Topic Test Answers

Read the retelling of the myth of Pyramus and Thisbe and answer the question that follows. Pyramus and Thisbe were two lovers who had been forbidden to marry by their parents, but like Romeo and Juliet, they continued to meet and planned to run away to be together. Thisbe arrived a little bit early at the designated place—under a mulberry full of white berries and near a cool spring. Thisbe arrived first and while she waited, a fierce lion appeared, jaws bloodied from a recent kill, and she ran to safety, dropping her cloak in her rush. When Pyramus arrived, he found only her cloak trampled and bloody from the lion who had found her scent and torn the cloak with his mighty jaws. Pyramus’ despair was great. He blamed himself for not being there to protect his love. In his sorrow, he picked up the bloody cloak and kissed it again and again. Despairing, he drew his sword and plunged it into his side, his blood staining the white mulberries a deep red. Thisbe, though still fearful of the lion, got up her courage and returned minutes later to find her love dead. She kissed him, and finding his sword by his side, took it and killed herself. The gods, pitying them, made the berries of the mulberry tree red forever in their honor. Which archetype does this short myth represent?

Read the Roman version of the story of Arachne and answer the question that follows. In another contest, a mortal dared to come in competition with Minerva. That mortal was Arachne, a maiden who had attained such skill in the arts of weaving and embroidery that the nymphs themselves would leave their groves and fountains to come and gaze upon her work. It was not only beautiful when it was done, but beautiful also in the doing. To watch her, as she took the wool in its rude state and formed it into rolls, or separated it with her fingers and carded it till it looked as light and soft as a cloud, or twirled the spindle with skillful touch, or wove the web, or, when woven, adorned it with her needle, one would have said that Minerva herself had taught her. But this she denied, and could not bear to be thought a pupil even of a goddess. "Let Minerva try her skill with mine," said she; "if beaten, I will pay the penalty." Minerva heard this and was displeased. Assuming the form of an old woman, she went and gave Arachne some friendly advice. "I have had much experience, said she, "and I hope you will not despise my counsel. Challenge your fellow-mortals as you will, but do not compete with a goddess. On the contrary, I advise you to ask her forgiveness for what you have said, and, as she is merciful, perhaps she will pardon you." Arachne stopped her spinning, and looked at the old dame with anger in her countenance. "Keep your counsel," said she, "for your daughters or handmaids; for my part, I know what I say, and I stand to it. I am not afraid of the goddess; let her try her skill, if she dare venture." "She comes," said Minerva; and dropping her disguise, stood confessed. The nymphs bent low in homage, and all the bystanders paid reverence. Arachne alone was unterrified. She blushed, indeed; a sudden color dyed her cheek, and then she grew pale. But she stood to her resolve, and with a foolish conceit of her own skill rushed on her fate. Minerva forbore no longer, nor interposed any further advice. They proceed to the contest. Each takes her station and attaches the web to the beam. Then the slender shuttle is passed in and out among the threads. The reed with its fine teeth strikes up the woof into its place and compacts the web. Both work with speed; their skillful hands move rapidly, and the excitement of the contest makes the labor light. Wool of Tyrian dye is contrasted with that of other colors, shaded off into one another so adroitly that the joining deceives the eye. Like the bow, whose long arch tinges the heavens, formed by sunbeams reflected from the shower [this description of the rainbow is literally translated rom Ovid], in which, where the colors meet they seem as one, but at a little distance from the point of contact are wholly different. Minerva wrought on her web the scene of her contest with Neptune. Twelve of the heavenly powers are represented, Jupiter, with August gravity, sitting in the midst. Neptune, the ruler of the sea, holds his trident, and appears to have just smitten the earth, from which a horse has leaped forth. Minerva depicted herself with helmed head, her Aegis covering her breast. Such was the central circle; and in the four corners were represented incidents illustrating the displeasure of the gods at such presumptuous mortals as had dared to contend with them. These were meant as warnings to her rival to give up the contest before it was too late. Arachne filled her web with subjects designedly chosen to exhibit the failings and errors of the gods. One scene represented Leda caressing the swan, under which form Jupiter had disguised himself; and another, Danae, in the brazen tower in which her father had imprisoned her, but where the god effected his entrance in the form of a shower of gold. Still another depicted Europa deceived by Jupiter under the disguise of a bull. Encouraged by the tameness of the animal, Europa ventured to mount his back, whereupon Jupiter advanced into the sea, and swam with her to Crete. You would have thought it was a real bull so naturally was it wrought, and so natural was the water in which it swam. She seemed to look with longing eyes back upon the shore she was leaving, and to call to her companions for help. She appeared to shudder with terror at the sight of the heaving waves, and to draw back her feet from the water. Arachne filled her canvas with these and like subjects, wonderfully well done, but strongly marking her presumption and impiety. Minerva could not forbear to admire, yet felt indignant at the insult. She struck the web with her shuttle, and rent it in pieces; she then touched the forehead of Arachne, and made her feel her guilt and shame. She could not endure it, and went and hanged herself. Minerva pitied her as she saw her hanging by a rope. "Live, guilty woman," said she; "and that you may preserve the memory of this lesson, continue to hang, you and your descendants, to all future times." She sprinkled her with the juices of aconite, and immediately her hair came off, and her nose and ears likewise. Her form shrank up, and her head grew smaller yet; her fingers grew to her side, and served for legs. All the rest of her is body, out of which she spins her thread, often hanging suspended by it, in the same attitude as when Minerva touched her and transformed her into a spider. Source: Ovid. "Arachne." Project Gutenberg. Project Gutenberg, 2 Apr. 2001. Web. 25 Feb. 2011. Which purpose of mythology is not illustrated by the story of Arachne?

