The download Test Bank for Experience Communication 1st Edition by Child Pearson Nelson ISBN 007803700X 9780078037009 full chapter new 2024

Test Bank for Experience
Communication 1st Edition by Child

Pearson Nelson ISBN 007803700X
9780078037009
Go to download the full and correct content document:
https://testbankpack.com/download/test-bank-for-experience-communication-1st-editi
on-by-child-pearson-nelson-isbn-007803700x-9780078037009/
More products digital (pdf, epub, mobi) instant
download maybe you interests ...
Solution Manual for Experience Communication 1st

Edition by Child Pearson Nelson ISBN 007803700X
9780078037009
https://testbankpack.com/download/solution-manual-for-experience-
communication-1st-edition-by-child-pearson-nelson-
isbn-007803700x-9780078037009/
Solution Manual for iSpeak 2013 Public Speaking for

Contemporary Life 5th Edition Nelson Titsworth Pearson
0078036887 9780078036880
https://testbankpack.com/download/solution-manual-for-
ispeak-2013-public-speaking-for-contemporary-life-5th-edition-
nelson-0078036887-9780078036880/
Test Bank for Dynamic Child 1st Edition by Manis ISBN

0134495861 9780134495866
https://testbankpack.com/download/test-bank-for-dynamic-
child-1st-edition-by-manis-isbn-0134495861-9780134495866/
Test Bank for CHILD 2013 1st Edition by Martorell ISBN

0078035511 9780078035517
https://testbankpack.com/download/test-bank-for-child-2013-1st-
edition-by-martorell-isbn-0078035511-9780078035517/
Test Bank for Experience Sociology 1st Edition by
Croteau Hoynes ISBN 0073193534 9780073193533
https://testbankpack.com/download/test-bank-for-experience-
sociology-1st-edition-by-croteau-hoynes-
isbn-0073193534-9780073193533/
Solution Manual for Dynamic Child 1st Edition by Manis

ISBN 0134495861 9780134495866
https://testbankpack.com/download/solution-manual-for-dynamic-
child-1st-edition-by-manis-isbn-0134495861-9780134495866/
Solution Manual for CHILD 2013 1st Edition by Martorell

ISBN 0078035511 9780078035517
https://testbankpack.com/download/solution-manual-for-
child-2013-1st-edition-by-martorell-
isbn-0078035511-9780078035517/
Test Bank for Conflict and communication 1st edition by

Jandt ISBN 1506308279 9781506308272
https://testbankpack.com/download/test-bank-for-conflict-and-
communication-1st-edition-by-jandt-isbn-1506308279-9781506308272/
Test Bank for Evolutionary Psychology Neuroscience

Perspectives concerning Human Behavior and Experience
1st Edition by Ray ISBN 1412995892 9781412995894
https://testbankpack.com/download/test-bank-for-evolutionary-
psychology-neuroscience-perspectives-concerning-human-behavior-
and-experience-1st-edition-by-ray-isbn-1412995892-9781412995894/
Chapter 02 - Communicating Verbally
Test Bank for Experience Communication 1st Edition by

Child Pearson Nelson ISBN 007803700X 9780078037009
Full link download:
Test Bank:
https://testbankpack.com/p/test-bank-for-experience-communication-1st-
edition-by-child-pearson-nelson-isbn-007803700x-9780078037009/
Solution Manual:
https://testbankpack.com/p/solution-manual-for-experience-communication-1st-
edition-by-child-pearson-nelson-isbn-007803700x-9780078037009/
Chapter 02
Communicating Verbally
True / False Questions
1. According to the textbook, using language to convey meaning is known as verbal

communication.
TRUE
Blooms: Remembering
Topic: Functions of verbal communication
2. When I tell you that reality is an enemy, I am using alliteration.

