ALGERNON: Oh, I don’t care about Jack. I don’t care for anybody in the whole world but you. I love you, Cecily. You will marry me, won’t you?
CECILY: You silly boy! Of course. Why, we have been engaged for the last three months.
ALGERNON: For the last three months?
CECILY: Yes, it will be exactly three months on Thursday.
ALGERNON: But how did we become engaged?
CECILY: Well, ever since dear Uncle Jack first confessed to us that he had a younger brother who was very wicked and bad, you of course have formed the chief topic of conversation between myself and Miss Prism. And of course a man who is much talked about is always very attractive. One feels there must be something in him, after all. I daresay it was foolish of me, but I fell in love with you, Ernest.
During what decade was this play first performed?
The Importance of Being Earnest was first performed in 1895. If you didn’t know this, you could at least rule out a few of the answers; Oscar Wilde died in 1900, and he was still alive to see the premier of his work.
(Passage adapted from The Importance of Being Earnest, A Trivial Comedy for Serious People by Oscar Wilde, II.i (1895))
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CECILY: Uncle Jack would be very much annoyed if he knew you were staying on till next week, at the same hour.
ALGERNON: Oh, I don’t care about Jack. I don’t care for anybody in the whole world but you. I love you, Cecily. You will marry me, won’t you?
CECILY: You silly boy! Of course. Why, we have been engaged for the last three months.
ALGERNON: For the last three months?
CECILY: Yes, it will be exactly three months on Thursday.
ALGERNON: But how did we become engaged?
CECILY: Well, ever since dear Uncle Jack first confessed to us that he had a younger brother who was very wicked and bad, you of course have formed the chief topic of conversation between myself and Miss Prism. And of course a man who is much talked about is always very attractive. One feels there must be something in him, after all. I daresay it was foolish of me, but I fell in love with you, Ernest.
This play satirizes all of the following except __________.
The play’s clever storyline follows several English characters through light-hearted deceptions, courtship, and farcical situations caused by their own dishonesty. It is an extended examination of triviality as well as a satire of Victorian London and its upper-class marriage customs. The only topic listed that the play does not touch on is immigration.
(Passage adapted from The Importance of Being Earnest, A Trivial Comedy for Serious People by Oscar Wilde, II.i (1895))
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CECILY: Uncle Jack would be very much annoyed if he knew you were staying on till next week, at the same hour.
ALGERNON: Oh, I don’t care about Jack. I don’t care for anybody in the whole world but you. I love you, Cecily. You will marry me, won’t you?
CECILY: You silly boy! Of course. Why, we have been engaged for the last three months.
ALGERNON: For the last three months?
CECILY: Yes, it will be exactly three months on Thursday.
ALGERNON: But how did we become engaged?
CECILY: Well, ever since dear Uncle Jack first confessed to us that he had a younger brother who was very wicked and bad, you of course have formed the chief topic of conversation between myself and Miss Prism. And of course a man who is much talked about is always very attractive. One feels there must be something in him, after all. I daresay it was foolish of me, but I fell in love with you, Ernest.
This author wrote all of the following works except __________.
Tamburlaine is a 1590 play by the Elizabeth author Christopher Marlowe. The rest of the works are by Oscar Wilde.
(Passage adapted from The Importance of Being Earnest, A Trivial Comedy for Serious People by Oscar Wilde, II.i (1895))
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CECILY: Uncle Jack would be very much annoyed if he knew you were staying on till next week, at the same hour.
ALGERNON: Oh, I don’t care about Jack. I don’t care for anybody in the whole world but you. I love you, Cecily. You will marry me, won’t you?
CECILY: You silly boy! Of course. Why, we have been engaged for the last three months.
ALGERNON: For the last three months?
CECILY: Yes, it will be exactly three months on Thursday.
ALGERNON: But how did we become engaged?
CECILY: Well, ever since dear Uncle Jack first confessed to us that he had a younger brother who was very wicked and bad, you of course have formed the chief topic of conversation between myself and Miss Prism. And of course a man who is much talked about is always very attractive. One feels there must be something in him, after all. I daresay it was foolish of me, but I fell in love with you, Ernest.
