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GCE MAY 2007 : (A2 1) Response to Unseen Poetry and The Study of Poetry Written Before 1770

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ERRATUM NOTICE General Certi cate of Education (Advanced) English Literature Assessment Unit A2 1, Module 4 (A2L11) Tuesday 22 May, Morning Notice to Invigilator Before the start of the examination the following should be read to candidates. 1. Go to page 4 of the green question paper. (Pause) 2. Go to the third verse of the poem Vitai Lampada. (Pause) 3. Go to the sixth line of the third verse. (Pause) 4. The rst word of the sixth line is Beat . (Pause) 5. Change this word to Bear (Pause) 6. B E A R (spell out) This should now read: Bear through life like a torch in ame, (Pause) Repeat 1. Go to page 4 of the green question paper. (Pause) 2. Go to the third verse of the poem Vitai Lampada. (Pause) 3. Go to the sixth line of the third verse. (Pause) 4. The rst word of the sixth line is Beat . (Pause) 5. Change this word to Bear (Pause) 6. B E A R (spell out) This should now read: Bear through life like a torch in ame, (Pause) Please make this change in your question paper now. This is the end of the announcement. ADVANCED General Certificate of Education 2007 English Literature Assessment Unit A2 1 Module 4: Response to Unseen Poetry and The Study of Poetry Written Before 1770 A2L11 assessing [A2L11] TUESDAY 22 MAY, MORNING TIME 2 hours 30 minutes. INSTRUCTIONS TO CANDIDATES Write your Centre Number and Candidate Number on the Answer Booklet provided. Answer two questions, the one from Section A and one from Section B. INFORMATION FOR CANDIDATES The total mark for this paper is 60. 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. However, for Section B, copies of the poems or extracts from poems, referred to in the questions, can be found in the Resource Booklet provided. A2L1S7 2357 BLANK PAGE A2L1S7 2357 2 [Turn over Read all of this page first carefully Section A Response to Unseen Poetry You must answer the single question in this section. In section A of 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, exploring and commenting on relationships and comparisons between literary texts (AO2ii) 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 type of the given poems e.g. sonnet, lyric, elegy and draw appropriate comparisons and contrasts between them show an understanding of the poetic methods which the poets use e.g. form and structure, language (including imagery) and tone. A2L1S7 2357 3 [Turn over Answer the one question in this section 1 Vitai Lampada was written by Henry Newbolt (1862 1938), and Beach Burial by Kenneth Slessor (1901 1971). Both poems are about war. Compare and contrast the two poems, taking account of the themes developed, the attitudes and tones of the speakers, and the form, structure and language (including imagery) of the poems. N.B. The two poems should be given equal treatment in your response. Vitai Lampada1 There s a breathless hush in the Close tonight Ten to make and the match to win A bumping pitch and a blinding light, An hour to play and the last man in. And it s not for the sake of a ribboned coat,2 Or the selfish hope of a season s fame, But his Captain s hand on his shoulder smote: Play up! play up! and play the game! The sand of the desert is sodden red, Red with the wreck of a square3 that broke; The Gatling s4 jammed and the Colonel dead, And the regiment blind with dust and smoke. The river of death has brimmed his banks, And England s far, and Honour a name, But the voice of a schoolboy rallies the ranks: Play up! play up! and play the game! This is the word that year by year, While in her place the School is set, Every one of her sons must hear, And none that hears it dare forget. This they all with a joyful mind Beat through life like a torch in flame, And, falling, fling to the host behind Play up! play up! and play the game! Henry Newbolt 1 The poem s title is a Latin phrase which means the torch of life . ribboned means decorated with coloured ribbon or braid worn as an honour awarded for sporting success. 3 square means military formation. 