3. Tea master influence is reflected in aspects of what?
(a) Meals.
(b) Japanese education.
(c) Everyday life.
(d) Tea ceremonies.

4. Flowers and trees are selected how?
(a) Very slowly.
(b) Very quickly.
(c) Very carefully.
(d) Very hastily.

5. How does Okakura feel about modern art appreciation?
(a) He enjoys it.
(b) He laments it.
(c) He supports it.
(d) He encourages it.

6. The art of flower arrangement began with whom?
(a) Christian disciples.
(b) Buddhist saints.
(c) Zennist monks.
(d) Hindu priests.

7. Many things were all consciously ______________, especially during the tea ceremony.
(a) Controlled.
(b) Acknowledged.
(c) Seen.
(d) Spoken.

8. When does the host appear?
(a) Prior to the arrival of the guests.
(b) Only when there is complete silence.
(c) At night.
(d) After three days.

9. What is it important to remember about this art?
(a) It is a requirement.
(b) It is a religious rite.
(c) It is a prayer.
(d) It is not a religious rite.

10. Can vain artists, absorbed with their own genius, ever truly connect with others?
(a) No, not often.
(b) Yes, most of the time.
(c) Yes, always.
(d) No, never.

11. Early tea rooms were connected to what?
(a) Homes.
(b) Schools.
(c) Temples.
(d) Stores.

12. Flowers are a natural beauty that inspires what?
(a) The lonely soul.
(b) The happy soul.
(c) The religious soul.
(d) The artistic soul.

13. Tea-masters, in choosing art for their ceremonies, only choose what pieces?
(a) Those that are most expensive.
(b) Those which specifically speak to them.
(c) Those that suit their tea.
(d) Those that their patrons like.

14. Lastly, tea masters have an understanding of the ________________ of life.
(a) Quality.
(b) Waste.
(c) Brevity.
(d) Dullness.

15. This door, forcing everyone to hunch down, was meant to do what?
(a) Be uncomfortable.
(b) Embarrass.
(c) Inspire humility.
(d) Humiliate.