
	Trending ▼ ICSE CBSE 10th ISC CBSE 12th CTET GATE UGC NET Vestibulares ResFinder

GCE JUN 2008 : (AS 2) The Study of Shakespeare

32 pages, 10 questions, 0 questions with responses, 0 total responses,

	gce	+Fave Message
	Profile Timeline Uploads Q & A

Home > gce >

Instantly get Model Answers to questions on this ResPaper. Try now!
NEW ResPaper Exclusive!

Formatting page ...

ADVANCED SUBSIDIARY (AS) General Certificate of Education 2008 English Literature assessing Module 2: The Study of Shakespeare ASL21 Assessment Unit AS 2 [ASL21] FRIDAY 13 JUNE, MORNING TIME 1 hour. INSTRUCTIONS TO CANDIDATES Write your Centre Number and Candidate Number on the Answer Booklet provided. Answer one question. INFORMATION FOR CANDIDATES The total mark for this paper is 30. Each question carries a mark of 30. Quality of written communication will be assessed in all questions. You should not have with you copies of the prescribed texts or any other material relating to this examination. A Resource Booklet, containing extracts from the texts, is provided for use with this question paper. ASL2S8 3301 Read all of this page first carefully Answer one question from this unit. In this examination you will be marked on your ability to communicate clearly the knowledge, understanding and insight appropriate to literary study, using appropriate terminology and accurate and coherent written expression (AO1) respond with knowledge and understanding to literary texts of different types and periods (AO2i) show detailed understanding of the ways in which writers choices of form, structure and language shape meanings (AO3). This means that in your answers, you must express your ideas in a clear and well-organised way, paying careful attention to spelling, punctuation and grammar and using appropriate literary terms show an awareness of the period in which the plays were written and the type of play e.g. tragedy, comedy, history where this is relevant to the question show an understanding of the methods which Shakespeare uses such as character interactions, language (including imagery) and staging in relation to the point of the question. ASL2S8 3301 2 [Turn over 1 Richard II Answer either (a) or (b) (a) By examining closely extract 1(a) printed in the accompanying Resource Booklet, and referring to other appropriately selected parts of the play, write about the dramatic methods which Shakespeare uses to present the relationship between Richard and Bolingbroke. In your answer, consider the dramatic methods listed below: Shakespeare s use of character interactions to present the relationship between Richard and Bolingbroke Shakespeare s use of language (including imagery) to present the relationship between Richard and Bolingbroke staging of significant episodes relevant to the presentation of the relationship between Richard and Bolingbroke. N.B. Half the marks for this question (a maximum of 15/30) are available for your use of the given extract in your answer. (b) By examining closely extract 1(b) printed in the accompanying Resource Booklet, and referring to other appropriately selected parts of the play, write about the dramatic methods which Shakespeare uses to explore the theme of trust. In your answer, consider the dramatic methods listed below: Shakespeare s use of character interactions to explore the theme of trust Shakespeare s use of language (including imagery) to explore the theme of trust staging of significant episodes relevant to the theme of trust. N.B. Half the marks for this question (a maximum of 15/30) are available for your use of the given extract in your answer. ASL2S8 3301 3 [Turn over 2 As You Like It Answer either (a) or (b) (a) By examining closely extract 2(a) printed in the accompanying Resource Booklet, and referring to other appropriately selected parts of the play, write about the dramatic methods which Shakespeare uses to present the character of Orlando. In your answer, consider the dramatic methods listed below: Shakespeare s use of character interactions to present the character of Orlando Shakespeare s use of language (including imagery) to present the character of Orlando staging of significant episodes relevant to the presentation of the character of Orlando. N.B. Half the marks for this question (a maximum of 15/30) are available for your use of the given extract in your answer. (b) By examining closely extract 2(b) printed in the accompanying Resource Booklet, and referring to other appropriately selected parts of the play, write about the dramatic methods Shakespeare uses to explore the theme of the pain of love. In your answer, consider the dramatic methods listed below: Shakespeare s use of character interactions relating to the