1. What does Bakhtin find inadequate in Veselovsky's metaphor of Rabelais as a village boy?
(a) Veselovsky's image is cynical, but Rabelais actually celebrates regenerative laughter.
(b) Veselovsky's image is too young at heart, for Rabelais wrote only with an old, tired voice.
(c) Veselovsky's image excludes the seriousness of the boy as a budding scholar.
(d) Veselovsky's image seems too urban for Rabelais, who only wrote about the countryside.

2. Why was Rabelais linked so closely to the Lyon fairs?
(a) Lyon fairs represented one of the largest markets for publishing.
(b) The organizers of the fairs in Lyon banned Rabelais from attending them.
(c) Rabelais was a performing clown for several years in these fairs.
(d) Rabelais was a chief organizer of these fairs.

3. What does Bakhtin find to be the greatest error other critics make in their studies of Rabelais' works?
(a) They classify Rabelais as just as important as Shakespeare and Cervantes.
(b) They read Rabelais' works as allegory only.
(c) They treat Rabelais as a prophet of literary upheavals.
(d) They neglect to explore the element of the Renaissance folk culture.

4. Why did Renaissance humanists attempt to suppress oaths and profanities?
(a) They saw such language as relics of the superstitious Middle Ages.
(b) They were shocked to hear the Lord's name taken in vain.
(c) They felt that if one could not say something nice, one should say nothing at all.
(d) They viewed such language as predominantly atheistic.

5. What common fifteenth- and sixteenth-century literary device does Bakhtin identify in the Prologue to the Third Book?
(a) Invocations to the Muse.
(b) Long lists of names and epithets.
(c) Complaints about love.
(d) Blank verse.