Analyze the the painting below and answer the question that follows. Rackham, Arthur. Pandora. Wikimedia Commons. Wikimedia, Inc., 1 Feb. 2010. Web. 9 Mar. 2011. Which character archetype best suits this image of Pandora?

What must a hero undergo before being deemed a worthy leader?

Which Greek god is being referenced when a flower company uses the image of a man wearing a winged hat and winged sandals for its logo?

Read the myth and analyze the image below; then, answer the question that follows. Woman was not yet made. The story (absurd enough!) is that Jupiter made her, and sent her to Prometheus and his brother, to punish them for their presumption in stealing fire from heaven; and man, for accepting the gift. The first woman was named Pandora. She was made in heaven, every god contributing something to perfect her. Venus gave her beauty, Mercury persuasion, Apollo music, etc. Thus equipped, she was conveyed to earth, and presented to Epimetheus, who gladly accepted her, though cautioned by his brother to beware of Jupiter and his gifts. Epimetheus had in his house a jar, in which were kept certain noxious articles, for which, in fitting man for his new abode, he had had no occasion. Pandora was seized with an eager curiosity to know what this jar contained; and one day she slipped off the cover and looked in. Forthwith there escaped a multitude of plagues for hapless man,—such as gout, rheumatism, and colic for his body, and envy, spite, and revenge for his mind,—and scattered themselves far and wide. Pandora hastened to replace the lid! but, alas! the whole contents of the jar had escaped, one thing only excepted, which lay at the bottom, and that was hope. So we see at this day, whatever evils are abroad, hope never entirely leaves us; and while we have that, no amount of other ills can make us completely wretched. Source: Bulfinch, Thomas. "Prometheus and Pandora." Bartleby.com. Bartleby.com, 2011. Web. 07 Mar. 2011. Alma-Tedema, Lawrence. Pandora. 1881. Private collection. Wikimedia Commons. Wikimedia, Inc., 7 July 2010. Web. 14 Mar. 2011. How does Alma-Tedema’s interpretation of the story of Pandora draw on and transform the story?

Which field illustrates the influence of Greek mythology and symbolism?