FALSE
2-1
Copyright © 2015 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of
McGraw-Hill Education.
Blooms: Applying
3. A friend of yours is talking about a relationship, and he says, "I don't want to get burned
again." He is using a metaphor.
TRUE
Blooms: Applying
4. A coffee advertisement claims that "Good coffee is like friendship; rich and warm and
strong." The advertisers are using a simile.
TRUE
Blooms: Applying
5. In describing a small automobile accident, your friend says, "I was helpless. I was knocked
out for what seemed like hours. I thought I would be left to die." She is using hyperbole.
TRUE
Blooms: Applying
6. If I say "Dan's dog drooled all over after drinking dirty water in the dam," I am using
alliteration.
TRUE
Blooms: Applying
2-2
7. According to your textbook, verbal communication serves many functions, including the
obfuscating function, which is the function to confuse others.
FALSE
Blooms: Understanding
8. The social function of verbal communication is the use of language to engage in critical
thinking to evaluate and critique issues or ideas.
FALSE
9. The two processes for interpreting messages are denotation meaning and connotation
meaning.
FALSE
Blooms: Remembering
Topic: How words communicate
10. The agreed-upon meaning of a word, the one generally found in the dictionary, is known
as the denotative meaning.
TRUE
Blooms: Remembering
11. Verbal communication includes a number of rules including rules of place.
2-3
TRUE
Topic: Rules of verbal communication
12. If you shift from one treatment of language to another based on the person or persons to
whom you are speaking, you are engaged in turn taking.
FALSE
Blooms: Remembering
13. The book suggests a number of categories of words to avoid—in particular, literary
language used generally by poets and writers of classical works.
FALSE
Blooms: Remembering
Topic: Words to avoid
14. Language that denigrates people on the basis of their gender is known as racist language.
FALSE
Blooms: Remembering
15. The book suggests that using profanity is perfectly acceptable today, but using slang is not
a good idea.
FALSE
2-4
16. If you tell a friend that you will "BRB"—by which you mean that you will be right back—
you are using jargon.
TRUE
Blooms: Applying
Topic: Words to use carefully
17. When a relative is lunching with you and says, "I have to go to the little girl's room," she
is using jargon.
FALSE
Blooms: Applying
18. If you want to improve your verbal communication, you should avoid asking the other
person, "What did you mean?"
FALSE
Topic: Strategies to improve verbal communication
19. One suggestion from the book for improving your verbal communication is to use
concrete language.
TRUE
Blooms: Remembering
20. Building your vocabulary can improve your verbal communication.
2-5
TRUE
Blooms: Remembering
Multiple Choice Questions
21. According to Chapter 2, verbal communication is A.

the use of bodily movement as messages.
B. the conversion of thought into words.
C. the use of facial expression to convey meaning.
D. the use of language to convey meaning.
Blooms: Remembering
22. According to Chapter 2, language is A. the only

way we can communicate with each other.
B. the code we use to communicate with each other.
C. the expression of thought through gesture.
D. the dictionary meaning of words.
Blooms: Remembering
23. According to Chapter 2, meaning is A.

whatever message someone is trying to convey.
B. how a message is interpreted by another.
C. the conveyed message and its interpretation by another.
D. the verbal content of a message.
2-6
Blooms: Applying
24. Chapter 2 presents four functions of language. They include all of the following EXCEPT
the
A. instrumental.
B. analytical.
C. creative.
D. structural.
Blooms: Remembering
25. When your teacher tells you that your term paper is due in three weeks, your teacher is
using which function of language in communication?
A. Structural
B. Analytical
C. Creative
D. Instrumental
26. When you use acronyms and abbreviations in tweeting and texting, you are using an
ancient rhetorical canon or principle called A. inventio.
B. elocutio.
C. dispositio
D. pathos.
2-7
27. What kind of figurative language was the teacher using when she said, "Imagine the
universe as a large pizza in which just one of the pepperonis is our galaxy surrounded by
many others"? A. Simile
B. Alliteration
C. Reductionism
D. Metaphor
Blooms: Applying
28. Which of the following is the best example of alliteration? A.

Alice's aunt ate apples and acorns around August.
B. After the blow, his head swelled like a basketball.
C. Far from true, his statement was a blatant falsehood.
D. So tiny was he that his shoes could fit a child.
29. Which of the following is the best example of a simile? A.

The sunset was disturbed by the contrail of a passing jet.
B. Her face brightened like a beacon when he complimented her.
C. The corners of her mouth curved upward in happiness.
D. His strength was not in athletics but in math and science.
30. Because listeners daydream, speakers need to say a message in more than one way.
Strategies include all of the following EXCEPT A. repetition.
B. review.
C. preview.
D. implementation.
2-8
Blooms: Remembering
31. Examples of the analytical function of language include all of the following EXCEPT A.
researching an issue for understanding.
B. evaluating an issue for weakness and strengths.
C. recommending solutions to problems.
D. restating the issue in figurative language.
32. Saying "hi" to an acquaintance on the sidewalk without expecting more than a "hi" in
return is a form of communication called A. phatic communication.
B. interpersonal communication.
C. intrapersonal communication.
D. social communication.
Blooms: Remembering
33. "Trouble talk" is a social function of communication characterized by A.

figuring out a solution to an immediate problem.
B. complaining about problems without really expecting any solution.
C. exchanging solutions to a problem together.
D. talking about and solving a problem.
Blooms: Applying
34. Conflict management is

A. using language to resolve issues between individuals and groups.
B. serving as a referee between individuals in a dispute.
2-9
C. winning an argument by being a competent communicator.

D. using words to express one's view in a conflict.
Blooms: Remembering
35. Which of the following statements about language is FALSE? A.

Language is an imperfect means of communication.
B. The thoughts that one person encodes never exactly match what the other decodes.
C. Language often requires interpretation or clarification.
D. Encoded messages are generally decoded accurately.
Blooms: Analyzing
36. Which item below is a denotative meaning of a word?