4 A Gatling is a type of machine gun. 2 A2L1S7 2357 4 [Turn over Beach Burial Softly and humbly to the Gulf of Arabs The convoys of dead sailors come; At night they sway and wander in the waters far under, But morning rolls them in the foam. Between the sob and clubbing of the gunfire Someone, it seems, has time for this, To pluck them from the shallows and bury them in burrows And tread the sand upon their nakedness. And each cross, the driven stake of tide-wood, Bears the last signature of man, Written with such perplexity, with such bewildered pity, The words choke as they begin. Unknown seaman the ghostly pencil Wavers and fades, the purple drips, The breath of the wet season has washed their inscription As blue as drowned men s lips. Dead seamen, gone in search of the same landfall, Whether as enemies they fought, Or fought with us, or neither; the sand joins them together, Enlisted on the other front. Kenneth Slessor A2L1S7 2357 5 [Turn over Read all of this page first carefully Section B Poetry Written Before 1770 Answer one question in this section. In section B of 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, exploring and commenting on relationships and comparisons between literary texts (AO2ii) 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 poems were written and of the type of the given poems e.g. sonnet, lyric, elegy where this is appropriate show an understanding of the poetic methods which the poets use e.g. form and structure, language (including imagery) and tone in relation to the main issue of the question. A2L1S7 2357 6 [Turn over 2 Chaucer: The Wife of Bath s Prologue and Tale Answer either (a) or (b) (a) By referring closely to extract 2(a) printed in the accompanying Resource Booklet and other appropriately selected parts of the text, examine the poetic methods which Chaucer uses to maintain interest in the account of the wife s married life. N.B. Equal marks are available for your treatment of the given extract and of other parts of the text. (b) By referring closely to extract 2(b) printed in the accompanying Resource Booklet and other appropriately selected parts of the text, examine the poetic methods which Chaucer uses to explore the theme of maistrie . N.B. Equal marks are available for your treatment of the given extract and of other parts of the text. A2L1S7 2357 7 [Turn over 3 Gardner (editor): The Metaphysical Poets Answer either (a) or (b) (a) By referring closely to Holy Sonnet: Batter my heart, three person d God , by John Donne, printed in the accompanying Resource Booklet, and one other appropriately selected poem by another set poet, examine the poetic methods used to express a relationship with God. N.B. Equal marks are available for your treatment of each poem. (b) By referring closely to A Valediction: forbidding mourning , by John Donne, printed in the accompanying Resource Booklet, and one other appropriately selected poem by Donne or another set poet, examine the poetic methods used by the poet or poets to explore the nature of true love. N.B. Equal marks are available for your treatment of each poem. A2L1S7 2357 8 [Turn over 4 Herrick: Selected Poems Answer either (a) or (b) (a) By referring closely to The Lily in a Crystal , printed in the accompanying Resource Booklet, and one other appropriately selected poem, examine the poetic methods used by Herrick in exploring flower themes. N.B. Equal marks are available for your treatment of each poem. (b) By referring closely to Corinna s Going A-Maying , printed in the accompanying Resource Booklet, and one other appropriately selected poem, examine the poetic methods used by Herrick to present his pleasure-loving attitude to life. N.B. Equal marks are available for your treatment of each poem. A2L1S7 2357 9 [Turn over 5 Pope: The Rape of the Lock Answer either (a) or (b) (a) By referring closely to extract 5(a), printed in the accompanying Resource Booklet, and other appropriately selected parts of the poem, examine the poetic methods which Pope uses to present the artificial world of the court. N.B. Equal marks are available for your treatment of the given extract and other relevant parts of the poem. (b) By referring closely to extract 5(b), printed in the accompanying Resource Booklet, and other appropriately selected parts of the poem, examine the poetic methods which Pope uses to present the sylphs. N.B. Equal marks are available for your treatment of the given extract and other relevant parts of the poem. THIS IS THE END OF THE QUESTION PAPER A2L1S7 2357 10 [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. S 3/06 7-059-1 [Turn over ADVANCED General Certificate of Education 2007 English Literature Assessment Unit A2 1 Module 4: Response to Unseen Poetry and The Study of Poetry Written Before 1770 A2L11RB assessing [A2L11] TUESDAY 22 MAY, MORNING RESOURCE BOOKLET FOR SECTION B ONLY If you are answering on Chaucer or Pope, you must make sure that you select the appropriate