Read the fairy tale below and answer the question that follows. "Little Red Riding Hood" Once upon a time there lived in a village a country girl, who was the sweetest little creature that ever was seen; her mother naturally loved her with excessive fondness, and her grandmother doted on her still more. The good woman had made for her a pretty little red-colored hood, which so much became the little girl, that every one called her Little Red Riding Hood. One day her mother having made some cheesecakes, said to her, "Go, my child, and see how your grandmother does, for I hear she is ill; carry her some of these cakes, and a little pot of butter." Little Red Riding Hood straight set out with a basket filled with the cakes and the pot of butter, for her grandmother's house, which was in a village a little way off the town that her mother lived in. As she was crossing a wood, which lay in her road, she met a large wolf, which had a great mind to eat her up, but dared not, for fear of some wood-cutters, who were at work near them in the forest. Yet he spoke to her, and asked her whither she was going. The little girl, who did not know the danger of talking to a wolf, replied: "I am going to see my grandmamma, and carry these cakes and a pot of butter." "Does she live far off?" said the wolf. "Oh yes!" answered Little Red Riding Hood; "beyond the mill you see yonder, at the first house in the village." "Well," said the wolf, "I will take this way, and you take that, and see which will be there the soonest." The wolf set out full speed, running as fast as he could, and taking the nearest way, while the little girl took the longest; and as she went along began to gather nuts, run after butterflies, and make nose-gays of such flowers as she found within her reach. The wolf got to the dwelling of the grandmother first, and knocked at the door. "Who is there?" said some voice in the house. "It is your grandchild, Little Red Riding Hood," said the wolf, speaking like the little girl as well as he could. "I have brought you some cheesecakes, and a little pot of butter, that mamma has sent you." The good old woman, who was ill in bed, called out, "Pull the bobbin, and the latch will go up." The wolf pulled the bobbin, and the door went open. The wolf then jumped upon the poor old grandmother, and ate her up in a moment, for it was three days since he had tasted any food. The wolf then shut the door, and laid himself down in the bed, and waited for Little Red Riding Hood, who very soon after reached the house. Tap! tap! "Who is there?" cried he. She was at first a little afraid at hearing the gruff voice of the wolf, but she thought that perhaps her grandmother had got a cold, so she answered: "It is your grandchild, Little Red Riding Hood. Mamma has sent you some cheesecakes, and a little pot of butter." The wolf cried out in a softer voice, "Pull the bobbin, and the latch will go up." Little Red Riding Hood pulled the bobbin, and the door went open. When she came into the room, the wolf hid himself under the bedclothes, and said to her, trying all he could to speak in a feeble voice: "Put the basket on the stool, my dear, and take off your clothes, and come into bed." Little Red Riding Hood, who always used to do as she was told, straight undressed herself, and stepped into bed; but she thought it strange to see how her grandmother looked in her nightclothes, so she said to her: "Dear me, grandmamma, what great arms you have got!" "They are so much the better to hug you, my child," replied the wolf. "But grandmamma," said the little girl, "what great ears you have got!" "They are so much the better to hear you, my child," replied the wolf. "But then, grandmamma, what great eyes you have got!" said the little girl. "They are so much the better to see you, my child," replied the wolf. "And grandmamma, what great teeth you have got!" said the little girl, who now began to be rather afraid. "They are to eat you up," said the wolf; and saying these words, the wicked creature fell upon Little Red Riding Hood, and ate her up in a moment. Source: "Little Red Riding Hood." Fairy Tales Every Child Should Know. Ed. H. W. Mabie. New York: Doubleday, Page & Co., 1910. Google Book Search. Web. 9 Mar. 2011. Which archetype does the character Little Red Riding Hood represent?

Read the retelling of the myth of Pyramus and Thisbe and answer the question that follows. Pyramus and Thisbe were two lovers who had been forbidden to marry by their parents, but like Romeo and Juliet, they continued to meet and planned to run away to be together. Thisbe arrived a little bit early at the designated place—under a mulberry full of white berries and near a cool spring. Thisbe arrived first and while she waited, a fierce lion appeared, jaws bloodied from a recent kill, and she ran to safety, dropping her cloak in her rush. When Pyramus arrived, he found only her cloak trampled and bloody from the lion who had found her scent and torn the cloak with his mighty jaws. Pyramus’ despair was great. He blamed himself for not being there to protect his love. In his sorrow, he picked up the bloody cloak and kissed it again and again. Despairing, he drew his sword and plunged it into his side, his blood staining the white mulberries a deep red. Thisbe, though still fearful of the lion, got up her courage and returned minutes later to find her love dead. She kissed him, and finding his sword by his side, took it and killed herself. The gods, pitying them, made the berries of the mulberry tree red forever in their honor. Which purpose of mythology is illustrated by the story of Pyramus and Thisbe?

Which situational archetype consists of two lovers who go through many trials but find a way to be together in the end?

Read the myth of Hero and Leander and answer the question that follows. Leander was a youth of Abydos, a town of the Asian side of the strait [narrow ocean channel] which separates Asia and Europe. On the opposite shore, in the town of Sestos, lived the maiden Hero, a priestess of Venus. Leander loved her, and used to swim the strait nightly to enjoy the company of his mistress, guided by a torch which she reared upon the tower for the purpose. But one night a tempest arose and the sea was rough; his strength failed, and he was drowned. The waves bore his body to the European shore, where Hero became aware of his death, and in her despair cast herself down from the tower into the sea and perished. Source: Bulfinch, Thomas. "Hero and Leander." Project Gutenberg. Project Gutenberg, 27 Mar. 2002. Web. 25 Feb. 2011. Which archetype fits the character of Hero best?

Which archetype fits the character Arachne best?