A. A mouse is a tiny creature that scares people because of its unexpected movement.
B. A mouse is a four-legged mammal classified as a rodent.
C. A mouse can produce a litter of young about every 19 days.
D. A mouse is a furry little animal much beloved as a stuffed toy.
37. New concepts require new words. The term for new words is A.
conceptualizations.
B. neologisms.
C. semantics.
D. metaconcepts.
Blooms: Remembering
2-10
38. The connotative meaning of a word could include all of the following EXCEPT A.
the feelings it evokes.
B. its dictionary definition.
C. experiences associated with it.
D. figures of speech that help describe it.
Blooms: Remembering
39. In which situation below should you be most careful about your language choices? A.
At a beer party before a game with friends.
B. At an interview for an important job.
C. At a study session with a group of other students.
D. At an informal gathering during the lunch hour at work.
Blooms: Applying
40. In which situation below can you be most casual about your language? A.
You are asking directions from a well-dressed stranger at the airport.
B. You are telling your own young children how to use the computer.
C. You are at the dinner table with relatives during a religious holiday.
D. You are with your best friends on a vacation.
Blooms: Applying
41. Rules of engagement as explained in Chapter 2 refer to all of the following EXCEPT A.
rules about initiating communication.
B. rules about terminating communication.
C. rules about conducting communication.
D. rules about interfering with communication.
2-11
Blooms: Remembering
42. Turn taking is most commonly exhibited in which communication situation?

A. A vigorous argument
B. A conversation
C. A classroom lecture
D. A public speech
43. Which item below best illustrates the concept of code switching?
A. A navy vet who talks one way with his shipmates but quite another way when interviewing
for a job back onshore
B. A child who speaks one way at age three but quite another way at age five
C. A Jamaican who speaks patois at home and at work
D. A woman who speaks the same way to her kids as to her husband
Blooms: Applying
44. According to information in Chapter 2, which of the following observations is NOT

credible?
A. Older people in the United States may be less tolerant of profanity than are younger
people.
B. In general men use profanity more than do women, especially in public.
C. Profanity is so common currently that once-forbidden words have practically lost their
impact.
D. The Internet is the one place where profanity can be used openly with no prohibitions.
Blooms: Remembering
2-12
45. Which statement below is an example of sexism in language?

A. It's okay to use man-linked words like freshman; everyone knows what you mean.
B. We can no longer use language that assumes all members of a category like lawyers,
physicians, professors, and soldiers are male.
C. The Women's Policy Institute champions the interests of women throughout the country.
D. Women continue to get paid less than men working in the same fields and on similar tasks.
Blooms: Analyzing
46. The textbook makes several suggestions about the use of racist language in
communication. Which of the following is NOT one of them?
A. People in a particular racial group should get to decide what people outside that group call
them.
B. One possible way to reduce racial jokes is to quit laughing at them.
C. An aggressive stance for reducing racial jokes is to ask the person to quit using them.
D. Even if it means losing your job, you should tell your boss to quit telling racist jokes.
Blooms: Remembering
47. The definition "informal, casual language used among equals" refers to A.
clichés.
B. hyperbole.
C. slang.
D. profanity.
Blooms: Remembering
48. An author finds this note from the textbook editor: "AU: OK to KT list at EOC?" The
editor is using A. jargon.
B. slang.
2-13
C. similes.
D. code switching.
Blooms: Applying
49. Using the term "friendly fire" to refer to an American soldier killed by another American
soldier is to use A. slang.
B. a euphemism.
C. profanity.
D. ambiguity.
Blooms: Applying
50. To use words that are open to multiple interpretations is to use A.

ambiguous language.
B. euphemistic language.
C. simplistic language.
D. colorful language.
Blooms: Remembering
51. Chapter 2 presents several strategies for improving your verbal communication. They
include all of the following EXCEPT A. build your vocabulary.
B. describe without judgment.
C. define your terms.
D. correct others.
Blooms: Remembering
2-14
52. An excellent strategy to increase accurate communication is to state in your own words
what you think the other person meant, a strategy called A. repetition.
B. paraphrasing.
C. explaining.
D. arguing.
Blooms: Remembering
53. When the physician tells the patient that she has a tumor the size of a grape, the physician
is using what language strategy for clarification?
A. Professional jargon
B. A figure of speech
C. Slang
D. An unlikely comparison
Blooms: Applying
54. Which item below best illustrates the use of concrete language?
A. He had black hair, brown eyes, bronze complexion, and a pleasant smile.
B. She was a real beauty.
C. He was a handsome dude with an attractive personality.
D. She was ugly as a mud fence.
Blooms: Applying
55. Some people refer to their noon meal as dinner and their evening meal as supper; others
have dinner at night. These are examples of what language characteristic?
A. Connotations
B. Denotations
C. Jargon
2-15
D. Regionalisms
Fill in the Blank Questions
56. When you creatively compare two things that do not at first seem alike, you are
using . metaphor
Blooms: Remembering
57. If a depressed friend says, "I'm drowning in a sea of despair," he is using a(n)
. metaphor
Blooms: Applying
58. When Forrest Gump notes that "life is like a box of chocolates," he is using a(n)
. simile
Blooms: Applying
59. A speaker states, "I have traveled every square inch of this world, and no place is
better than my home, sweet home." She is using _ . hyperbole
Blooms: Applying
2-16
60. If a doctor addressed a lay audience and used terms like ABG, MRI, stat, and CT
Scan, you might note that these are examples of . jargon
Blooms: Applying
61. You are attempting to be creative in your use of language, so you write "Lithe
Linda and Little Lola both loved lively Larry." You are using the figure of speech known
as . alliteration
Blooms: Applying
62. When we use language as a directive for getting someone else to do something, we
use the of language. instrumental function
Blooms: Remembering
63. When you use metaphors and similes in your speech, you are using the
function of verbal communication. creative
64. The two processes related to interpreting messages are known as .