Although initially successful, this play closed early due to what scandal?
While it received great critical acclaim, The Importance of Being Earnest also led to Wilde’s personal downfall. After the mother of Lord Alfred Douglas (nicknamed “Bosie” and Wilde’s lover) was denied entry to the play, Wilde’s relationship with Bosie became public and led to his imprisonment. As a result of the scandal, the play closed early.
(Passage adapted from The Importance of Being Earnest, A Trivial Comedy for Serious People by Oscar Wilde, II.i (1895))
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CECILY: Uncle Jack would be very much annoyed if he knew you were staying on till next week, at the same hour.
ALGERNON: Oh, I don’t care about Jack. I don’t care for anybody in the whole world but you. I love you, Cecily. You will marry me, won’t you?
CECILY: You silly boy! Of course. Why, we have been engaged for the last three months.
ALGERNON: For the last three months?
CECILY: Yes, it will be exactly three months on Thursday.
ALGERNON: But how did we become engaged?
CECILY: Well, ever since dear Uncle Jack first confessed to us that he had a younger brother who was very wicked and bad, you of course have formed the chief topic of conversation between myself and Miss Prism. And of course a man who is much talked about is always very attractive. One feels there must be something in him, after all. I daresay it was foolish of me, but I fell in love with you, Ernest.
Which of the following is not a character in this play?
Willy Loman is a character from Arthur Miller’s 1949 play Death of a Salesman. All the rest appear in Wilde's play.
(Passage adapted from The Importance of Being Earnest, A Trivial Comedy for Serious People by Oscar Wilde, II.i (1895))
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Who is the author of Rosencrantz and Guildenstern are Dead (1966)?
This play is written by Tom Stoppard.
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What famous play do the protagonists of Rosencrantz and Guildenstern are Dead originally appear in?
Rosencrantz and Guildenstern are minor characters in Shakespeare’s Hamlet (1603). Most of Stoppard’s play takes place “offstage” or behind the scenes of the actions in Hamlet, with Rosencrantz and Guildenstern (two of Hamlet’s friends and courtiers) acting confused about what is happening onstage without them. Rosencrantz and Guildenstern are Dead was first performed in 1966.
Tennessee Williams A Streetcar Named Desire (1947), Arthur Miller's Death of a Salesman (1949), George Bernard Shaw's Pygmalion (1913), and William Shakespeare's Henry IV Part I (1600) were all used as alternate answer choices.
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In what decade was Rosencrantz and Guildenstern are Dead first performed?
The play was first staged in 1966 in Edinburgh, Scotland, at the Festival Fringe, the world's largest annual arts festival.
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Which of the following is not a character in Rosencrantz and Guildenstern are Dead?
Rosencrantz and Guildenstern are Dead (1966)shares many of its characters with Hamlet. Only Falstaff is not taken from Hamlet; he is a major character in Shakespeare’s Henry IV Part I (1600).
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Who wrote The Birthday Party?
The author is Harold Pinter. The Birthday Party (1958) is one of his most famous plays.
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The author of The Birthday Party also wrote work belonging to all but which of the following genres?
Morality plays were popular during medieval times. Pinter’s work was avant-garde, not antiquated, so we can infer that his work was categorized as comedy of menace, memory plays, and theater of the absurd.
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Who is the protagonist of The Birthday Party?
Pinter’s The Birthday Party (1958) follows a former piano player named Stanley Webber through the events that transpire after two menacing strangers arrive at his birthday party. The rest of the characters appear in the play as well, but they are not the protagonist.
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Which of the following was not originally written by the author of The Birthday Party?
Although Harold Pinter produced a film adaptation of The French Lieutenant’s Woman (1981), the novel was originally written by John Fowles in 1969.
The Caretaker (1960), The Homecoming (1965), Betrayal (1978), and The Room (1957) were all written by Harold Pinter.
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