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

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ADVANCED SUBSIDIARY (AS) General Certificate of Education January 2008 English Literature assessing Module 2: The Study of Shakespeare ASL21 Assessment Unit AS 2 [ASL21] WEDNESDAY 23 JANUARY, 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. ASL2W8 3302 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. ASL2W8 3302 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 his subjects. In your answer, consider the dramatic methods listed below: Shakespeare s use of character interactions to present the relationship between Richard and his subjects Shakespeare s use of language (including imagery) to present the relationship between Richard and his subjects staging of significant episodes relevant to the presentation of the relationship between Richard and his subjects. 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 time passing. In your answer, consider the dramatic methods listed below: Shakespeare s use of character interactions relating to the theme of time passing Shakespeare s use of language (including imagery) relating to the theme of time passing staging of significant episodes relevant to the theme of time passing. 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. ASL2W8 3302 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 Jaques. In your answer, consider the dramatic methods listed below: Shakespeare s use of character interactions to present the character of Jaques Shakespeare s use of language (including imagery) to present the character of Jaques staging of significant episodes relevant to the presentation of the character of Jaques. 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 physical attraction. In your answer, consider the dramatic methods listed below: Shakespeare s use of character interactions relating to the theme of physical attraction Shakespeare s use of language (including imagery) relating to the theme of physical attraction staging of significant episodes relevant to the theme of physical attraction. 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. ASL2W8 3302 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 relationship between Edmund and Edgar. In your answer, consider the dramatic methods listed below: Shakespeare s use of character interactions to present the relationship between Edmund and Edgar Shakespeare s use of language (including imagery) to present the relationship between Edmund and Edgar staging of significant episodes relevant to the presentation of the relationship between Edmund and Edgar. 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 cruelty. In your answer, consider the dramatic methods listed below: Shakespeare s use of character interactions relating to the theme of cruelty Shakespeare s use of language (including imagery) relating to the theme of cruelty staging of significant episodes relevant to the theme of cruelty. 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. ASL2W8 3302 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 Aufidius. In your answer, consider the dramatic methods listed below: Shakespeare s use of character interactions to present the character of Aufidius Shakespeare s use of language (including imagery) to present the character of Aufidius staging of significant episodes relevant to the presentation of the character of Aufidius. 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 pride. In your answer, consider the dramatic methods listed below: Shakespeare s use of character interactions relating to the theme of pride Shakespeare s use of language (including imagery) relating to the theme of pride staging of significant episodes relevant to the theme of pride. 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. ASL2W8 3302 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 relationship between Prospero and Ariel. In your answer, consider the dramatic methods listed below: Shakespeare s use of character interactions to present the relationship between Prospero and Ariel Shakespeare s use of language (including imagery) to present the relationship between Prospero and Ariel staging of significant episodes relevant to the presentation of the relationship between Prospero and Ariel. 