encoding and decoding
2-17
Blooms: Remembering
65. If you use one style of language in the classroom and another with friends at the
local bar, you are demonstrating the rule of verbal communication related to .
place
Blooms: Applying
66. The book discusses two rules of engagement with regard to verbal communication
which are . turn taking and code switching
Blooms: Remembering
67. The book identifies five categories of words to avoid; they are . profanity,
sexist language, racist language, ageist language, grammatical errors
Blooms: Remembering
68. Informal language that is acceptable to use among equals is known as .

slang
Blooms: Remembering
69. are harmless words, names, or phrases that replace suggestive terms or
offensive terms.
2-18
Euphemisms
Blooms: Remembering
70. is the code we use to communicate with each other. Language
Blooms: Remembering
71. Words that are unique to one part of the country are known as .
regionalisms
Blooms: Remembering
72. When you give an account of behavior you observed, you are using .
descriptive language
73. The book mentions four functions of verbal communication; they are .
instrumental, creative, analytical, social
Blooms: Remembering
74. A(n) is a symbol that has been assigned meaning. word

2-19
Blooms: Remembering
75. refers to whatever message someone is trying to convey to others as

well as how that message is interpreted. Meaning
Blooms: Remembering
2-20
Another random document with
no related content on Scribd:
The Project Gutenberg eBook of The Mediaeval
Stage, Volume 1 (of 2)
This ebook is for the use of anyone anywhere in the United
States and most other parts of the world at no cost and with
almost no restrictions whatsoever. You may copy it, give it away
or re-use it under the terms of the Project Gutenberg License
included with this ebook or online at www.gutenberg.org. If you
are not located in the United States, you will have to check the
laws of the country where you are located before using this
eBook.
Title: The Mediaeval Stage, Volume 1 (of 2)
Author: E. K. Chambers
Release date: February 20, 2024 [eBook #73000]
Language: English
Original publication: London: Oxford University Press, 1903
Credits: Tim Lindell, Krista Zaleski and the Online Distributed

Proofreading Team at https://www.pgdp.net (This file
was produced from images generously made available
by The Internet Archive)
*** START OF THE PROJECT GUTENBERG EBOOK THE

MEDIAEVAL STAGE, VOLUME 1 (OF 2) ***
Transcriber’s Notes
Obvious typographical errors have been silently corrected. Variations in
hyphenation and accents have been standardised but all other spelling and
punctuation remains unchanged.
On page xxii, "FOURNIER" has been moved before "FOWLER", to correct
the alphabetization of the List of Authorities.
Music on the frontispiece has been converted to modern notation to produce
the audio file. Click on the [Listen] link to hear the music and on the [MusicXML]
link to download the notation. As of the date of posting, these links to external
files will work only in the HTML version of this e-book.
Index
beginning of dublin Quem
quaeritis, from bodleian
rawlinson liturgical ms. d. 4
(14th century)
[Listen] [MusicXML]
THE
MEDIAEVAL STAGE
BY
E. K. CHAMBERS
VOLUME I
OXFORD UNIVERSITY PRESS

Oxford University Press, Amen House, London E.C.4
glasgow new york toronto melbourne wellington
bombay calcutta madras karachi lahore dacca
cape town salisbury nairobi ibadan accra
kuala lumpur hong kong
first edition 1903

