Near the end of “Samson Agonistes,” Samson resists performing before attendants of what type of event ?

Related Mcqs:

1. Near the end of “Samson Agonistes,” Samson has decided not to perform for attendants at a certain event when (starting with line 1381) he suddenly reverses positions and agrees to go. Why does he do this ?

   A. He experiences some “rousing motions” which might be from God.
   B. Manoa convinces him to do it or the Philistines will execute Samson.
   C. The Chorus demands he stay in his prison cell and Samson reacts against them.
   D. He wishes to see Dalila one last time in the crowd.

2. In “Samson Agonistes,” Samson’s father, Manoa, is trying to get Samson freed from imprisonment mainly so he can help Samson to____________?

   A. get revenge on his enemies
   B. re-instated as a Judge
   C. retire
   D. convert

3. In “Samson Agonistes,” the Chorus describes the approaching Dalila as beautifully and lavishly dressed to better seduce Samson. This is interesting because ?

   A. the Chorus has just stated it hates this kind of lavish, external beauty.
   B. Samson hates this kind of lavish, external beauty.
   C. Dalila usually dresses in a more understated Puritan manner.
   D. Samson is blind.

4. In “Samson Agonistes,” the character who tells others of Samson’s death is_____________?

   A. Manoa.
   B. Dalila.
   C. the Chorus.
   D. a Messenger.

5. In “Samson Agonistes,” Samson predicts “This day will be remarkable in my life / By some great act, or of my days the last”. This is interesting because___________?

   A. both statements end up happening that day.
   B. both statements end up not happening that day.
   C. Samson is echoing the older prediction of the prophet Enoch.
   D. both statements will later be fulfilled by Christ.

6. A critic argues that in John Milton’s “Samson Agonistes,” the shearing of Samson’s locks is symbolic of his castration at the hands of Delilah. What kind of critical approach is this critic using ?

   A. Mimetic approach
   B. Formalist approach
   C. Historical approach
   D. Psychological approach

7. “Samson Agonistes” is described as a “Closet Drama,” which means_______________?

   A. it can be acted out on a very small stage.
   B. it was written to be read but not acted upon a stage.
   C. people will read it in secret and not publically admit they read it.
   D. it was written to be acted in a church.

8. “Samson Agonistes” differs from its source material, the Biblical book of “Judges,” in what way(s) ?

   A. In “Samson,” Harapha is Samson’s enemy, but he is not in “Judges.”
   B. In “Samson,” Samson is a Jew, but he is not in “Judges.”
   C. In “Samson,” Samson marries the Woman of Timnah, but not in “Judges.”
   D. In “Samson,” Samson never worships Dagon, but he does in “Judges.”

9. In “Samson Agonistes,” Harapha exits because of what reason ?

   A. Samson will not fight him.
   B. He does not want to fight Samson.
   C. He must hurry to catch up with Dalila.
   D. He has been called back to his hometown of Gath.

10. Milton in “Samson Agonistes” uses a Chorus, which he borrows from what previous genre ?

    A. Medieval Mystery Plays
    B. Greek Epic
    C. Greek Drama
    D. French Chanson de Gestes