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 reconciliation and the restoration of order. In your answer, consider the dramatic methods listed below: Shakespeare s use of character interactions relating to the theme of reconciliation and the restoration of order Shakespeare s use of language (including imagery) relating to the theme of reconciliation and the restoration of order staging of significant episodes relevant to the theme of reconciliation and the restoration of order. 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. ASL2W8 3302 7 [Turn over S 2/07 302-018-1 ADVANCED SUBSIDIARY (AS) General Certificate of Education January 2008 English Literature assessing Module 2: The Study of Shakespeare ASL21 Assessment Unit AS 2 [ASL21] WEDNESDAY 23 JANUARY, 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). ASL2W8 3302.02 1 (a) Richard II (extract to go with question 1(a)) Parley without, and answer within. Then a flourish. Enter on the walls, KING RICHARD, CARLISLE, AUMERLE, SCROOP and SALISBURY BOLINGBROKE See, see, King Richard doth himself appear, As doth the blushing discontented sun From out the fiery portal of the east, When he perceives the envious clouds are bent To dim his glory, and to stain the track Of his bright passage to the occident. YORK Yet looks he like a king: behold, his eye, As bright as is the eagle s, lightens forth Controlling majesty! Alack, alack, for woe, That any harm should stain so fair a show! KING RICHARD We are amazed, and thus long have we stood To watch the fearful bending of thy knee, Because we thought ourself thy lawful king. And if we be, how dare thy joints forget To pay their awful duty to our presence? If we be not, show us the hand of God, That hath dismissed us from our stewardship. For well we know, no hand of blood and bone Can gripe the sacred handle of our sceptre Unless he do profane, steal, or usurp. And though you think that all, as you have done, Have torn their souls by turning them from us, And we are barren, and bereft of friends; Yet know, my master, God omnipotent, Is mustering in his clouds, on our behalf, Armies of pestilence, and they shall strike Your children yet unborn, and unbegot, That lift your vassal hands against my head, And threat the glory of my precious crown. ASL2W8 3302.02 2 [Turn over Tell Bolingbroke for yond methinks he stands That every stride he makes upon my land Is dangerous treason: he is come to open The purple testament of bleeding war; But ere the crown he looks for live in peace, Ten thousand bloody crowns of mothers sons Shall ill become the flower of England s face, Change the complexion of her maid-pale peace To scarlet indignation, and bedew Her pastures grass with faithful English blood. (Act 3 Scene 3, lines 62 100) 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. ASL2W8 3302.02 3 [Turn over (b) Richard II (extract to go with question 1(b)) (Music) RICHARD Music do I hear? Ha, ha! Keep time! How sour sweet music is, When time is broke, and no proportion kept! So is it in the music of men s lives: And here have I the daintiness of ear, To hear time broke in a disordered string; But for the concord of my state and time, Had not an ear to hear my true time broke. I wasted time, and now doth time waste me; For now hath time made me his numbering clock. My thoughts are minutes; and with sighs they jar Their watches on unto mine eyes, the outward watch, Whereto my finger, like a dial s point, Is pointing still, in cleansing them from tears. Now, sir, the sounds that tell what hour it is Are clamorous groans, which strike upon my heart, Which is the bell; so sighs and tears and groans Show minutes, times, and hours; but my time Runs posting on, in Bolingbroke s proud joy, While I stand fooling here, his jack o the clock. This music mads me! Let it sound no more! For though it have holp madmen to their wits, In me it seems, it will make wise men mad. Yet blessing on his heart that gives it me! For t is a sign of love, and love to Richard Is a strange brooch in this all-hating world. (Enter GROOM) GROOM Hail, royal prince! RICHARD Thanks, noble peer. The cheapest of us is ten groats too dear. What art thou? And how com st thou hither Where no man never comes, but that sad dog That brings me food, to make misfortune