theme of the pain of love Shakespeare s use of language (including imagery) relating to the theme of the pain of love staging of significant episodes relevant to the theme of the pain of love. N.B. Half the marks for this question (a maximum of 15/30) are available for your use of the given extract in your answer. ASL2S8 3301 4 [Turn over 3 King Lear Answer either (a) or (b) (a) By examining closely extract 3(a) printed in the accompanying Resource Booklet, and referring to other appropriately selected parts of the play, write about the dramatic methods Shakespeare uses to present the relationship between Lear and Cordelia. In your answer, consider the dramatic methods listed below: Shakespeare s use of character interactions to present the relationship between Lear and Cordelia Shakespeare s use of language (including imagery) to present the relationship between Lear and Cordelia staging of significant episodes relevant to the presentation of the relationship between Lear and Cordelia. N.B. Half the marks for this question (a maximum of 15/30) are available for your use of the given extract in your answer. (b) By examining closely extract 3(b) printed in the accompanying Resource Booklet, and referring to other appropriately selected parts of the play, write about the dramatic methods used by Shakespeare to explore the theme of family rivalry. In your answer, consider the dramatic methods listed below: Shakespeare s use of character interactions relating to the theme of family rivalry Shakespeare s use of language (including imagery) relating to the theme of family rivalry staging of significant episodes relevant to the theme of family rivalry. N.B. Half the marks for this question (a maximum of 15/30) are available for your use of the given extract in your answer. ASL2S8 3301 5 [Turn over 4 Coriolanus Answer either (a) or (b) (a) By examining closely extract 4(a) printed in the accompanying Resource Booklet, and referring to other appropriately selected parts of the play, write about the dramatic methods used by Shakespeare to present the relationship between the plebeians and their political leaders. In your answer, consider the dramatic methods listed below: Shakespeare s use of character interactions to present the relationship between the plebeians and their political leaders Shakespeare s use of language (including imagery) to present the relationship between the plebeians and their political leaders staging of significant episodes relevant to the presentation of the relationship between the plebeians and their political leaders. N.B. Half the marks for this question (a maximum of 15/30) are available for your use of the given extract in your answer. (b) By examining closely extract 4(b) printed in the accompanying Resource Booklet, and referring to other appropriately selected parts of the play, write about the dramatic methods used by Shakespeare to explore the theme of patriotism. In your answer, consider the dramatic methods listed below: Shakespeare s presentation of character interactions relating to the theme of patriotism Shakespeare s use of language (including imagery) relating to the theme of patriotism staging of significant episodes relevant to the theme of patriotism. N.B. Half the marks for this question (a maximum of 15/30) are available for your use of the given extract in your answer. ASL2S8 3301 6 [Turn over 5 The Tempest Answer either (a) or (b) (a) By examining closely extract 5(a) printed in the accompanying Resource Booklet, and referring to other appropriately selected parts of the play, write about the dramatic methods which Shakespeare uses to present Prospero s powers. In your answer, consider the dramatic methods listed below: Shakespeare s use of character interactions to present Prospero s powers Shakespeare s use of language (including imagery) to present Prospero s powers staging of significant episodes relevant to the presentation of Prospero s powers. N.B. Half the marks for this question (a maximum of 15/30) are available for your use of the given extract in your answer. (b) By examining closely extract 5(b) printed in the accompanying Resource Booklet, and referring to other appropriately selected parts of the play, write about the dramatic methods which Shakespeare uses to explore the theme of disloyalty. In your answer, consider the dramatic methods listed below: Shakespeare s use of character interactions relating to the theme of disloyalty Shakespeare s use of language (including imagery) relating to the theme of disloyalty staging of significant episodes relevant to the theme of disloyalty. N.B. Half the marks for this question (a maximum of 15/30) are available for your use of the given extract