extract for the question you are doing. For example, if you are doing Question 2(a), you must select extract 2(a). A2L1S7 2357.02 2 (a) Chaucer: The Wife of Bath s Prologue and Tale (extract to go with Question 2(a) ) My fourthe housbonde was a revelour; This is to seyn, he hadde a paramour; And I was yong and ful of ragerie, Stibourn and strong, and joly as a pie. How koude I daunce to an harpe smale, And singe, ywis, as any nightingale, Whan I had dronke a draughte of sweete wyn! Metellius, the foule cherl, the swyn, That with a staf birafte his wyf hir lyf, For she drank wyn, thogh I hadde been his wyf, He sholde nat han daunted me fro drinke! And after wyn on Venus moste I thinke, For al so siker as cold engendreth hail, A likerous mouth moste han a likerous tail. In wommen vinolent is no defence, This knowen lecchours by experience. But, Lord Crist! whan that it remembreth me Upon my yowthe, and on my jolitee, It tikleth me aboute myn herte roote. Unto this day it dooth myn herte boote That I have had my world as in my time. But age, allas, that al whole envenime, Hath me biraft my beautee and my pith. Lat go, farewel; the devel go therwith! The flour is goon, ther is namoore to telle; The bren, as I best kan, now moste I selle; But yet to be right mirie wol I fonde. Now wol I tellen of my fourthe housbonde. I seye, I hadde in herte greet despit That he of any oother had delit. But he was quit, by God and by Seint Joce! I made him of the same wode a croce; Nat of my body, in no foul manere, But certeinly, I made folk switch cheere That in his owene grece I made him frie For angre, and for verray jalousie. By God! in erthe I was his purgatorie, For which I hope his soule be in glorie. A2L1S7 2357.02 A2L1S7 2 [Turn over 2 (b) Chaucer: The Wife of Bath s Prologue and Tale (extract to go with Question 2(b) ) Now there ye seye that I am foul and old, Than drede you noght to been a cokewold; For filthe and eelde, also moot I thee, Been grete wardeyns upon chastitee. But nathelees, sin I knowe youre delit, I shal fulfille youre wordly appetit. Chese now, quod she, oon of thise thinges tweye: To han me foul and old til that I deye, And be to yow a trewe, humble wyf, And nevere yow displese in al my lyf; Or elles ye wol han me yong and fair, And take youre aventure of the repair That shal be to youre hous by cause of me, Or in som oother place, may wel be. Now chese yourselven, wheither that yow liketh. This knight aviseth him and sore siketh, But atte laste he seyde in this manere: My lady and my love, and wyf so deere, I put me in youre wise governance; Cheseth youreself which may be moost plesance, And moost honour to yow and me also. I do no fors the wheither of the two; For as yow liketh, it suffiseth me. Thanne have I gete of yow maistrie, quod she, Sin I may chese and governe as me lest? Ye, certes, wyf, quod he, I holde it best. Kis me, quod she, we be no lenger wrothe; For, by my trouthe, I wol be to yow bothe, This is to seyn, ye, bothe fair and good. I prey to God that I moote sterven wood, But I to yow be also good and trewe As evere was wyf, sin that the world was newe. And but I be to-morn as fair to seene As any lady, emperice, or queene, That is bitwixe the est and eke the west, Dooth with my lyf and deth right as yow lest. Cast up the curtin, looke how that it is. And whan the knight saugh verraily al this, That she so fair was, and so yong thereto, For joye he hente hire in his armes two, His herte bathed in a bath of blisse. A thousand time a-rewe he gan hire kisse, And she obeyed him in every thing That mighte doon him plesance or liking. A2L1S7 A2L1S7 2357.02 3 [Turn over 3 (a) Gardner (editor): The Metaphysical Poets Holy Sonnet Batter my heart, three person d God; for you As yet but knocke, breathe, shine, and seeke to mend; That I may rise, and stand, o erthrow mee, and bend Your force, to breake, blowe, burn and make mee new. I, like an usurpt towne, to another due, Labour to admit you, but Oh, to no end, Reason your viceroy in mee, mee should defend, But is captiv d, and proves weake or untrue, Yet dearely I love you, and would be lov d faine, But am betroth d unto your enemie, Divorce mee, untie, or breake that knot againe, Take mee to you, imprison mee, for I Except you enthrall mee, never shall be free, Nor ever chast, except you ravish mee. John Donne A2L1S7 2357.02 4 [Turn over 3 (b) Gardner (editor): The Metaphysical Poets A Valediction: forbidding mourning As virtuous men passe mildly away, And whisper to their soules, to goe, Whilst some of their sad friends doe