reprinted lithographically in great britain
by lowe & brydone, printers, ltd., london
from sheets of the first edition
1925, 1948, 1954, 1963
To N. C.
PREFACE
Some years ago I was thinking of a little book, which now may or
may not ever get itself finished, about Shakespeare and the
conditions, literary and dramatic, under which Shakespeare wrote.
My proper task would have begun with the middle of the sixteenth
century. But it seemed natural to put first some short account of the
origins of play-acting in England and of its development during the
Middle Ages. Unfortunately it soon became apparent that the basis
for such a narrative was wanting. The history of the mediaeval
theatre had never, from an English point of view, been written. The
initial chapter of Collier’s Annals of the Stage is even less adequate
than is usual with this slovenly and dishonest antiquary. It is with
some satisfaction that, in spite of the barrier set up by an incorrect
reference, I have resolved one dramatic representation elaborately
described by Collier into a soteltie or sweetmeat. More scholarly
writers, such as Dr. A. W. Ward, while dealing excellently with the
mediaeval drama as literature, have shown themselves but little
curious about the social and economic facts upon which the
mediaeval drama rested. Yet from a study of such facts, I am sure,
any literary history, which does not confine itself solely to the
analysis of genius, must make a start.
An attempt of my own to fill the gap has grown into these two
volumes, which have, I fear, been unduly swelled by the inclusion of
new interests as, from time to time, they took hold upon me; an
interest, for example, in the light-hearted and coloured life of those
poverelli of letters, the minstrel folk; a very deep interest in the track
across the ages of certain customs and symbols of rural gaiety which
bear with them the inheritance of a remote and ancestral
heathenism. I can only hope that this disproportionate treatment of
parts has not wholly destroyed the unity of purpose at which, after
all, I aimed. If I may venture to define for myself the formula of my
work, I would say that it endeavours to state and explain the pre-
existing conditions which, by the latter half of the sixteenth century,
made the great Shakespearean stage possible. The story is one of a
sudden dissolution and a slow upbuilding. I have arranged the
material in four Books. The First Book shows how the organization of
the Graeco-Roman theatre broke down before the onslaught of
Christianity and the indifference of barbarism, and how the actors
became wandering minstrels, merging with the gleemen of their
Teutonic conquerors, entertaining all classes of mediaeval society
with spectacula in which the dramatic element was of the slightest,
and in the end, after long endurance, coming to a practical
compromise with the hostility of the Church. In the Second Book I
pass to spectacula of another type, which also had to struggle
against ecclesiastical disfavour, and which also made their ultimate
peace with all but the most austere forms of the dominant religion.
These are the ludi of the village feasts, bearing witness, not only to
their origin in heathen ritual, but also, by their constant tendency to
break out into primitive forms of drama, to the deep-rooted mimetic
instinct of the folk. The Third Book is a study of the process by which
the Church itself, through the introduction of dramatic elements into
its liturgy, came to make its own appeal to this same mimetic instinct;
and of that by which, from such beginnings, grew up the great
popular religious drama of the miracle-plays, with its offshoots in the
moralities and the dramatic pageants. The Fourth and final Book
deals summarily with the transformation of the mediaeval stage, on
the literary side under the influence of humanism, on the social and
economic side by the emergence from amongst the ruins of
minstrelsy of a new class of professional players, in whose hands
the theatre was destined to recover a stable organization upon lines
which had been departed from since the days of Tertullian.
I am very conscious of the manifold imperfections of these
volumes. They are the work, not of a professed student, but of one
who only plays at scholarship in the rare intervals of a busy
administrative life. They owe much to the long-suffering officials of
the British Museum and the London Library, and more recently to the
aid and encouragement of the Delegates of the Clarendon Press and
their accomplished staff. The literary side of the mediaeval drama,
about which much remains to be said, I have almost wholly
neglected. I shall not, I hope, be accused of attaching too much
importance in the first volume to the vague and uncertain results of
folk-lore research. One cannot be always giving expression to the
minuter shades of probability. But in any investigation the validity of
the inferences must be relative to the nature of the subject-matter;
and, whether I qualify it in words or not, I do not, of course, make a
statement about the intention, say, of primitive sacrifice, with the
same confidence which attaches to one about matters of historic
record. The burden of my notes and appendices sometimes appears
to me intolerable. My excuse is that I wanted to collect, once for all,
as many facts with as precise references as possible. These may,
perhaps, have a value independent of any conclusions which I have
founded upon them. And even now I do not suppose that I have
been either exhaustive or accurate. The remorseless ideal of the
historian’s duties laid down in the Introduction aux Études
Historiques of MM. Langlois and Seignobos floats before me like an
accusing spirit. I know how very far I am from having reached that
austere standard of scientific completeness. To begin with, I had not
the necessary training. Oxford, my most kindly nurse, maintained in
my day no École des Chartes, and I had to discover the rules of
method as I went along. But the greater difficulty has been the want
of leisure and the spacious life. Shades of Duke Humphrey’s library,
how often, as I jostled for my turn at the crowded catalogue-shelves
of the British Museum, have I not envied those whose lot it is to tread
your ample corridors and to bend over your yellowing folios!
Amongst such happy scholars, the canons of Clio may claim implicit
obedience. A silent company, they ‘class’ their documents and ‘try’
their sources from morn to eve, disturbed in the pleasant ways of
research only by the green flicker of leaves in the Exeter garden, or
by the statutory inconvenience of a terminal lecture.—
‘Tanagra! think not I forget!’
E. K. C.
London, May, 1903.
CONTENTS
Volume I
PAGE
Preface v
List of Authorities xiii
BOOK I. MINSTRELSY
CHAP.
I. The Fall of the Theatres 1
II. Mimus and Scôp 23
III. The Minstrel Life 42
IV. The Minstrel Repertory 70
BOOK II. FOLK DRAMA
V. The Religion of the Folk 89
VI. Village Festivals 116
VII. Festival Play 146