live? ASL2W8 3302.02 4 [Turn over GROOM I was a poor groom of thy stable, king, When thou wert king; who, travelling towards York, With much ado at length have gotten leave To look upon my sometimes royal master s face. O how it yearned my heart, when I beheld In London streets, that coronation day, When Bolingbroke rode on roan Barbary, That horse that thou so often hast bestrid, That horse that I so carefully have dressed. RICHARD Rode he on Barbary? Tell me, gentle friend, How went he under him? GROOM So proudly, as if he disdained the ground. RICHARD So proud, that Bolingbroke was on his back! That jade hath eat bread from my royal hand, This hand hath made him proud with clapping him. Would he not stumble? Would he not fall down, Since pride must have a fall, and break the neck Of that proud man that did usurp his back? Forgiveness, horse! Why do I rail on thee, Since thou, created to be awed by man, Wast born to bear? I was not made a horse, And yet I bear a burden like an ass, Spurred, galled, and tired by jauncing Bolingbroke. (Act 5 Scene 5, lines 40 93) 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. ASL2W8 3302.02 5 [Turn over 2 (a) As You Like It (extract to go with question 2(a)) (Enter ORLANDO and JAQUES) CELIA You bring me out. Soft, comes he not here? ROSALIND Tis he. Slink by and note him. (ROSALIND and CELIA stand aside) JAQUES I thank you for your company, but, good faith, I had as lief have been myself alone. ORLANDO And so had I. But yet, for fashion sake, I thank you too for your society. JAQUES God buy you. Let s meet as little as we can. ORLANDO I do desire we may be better strangers. JAQUES I pray you mar no more trees with writing love-songs in their barks. ORLANDO I pray you mar no more of my verses with reading them ill-favouredly. JAQUES Rosalind is your love s name? ORLANDO Yes, just. JAQUES I do not like her name. ORLANDO There was no thought of pleasing you when she was christened. JAQUES What stature is she of? ORLANDO Just as high as my heart. ASL2W8 3302.02 6 [Turn over JAQUES You are full of pretty answers: have you not been acquainted with goldsmiths wives and conned them out of rings? ORLANDO Not so; but I answer you right painted cloth, from whence you have studied your questions. JAQUES You have a nimble wit; I think twas made of Atalanta s heels. Will you sit down with me, and we two will rail against our mistress the world and all our misery. ORLANDO I will chide no breather in the world but myself, against whom I know most faults. JAQUES The worst fault you have is to be in love. ORLANDO Tis a fault I will not change for your best virtue: I am weary of you. JAQUES By my troth, I was seeking for a fool, when I found you. ORLANDO He is drowned in the brook: look but in, and you shall see him. JAQUES There I shall see mine own figure. ORLANDO Which I take to be either a fool or a cipher. JAQUES I ll tarry no longer with you. Farewell, good Signor Love. ORLANDO I am glad of your departure. Adieu, good Monsieur Melancholy. (Act 3 Scene 2, lines 246 287) 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. ASL2W8 3302.02 7 [Turn over (b) As You Like It (extract to go with question 2(b)) SILVIUS So holy and so perfect is my love, And I in such a poverty of grace That I shall think it a most plenteous crop To glean the broken ears after the man That the main harvest reaps. Loose now and then A scattered smile, and that I ll live upon. PHEBE Know st thou the youth that spoke to me erewhile? SILVIUS Not very well; but I have met him oft And he hath bought the cottage and the bounds That the old carlot once was master of. PHEBE Think not I love him, though I ask for him; Tis but a peevish boy yet he talks well. But what care I for words? Yet words do well When he that speaks them pleases those that hear. It is a pretty youth not very pretty; But sure he s proud and yet his pride becomes him; He ll make a proper man. The best thing in him Is his complexion; and faster than his tongue Did make offence, his eye did heal it up; He is not very tall, yet for his years he s tall; His leg is but so-so, and yet tis well; There was a pretty redness in his lip, A little riper and more lusty red Than that mixed in his cheek: twas just the difference Betwixt the constant red and mingled damask. There be