say, The breath goes now, and some say, no: So let us melt, and make no noise, No teare-floods, nor sigh-tempests move, T were prophanation of our joyes To tell the layetie our love. Moving of th earth brings harmes and feares, Men reckon what it did and meant, But trepidation of the spheares, Though greater farre, is innocent. Dull sublunary lovers love (Whose soule is sense) cannot admit Absence, because it doth remove Those things which elemented it. But we by a love, so much refin d, That our selves know not what it is, Inter-assured of the mind, Care lesse, eyes, lips, and hands to misse. Our two soules therefore, which are one, Though I must goe, endure not yet A breach, but an expansion, Like gold to ayery thinnesse beate. If they be two, they are two so As stiffe twin compasses are two, Thy soule the fixt foot, makes no show To move, but doth, if the other doe. And though it in the center sit, Yet when the other far doth rome, It leanes, and hearkens after it, And growes erect, as it comes home. Such wilt thou be to mee, who must Like th other foot, obliquely runne; Thy firmnes makes my circle just, And makes me end, where I begunne. John Donne A2L1S7 2357.02 5 [Turn over 4 (a) Herrick: Selected Poems The Lily in a Crystal YOU have beheld a smiling rose When virgins hands have drawn O er it a cobweb-lawn: And here you see this lily shows, Tomb d in a crystal stone, More fair in this transparent case, Than when it grew alone And had but single grace. You see how cream but naked is Nor dances in the eye Without a strawberry: Or some fine tincture, like to this, Which draws the sight thereto More by that wantoning with it Than when the paler hue No mixture did admit. You see how amber through the streams More gently strokes the sight With some conceal d delight Than when he darts his radiant beams Into the boundless air: Where either too much light his worth Doth all at once impair, Or set it little forth. Put purple grapes or cherries inTo glass, and they will send More beauty to commend Them from that clean and subtle skin Than if they naked stood, And had no other pride at all But their own flesh and blood And tinctures natural. Thus lily, grape, cherry, cream, And strawberry do stir More love when they transfer A weak, a soft, a broken beam, Than if they should discover At full their proper excellence; Without some scene cast over, To juggle with the sense. A2L1S7 2357.02 6 [Turn over Thus let this crystal d lily be A rule how far to teach Your nakedness must reach: And that no further than we see Those glaring colours laid By art s wise hand, but to this end They should obey a shade Lest they too far extend. So though you re white as swan or snow, And have the power to move A world of men to love, Yet, when your lawns and silks shall flow And that white cloud divide Into a doubtful twilight, then, Then will your hidden pride Raise greater fires in men. A2L1S7 2357.02 7 [Turn over 4 (b) Herrick: Selected Poems Corinna s Going A-Maying GET up, get up for shame, the blooming morn Upon her wings presents the god unshorn. See how Aurora throws her fair Fresh-quilted colours through the air: Get up, sweet slug-a-bed, and see The dew bespangling herb and tree. Each flower has wept and bow d toward the east Above an hour since: yet you not dress d; Nay! not so much as out of bed? When all the birds have matins said And sung their thankful hymns, tis sin, Nay, profanation to keep in, Whereas a thousand virgins on this day Spring, sooner than the lark, to fetch in May. Rise and put on your foliage, and be seen To come forth, like the spring-time, fresh and green, And sweet as Flora. Take no care For jewels for your gown or hair: Fear not; the leaves will strew Gems in abundance upon you: Besides, the childhood of the day has kept, Against you come, some orient pearls unwept; Come and receive them while the light Hangs on the dew-locks of the night: And Titan on the eastern hill Retires himself, or else stands still Till you come forth. Wash, dress, be brief in praying: Few beads are best when once we go a-Maying. Come, my Corinna, come; and, coming, mark How each field turns a street, each street a park Made green and trimm d with trees: see how Devotion gives each house a bough Or branch: each porch, each door ere this An ark, a tabernacle is, Made up of white-thorn neatly interwove; As if here were those cooler shades of love. Can such delights be in the street And open fields and we not see t? Come, we ll abroad; and let s obey The proclamation made for May: And sin no more, as we have