in your answer. ASL2S8 3301 7 [Turn over S 2/07 531-020-1 ADVANCED SUBSIDIARY (AS) General Certificate of Education 2008 English Literature assessing Module 2: The Study of Shakespeare ASL21 Assessment Unit AS 2 [ASL21] FRIDAY 13 JUNE, MORNING RESOURCE BOOKLET You must make sure that you select the appropriate extract for the question you are doing. For example, if you are doing question 1(a), you must select extract 1(a). ASL2S8 3301.02 1 (a) Richard II (extract to go with question 1(a)) BOLINGBROKE Go, some of you, and fetch a looking-glass. (Exit an ATTENDANT) NORTHUMBERLAND Read o er this paper, while the glass doth come. RICHARD Fiend, thou torment st me ere I come to hell. BOLINGBROKE Urge it no more, my Lord Northumberland. NORTHUMBERLAND The Commons will not then be satisfied. RICHARD They shall be satisfied; I ll read enough, When I do see the very book indeed, Where all my sins are writ, and that s myself. (Re-enter ATTENDANT with glass) Give me the glass, and therein will I read. No deeper wrinkles yet? Hath sorrow struck So many blows upon this face of mine, And made no deeper wounds? Oh, flattering glass, Like to my followers in prosperity, Thou dost beguile me! Was this face the face That every day, under his household roof, Did keep ten thousand men? Was this the face That, like the sun, did make beholders wink? Was this the face that faced so many follies And was at last out-faced by Bolingbroke? A brittle glory shineth in this face; As brittle as the glory is the face; (Dashes the glass to the ground) For there it is, cracked in a hundred shivers. Mark, silent king, the moral of this sport, How soon my sorrow hath destroyed my face. BOLINGBROKE The shadow of your sorrow hath destroyed The shadow of your face. ASL2S8 3301.02 2 [Turn over RICHARD Say that again. The shadow of my sorrow? Ha, let s see: T is very true, my grief lies all within; And these external manner of laments, Are merely shadows to the unseen grief, That swells with silence in the tortured soul. There lies the substance: and I thank thee, king, For thy great bounty, that not only giv st Me cause to wail, but teachest me the way How to lament the cause. I ll beg one boon, And then be gone, and trouble you no more. Shall I obtain it? BOLINGBROKE Name it, fair cousin. RICHARD Fair cousin ? I am greater than a king; For when I was a king, my flatterers Were then but subjects; being now a subject, I have a king here to my flatterer. Being so great, I have no need to beg. BOLINGBROKE Yet ask. RICHARD And shall I have? BOLINGBROKE You shall. RICHARD Then give me leave to go. BOLINGBROKE Whither? RICHARD Whither you will, so I were from your sights. BOLINGBROKE Go, some of you, convey him to the Tower. ASL2S8 3301.02 3 [Turn over RICHARD Oh, good! Convey ? Conveyors are you all That rise thus nimbly by a true king s fall. (Exeunt RICHARD, some LORDS and GUARDS) BOLINGBROKE On Wednesday next we solemnly set down Our coronation: lords, prepare yourselves. (Exeunt all except BISHOP OF CARLISLE, ABBOT OF WESTMINSTER and AUMERLE) (Act 4 Scene 1, lines 268 320) N.B. Half the marks for this question (a maximum of 15/30) are available for your use of the above extract in your answer. ASL2S8 3301.02 4 [Turn over (b) Richard II (extract to go with question 1(b)) CARLISLE My lord, wise men ne er sit and wail their woes, But presently prevent the ways to wail. To fear the foe, since fear oppresseth strength, Gives, in your weakness, strength unto your foe, And so your follies fight against yourself. Fear and be slain, no worse can come to fight; And fight and die is death destroying death, Where fearing dying pays death servile breath. AUMERLE My father hath a power; inquire of him, And learn to make a body of a limb. KING RICHARD Thou chid st me well! Proud Bolingbroke, I come To change blows with thee, for our day of doom! This ague fit of fear is over-blown; An easy task it is to win our own. Say Scroop, where lies our uncle with his power? Speak sweetly, man, although thy looks be sour. SCROOP Men judge by the complexion of the sky The state and inclination of the day; So may you by my dull and heavy eye. My tongue hath but a heavier tale to say: I play the torturer, by small and small To lengthen out the worst that must be spoken. Your uncle York is joined by Bolingbroke, And all your northern castles yielded up, And all your southern gentlemen in arms Upon his faction. KING RICHARD Thou hast said enough. (To AUMERLE) Beshrew thee, cousin, which didst lead me forth Of that sweet way I was in to despair: What say you now? What comfort have we now? By heaven, I ll hate him everlastingly, That bids me be of comfort any more. Go to Flint Castle; there I ll pine away; A king, woe s