some women, Silvius, had they marked him In parcels as I did, would have gone near To fall in love with him; but, for my part, I love him not nor hate him not and yet Have I more cause to hate him than to love him. For what had he to do to chide at me? He said mine eyes were black, and my hair black, And, now I am remembered, scorned at me. I marvel why I answered not again; But that s all one. Omittance is no quittance. I ll write to him a very taunting letter And thou shalt bear it wilt thou, Silvius? ASL2W8 3302.02 8 [Turn over SILVIUS Phebe, with all my heart. PHEBE I ll write it straight: The matter s in my head, and in my heart; I will be bitter with him and passing short. Go with me, Silvius. (Act 3 Scene 6, lines 98 138) 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. ASL2W8 3302.02 9 [Turn over 3 (a) King Lear (extract to go with question 3(a)) EDGAR Know, my name is lost; By treason s tooth bare-gnawn and canker-bit: Yet am I noble as the adversary I come to cope. ALBANY Which is that adversary? EDGAR What s he that speaks for Edmund, Earl of Gloucester? EDMUND Himself: what say st thou to him? EDGAR Draw thy sword, That if my speech offend a noble heart, Thy arm may do thee justice: here is mine. Behold it is my privilege, The privilege of mine honors, My oath, and my profession. I protest, Maugre thy strength, place, youth, and eminence, Despite thy victor sword and fire-new fortune, Thy valor and thy heart, thou art a traitor, False to thy gods, thy brother, and thy father, Conspirant gainst this high illustrious prince, And from th extremest upward of thy head To the descent and dust below thy foot, A most toad-spotted traitor. Say thou No, This sword, this arm and my best spirits are bent To prove upon thy heart, whereto I speak, Thou liest. ASL2W8 3302.02 10 [Turn over EDMUND In wisdom I should ask thy name, But since thy outside looks so fair and warlike, And that thy tongue some say of breeding breathes, What safe and nicely I might well delay By rule of knighthood, I disdain and spurn: Back do I toss these treasons to thy head; With the hell-hated lie o erwhelm thy heart; Which for they yet glance by and scarcely bruise, This sword of mine shall give them instant way, Where they shall rest for ever. Trumpets, speak! (Alarums. They fight. EDMUND falls.) ALBANY Save him, save him! GONERIL This is practice, Gloucester: By th law of war thou wast not bound to answer An unknown opposite; thou art not vanquished, But cozened and beguiled. ALBANY Shut your mouth, dame, Or with this paper shall I stop it. Hold, sir; Thou worse than any name, read thine own evil. No tearing, lady; I perceive you know it. GONERIL Say, if I do, the laws are mine, not thine: Who can arraign me for t? ALBANY Most monstrous! O! Know st thou this paper? GONERIL Ask me not what I know. (Exit) ALBANY Go after her; she s desperate; govern her. ASL2W8 3302.02 11 [Turn over EDMUND What you have charged me with, that have I done; And more, much more; the time will bring it out. Tis past, and so am I. But what art thou That hast this fortune on me? If thou rt noble I do forgive thee. EDGAR Let s exchange charity. I am no less in blood than thou art, Edmund; If more, the more th hast wronged me. My name is Edgar, and thy father s son. The gods are just, and of our pleasant vices Make instruments to plague us: The dark and vicious place where thee he got Cost him his eyes. EDMUND Th hast spoken right, tis true; The wheel is come full circle; I am here. (Act 5 Scene 3, lines 122 176) 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. ASL2W8 3302.02 12 [Turn over (b) King Lear (extract to go with question 3(b)) (Re-enter Servants, with GLOUCESTER prisoner.) REGAN Ingrateful fox! tis he. CORNWALL Bind fast his corky arms. GLOUCESTER What means your Graces? Good my friends, consider You are my guests: do me no foul play, friends. CORNWALL Bind him, I say. (Servants bind him) REGAN Hard, hard. O filthy traitor! GLOUCESTER Unmerciful lady as you are, I m none. CORNWALL To this chair bind him. Villain, thou shalt find (REGAN plucks GLOUCESTER S beard) GLOUCESTER By the kind Gods, tis most ignobly done To pluck me by the beard. REGAN So white, and such a traitor! GLOUCESTER Naughty lady, These hairs, which thou dost ravish from my chin, Will