The Basic Training of Pavlo Hummel Test | Final Test - Hard

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This test consists of 5 short answer questions and 1 (of 3) essay topics.

Short Answer Questions

1. When Pavlo first calls Joanna, what does he talk about?

2. In Act 2, Part 1, what is the marching song about?

3. What does Mickey imply Pavlo is lying about, as he tends to do?

4. What is the name of the soldier pursuing Yen in the opening scene of Act 2, Part 2?

5. Who pays Mamasan for Yen to be with Pavlo?

Essay Topics

Essay Topic 1

Brisbey's passing reference to Christ, who is never mentioned by name, but whose identity and sacrifice are evoked by Brisbey's reference to God being "nailed" is the possibility that the idea of sacrifice arising from this reference can be applied to Pavlo's situation. Pavlo's situation can be seen as the sacrifice of individual identity in the name of a larger "God-given" purpose. How else might Brisbey's use of the word "nailed" be a possible implication by Rabe that the good man always gets the bad end of things? Would you say that this could be a foreshadowing device about the fate of our protagonist? Why or why not? Support your argument with examples from the text.

Essay Topic 2

As we get to know Pavlo's character more intimately it is understood that Pavlo becomes more and more fixated on becoming a good soldier. He eventually defines this as not only a good killer but the right kind of killer and one who becomes both experienced and joyful about it.

What is the irony of Pavlo's understanding of how to go about reconciling and rectifying his fixation with his reality? Give at least four examples along with explanations of how this irony could create a dark fate for our protagonist.

Essay Topic 3

The argument could be made that Pavlo's willful and continuous acts of denial spring from a classic tragic flaw. In the same way as classical characters of potential greatness like Oedipus, Hamlet, or Macbeth are brought to destruction by flaws of character (pride, indecision, or ambition), Pavlo is conceivably a character of potential greatness deeply flawed by self-delusion. The counter to this argument is that we never actually see Pavlo's greatness, not even a glimpse of it. In fact, from the beginning, he is portrayed as both loser and lost, defining his identity through the actions and example of other people. Does this make him any less tragic, or does his death portray him as the definitive victim? Choose a side to argue and consistently refer to examples from the book to back up your argument.

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