slave, shall kingly woe obey. That power I have, discharge; and let them go To ear the land that hath some hope to grow, For I have none. Let no man speak again To alter this, for counsel is but vain. ASL2S8 3301.02 5 [Turn over AUMERLE My liege, one word. KING RICHARD He does me double wrong, That wounds me with the flatteries of his tongue. Discharge my followers: let them hence away, From Richard s night to Bolingbroke s fair day. (Exeunt) (Act 3 Scene 2, lines 179 220) N.B. Half the marks for this question (a maximum of 15/30) are available for your use of the above extract in your answer. ASL2S8 3301.02 6 [Turn over 2 (a) As You Like It (extract to go with question 2(a)) ADAM Yonder comes my master, your brother. ORLANDO Go apart, Adam, and thou shalt hear how he will shake me up. (ADAM withdraws) OLIVER Now sir, what make you here? ORLANDO Nothing: I am not taught to make anything. OLIVER What mar you then, sir? ORLANDO Marry, sir, I am helping you to mar that which God made, a poor unworthy brother of yours, with idleness. OLIVER Marry, sir, be better employed, and be naught awhile. ORLANDO Shall I keep your hogs and eat husks with them? What prodigal portion have I spent that I should come to such penury? OLIVER Know you where you are, sir? ORLANDO O, sir, very well: here in your orchard. OLIVER Know you before whom, sir? ORLANDO Aye, better than him I am before knows me: I know you are my eldest brother, and in the gentle condition of blood you should so know me. The courtesy of nations allows you my better in that you are the first-born, but the same tradition takes not away my blood, were there twenty brothers betwixt us. I have as much of my father in me as you, albeit I confess your coming before me is nearer to his reverence. ASL2S8 3301.02 7 [Turn over OLIVER (Raising his hand) What, boy! ORLANDO (Seizing his brother) Come, come, elder brother, you are too young in this. OLIVER Wilt thou lay hands on me, villain? ORLANDO I am no villain: I am the youngest son of Sir Roland de Boys; he was my father, and he is thrice a villain that says such a father begot villains. Wert thou not my brother, I would not take this hand from thy throat till this other had pulled out thy tongue for saying so: thou hast railed on thyself. ADAM (Coming forward) Sweet masters, be patient, for your father s remembrance, be at accord. OLIVER Let me go, I say. ORLANDO I will not till I please. You shall hear me. My father charged you in his will to give me good education: you have trained me like a peasant, obscuring and hiding from me all gentleman-like qualities. The spirit of my father grows strong in me and I will no longer endure it. Therefore allow me such exercises as may become a gentleman or give me the poor allottery my father left me by testament: with that I will go buy my fortunes. (He releases OLIVER) (Act 1 Scene 1, lines 20 59) N.B. Half the marks for this question (a maximum of 15/30) are available for your use of the above extract in your answer. ASL2S8 3301.02 8 [Turn over (b) As You Like It (extract to go with question 2(b)) SILVIUS O Corin, that thou knew st how I do love her. CORIN I partly guess, for I have loved ere now. SILVIUS No, Corin, being old, thou canst not guess, Though in thy youth thou wast as true a lover As ever sighed upon a midnight pillow. But if thy love were ever like to mine As sure I think did never man love so How many actions most ridiculous Hast thou been drawn to by thy fantasy? CORIN Into a thousand that I have forgotten. SILVIUS O thou didst then never love so heartily. If thou remember st not the slightest folly That ever love did make thee run into, Thou hast not loved. Or if thou hast not sat as I do now, Wearing thy hearer in thy mistress praise, Thou hast not loved. Or if thou hast not broke from company Abruptly as my passion now makes me, Thou hast not loved. O Phebe, Phebe, Phebe! (Exit) ROSALIND Alas, poor shepherd, searching of thy wound, I have by hard adventure found mine own. TOUCHSTONE And I mine: I remember when I was in love, I broke my sword upon a stone and bid him take that for coming a-night to Jane Smile; and I remember the kissing of her batlet and the cow s dugs that her pretty chapped hands had milked; and I remember the wooing of a peascod instead of her, from whom I took two cods and, giving her them again, said with weeping tears, Wear these for my sake. We that are true lovers run into strange capers; but as all is mortal in nature, so is all nature in love mortal in folly. ASL2S8 3301.02 9 [Turn over ROSALIND Thou speak st wiser than thou art ware of. TOUCHSTONE Nay, I shall ne er be ware of my own wit till I break my shins against it. ROSALIND Jove, Jove, this shepherd s passion