done, by staying; But, my Corinna, come, let s go a-Maying. A2L1S7 2357.02 8 [Turn over There s not a budding boy or girl this day But is got up, and gone to bring in May. A deal of youth, ere this, is come Back, and with white-thorn laden home. Some have despatch d their cakes and cream Before that we have left to dream: And some have wept, and woo d, and plighted troth, And chose their priest, ere we can cast off sloth: Many a green-gown has been given; Many a kiss, both odd and even: Many a glance too has been sent From out the eye, love s firmament; Many a jest told of the keys betraying This night, and locks pick d, yet we re not a-Maying. Come, let us go while we are in our prime; And take the harmless folly of the time. We shall grow old apace, and die Before we know our liberty. Our life is short, and our days run As fast away as does the sun; And, as a vapour or a drop of rain, Once lost, can ne er be found again, So when or you or I are made A fable, song, or fleeting shade, All love, all liking, all delight Lies drowned with us in endless night. Then while time serves, and we are but decaying, Come, my Corinna, come, let s go a-Maying. A2L1S7 2357.02 9 [Turn over 5 (a) Pope: The Rape of the Lock (extract from Canto IV to go with Question 5(a) ) For ever curs d be this detested day, Which snatch d my best, my fav rite curl away! Happy! ah ten times happy had I been, If Hampton-Court these eyes had never seen! Yet am not I the first mistaken maid, By love of Courts to num rous ills betray d. Oh had I rather un-admir d remain d In some lone isle, or distant Northern land; Where the gilt Chariot never marks the way, Where none learn Ombre, none e er taste Bohea! There kept my charms conceal d from mortal eye, Like roses, that in deserts bloom and die. What mov d my mind with youthful Lords to roam? O had I stay d, and said my pray rs at home! Twas this, the morning omens seem d to tell; Thrice from my trembling hand the patch-box fell; The tott ring China shook without a wind, Nay Poll sat mute, and Shock was most unkind! A Sylph too warn d me of the threats of fate, In mystic visions, now believ d too late! See the poor remnants of these slighted hairs! My hands shall rend what ev n thy rapine spares: These, in two sable ringlets taught to break, Once gave new beauties to the snowy neck; Thy sister-lock now sits uncouth, alone, And in its fellow s fate foresees its own; Uncurl d it hangs, the fatal sheers demands, And tempts once more thy sacrilegious hands. Oh hadst thou, cruel! been content to seize Hairs less in sight, or any hairs but these! A2L1S7 2357.02 10 [Turn over 5 (b) Pope: The Rape of the Lock (extract from Canto I to go with Question 5(b) ) What guards the purity of melting Maids In courtly balls, and midnight masquerades, Safe from the treach rous friend, the daring spark, The glance by day, the whisper in the dark, When kind occasion prompts their warm desires, When music softens, and when dancing fires? Tis but their Sylph, the wise Celestials know, Tho Honour is the word with Men below, Some nymphs there are, too conscious of their face, For life predestin d to the Gnomes embrace. These swell their prospects and exalt their pride, When offers are disdain d, and love deny d: Then gay Ideas crowd the vacant brain, While Peers and Dukes, and all their sweeping train, And Garters, Stars and Coronets appear, And in soft sounds, Your Grace salutes their ear. Tis these that early taint the female soul, Instruct the eyes of young Coquettes to roll, Teach Infant-cheeks a bidden blush to know. And little hearts to flutter at a Beau. Oft when the world imagine women stray, The Sylphs thro mystic mazes guide their way, Thro all the giddy circle they pursue, And old impertinence expel by new. What tender maid but must a victim fall To one man s treat, but for another s ball? When Florio speaks, what virgin could withstand, If gentle Damon did not squeeze her hand? With varying vanities, from ev ry part, They shift the moving Toyshop of their heart; Where wigs with wigs, with sword-knots sword-knots strive, Beaus banish beaus, and coaches coaches drive. This erring mortals Levity may call, Oh blind to truth! the Sylphs contrive it all. A2L1S7 2357.02 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. S 3/06 7-060-1 [Turn over

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Additional Info : Gce English Literature May 2007 Assessment Unit A2 1 Module 4: Response to Unseen Poetry and The Study of Poetry Written Before 1770
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