quicken, and accuse thee: I am your host: With robbers hands my hospitable favours You should not ruffle thus. What will you do? CORNWALL Come, sir, what letters had you late from France? REGAN Be simple-answer d, for we know the truth. CORNWALL And what confederacy have you with the traitors Late footed in the kingdom? ASL2W8 3302.02 13 [Turn over REGAN To whose hands You have sent the lunatic King: speak. GLOUCESTER I have a letter guessingly set down, Which came from one that s of a neutral heart, And not from one oppos d. CORNWALL Cunning. REGAN And false. CORNWALL Where hast thou sent the King? GLOUCESTER To Dover. REGAN Wherefore to Dover? Wast thou not charg d at peril CORNWALL Wherefore to Dover? Let him answer that. GLOUCESTER I am tied to th stake, and I must stand the course. REGAN Wherefore to Dover? GLOUCESTER Because I would not see Thy cruel nails pluck out his poor eyes; Nor thy fierce sister in his anointed flesh Rash boarish fangs. The sea, with such a storm As his bare head in hell-black night endur d, Would have buoy d up, and quench d the stelled fires; Yet, poor old heart, he holp the heavens to rain. If wolves had at thy gate howl d that dearn time, Thou should st have said Good porter, turn the key. All cruels else subscribe: but I shall see The winged vengeance overtake such children. CORNWALL See t shalt thou never. Fellows, hold the chair. Upon these eyes of thine I ll set my foot. ASL2W8 3302.02 14 [Turn over GLOUCESTER He that will think to live till he be old, Give me some help! O cruel! O you Gods! REGAN One side will mock another; th other too. CORNWALL If you see vengeance, FIRST SERVANT Hold your hand, my Lord. I have serv d you ever since I was a child, But better service have I never done you Than now to bid you hold. REGAN How now, you dog! FIRST SERVANT If you did wear a beard upon your chin I d shake it on this quarrel. REGAN What do you mean? CORNWALL My villain! (They draw and fight.) FIRST SERVANT Nay then, come on, and take the chance of anger. REGAN Give me thy sword. A peasant stand up thus! (Takes a sword and runs at him behind.) FIRST SERVANT O! I am slain. My Lord, you have one eye left To see some mischief on him. Oh! (Dies.) CORNWALL Lest it see more, prevent it. Out, vile jelly! Where is thy lustre now? (Act 3 Scene 7, lines 28 82) 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. ASL2W8 3302.02 15 [Turn over 4 (a) Coriolanus (extract to go with question 4(a)) CORIOLANUS [F]or if I had feared death, of all men i th world I would have voided thee; but in mere spite, To be full quit of those my banishers, Stand I before thee here. Then if thou hast A heart of wreak in thee, that wilt revenge Thine own particular wrongs and stop those maims Of shame seen through thy country, speed thee straight And make my misery serve thy turn. So use it That my revengeful services may prove As benefits to thee. For I will fight Against my cankered country with the spleen Of all the under fiends. But if so be Thou dar st not this, and that to prove more fortunes Th art tired, then, in a word I also am Longer to live most weary, and present My throat to thee and to thy ancient malice; Which not to cut would show thee but a fool, Since I have ever followed thee with hate, Drawn tuns of blood out of thy country s breast, And cannot live but by thy shame, unless It be to do thee service. AUFIDIUS O Martius, Martius! Each word thou hast spoke hath weeded from my heart A root of ancient envy. If Jupiter Should from yond cloud speak divine things, And say Tis true , I d not believe them more Than thee, all-noble Martius. Let me twine Mine arms about that body, whereagainst My grain d ash an hundred times hath broke And scarred the moon with splinters. Here I clip The anvil of my sword, and do contest As hotly and as nobly with thy love As ever in ambitious strength I did Contend against thy valour. Know thou first, I loved the maid I married; never man Sighed truer breath. But that I see thee here, Thou noble thing, more dances my rapt heart Than when I first my wedded mistress saw Bestride my threshold. Why, thou Mars, I tell thee We have a power on foot, and I had purpose Once more to hew thy target from thy brawn, Or lose mine arm for t. Thou hast beat me out Twelve several times, and I have