Is much upon my fashion. (Act 2 Scene 4, lines 17 52) N.B. Half the marks for this question (a maximum of 15/30) are available for your use of the above extract in your answer. ASL2S8 3301.02 10 [Turn over 3 (a) King Lear (extract to go with question 3(a)) DOCTOR Please you, draw near. Louder the music there! CORDELIA O my dear father! Restoration hang Thy medicine on my lips, and let this kiss Repair those violent harms that my two sisters Have in thy reverence made! KENT Kind and dear Princess! CORDELIA Had you not been their father, these white flakes Did challenge pity of them. Was this a face To be oppos d against the warring winds? To stand against the deep dread-bolted thunder? In the most terrible and nimble stroke Of quick, cross lightning? to watch poor perdu! With this thin helm? Mine enemy s dog, Though he had bit me, should have stood that night Against my fire. And wast thou fain, poor father, To hovel thee with swine and rogues forlorn, In short and musty straw? Alack, alack! Tis wonder that thy life and wits at once Had not concluded all. He wakes; speak to him. DOCTOR Madam, do you; tis fittest. CORDELIA How does my royal Lord? How fares your Majesty? LEAR You do me wrong to take me out o th grave; Thou art a soul in bliss; but I am bound Upon a wheel of fire, that mine own tears Do scald like molten lead. CORDELIA Sir, do you know me? LEAR You are a spirit, I know; where did you die? CORDELIA Still, still, far wide. ASL2S8 3301.02 11 [Turn over DOCTOR He s scarce awake; let him alone awhile. LEAR Where have I been? Where am I? Fair daylight? I am mightily abus d. I should e en die with pity To see another thus. I know not what to say. I will not swear these are my hands: let s see; I feel this pin prick. Would I were assur d Of my condition! CORDELIA O! look upon me, Sir, And hold your hand in benediction o er me. No, Sir, you must not kneel. LEAR Pray, do not mock me: I am a very foolish fond old man, Fourscore and upward, not an hour more or less; And, to deal plainly, I fear I am not in my perfect mind. Methinks I should know you and know this man; Yet I am doubtful: for I am mainly ignorant What place this is, and all the skill I have Remembers not these garments; nor I know not Where I did lodge last night. Do not laugh at me; For, as I am a man, I think this lady To be my child Cordelia. CORDELIA And so I am, I am. LEAR Be your tears wet? Yes, faith. I pray, weep not: If you have poison for me, I will drink it. I know you do not love me; for your sisters Have, as I do remember, done me wrong: You have some cause, they have not. CORDELIA No cause, no cause. (Act 4 Scene 7, lines 25 75) N.B. Half the marks for this question (a maximum of 15/30) are available for your use of the above extract in your answer. ASL2S8 3301.02 12 [Turn over (b) King Lear (extract to go with question 3(b)) (Enter REGAN and OSWALD) REGAN But are my brother s powers set forth? OSWALD Ay, Madam. REGAN Himself in person there? OSWALD Madam, with much ado: Your sister is the better soldier. REGAN Lord Edmund spake not with your Lord at home? OSWALD No, Madam. REGAN What might import my sister s letter to him? OSWALD I know not, Lady. REGAN Faith, he is posted hence on serious matter. It was great ignorance, Gloucester s eyes being out, To let him live; where he arrives he moves All hearts against us. Edmund, I think, is gone, In pity of his misery, to dispatch His nighted life; moreover, to descry The strength o th enemy. OSWALD I must needs after him, Madam, with my letter. REGAN Our troops set forth to-morrow; stay with us, The ways are dangerous. ASL2S8 3301.02 13 [Turn over OSWALD I may not, Madam; My Lady charg d my duty in this business. REGAN Why should she write to Edmund? Might not you Transport her purposes by word? Belike, Some things I know not what. I ll love thee much, Let me unseal the letter. OSWALD Madam, I had rather REGAN I know your Lady does not love her husband; I am sure of that: and at her late being here She gave strange illiads and most speaking looks To noble Edmund. I know you are of her bosom. OSWALD I, Madam! REGAN I speak in understanding; y are, I know t: Therefore I do advise you, take this note: My Lord is dead; Edmund and I have talk d And more convenient is he for my hand Than for your Lady s. You may gather more. If you do find him, pray you give him this, And when your mistress hears thus much from you, I pray desire her call her wisdom to her: So, fare you well. If you do chance to hear of that blind traitor, Preferment falls on him that cuts him off. OSWALD Would I could meet him, Madam: I should show What party I do follow. REGAN Fare thee well. (Exeunt) (Act 4 Scene 5, lines 1 40) N.B. Half the marks for this