VIII. The May-Game 160
IX. The Sword-Dance 182
X. The Mummers’ Play 205
XI. The Beginning of Winter 228
XII. New Year Customs 249
XIII. The Feast of Fools 274
XIV. The Feast of Fools (continued) 301
XV. The Boy Bishop 336
XVI. Guild Fools and Court Fools 372
XVII. Masks and Misrule 390
Volume II
BOOK III. RELIGIOUS DRAMA
XVIII. Liturgical Plays 1
XIX. Liturgical Plays (continued) 41
XX. The Secularization of the Plays 68
XXI. Guild Plays and Parish Plays 106
XXII. Guild Plays and Parish Plays (continued) 124
XXIII. Moralities, Puppet-Plays, and Pageants 149
BOOK IV. THE INTERLUDE
XXIV. Players of Interludes 179
XXV. Humanism and Mediaevalism 199
APPENDICES
A. The Tribunus Voluptatum 229
B. Tota Ioculatorum Scena 230
C. Court Minstrelsy in 1306 234
D. The Minstrel Hierarchy 238
E. Extracts from Account Books 240
I. Durham Priory 240
II. Maxstoke Priory 244
III. Thetford Priory 245
IV. Winchester College 246
V. Magdalen College, Oxford 248
VI. Shrewsbury Corporation 250
VII. The Howards of Stoke-by-Nayland, Essex 255
VIII. The English Court 256
F. Minstrel Guilds 258
G. Thomas de Cabham 262
H. Princely Pleasures at Kenilworth 263
I. A Squire Minstrel 263
II. The Coventry Hock-Tuesday Show 264
I. The Indian Village Feast 266
J. Sword-Dances 270
I. Sweden (sixteenth century) 270
II. Shetland (eighteenth century) 271
K. The Lutterworth St. George Play 276
L. The Prose of the Ass 279
M. The Boy Bishop 282
I. The Sarum Office 282
II. The York Computus 287
N. Winter Prohibitions 290
O. The Regularis Concordia of St. Ethelwold 306
P. The Durham Sepulchrum 310
Q. The Sarum Sepulchrum 312
R. The Dublin Quem Quaeritis 315
S. The Aurea Missa of Tournai 318
T. Subjects of the Cyclical Miracles 321
U. Interludium de Clerico et Puella 324
V. Terentius et Delusor 326
W. Representations of Mediaeval Plays 329
X. Texts of Mediaeval Plays and Interludes 407
I. Miracle-Plays 407
II. Popular Moralities 436
III. Tudor Makers of Interludes 443
IV. List of Early Tudor Interludes 453
SUBJECT INDEX 462
LIST OF AUTHORITIES
[General Bibliographical Note. I mention here only a few works of
wide range, which may be taken as authorities throughout these two
volumes. Others, more limited in their scope, are named in the
preliminary notes to the sections of the book on whose subject-
matter they bear.—An admirable general history of the modern
drama is W. Creizenach’s still incomplete Geschichte des neueren
Dramas (Band i, Mittelalter und Frührenaissance, 1893; Bände ii, iii,
Renaissance und Reformation, 1901-3). R. Prölss, Geschichte des
neueren Dramas (1881-3), is slighter. The earlier work of J. L. Klein,
Geschichte des Dramas (13 vols. 1865-76), is diffuse, inconvenient,
and now partly obsolete. A valuable study is expected from J. M.
Manly in vol. iii of his Specimens of the Pre-Shakespearean Drama,
of which two volumes, containing selected texts, appeared in 1897.
C. Hastings, Le Théâtre français et anglais (1900, Eng. trans. 1901),
is a compilation of little merit.—Prof. Creizenach may be
supplemented for Germany by R. Froning, Das Drama des
Mittelalters (1891). For France there are the exhaustive and
excellent volumes of L. Petit de Julleville’s Histoire du Théâtre en
France au Moyen Âge (Les Mystères, 1880; Les Comédiens en
France au Moyen Âge, 1885; La Comédie et les Mœurs en France
au Moyen Âge, 1886; Répertoire du Théâtre comique au Moyen
Âge, 1886). G. Bapst, Essai sur l’Histoire du Théâtre (1893), adds
some useful material on the history of the stage. For Italy A. d’
Ancona, Origini del Teatro italiano (2nd ed., 1891), is also excellent.
—The best English book is A. W. Ward’s History of English Dramatic
Literature to the death of Queen Anne (2nd ed., 1899). J. P. Collier,
History of English Dramatic Poetry (new ed., 1879), is full of matter,
but, for various reasons, not wholly trustworthy. J. J. Jusserand, Le
Théâtre en Angleterre (2nd ed., 1881), J. A. Symonds,
Shakespeare’s Predecessors in the English Drama (1884), and G.
M. Gayley, Representative English Comedies (1903), are of value.
Texts will be found in Manly’s and Gayley’s books, and in A. W.
Pollard, English Miracle Plays, Moralities and Interludes (3rd ed.,
1898); W. C. Hazlitt, Dodsley’s Old Plays (15 vols. 1874-6); A.
Brandl, Quellen des weltlichen Dramas in England (1898). F. H.
Stoddard, References for Students of Miracle Plays and Mysteries
(1887), and K. L. Bates and L. B. Godfrey, English Drama; a Working
Basis (1896), are rough attempts at bibliographies.—In addition the
drama of course finds treatment in the general histories of literature.
The best are: for Germany, R. Kögel, Geschichte der deutschen
Literatur bis zum Ausgange des Mittelalters (1894-7, a fragment); K.
Gödeke, Grundriss zur Geschichte der deutschen Dichtung aus den
Quellen (2nd ed., 1884-1900); W. Scherer, Geschichte der
deutschen Litteratur (8th ed., 1899): for France, L. Petit de Julleville
(editor), Histoire de la Langue et de la Littérature françaises (1896-
1900); G. Paris, La Littérature française au Moyen Âge (2nd ed.,
1890): for Italy, A. Gaspary, Geschichte der italienischen Litteratur
(1884-9, Eng. transl. 1901): for England, T. Warton, History of
English Poetry (ed. W. C. Hazlitt, 1871); B. Ten Brink, History of
English Literature (Eng. trans. 1893-6); J. J. Jusserand, Literary
History of the English People (vol. i. 1895); W. J. Courthope, History
of English Poetry (vols. i, ii. 1895-7); G. Saintsbury, Short History of
English Literature (1898), and, especially for bibliography, G. Körting,
Grundriss der Geschichte der englischen Litteratur (3rd ed., 1899).
The Periods of European Literature, edited by Prof. Saintsbury,
especially G. Gregory Smith, The Transition Period (1900), and the
two great Grundrisse, H. Paul, Grundriss der germanischen
Philologie (2nd ed., 1896-1903), and G. Gröber, Grundriss der
romanischen Philologie (1888-1903), should also be consulted.—
The beginnings of the mediaeval drama are closely bound up with
liturgy, and the nature of the liturgical books referred to is explained
by W. Maskell, A Dissertation upon the Ancient Service-Books of the
Church of England (in Monumenta Ritualia Ecclesiae Anglicanae,
2nd ed., 1882, vol. iii); H. B. Swete, Church Services and Service-
Books before the Reformation (1896); Procter-Frere, New History of
the Book of Common Prayer (1901). The beginnings of Catholic
ritual are studied by L. Duchesne, Origines du Culte chrétien (3rd
ed., 1902, Eng. trans. 1903), and its mediaeval forms described by
D. Rock, The Church of our Fathers (1849-53), and J. D. Chambers,
Divine Worship in England in the Thirteenth and Fourteenth
Centuries (1877).
The following list of books is mainly intended to elucidate the
references in the footnotes, and has no claim to bibliographical
completeness or accuracy. I have included the titles of a few German
and French dissertations of which I have not been able to make use.]
Aberdeen Records. Extracts from the Council Register of the