nightly since ASL2W8 3302.02 16 [Turn over Dreamt of encounters twixt thyself and me We have been down together in my sleep, Unbuckling helms, fisting each other s throat And waked half dead with nothing. Worthy Martius, Had we no other quarrel else to Rome but that Thou art thence banished, we would muster all From twelve to seventy, and pouring war Into the bowels of ungrateful Rome, Like a bold flood o erbear t. O, come, go in, And take our friendly senators by th hands, Who now are here, taking their leaves of me Who am prepared against your territories, Though not for Rome itself. (Act 4 Scene 5, lines 83 138) 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. ASL2W8 3302.02 17 [Turn over (b) Coriolanus (extract to go with question 4(b)) CORIOLANUS Now, as I live I will. My nobler friends, I crave their pardons. For The mutable, rank-scented meiny, let them Regard me as I do not flatter, and Therein behold themselves. I say again, In soothing them we nourish gainst our Senate The cockle of rebellion, insolence, sedition, Which we ourselves have ploughed for, sowed, and scattered By mingling them with us, the honoured number, Who lack not virtue, no, nor power, but that Which they have given to beggars. MENENIUS Well, no more. FIRST SENATOR No more words, we beseech you. CORIOLANUS How? No more? As for my country I have shed my blood, Not fearing outward force, so shall my lungs Coin words till their decay against those measles Which we disdain should tetter us, yet sought The very way to catch them. BRUTUS You speak o th people As if you were a god to punish, not A man of their infirmity. SICINIUS Twere well We let the people know t. MENENIUS What, what? His choler? CORIOLANUS Choler! Were I as patient as the midnight sleep, By Jove, twould be my mind. SICINIUS It is a mind That shall remain a poison where it is, Not poison any further. ASL2W8 3302.02 18 [Turn over CORIOLANUS Shall remain! Hear you this Triton of the minnows? Mark you His absolute shall ? COMINIUS Twas from the canon. CORIOLANUS Shall ! O good but most unwise patricians! Why, You grave but reckless Senators, have you thus Given Hydra here to choose an officer That with his peremptory shall , being but The horn and noise o th monster s, wants not spirit To say he ll turn your current in a ditch And make your channel his? If he have power, Then vail your ignorance; if none, awake Your dangerous lenity. If you are learned, Be not as common fools; if you are not, Let them have cushions by you. You are plebeians If they be senators; and they are no less When, both your voices blended, the great st taste Most palates theirs. They choose their magistrate; And such a one as he, who puts his shall , His popular shall , against a graver bench Than ever frowned in Greece. By Jove himself, It makes the consuls base! And my soul aches To know, when two authorities are up, Neither supreme, how soon confusion May enter twixt the gap of both and take The one by th other. COMINIUS Well, on to th market-place. (Act 3 Scene 1, lines 65 112) 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. ASL2W8 3302.02 19 [Turn over 5 (a) The Tempest (extract to go with question 5(a)) PROSPERO Why, that s my spirit! But was not this nigh shore? ARIEL Close by, my master. PROSPERO But are they, Ariel, safe? ARIEL Not a hair perish d; On their sustaining garments not a blemish, But fresher than before: and, as thou bad st me. In troops I have dispers d them bout the isle. The King s son have I landed by himself; Whom I left cooling of the air with sighs In an odd angle of the isle, and sitting, His arms in this sad knot. PROSPERO Of the King s ship, The mariners, say how thou hast dispos d, And all the rest o th fleet. ARIEL Safely in harbour Is the King s ship; in the deep nook, where once Thou call dst me up at midnight to fetch dew From the still-vex d Bermoothes, there she s hid: The mariners all under hatches stow d; Who, with a charm join d to their suffer d labour, I have left asleep: and for the rest o th fleet, Which I dispers d, they all have met again, And are upon the Mediterranean flote, Bound sadly home for Naples; Supposing that they saw the King s ship wrack d, And his great person perish. PROSPERO Ariel, thy charge Exactly is perform d: but there s more work. What is