question (a maximum of 15/30) are available for your use of the above extract in your answer. ASL2S8 3301.02 14 [Turn over 4 (a) Coriolanus (extract to go with question 4(a)) MENENIUS Why, masters, my good friends, mine honest neighbours, Will you undo yourselves? FIRST CITIZEN We cannot, sir, we are undone already. MENENIUS I tell you, friends, most charitable care Have the patricians of you. For your wants, Your suffering in this dearth, you may as well Strike at the heaven with your staves as lift them Against the Roman state, whose course will on The way it takes, cracking ten thousand curbs Of more strong link asunder than can ever Appear in your impediment. For the dearth, The gods, not the patricians, make it, and Your knees to them, not arms, must help. Alack, You are transported by calamity Thither where more attends you, and you slander The helms o th state, who care for you like fathers, When you curse them as enemies. FIRST CITIZEN Care for us? True indeed! They ne er cared for us yet. Suffer us to famish, and their store-houses crammed with grain; make edicts for usury, to support usurers; repeal daily any wholesome act established against the rich, and provide more piercing statutes daily to chain up and restrain the poor. If the wars eat us not up, they will; and there s all the love they bear us. MENENIUS Either you must Confess yourselves wondrous malicious, Or be accused of folly. I shall tell you A pretty tale. It may be you have heard it, But, since it serves my purpose, I will venture To stale t a little more. FIRST CITIZEN Well, I ll hear it, sir. Yet you must not think to fob off our disgrace with a tale. But, an t please you, deliver. ASL2S8 3301.02 15 [Turn over MENENIUS There was a time when all the body s members Rebelled against the belly, thus accused it: That only like a gulf it did remain I th midst o th body, idle and unactive, Still cupboarding the viand, never bearing Like labour with the rest, where th other instruments Did see and hear, devise, instruct, walk, feel, And, mutually participate, did minister Unto the appetite and affection common Of the whole body. The belly answered FIRST CITIZEN Well, sir, what answer made the belly? MENENIUS Sir, I shall tell you. With a kind of smile, Which ne er came from the lungs, but even thus For look you, I may make the belly smile As well as speak it tauntingly replied To th discontented members, the mutinous parts That envied his receipt; even so most fitly As you malign our senators for that They are not such as you. (Act 1 Scene 1, lines 60 112) N.B. Half the marks for this question (a maximum of 15/30) are available for your use of the above extract in your answer. ASL2S8 3301.02 16 [Turn over (b) Coriolanus (extract to go with question 4(b)) LARTIUS Their noise be our instruction. Ladders, ho! (Enter the army of the Volsces) MARTIUS They fear us not, but issue forth their city. Now put your shields before your hearts, and fight With hearts more proof than shields. Advance, brave Titus. They do disdain us much beyond our thoughts, Which makes me sweat with wrath. Come on, my fellows. He that retires, I ll take him for a Volsce, And he shall feel mine edge. (Alarum. The Romans are beat back to their trenches. Enter MARTIUS, cursing) MARTIUS All the contagion of the south light on you, You shames of Rome! You herd of Boils and plagues Plaster you o er, that you may be abhorred Farther than seen, and one infect another Against the wind a mile! You souls of geese That bear the shapes of men, how have you run From slaves that apes would beat! Pluto and hell! All hurt behind! Backs red, and faces pale With flight and agued fear! Mend and charge home, Or, by the fires of heaven, I ll leave the foe And make my wars on you. Look to t. Come on! If you ll stand fast, we ll beat them to their wives, As they us to our trenches. Follow s! (Another alarum. The Volsces fly, and MARTIUS follows them to the gates, and is shut in) So, now the gates are ope. Now prove good seconds. Tis for the followers fortune widens them, Not for the fliers. Mark me, and do the like. (He enters the gates) FIRST SOLDIER Fool-hardiness, not I. SECOND SOLDIER Nor I. ASL2S8 3301.02 17 [Turn over FIRST SOLDIER See, they have shut him in. ALL To th pot, I warrant him. (Alarum continues Enter TITUS LARTIUS) LARTIUS What is become of Martius? ALL Slain, sir, doubtless. FIRST SOLDIER Following the fliers at the very heels, With them he enters, who upon the sudden Clapped to their gates. He is himself alone, To answer all the city. LARTIUS O noble fellow! Who sensibly outdares his senseless sword, And when it bows stand st up. Thou art lost, Martius. A carbuncle entire, as big as thou art, Were not so rich