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GCE JUN 2009 : (AS 2) The Study of Shakespeare

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ADVANCED SUBSIDIARY (AS) General Certificate of Education 2009 English Literature assessing Module 2: The Study of Shakespeare ASL21 Assessment Unit AS 2 [ASL21] FRIDAY 12 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. 4684 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. 4684 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 character of Bolingbroke. In your answer, consider the dramatic methods listed below: Shakespeare s use of character interactions to present the character of Bolingbroke Shakespeare s use of language (including imagery) to present the character of Bolingbroke staging of significant episodes relevant to the presentation of the character of 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 fortune. In your answer, consider the dramatic methods listed below: Shakespeare s use of character interactions relating to the theme of fortune Shakespeare s use of language (including imagery) relating to the theme of fortune staging of significant episodes relevant to the theme of fortune. 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. 4684 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 relationship between Rosalind and Celia. In your answer, consider the dramatic methods listed below: Shakespeare s use of character interactions to present the relationship between Rosalind and Celia Shakespeare s use of language (including imagery) to present the relationship between Rosalind and Celia staging of significant episodes relevant to the presentation of the relationship between Rosalind and Celia. 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 which Shakespeare uses to explore the theme of courtship. In your answer, consider the dramatic methods listed below: Shakespeare s presentation of character interactions relating to the theme of courtship Shakespeare s use of language (including imagery) relating to the theme of courtship staging of significant episodes relevant to the theme of courtship. 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. 4684 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 which Shakespeare uses to present the character of Gloucester. In your answer, consider the dramatic methods listed below: Shakespeare s use of character interactions to present the character of Gloucester Shakespeare s use of language (including imagery) to present the character of Gloucester staging of significant episodes relevant to the presentation of the character of Gloucester. 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 which Shakespeare uses to explore the theme of suffering. In your answer, consider the dramatic methods listed below: Shakespeare s presentation of character interactions relating to the theme of suffering Shakespeare s use of language (including imagery) relating to the theme of suffering staging of significant episodes relevant to the theme of suffering. 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. 4684 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 which Shakespeare uses to present the character of Coriolanus. In your answer, consider the dramatic methods listed below: Shakespeare s use of character interactions to present the character of Coriolanus Shakespeare s use of language (including imagery) to present the character of Coriolanus staging of significant episodes relevant to the presentation of the character of Coriolanus. 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 which Shakespeare uses to explore the theme of war. In your answer, consider the dramatic methods listed below: Shakespeare s presentation of character interactions relating to the theme of war Shakespeare s use of language (including imagery) relating to the theme of war staging of significant episodes relevant to the theme of war. 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. 4684 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 the character of Caliban. In your answer, consider the dramatic methods listed below: Shakespeare s use of character interactions to present the character of Caliban Shakespeare s use of language (including imagery) to present the character of Caliban staging of significant episodes relevant to the presentation of the character of Caliban. 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 government. In your answer, consider the dramatic methods listed below: Shakespeare s presentation of character interactions relating to the theme of government Shakespeare s use of language (including imagery) relating to the theme of government staging of significant episodes relevant to the theme of government. 