Burgh of Aberdeen. Edited by J. Stuart. 2 vols. 1844-8. [Spalding
Club, xii, xix.]
Acta SS. Acta Sanctorum quotquot toto orbe coluntur, quas
collegit I. Bollandus. Operam continuavit G. Henschenius [et alii],
1734-1894. [In progress.]
Ahn. English Mysteries and Miracle Plays. By Dr. Ahn. Trier,
1867. [Not consulted.]
Alcuin. See Dümmler.
Allard. Julien l’Apostat. Par P. Allard. 3 vols. 1900-3.
Allen. The Evolution of the Idea of God: an Enquiry into the
Origins of Religion. By Grant Allen, 1897.
Alt. Theater und Kirche in ihrem gegenseitigen Verhältniss. Von
H. Alt, 1846.
Anal. Hymn. Analecta Hymnica Medii Aevi. Ediderunt C. Blume et
G. M. Dreves. 37 parts, 1886-1901. [In progress.]
Ancona. Origini del Teatro italiano. Per A. d’Ancona, 2nd ed. 2
vols. 1891.
Ancona, Sacr. Rappr. Sacre Rappresentazioni dei secoli xiv, xv e
xvi, raccolte e illustrate per cura di A. d’Ancona, 1872.
Anglia. Anglia: Zeitschrift für englische Philologie. 24 vols. 1878-
1903. [In progress.]
Ann. Arch. Annales Archéologiques, dirigées par Didron aîné. 28
vols. 1844-81.
Antiquarian Repertory. The Antiquarian Repertory: A
Miscellaneous assemblage of Topography, History, Biography,
Customs and Manners. Compiled by F. Grose and T. Astle. 2nd ed. 4
vols. 1807.
Arbois de Jubainville, Civ. Celt. La Civilisation des Celtes et
celle de l’Épopée homérique. Par H. d’Arbois de Jubainville, 1899.
[Vol. vi of Cours de littérature celtique.]
Arbois de Jubainville, Cycl. Myth. Le Cycle mythologique
irlandais et la Mythologie celtique. Par H. d’Arbois de Jubainville,
1884. [Vol. ii of same.]
Archaeologia. Archaeologia: or Miscellaneous Tracts relating to
Antiquity. Published by the Society of Antiquaries of London. 57 vols.
1770-1901. [In progress.]
Arnold. The Customs of London, otherwise Arnold’s Chronicle.
Edited by F. Douce, 1811.
Ashton. A Righte Merrie Christmasse!!! By J. Ashton, n. d.
Bahlmann, Ern. Die Erneuerer des antiken Dramas und ihre
ersten dramatischen Versuche: 1314-1478. Von P. Bahlmann, 1896.
Bahlmann, L. D. Die lateinischen Dramen von Wimpheling’s
Stylpho bis zur Mitte des sechzehnten Jahrhunderts: 1480-1550.
Von P. Bahlmann, 1893.
Bale. Scriptorum illustrium maioris Britanniae, quam nunc
Angliam et Scotiam vocant, Catalogus. Autore Ioanne Baleo
Sudouolgio Anglo. 2 vols. Basileae, Oporinus, 1557-9. [Enlarged
from the edition in one vol. of 1548.]
Bale, Index. Index Britanniae Scriptorum quos ex variis
bibliothecis non parvo labore collegit Ioannes Baleus. Edited by R. L.
Poole and M. Bateson, 1902. [Anecdota Oxoniensia, Mediaeval and
Modern Series, ix, from a MS. compiled 1549-1557.]
Bapst. Essai sur l’Histoire du Théâtre. Par G. Bapst, 1893.

The download Test Bank for Experience Communication 1st Edition by Child Pearson Nelson ISBN 007803700X 9780078037009 full chapter new 2024

Uploaded by

Copyright:

Available Formats

You might also like

The download Test Bank for Experience Communication 1st Edition by Child Pearson Nelson ISBN 007803700X 9780078037009 full chapter new 2024

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

The download Test Bank for Experience Communication 1st Edition by Child Pearson Nelson ISBN 007803700X 9780078037009 full chapter new 2024

Uploaded by

Copyright:

Available Formats

Test Bank for Experience

Communication 1st Edition by Child

Solution Manual for Experience Communication 1st

Solution Manual for iSpeak 2013 Public Speaking for

Test Bank for Dynamic Child 1st Edition by Manis ISBN

Test Bank for CHILD 2013 1st Edition by Martorell ISBN

Solution Manual for Dynamic Child 1st Edition by Manis

Solution Manual for CHILD 2013 1st Edition by Martorell

Test Bank for Conflict and communication 1st edition by

Test Bank for Evolutionary Psychology Neuroscience

Test Bank for Experience Communication 1st Edition by

True / False Questions

1. According to the textbook, using language to convey meaning is known as verbal

2. When I tell you that reality is an enemy, I am using alliteration.

11. Verbal communication includes a number of rules including rules of place.

20. Building your vocabulary can improve your verbal communication.

Multiple Choice Questions

21. According to Chapter 2, verbal communication is A.

22. According to Chapter 2, language is A. the only

23. According to Chapter 2, meaning is A.

28. Which of the following is the best example of alliteration? A.

29. Which of the following is the best example of a simile? A.

33. "Trouble talk" is a social function of communication characterized by A.

34. Conflict management is

C. winning an argument by being a competent communicator.

35. Which of the following statements about language is FALSE? A.

36. Which item below is a denotative meaning of a word?

42. Turn taking is most commonly exhibited in which communication situation?

44. According to information in Chapter 2, which of the following observations is NOT

45. Which statement below is an example of sexism in language?

50. To use words that are open to multiple interpretations is to use A.

Fill in the Blank Questions

64. The two processes related to interpreting messages are known as .

68. Informal language that is acceptable to use among equals is known as .

70. is the code we use to communicate with each other. Language

74. A(n) is a symbol that has been assigned meaning. word

75. refers to whatever message someone is trying to convey to others as

Title: The Mediaeval Stage, Volume 1 (of 2)

Release date: February 20, 2024 [eBook #73000]

Original publication: London: Oxford University Press, 1903

Credits: Tim Lindell, Krista Zaleski and the Online Distributed

*** START OF THE PROJECT GUTENBERG EBOOK THE

OXFORD UNIVERSITY PRESS

first edition 1903

Aberdeen Records. Extracts from the Council Register of the

You might also like