a jewel. Thou wast a soldier Even to Cato s wish, not fierce and terrible Only in strokes, but with thy grim looks and The thunder-like percussion of thy sounds Thou mad st thine enemies shake, as if the world Were feverous and did tremble. (Enter MARTIUS, bleeding, assaulted by the enemy) FIRST SOLDIER Look, sir. LARTIUS O, tis Martius! Let s fetch him off, or make remain alike. (They fight, and all enter the city) (Act 1 Scene 4, lines 22 66) N.B. Half the marks for this question (a maximum of 15/30) are available for your use of the above extract in your answer. ASL2S8 3301.02 18 [Turn over 5 (a) The Tempest (extract to go with question 5(a)) (Enter PROSPERO and MIRANDA) MIRANDA If by your Art, my dearest father, you have Put the wild waters in this roar, allay them. The sky, it seems, would pour down stinking pitch, But that the sea, mounting to th welkin s cheek, Dashes the fire out. O, I have suffered With those that I saw suffer! a brave vessel, (Who had, no doubt, some noble creature in her,) Dash d all to pieces. O, the cry did knock Against my very heart! Poor souls, they perish d! Had I been any god of power, I would Have sunk the sea within the earth, or ere It should the good ship so have swallow d, and The fraughting souls within her. Be collected: No more amazement: tell your piteous heart There s no harm done. PROSPERO MIRANDA O, woe the day! PROSPERO No harm. I have done nothing but in care of thee, Of thee, my dear one; thee, my daughter, who Art ignorant of what thou art; nought knowing Of whence I am, nor that I am more better Than Prospero, master of a full poor cell, And thy no greater father. More to know Did never meddle with my thoughts. MIRANDA ASL2S8 3301.02 19 [Turn over Tis time I should inform thee farther. Lend thy hand, And pluck my magic garment from me. So: (Lays down his mantle.) PROSPERO Lie there, my Art. Wipe thou thine eyes; have comfort. The direful spectacle of the wreck, which touch d The very virtue of compassion in thee, I have with such provision in mine Art So safely ordered, that there is no soul No, not so much perdition as an hair Betid to any creature in the vessel Which thou heard st cry, which thou saw st sink. Sit down; For thou must now know farther. You have often Begun to tell me what I am, but stopp d, And left me to a bootless inquisition, Concluding, Stay: not yet. MIRANDA (Act 1 Scene 2, lines 1 36) N.B. Half the marks for this question (a maximum of 15/30) are available for your use of the above extract in your answer. ASL2S8 3301.02 20 [Turn over (b) The Tempest (extract to go with question 5(b)) CALIBAN Why, as I told thee, tis a custom with him I th afternoon to sleep: there thou mayst brain him, Having first seiz d his books; or with a log Batter his skull, or paunch him with a stake, Or cut his wezand with thy knife. Remember First to possess his books; for without them He s but a sot, as I am, nor hath not One spirit to command: they all do hate him As rootedly as I. Burn but his books. He has brave utensils, for so he calls them, Which, when he has a house, he ll deck withal. And that most deeply to consider is The beauty of his daughter; he himself Calls her a nonpareil: I never saw a woman, But only Sycorax my dam and she; But she as far surpasseth Sycorax As great st does least. STEPHANO Is it so brave a lass? CALIBAN Ay, lord; she will become thy bed, I warrant, And bring thee forth brave brood. STEPHANO Monster, I will kill this man: his daughter and I will be king and queen, save our graces! and Trinculo and thyself shall be viceroys. Dost thou like the plot, Trinculo? TRINCULO Excellent. STEPHANO Give me thy hand: I am sorry I beat thee; but, while thou liv st, keep a good tongue in thy head. CALIBAN Within this half hour will he be asleep: Wilt thou destroy him then? STEPHANO Ay, on mine honour. ASL2S8 3301.02 21 [Turn over ARIEL This will I tell my master. CALIBAN Thou mak st me merry; I am full of pleasure; Let us be jocund: will you troll the catch You taught me but while-ere? (Act 3 Scene 2, lines 85 116) N.B. Half the marks for this question (a maximum of 15/30) are available for your use of the above extract in your answer. ASL2S8 3301.02 22 [Turn over S 2/07 531-020-2 [Turn over

Formatting page ...

Additional Info : Gce English Literature June 2008 Assessment Unit AS 2 Module 2: The Study of Shakespeare
Tags : General Certificate of Education, A Level and AS Level, uk, council for the curriculum examinations and assessment, gce exam papers, gce a level and as level exam papers , gce past questions and answer, gce past question papers, ccea gce past papers, gce ccea past papers

gce chat

Horizontal lines at:
Guest Horizontal lines at:
AutoRM Data:
Box geometries: