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GCE JAN 2011 : (A2 1 ) The Study of Poetry 1300–1800 and Drama - Revised

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ADVANCED General Certificate of Education January 2011 English Literature assessing The Study of Poetry 1300 1800 and Drama AL211 Assessment Unit A2 1 [AL211] MoNDAy 17 JANuAry, AftErNooN tIME 2 hours. INStruCtIoNS to CANDIDAtES Write your Centre Number and Candidate Number on the Answer Booklet provided. Answer two questions. Answer one question from Section A and one question from Section B. Write your answer to Section A in the Red (Poetry) Answer Booklet. Write your answer to Section B in the Purple (Drama) Answer Booklet. INforMAtIoN for CANDIDAtES 111591 The total mark for this paper is 120. All questions carry equal marks, i.e. 60 marks for each question. Quality of written communication will be assessed in all questions. You should not have with you copies of the prescribed text or any other material relating to this examination. However, for Section A, copies of the poems or extracts from poems, referred to in the questions, can be found in the Resource Booklet provided. 6360 SECTION A: THE STUDY OF POETRY FROM 1300 1800 Answer one question on your chosen poet. In Section A you will be marked on your ability to 6360 articulate informed and relevant responses that communicate effectively your knowledge and understanding of poetry (AO1) analyse the poet s use of such poetic methods as form, structure, language and tone (AO2) demonstrate understanding of the context in which texts are written and received by drawing on appropriate information from outside the poems (AO4) 2 [Turn over Section A The Study of Poetry 1300 1800 Answer one question on your chosen poet. 1 Chaucer: The Pardoner s Prologue and Tale Answer either (a) or (b) (a) By referring closely to extract 1(a) printed in the accompanying Resource Booklet, and other appropriately selected parts of the text, and making use of relevant external contextual information on medieval pardoners, examine the poetic methods which Chaucer uses to present his version of a medieval pardoner. N.B. Equal marks are available for your treatment of the given extract and other relevant parts of the text. (b) By referring closely to extract 1(b) printed in the accompanying Resource Booklet, and other appropriately selected parts of the text, and making use of relevant external contextual information on the medieval art of preaching, examine the poetic methods which Chaucer uses to present his version of medieval preaching. N.B. Equal marks are available for your treatment of the given extract and other relevant parts of the text. 6360 3 [Turn over 2 Donne: Selected Poems Answer either (a) or (b) (a) By referring closely to Good Friday, 1613, Riding Westward printed in the accompanying Resource Booklet, and one other appropriately selected poem, and making use of relevant external biographical contextual information, examine the poetic methods which Donne uses to present his view of man s sinfulness and weakness. N.B. Equal marks are available for your treatment of each poem. (b) By referring closely to The Anniversary printed in the accompanying Resource Booklet, and one other appropriately selected poem, and making use of relevant external contextual information on the nature of Metaphysical poetry, examine the poetic methods which Donne uses to present his ideas about love. N.B. Equal marks are available for your treatment of each poem. 6360 4 [Turn over 3 Pope: The Rape of the Lock Answer either (a) or (b) (a) By referring closely to extract 3(a) printed in the accompanying Resource Booklet, and other appropriately selected parts of the text, and making use of relevant external contextual information on wealthy upper-class society in eighteenth-century England, examine the poetic methods which Pope uses to present Belinda as representative of that society. N.B. Equal marks are available for your treatment of the given extract and other relevant parts of the text. (b) By referring closely to extract 3(b) printed in the accompanying Resource Booklet, and other appropriately selected parts of the text, and making use of relevant external contextual information on the nature of the eighteenth-century beau, examine the poetic methods which Pope uses to present the Baron as representative of that type of individual. N.B. Equal marks are available for your treatment of the given extract and other relevant parts of the text. 6360 5 [Turn over 4 Goldsmith: The Deserted Village Answer either (a) or (b) (a) By referring closely to extract 4(a) printed in the accompanying Resource Booklet, and other appropriately selected parts of the text, and making use of relevant external contextual information on eighteenth-century English society, examine the poetic methods which Goldsmith uses to present the bold peasantry as an aspect of that society. N.B. Equal marks are available for your treatment of the given extract and other relevant parts of the text. (b) By referring to extract 4(b) printed in the accompanying Resource Booklet, and other appropriately selected parts of the text, and making use of relevant external contextual information on social change in eighteenth-century rural England, examine the poetic methods which Goldsmith uses to present his view of such change. N.B. Equal marks are available for your treatment of the given extract and other relevant parts of the text. 6360 6 [Turn over BLANK PAGE (Questions continue overleaf) 6360 7 [Turn over SECTION B: THE STUDY OF DRAMA Answer one question on your chosen pair of dramatists. In Section B you will be marked on your ability to 6360 articulate informed and relevant responses that communicate effectively your knowledge and understanding of two drama texts (AO1) analyse the dramatists use of such dramatic methods as characterisation, structure, language and staging (AO2) demonstrate understanding of the context in which texts are written and received by drawing on appropriate information from outside the plays (AO4) construct a response to a stimulus statement which expresses a particular reading of the two plays (AO3) sustain a comparison/contrast between the plays (AO3) 8 [Turn over Section B The Study of Drama Answer one question from this section. 1 Satire Jonson: Volpone Sheridan: The School for Scandal Neither play makes successful satire: Sheridan creates entertaining comedy but has no serious moral message, while Jonson conveys a serious moral message at the expense of comic entertainment. By comparing and contrasting appropriately selected parts of the two plays, show how far you would agree with the view expressed above. Your argument should include relevant comments on each writer s methods and relevant external contextual information on the nature and purpose of satire. 2 Historical Drama Bolt: A Man for all Seasons Eliot: Murder in the Cathedral Bolt is more interested in accurately reflecting the events of history than Eliot is. By comparing and contrasting appropriately selected parts of the two plays, show how far you would agree with the view expressed above. Your argument should include relevant comments on each writer s dramatic methods and relevant external contextual information on the events of history relating to each play. 6360 9 [Turn over 3 Drama of Social realism Ibsen: A Doll s House osborne: Look Back in Anger Neither A Doll s House (1879) nor Look Back in Anger (1956) is an accurate reflection of the position of women in the society of the time in which the play was written. By comparing and contrasting appropriately selected parts of the two plays, show how far you would agree with the view expressed above. Your argument should include relevant comments on each writer s methods and relevant external contextual information on the position of women in society between the late nineteenth century and the middle of the twentieth century. 4 tragedy Shakespeare: King Lear Heaney: The Burial at Thebes Antigone in The Burial at Thebes is more deserving of being called a tragic heroine than Cordelia in King Lear. By comparing and contrasting appropriately selected parts of the two plays, show how far you would agree with the view expressed above. Your argument should include relevant comments on each writer s methods and relevant external contextual information on the nature of the tragic heroine. 6360 10 [turn over 6360 11 [Turn over Permission to reproduce all copyright material has been applied for. In some cases, efforts to contact copyright holders may have been unsuccessful and CCEA will be happy to rectify any omissions of acknowledgement in future if notified. 111591 ADVANCED General Certificate of Education January 2011 English Literature Assessment Unit A2 1 assessing The Study of Poetry 1300 1800 and Drama [AL211] MONDAY 17 JANUARY, AFTERNOON RESOURCE BOOKLET FOR SECTION A ONLY If you are answering on Chaucer, Pope or Goldsmith, 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). 6360.02 1 (a) Chaucer: The Pardoner s Prologue and Tale (extract to go with Question 1(a)) O cursed sinne of alle cursednesse! O traitours homicide, O wikkednesse! O glotonye, luxurie, and hasardrye! Thou blasphemour of Crist with vileynye And othes grete, of usage and of pride! Allas! mankinde, how may it bitide That to thy creatour, which that the wroghte, And with his precious herte-blood thee boghte, Thou art so fals and so unkinde, allas? Now, goode men, God foryeve yow youre trespas, And ware yow fro the sinne of avarice! Myn hooly pardoun may yow alle warice, So that ye offre nobles or sterlinges, Or elles silver broches, spoones, ringes. Boweth youre heed under this hooly bulle! Cometh up, ye wives, offreth of youre wolle! Youre names I entre heer in my rolle anon; Into the blisse of hevene shul ye gon. I yow assoille by myn heigh power, Yow that wol offre, as clene and eek as cleer As ye were born. And lo, sires, thus I preche. And Jhesu Crist, that is oure soules leche, So graunte yow his pardoun to receive, For that is best; I wol yow nat deceive. But sires, o word forgat I in my tale: I have relikes and pardoun in my male As faire as any man in Engelond, Whiche were me yeven by the popes hond. If any of yow wole, of devocion, Offren, and han myn absolucion, Com forth anon, and kneleth heere adoun, And mekely receiveth my pardoun; Or elles taketh pardoun as ye wende, Al newe and fressh at every miles ende, So that ye offren, alwey newe and newe, Nobles or pens, whiche that be goode and trewe. It is an honour to everich that is heer That ye mowe have a suffisant pardoneer T assoille yow, in contree as ye ride, For aventures whiche that may bitide. Paraventure ther may fallen oon or two Doun of his hors, and breke his nekke atwo. Looke which a seuretee is it to yow alle That I am in youre felaweshipe yfalle, That may assoille yow, bothe moore and lasse, Whan that the soule shal fro the body passe. 6360.02 2 [Turn over 1 (b) Chaucer: The Pardoner s Prologue and Tale (extract to go with Question 1(b)) Looke eek that to the king Demetrius, The king of Parthes, as the book seith us, Sente him a paire of dees of gold in scorn, For he hadde used hasard ther-biforn; For which he heeld his glorie or his renoun At no value or reputacioun. Lordes may finden oother maner pley Honest ynough to drive the day awey. Now wol I speke of othes false and grete A word or two, as olde bookes trete. Gret swering is a thing abhominable, And fals swering is yet moore reprevable. The heighe God forbad swering at al, Witnesse on Mathew; but in special Of swering seith the hooly Jeremye, Thou shalt swere sooth thine othes, and nat lie, And swere in doom, and eek in rightwisnesse ; But idel swering is a cursednesse. Bihoold and se that in the firste table Of heighe Goddes heestes honurable, Hou that the seconde heeste of him is this: Take nat my name in idel or amis. Lo, rather he forbedeth swich swering Than homicide or many a cursed thing; I seye that, as by ordre, thus it stondeth; This knoweth, that his heestes understondeth, How that the seconde heeste of God is that. And forther over, I wol thee telle al plat, That vengeance shal nat parten from his hous That of his othes is to outrageous. By Goddes precious herte, and By his nailes, And By the blood of Crist that is in Hayles, Sevene is my chaunce, and thyn is cynk and treye! By Goddes armes, if thou falsly pleye, This daggere shal thurghout thyn herte go! This fruit cometh of the bicched bones two, Forswering, ire, falsnesse, homicide. Now, for the love of Crist, that for us dyde, Lete youre othes, bothe grete and smale. But, sires, now wol I telle forth my tale. 6360.02 3 [Turn over 2 (a) Donne: Selected Poems (extract to go with Question 2(a)) Goodfriday, 1613. Riding Westward Let man s soul be a sphere, and then, in this, The intelligence that moves, devotion is, And as the other spheres, by being grown Subject to foreign motions, lose their own, And being by others hurried every day, Scarce in a year their natural form obey, Pleasure or business, so, our souls admit For their first mover, and are whirled by it. Hence is t that I am carried towards the West This day, when my soul s form bends towards the East. There I should see a sun, by rising, set, And by that setting endless day beget; But that Christ on this cross did rise and fall, Sin had eternally benighted all. Yet dare I almost be glad I do not see That spectacle of too much weight for me. Who sees God s face, that is self-life, must die; What a death were it then to see God die? It made His own lieutenant, Nature, shrink, It made His footstool crack, and the sun wink. Could I behold those hands which span the poles, And turn all spheres at once, pierced with those holes? Could I behold that endless height which is Zenith to us, and our antipodes, Humbled below us? or that blood which is The seat of all our souls, if not of His, Made dirt of dust, or that flesh which was worn By God for His apparel, ragged and torn? If on these things I durst not look, durst I Upon His miserable mother cast mine eye, Who was God s partner here, and furnished thus Half of that sacrifice which ransomed us? Though these things, as I ride, be from mine eye, They re present yet unto my memory, For that looks towards them; and Thou look st towards me, O Saviour, as Thou hang st upon the tree; I turn my back to Thee but to receive Corrections, till They mercies bid Thee leave. O think me worth Thine anger, punish me, Burn off my rusts and my deformity, Restore Thine image, so much, by Thy grace, That Thou may st know me, and I ll turn my face. 6360.02 4 [Turn over 2 (b) Donne: Selected Poems (extract to go with Question 2(b)) The Anniversary All kings and all their favourites, All glory of honours, beauties, wits, The sun itself, which makes times, as they pass, Is elder by a year, now, than it was When thou and I first one another saw. All other things to their destruction draw, Only our love hath no decay; This no tomorrow hath, nor yesterday; Running it never runs from us away, But truly keeps his first, last, everlasting day. Two graves must hide thine and my corpse; If one might, death were no divorce. Alas, as well as other princes, we (Who prince enough in one another be) Must leave at last in death, these eyes and ears, Oft fed with true oaths, and with sweet salt tears; But souls where nothing dwells but love (All other thoughts being inmates) then shall prove This, or a love increas d there above, When bodies to their graves, souls from their graves remove. And then we shall be throughly blest, But we no more than all the rest; Here upon earth, we are kings, and none but we Can be such kings, nor of such subjects be; Who is so safe as we, where none can do Treason to us, except one of us two? True and false fears let us refrain, Let us love nobly, and live, and add again Years and years unto years, till we attain To write threescore: this is the second of our reign. 6360.02 5 [Turn over 3 (a) Pope: The Rape of the Lock (extract to go with Question 3(a)) Canto II Not with more glories, in th etherial plain, The Sun first rises o er the purpled main, Than issuing forth, the rival of his beams Lanch d on the bosom of the silver Thames. Fair Nymphs, and well-drest Youths around her shone, But ev ry eye was fix d on her alone. On her white breast a sparkling Cross she wore, Which Jews might kiss, and Infidels adore. Her lively looks a sprightly mind disclose, Quick as her eyes, and as unfix d as those: Favours to none, to all she smiles extends, Oft she rejects, but never once offends. Bright as the sun, her eyes the gazers strike, And, like the sun, they shine on all alike. Yet graceful ease, and sweetness void of pride Might hide her faults, if Belles had faults to hide: If to her share some female errors fall, Look on her face, and you ll forget em all. This Nymph, to the destruction of mankind, Nourish d two Locks, which graceful hung behind In equal curls, and well conspir d to deck With shining ringlets the smooth iv ry neck: Love in these labyrinths his slaves detains, And mighty hearts are held in slender chains. With hairy sprindges we the birds betray, Slight lines of hair surprize the finny prey, Fair tresses man s imperial race insnare, And beauty draws us with a single hair. 6360.02 6 [Turn over 3 (b) Pope: The Rape of the Lock (extract to go with Question 3(b)) Th advent rous Baron the bright locks admir d, He saw, he wish d, and to the prize aspir d. Resolv d to win, he meditates the way, By force to ravish, or by fraud betray; For when success a Lover s toil attends, Few ask, if fraud or force attain d his ends. For this, ere Ph bus rose, he had implor d Propitious heav n, and ev ry pow r ador d, But chiefly Love to Love an altar built, Of twelve vast French Romances, neatly gilt. There lay three garters, half a pair of gloves; And all the trophies of his former loves. With tender Billet-doux he lights the pyre, And breathes three am rous sighs to raise the fire. Then prostrate falls, and begs with ardent eyes Soon to obtain, and long possess the prize: The Pow rs gave ear, and granted half his pray r, The rest, the winds dispers d in empty air. 6360.02 7 [Turn over 4 (a) Goldsmith: The Deserted Village (extract to go with Question 4(a)) But past is all his fame. The very spot Where many a time he triumphed, is forgot. Near yonder thorn, that lifts its head on high, Where once the sign-post caught the passing eye, Low lies that house where nut-brown draughts inspired, Where grey-beard mirth and smiling toil retired, Where village statesmen talked with looks profound, And news much older than their ale went round. Imagination fondly stoops to trace The parlour splendours of that festive place; The white-washed wall, the nicely sanded floor, The varnished clock that clicked behind the door; The chest contrived a double debt to pay, A bed by night, a chest of drawers by day; The pictures placed for ornament and use, The twelve good rules, the royal game of goose; The hearth, except when winter chill d the day, With aspen boughs, and flowers, and fennel gay, While broken tea-cups, wisely kept for shew, Ranged o er the chimney, glistened in a row. Vain transitory splendours! Could not all Reprieve the tottering mansion from its fall! Obscure it sinks, nor shall it more impart An hour s importance to the poor man s heart; Thither no more the peasant shall repair To sweet oblivion of his daily care; No more the farmer s news, the barber s tale, No more the woodman s ballad shall prevail, No more the smith his dusky brow shall clear, Relax his ponderous strength, and lean to hear; The host himself no longer shall be found Careful to see the mantling bliss go round; Nor the coy maid, half willing to be prest, Shall kiss the cup to pass it to the rest. Yes! let the rich deride, the proud disdain, These simple blessings of the lowly train; To me more dear, congenial to my heart, One native charm, than all the gloss of art; Spontaneous joys, where Nature has its play, The soul adopts, and owns their first born sway; Lightly they frolic o er the vacant mind, Unenvied, unmolested, unconfined. But the long pomp, the midnight masquerade, With all the freaks of wanton wealth arrayed, In these, ere triflers half their wish obtain, The toiling pleasure sickens into pain; And, even while fashion s brightest arts decoy, The heart distrusting asks, if this be joy. 6360.02 8 [Turn over 4 (b) Goldsmith: The Deserted Village (extract to go with Question 4(b)) A time there was, ere England s griefs began, When every rood of ground maintained its man; For him light labour spread her wholesome store, Just gave what life required, but gave no more: His best companions, innocence and health; And his best riches, ignorance of wealth. But times are altered; trade s unfeeling train Usurp the land and dispossess the swain; Along the lawn, where scattered hamlets rose, Unwieldy wealth, and cumbrous pomp repose; And every want to oppulence allied, And every pang that folly pays to pride. These gentle hours that plenty bade to bloom, Those calm desires that asked but little room, Those healthful sports that graced the peaceful scene, Lived in each look, and brightened all the green; These far departing seek a kinder shore, And rural mirth and manners are no more. Sweet Auburn! parent of the blissful hour, Thy glades forlorn confess the tyrant s power. Here as I take my solitary rounds, Amidst thy tangling walks, and ruined grounds, And, many a year elapsed, return to view Where once the cottage stood, the hawthron grew, Remembrance wakes with all her busy train, Swells at my breast, and turns the past to pain. In all my wanderings round this world of care, In all my griefs and God has given my share I still had hopes my latest hours to crown, Amidst these humble bowers to lay me down; To husband out life s taper at the close, And keep the flame from wasting by repose. I still had hopes, for pride attends us still, Amidst the swains to shew my book-learned skill, Around my fire an evening groupe to draw, And tell of all I felt, and all I saw; And, as an hare whom hounds and horns pursue, Pants to the place from whence at first she flew, I still had hopes, my long vexations past, Here to return and die at home at last. 6360.02 9 [Turn over 6360.02 10 [Turn over 6360.02 11 [Turn over Permission to reproduce all copyright material has been applied for. In some cases, efforts to contact copyright holders may have been unsuccessful and CCEA will be happy to rectify any omissions of acknowledgement in future if notified. 111592

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Additional Info : Gce English Literature January 2011 Assessment Unit A2 1The Study of Poetry 1300–1800 and Drama - Revised
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