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. 4684 7 [Turn over 938-026-1 ADVANCED SUBSIDIARY (AS) General Certificate of Education 2009 English Literature assessing Module 2: The Study of Shakespeare ASL21 Assessment Unit AS 2 [ASL21] FRIDAY 12 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). 4684.02 1 (a) Richard II (extract to go with question 1(a)) YORK It would beseem the Lord Northumberland, To say King Richard . Alack, the heavy day, When such a sacred king should hide his head! NORTHUMBERLAND Your grace mistakes; only to be brief, Left I his title out. YORK The time hath been, Would you have been so brief with him, he would Have been so brief with you, to shorten you, For taking so the head, your whole head s length. BOLINGBROKE Mistake not, uncle, farther than you should. YORK Take not, good cousin, farther than you should, Lest you mistake. The heavens are o er our heads. BOLINGBROKE I know it, uncle, and oppose not myself Against their will. But who comes here? (Enter PERCY) Welcome, Harry. What, will not this castle yield? PERCY The castle royally is manned, my lord, Against thy entrance. BOLINGBROKE Royally? Why, it contains no king? PERCY Yes, my good lord, It doth contain a king: King Richard lies Within the limits of yon lime and stone, And with him are the Lord Aumerle, Lord Salisbury, Sir Stephen Scroop, besides a clergyman Of holy reverence; who, I cannot learn. 4684.02 2 [Turn over NORTHUMBERLAND Oh, belike it is the Bishop of Carlisle. BOLINGBROKE Noble lord, Go to the rude ribs of that ancient castle. Through brazen trumpet send the breath of parley Into his ruined ears, and thus deliver: Henry Bolingbroke On both his knees doth kiss King Richard s hand And sends allegiance and true faith of heart To his most royal person: hither come Even at his feet to lay my arms and power, Provided that my banishment repealed And lands restored again, be freely granted: If not, I ll use the advantage of my power And lay the summer s dust with showers of blood, Rained from the wounds of slaughtered Englishmen; The which, how far off from the mind of Bolingbroke It is, such crimson tempest should bedrench The fresh green lap of fair King Richard s land, My stooping duty tenderly shall show. Go, signify as much, while here we march Upon the grassy carpet of this plain, Let s march without the noise of threatening drum, That from this castle s tattered battlements Our fair appointments may be well perused. Methinks King Richard and myself should meet With no less terror than the elements Of fire and water, when their thundering shock At meeting tears the cloudy cheeks of heaven: Be he the fire, I ll be the yielding water; The rage be his, whilst on the earth I rain My waters; on the earth, and not on him. March on, and mark King Richard, how he looks. (Act 3 Scene 3, lines 7 61) 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. 4684.02 3 [Turn over (b) Richard II (extract to go with question 1(b)) AUMERLE Where is the duke, my father, with his power? KING RICHARD No matter where; of comfort no man speak. Let s talk of graves, of worms, and epitaphs, Make dust our paper, and with rainy eyes Write sorrow on the bosom of the earth. Let s choose executors, and talk of wills; And yet not so; for what can we bequeath, Save our depos d bodies to the ground? Our lands, our lives, and all are Bolingbroke s, And nothing can we call our own but death, And that small model of the barren earth, Which serves as paste and cover to our bones. For God s sake, let us sit upon the ground, And tell sad stories of the death of kings; How some have been deposed, some slain in war, Some haunted by the ghosts they have deposed, Some poisoned by their wives, some sleeping killed, All murdered. For within the hollow crown That rounds the mortal temples of a king, Keeps Death his court, and there the antic sits, Scoffing his state and grinning at his pomp, Allowing him a breath, a little scene, To monarchise, be feared, and kill with looks, Infusing him with self and vain conceit, As if this flesh, which walls about our life, Were brass impregnable; and humoured thus, Comes at the last, and, with a little pin, Bores through his castle wall, and farewell king! Cover your heads and mock not flesh and blood With solemn reverence; throw away respect, Tradition, form and ceremonious duty, For you have but mistook me all this while. I live with bread like you, feel want, Taste grief, need friends. Subjected thus, How can you say to me, I am a king? BISHOP OF 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. 4684.02 4 [Turn over AUMERLE My father hath a power; inquire of him And learn to make a body of a limb. KING RICHARD Thou chidest 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. (Act 3 Scene 2, lines 143 194) 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. 4684.02 5 [Turn over 2 (a) As You Like It (extract to go with question 2(a)) CELIA I did not then entreat to have her stay It was your pleasure and your own remorse. I was too young that time to value her But now I know her: if she be a traitor, Why so am I. We still have slept together, Rose at an instant, learned, played, eat together And wheresoe er we went, like Juno s swans, Still we went coupled and inseparable. DUKE FREDERICK She is too subtle for thee, and her smoothness, Her very silence, and her patience Speak to the people and they pity her. Thou art a fool: she robs thee of thy name And thou wilt show more bright and seem more virtuous When she is gone. (CELIA starts to speak) Then open not thy lips! Firm and irrevocable is my doom Which I have passed upon her: she is banished. CELIA Pronounce that sentence then on me, my liege, I cannot live out of her company. DUKE FREDERICK You are a fool. You, niece, provide yourself: If you outstay the time, upon mine honour And in the greatness of my word, you die. (Exeunt DUKE and LORDS) CELIA O my poor Rosalind, whither wilt thou go? Wilt thou change fathers? I will give thee mine! I charge thee be not thou more grieved than I am. ROSALIND I have more cause. CELIA Thou hast not, cousin: Prithee be cheerful. Know st thou not the Duke Hath banished me, his daughter? 4684.02 6 [Turn over ROSALIND That he hath not. CELIA No? Hath not ? Rosalind lacks then the love Which teacheth thee that thou and I am one; Shall we be sundered? Shall we part, sweet girlie? No, let my father seek another heir! Therefore devise with me how we may fly, Whither to go, and what to bear with us; And do not seek to take your change upon you, To bear your griefs yourself and leave me out: For, by this heaven, now at our sorrows pale, Say what thou canst, I ll go along with thee. ROSALIND Why, whither shall we go? CELIA To seek my uncle in the Forest of Arden. (Act 1 Scene 3, lines 59 97) 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. 4684.02 7 [Turn over (b) As You Like It (extract to go with question 2(b)) ROSALIND Marry, that should you if I were your mistress, or I should think my honesty ranker than my wit. ORLANDO What, of my suit? ROSALIND Not out of your apparel, and yet out of your suit. Am not I your Rosalind? ORLANDO I take some joy to say you are, because I would be talking of her. ROSALIND Well, in her person, I say I will not have you. ORLANDO Then, in mine own person, I die. ROSALIND No, faith, die by attorney. The poor world is almost six thousand years old and in all this time there was not any man died in his own person, videlicet, in a love-cause. Troilus had his brains dashed out with a Grecian club, yet he did what he could to die before, and he is one of the patterns of love; Leander, he would have lived many a fair year though Hero had turned nun, if it had not been for a hot midsummer night, for, good youth, he went but forth to wash him in the Hellespont and, being taken with the cramp, was drowned, and the foolish chroniclers of that age found it was Hero of Sestos. But these are all lies: men have died from time to time and worms have eaten them but not for love. ORLANDO I would not have my right Rosalind of this mind, for I protest her frown might kill me. ROSALIND By this hand, it will not kill a fly. But come, now I will be your Rosalind in a more coming-on disposition and, ask me what you will, I will grant it. ORLANDO Then love me, Rosalind. ROSALIND Yes, faith, will I, Fridays and Saturdays and all. 4684.02 8 [Turn over ORLANDO And wilt thou have me? ROSALIND Aye, and twenty such. ORLANDO What sayest thou? ROSALIND Are you not good? ORLANDO I hope so. ROSALIND Why then, can one desire too much of a good thing? Come, sister, you shall be the priest and marry us. Give me your hand, Orlando. What do you say, sister? ORLANDO Pray thee marry us. CELIA I cannot say the words. ROSALIND You must begin: Will you, Orlando CELIA Go to. Will you, Orlando, have to wife this Rosalind? ORLANDO I will. ROSALIND Aye, but when? ORLANDO Why, now, as fast as she can marry us. ROSALIND Then you must say, I take thee, Rosalind, for wife. ORLANDO I take thee, Rosalind, for wife. (Act 4 Scene 1, lines 66 109) 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. 4684.02 9 [Turn over 3 (a) King Lear (extract to go with question 3(a)) (Enter GLOUCESTER, led by an OLD MAN) EDGAR My father, poorly led? World, world, O world! But that thy strange mutations make us hate thee, Life would not yield to age. OLD MAN O my good Lord! I have been your tenant, and your father s tenant, These fourscore years. GLOUCESTER Away, get thee away; good friend, be gone: Thy comforts can do me no good at all; Thee they may hurt. OLD MAN You cannot see your way. GLOUCESTER I have no way, and therefore want no eyes; I stumbled when I saw. Full oft tis seen, Our means secure us, and our mere defects Prove our commodities. Oh! dear son Edgar, The food of thy abused father s wrath; Might I but live to see thee in my touch, I d say I had eyes again. OLD MAN How now! Who s there? EDGAR (Aside) O Gods! Who is t can say I am at the worst ? I am worse than e er I was. OLD MAN Tis poor mad Tom. EDGAR (Aside) And worse I may be yet; the worst is not So long as we can say This is the worst. OLD MAN Fellow, where goest? GLOUCESTER Is it a beggar-man? 4684.02 10 [Turn over OLD MAN Madman and beggar too. GLOUCESTER He has some reason, else he could not beg. I th last night s storm I such a fellow saw, Which made me think a man a worm. My son Came then into my mind; and yet my mind Was then scarce friends with him. I have heard more since: As flies to wanton boys, are we to th Gods; They kill us for their sport. EDGAR (Aside) How should this be? Bad is the trade that must play fool to sorrow, Ang ring itself and others. (Aloud) Bless thee, master! GLOUCESTER Is that the naked fellow? OLD MAN Ay, my Lord. GLOUCESTER Then, prithee, get thee away. If, for my sake, Thou wilt o ertake us, hence a mile or twain, I th way toward Dover, do it for ancient love; And bring some covering for this naked soul, Which I ll entreat to lead me. OLD MAN Alack, sir! he is mad. GLOUCESTER Tis the times plague, when madmen lead the blind. Do as I bid thee, or rather do thy pleasure; Above the rest, be gone. OLD MAN I ll bring him the best parel that I have, Come on t what will. (Exit) GLOUCESTER Sirrah, naked fellow, EDGAR Poor Tom s a-cold. (Aside) I cannot daub it further. 4684.02 11 [Turn over GLOUCESTER Come hither, fellow. EDGAR (Aside) And yet I must. Bless thy sweet eyes, they bleed. GLOUCESTER Know st thou the way to Dover? (Act 4 Scene 1, lines 9 55) 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. 4684.02 12 [Turn over (b) King Lear (extract to go with question 3(b)) LEAR A plague upon you, murderers, traitors all! I might have saved her; now she s gone for ever! Cordelia, Cordelia! stay a little. Ha! What is t thou say st? Her voice was ever soft, Gentle and low, an excellent thing in woman. I killed the slave that was a-hanging thee. OFFICER Tis true, my lords, he did. LEAR Did I not, fellow? I have seen the day, with my good biting falchion I would have made them skip: I am old now, And these same crosses spoil me. Who are you? Mine eyes are not o th best: I ll tell you straight. KENT If Fortune brag of two she loved and hated, One of them we behold. LEAR This is a dull sight. Are you not Kent? KENT The same; Your servant Kent, Where is your servant Caius? LEAR He s a good fellow, I can tell you that; He ll strike, and quickly too. He s dead and rotten. KENT No, my good Lord; I am the very man, LEAR I ll see that straight. KENT That from your first of difference and decay, Have followed your sad steps, LEAR You are welcome hither. 4684.02 13 [Turn over KENT Nor no man else. All s cheerless, dark, and deadly: Your eldest daughters have fordone themselves, And desperately are dead. LEAR Ay, so I think. ALBANY He knows not what he says, and vain is it That we present us to him. EDGAR Very bootless. (Enter an OFFICER.) OFFICER Edmund is dead, my Lord. ALBANY That s but a trifle here. You lords and noble friends, know our intent; What comfort to this great decay may come Shall be applied: for us, we will resign, During the life of this old Majesty, To him our absolute power: (To EDGAR and KENT) You, to your rights, With boot and such addition as your honours Have more than merited. All friends shall taste The wages of their virtue, and all foes The cup of their deservings. O! see, see! LEAR And my poor fool is hanged! No, no, no life! Why should a dog, a horse, a rat, have life, And thou no breath at all? Thou lt come no more, Never, never, never, never, never! Pray you, undo this button: thank you, Sir. Do you see this? Look on her, look, her lips, Look there, look there! (Dies) EDGAR He faints! My Lord, my Lord! KENT Break, heart; I prithee, break! (Act 5 Scene 3, lines 268 314) 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. 4684.02 14 [Turn over 4 (a) Coriolanus (extract to go with question 4(a)) COMINIUS He proved best man i th field, and for his meed Was brow-bound with the oak. His pupil age Man-entered thus, he wax d like a sea, And in the brunt of seventeen battles since He lurched all swords of the garland. For this last, Before and in Corioles, let me say I cannot speak him home. He stopped the fliers, And by his rare example made the coward Turn terror into sport. As weeds before A vessel under sail, so men obeyed And fell below his stem. His sword, death s stamp, Where it did mark, it took. From face to foot He was a thing of blood, whose every motion Was timed with dying cries. Alone he entered The mortal gate of th city, which he painted With shunless destiny, aidless came off, And with a sudden reinforcement struck Corioles like a planet. Now all s his. When by and by the din of war gan pierce His ready sense, then straight his doubled spirit Requickened what in flesh was fatigate, And to the battle came he, where he did Run reeking o er the lives of men as if Twere a perpetual spoil; and till we called Both field and city ours he never stood To ease his breast with panting. MENENIUS Worthy man. FIRST SENATOR He cannot but with measure fit the honours Which we devise him. COMINIUS Our spoils he kicked at, And looked upon things precious as they were The common muck of the world. He covets less Than misery itself would give, rewards His deeds with doing them, and is content To spend the time to end it. MENENIUS He s right noble. Let him be called for. 4684.02 15 [Turn over FIRST SENATOR Call Coriolanus. OFFICER He doth appear. (Enter CORIOLANUS) MENENIUS The Senate, Coriolanus, are well pleased To make thee consul. CORIOLANUS I do owe them still My life and services. MENENIUS It then remains That you do speak to the people. CORIOLANUS I do beseech you, Let me o erleap that custom, for I cannot Put on the gown, stand naked, and entreat them For my wounds sake to give their suffrage. Please you that I may pass this doing. SICINIUS Sir, the people Must have their voices, neither will they bate One jot of ceremony. MENENIUS (to CORIOLANUS) Put them not to t. Pray you, go fit you to the custom and Take to you, as your predecessors have, Your honour with your form. CORIOLANUS It is a part That I shall blush in acting, and might well Be taken from the people. BRUTUS (to SICINIUS) Mark you that? (Act 2 Scene 2, lines 95 145) 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. 4684.02 16 [Turn over (b) Coriolanus (extract to go with question 4(b)) FIRST SERVINGMAN What, what, what? Let s partake. THIRD SERVINGMAN I would not be a Roman, of all nations. I had as lief be a condemned man. FIRST and SECOND SERVINGMEN Wherefore? Wherefore? THIRD SERVINGMAN Why, here s he that was wont to thwack our general, Caius Martius. FIRST SERVINGMAN Why do you say thwack our general ? THIRD SERVINGMAN I do not say thwack our general ; but he was always good enough for him. SECOND SERVINGMAN Come, we are fellows and friends. He was ever too hard for him. I have heard him say so himself. FIRST SERVINGMAN He was too hard for him directly, to say the truth on t. Before Corioles he scotched him and notched him like a carbonado. SECOND SERVINGMAN An he had been cannibally given, he might have broiled and eaten him too. FIRST SERVINGMAN But more of thy news! THIRD SERVINGMAN Why, he is so made on here within as if he were son and heir to Mars; set at upper end o th table, no question asked him by any of the senators but they stand bald before him. Our general himself makes a mistress of him, sanctifies himself with s hand, and turns up the white o th eye to his discourse. But the bottom of the news is, our general is cut i th middle, and but one half of what he was yesterday, for the other has half by the entreaty and grant of the whole table. He ll go, he says, and sowl the porter of Rome gates by th ears. He will mow all down before him, and leave his passage polled. SECOND SERVINGMAN And he s as like to do t as any man I can imagine. 