the time o th day? ARIEL Past the mid season. PROSPERO At least two glasses. The time twixt six and now Must by us both be spent most preciously. ASL2W8 3302.02 20 [Turn over ARIEL Is there more toil? Since thou dost give me pains, Let me remember thee what thou hast promis d, Which is not yet perform d me. PROSPERO How now? moody? What is t thou canst demand? ARIEL My liberty. PROSPERO Before the time be out? no more! ARIEL I prithee, Remember I have done thee worthy service; Told thee no lies, made no mistakings, serv d Without or grudge or grumblings: thou did promise To bate me a full year. PROSPERO Dost thou forget From what a torment I did free thee? ARIEL No. PROSPERO Thou dost, and think st it much to tread the ooze Of the salt deep, To run upon the sharp wind of the north, To do me business in the veins o th earth When it is bak d with frost. ARIEL I do not sir. PROSPERO Thou liest, malignant thing! Hast thou forgot The foul witch Sycorax, who with age and envy Was grown into a hoop? hast thou forgot her? ARIEL No, sir. (Act 1 Scene 2, lines 215 259) 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. ASL2W8 3302.02 21 [Turn over (b) The Tempest (extract to go with question 5(b)) (Enter PROSPERO in his magic robes, and ARIEL.) PROSPERO Now does my project gather to a head: My charms crack not; my spirits obey; and time Goes upright with his carriage. How s the day? ARIEL On the sixth hour; at which time, my lord, You said our work should cease. PROSPERO I did say so, When first I rais d the tempest. Say, my spirit, How fares the King and s followers? ARIEL Confin d together In the same fashion as you gave in charge, Just as you left them; all prisoners, sir, In the line-grove which weather-fends your cell; They cannot budge till your release. The King, His brother, and yours, abide all three distracted, And the remainder mourning over them, Brimful of sorrow and dismay; but chiefly Him you term d, sir, The good old lord, Gonzalo ; His tears runs down his beard, like winter s drops From eaves of reeds. Your charm so strongly works em, That if you now beheld them, your affections Would become tender. PROSPERO Dost thou think so, spirit? ARIEL Mine would, sir, were I human. PROSPERO And mine shall. Hast thou, which art but air, a touch, a feeling Of their afflictions, and shall not myself, One of their kind, that relish all as sharply Passion as they, be kindlier mov d than thou art? ASL2W8 3302.02 22 [Turn over Though with their high wrongs I am struck to th quick, Yet with my nobler reason gainst my fury Do I take part: the rarer action is In virtue than in vengeance: they being penitent, The sole drift of my purpose doth extend Not a frown further. Go release them, Ariel: My charms I ll break, their senses I ll restore, And they shall be themselves. ARIEL I ll fetch them, sir. (Exit) PROSPERO Ye elves of hills, brook, standing lakes, and groves; And ye that on the sands with printless foot Do chase the ebbing Neptune, and do fly him When he comes back; you demi-puppets that By moonshine do the green sour ringlets make, Whereof the ewe not bites; and you whose pastime, Is to make midnight mushrooms, that rejoice To hear the solemn curfew; by whose aid Weak masters though ye be I have bedimm d The noontide sun, call d forth the mutinous winds, And twixt the green sea and the azur d vault Set roaring war: to the dread rattling thunder Have I given fire, and rifted Jove s stout oak With his own bolt; the strong-bas d promontory Have I made shake, and by the spurs pluck d up The pine and cedar: graves at my command have wak d their sleepers, op d, and let em forth By my so potent Art. But this rough magic I here abjure; and, when I have requir d Some heavenly music, which even now I do, To work mine end upon their senses, that This airy charm is for, I ll break my staff, Bury it certain fadoms in the earth, And deeper than did ever plummet sound I ll drown my book. (Solemn music) (Act 5 Scene 1, lines 1 57) 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. ASL2W8 3302.02 23 S 2/07 302-019-1 [Turn over

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Additional Info : Gce English Literature January 2008 Assessment Unit AS 2 Module 2: The Study of Shakespeare
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