4684.02 17 [Turn over THIRD SERVINGMAN Do t? He will do t; for look you, sir, he has as many friends as enemies; which friends, sir, as it were durst not look you, sir show themselves, as we term it, his friends whilst he s in directitude. FIRST SERVINGMAN Directitude ? What s that? THIRD SERVINGMAN But when they shall see, sir, his crest up again and the man in blood, they will out of their burrows like conies after rain, and revel all with him. FIRST SERVINGMAN But when goes this forward? THIRD SERVINGMAN Tomorrow, today, presently. You shall have the drum struck up this afternoon. Tis as it were a parcel of their feast, and to be executed ere they wipe their lips. SECOND SERVINGMAN Why, then we shall have a stirring world again. This peace is nothing but to rust iron, increase tailors, and breed ballad-makers. FIRST SERVINGMAN Let me have war, say I. It exceeds peace as far as day does night. It s sprightly walking, audible and full of vent. Peace is a very apoplexy, lethargy; mulled, deaf, sleepy, insensible; a getter of more bastard children than war s a destroyer of men. SECOND SERVINGMAN Tis so, and as wars in some sort may be said to be a ravisher, so it cannot be denied but peace is a great maker of cuckolds. FIRST SERVINGMAN Ay, and it makes men hate one another. THIRD SERVINGMAN Reason: because they then less need one another. The wars for my money! I hope to see Romans as cheap as Volscians. (A sound within) They are rising, they are rising. FIRST and SECOND SERVINGMEN In, in, in, in. (Exeunt) (Act 4 Scene 5, lines 177 240) 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. 4684.02 18 [Turn over 5 (a) The Tempest (extract to go with question 5(a)) 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. 4684.02 19 [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? STEPHANO At thy request, monster, I will do reason, any reason. Come on, Trinculo, let us sing. (Sings.) Flout em and scout em, And scout em and flout em; Thought is free. CALIBAN That s not the tune. (ARIEL plays the tune on a tabor and pipe.) STEPHANO What is this same? TRINCULO This is the tune of our catch, played by the picture of Nobody. STEPHANO If thou beest a man, show thyself in thy likeness: if thou beest a devil, take t as thou list. TRINCULO O, forgive me my sins! STEPHANO He that dies pays all debts: I defy thee. Mercy upon us! CALIBAN Art thou afeard? STEPHANO No, monster, not I. CALIBAN Be not afeard; the isle is full of noises, Sounds and sweet airs, that give delight, and hurt not. Sometimes a thousand twangling instruments Will hum about mine ears; and sometime voices, That, if I then had wak d after long sleep, Will make me sleep again: and then, in dreaming, 4684.02 20 [Turn over The clouds methought would open, and show riches Ready to drop upon me; that, when I wak d, I cried to dream again. (Act 3 Scene 2, lines 85 141) 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. 4684.02 21 [Turn over (b) The Tempest (extract to go with 5(b)) GONZALO I th commonwealth I would by contraries Execute all things; for no kind of traffic Would I admit; no name of magistrate; Letters should not be known; riches, poverty, And use of service, none; contract, succession, Bourn, bound of land, tilth, vineyard, none: No use of metal, corn, or wine, or oil; No occupation; all men idle, all; And women too, but innocent and pure: No sovereignty; SEBASTIAN Yet he would be King on t . ANTONIO The latter end of his commonwealth forgets the beginning. GONZALO All things in common Nature should produce Without sweat or endeavour: treason, felony, Sword, pike, knife, gun, or need of any engine, Would I not have; but Nature should bring forth, Of it own kind, all foison, all abundance, To feed my innocent people. SEBASTIAN No marrying mong his subjects? ANTONIO None, man; all idle; whores and knaves. GONZALO I would with such perfection govern, sir, T excel the Golden Age. SEBASTIAN Save his Majesty! ANTONIO Long live Gonzalo! GONZALO And, do you mark me, sir? ALONSO Prithee, no more: thou dost talk nothing to me. 4684.02 22 [Turn over GONZALO I do well believe your highness; and did it to minister occasion to these gentlemen, who are of such sensible and nimble lungs that they always use to laugh at nothing. ANTONIO Twas you we laughed at. GONZALO Who in this kind of merry fooling am nothing to you: so you may continue, and laugh at nothing still. ANTONIO What a blow was there given! SEBASTIAN An it had not fallen flat-long. GONZALO You are gentlemen of brave mettle; you would lift the moon out of her sphere, if she would continue in it five weeks without changing. (Act 2 Scene 1, lines 143 179) 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. 4684.02 23 938-026-2 [Turn over

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Additional Info : Gce English Literature June 2009 Assessment Unit AS 2 Module 2: The Study of Shakespeare
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