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GCE JUN 2007 : (AS 2) The Study of Shakespeare

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ADVANCED SUBSIDIARY (AS) General Certificate of Education 2007 English Literature assessing Module 2: The Study of Shakespeare ASL21 Assessment Unit AS 2 [ASL21] TUESDAY 19 JUNE, AFTERNOON 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. 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. ASL2S7 2356 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. ASL2S7 2356 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 with reference to other appropriately selected parts of the play, write about the dramatic methods which Shakespeare uses to present the character of Richard in the play. In your answer, consider the dramatic methods listed below: Shakespeare s use of character interactions to present the character of Richard Shakespeare s use of language (including imagery) to present the character of Richard staging of significant episodes relevant to the presentation of the character of Richard. 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 with reference to other appropriately selected parts of the play, write about the dramatic methods which Shakespeare uses to explore the theme of responsibility. In your answer, consider the dramatic methods listed below: Shakespeare s use of character interactions relating to the theme of responsibility Shakespeare s use of language (including imagery) relating to the theme of responsibility staging of significant episodes relevant to the theme of responsibility. 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. ASL2S7 2356 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 Silvius and Phebe. In your answer, consider the dramatic methods listed below: Shakespeare s use of character interactions to present the relationship between Silvius and Phebe Shakespeare s use of language (including imagery) to present the relationship between Silvius and Phebe staging of significant episodes relevant to the presentation of the relationship between Silvius and Phebe. 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 deception. In your answer, consider the dramatic methods listed below: Shakespeare s use of character interactions relating to the theme of deception Shakespeare s use of language (including imagery) relating to the theme of deception staging of significant episodes relevant to the theme of deception. 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. ASL2S7 2356 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 Lear s relationships with Gonerill and Regan. In your answer, consider the dramatic methods listed below: Shakespeare s use of character interactions to present Lear s relationships with Gonerill and Regan Shakespeare s use of language (including imagery) to present Lear s relationships with Gonerill and Regan staging of significant episodes relevant to the presentation of Lear s relationships with Gonerill and Regan. 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 loss. In your answer, consider the dramatic methods listed below: Shakespeare s use of character interactions relating to the theme of loss Shakespeare s use of language (including imagery) relating to the theme of loss staging of significant episodes relevant to the theme of loss. 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. ASL2S7 2356 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 as a warrior. In your answer, consider the dramatic methods listed below: Shakespeare s use of character interactions to present the character of Coriolanus as a warrior Shakespeare s use of language (including imagery) to present the character of Coriolanus as a warrior staging of significant episodes relevant to the presentation of the character of Coriolanus as a warrior. 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 hypocrisy. In your answer, consider the dramatic methods listed below: Shakespeare s use of character interactions relating to the theme of hypocrisy Shakespeare s use of language (including imagery) relating to the theme of hypocrisy staging of significant episodes relevant to the theme of hypocrisy. 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. ASL2S7 2356 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 Miranda and Ferdinand. In your answer, consider the dramatic methods listed below: Shakespeare s use of character interactions to present the relationship between Miranda and Ferdinand Shakespeare s use of language (including imagery) to present the relationship between Miranda and Ferdinand staging of significant episodes relevant to the presentation of the relationship between Miranda and Ferdinand. 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 enslavement. In your answer, consider the dramatic methods listed below: Shakespeare s presentation of character interactions relating to the theme of enslavement Shakespeare s use of language (including imagery) relating to the theme of enslavement staging of significant episodes relevant to the theme of enslavement. 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. ASL2S7 2356 7 S 3/06 7-048-1 [Turn over ADVANCED SUBSIDIARY (AS) General Certificate of Education 2007 English Literature assessing Module 2: The Study of Shakespeare ASL21 Assessment Unit AS 2 [ASL21] TUESDAY 19 JUNE, AFTERNOON 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). ASL2S7 RB2356.02 1 (a) Richard II (extract to go with Question 1(a)) Re-enter YORK, with RICHARD, and Officers bearing the regalia RICHARD Alack, why am I sent for to a king, Before I have shook off the regal thoughts Wherewith I reigned? I hardly yet have learned To insinuate, flatter, bow, and bend my limbs. Give sorrow leave awhile to tutor me To this submission. Yet I well remember The favours of these men; were they not mine? Did they not sometime cry All hail! to me? So Judas did to Christ: but he, in twelve, Found truth in all but one; I, in twelve thousand, none. God save the king! Will no man say Amen ? Am I both priest and clerk? Well then, Amen. God save the king! although I be not he: And yet Amen , if Heaven do think him me. To do what service am I sent for hither? YORK To do that office of thine own good will, Which tired majesty did make thee offer: The resignation of thy state and crown To Henry Bolingbroke. RICHARD Give me the crown. Here, cousin, seize the crown; here, cousin; On this side my hand and on that side thine. Now is this golden crown like a deep well, That owes two buckets, filling one another, The emptier ever dancing in the air, The other down, unseen, and full of water; That bucket down and full of tears am I, Drinking my griefs, whilst you mount up on high. BOLINGBROKE I thought you had been willing to resign. RICHARD My crown I am, but still my griefs are mine: You may my glories and my state depose, But not my griefs; still am I king of those. BOLINGBROKE Part of your cares you give me with your crown. ASL2S7 RB2356.02 2 RICHARD Your cares set up do not pluck my cares down. My care is loss of care, by old care done; Your care is gain of care, by new care won: The cares I give, I have, though given away; They tend the crown, yet still with me they stay. BOLINGBROKE Are you contented to resign the crown? (Act 4 Scene 1, lines 162 200) 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. ASL2S7 RB2356.02 3 [Turn over (b) Richard II (extract to go with Question 1(b)) Enter KING RICHARD, and QUEEN, AUMERLE, BUSHY, GREEN, BAGOT, ROSS and WILLOUGHBY YORK The king is come; deal mildly with his youth, For young hot colts, being raged, do rage the more! QUEEN How fares our noble Uncle Lancaster? KING RICHARD What comfort, man? How is t with ag d Gaunt? GAUNT Oh, how that name befits my composition! Old Gaunt, indeed, and gaunt in being old. Within me grief hath kept a tedious fast, And who abstains from meat that is not gaunt? For sleeping England long time have I watched; Watching breeds leanness, leanness is all gaunt. The pleasure that some fathers feed upon Is my strict fast I mean, my children s looks And therein fasting, hast thou made me gaunt. Gaunt am I for the grave, gaunt as a grave, Whose hollow womb inherits nought but bones. KING RICHARD Can sick men play so nicely with their names? GAUNT No, misery makes sport to mock itself. Since thou dost seek to kill my name in me, I mock my name, great king, to flatter thee. KING RICHARD Should dying men flatter with those that live? GAUNT No, no; men living flatter those that die. KING RICHARD Thou, now a-dying, say st thou flatterest me. GAUNT Oh no, thou diest, though I the sicker be! KING RICHARD I am in health; I breathe, and see thee ill. ASL2S7 RB2356.02 4 GAUNT Now he that made me knows I see thee ill: Ill, in myself, to see, and in thee, seeing ill. Thy death-bed is no lesser than thy land, Wherein thou liest, in reputation sick, And thou, too careless patient as thou art, Commit st thy anointed body to the cure Of those physicians that first wounded thee. A thousand flatterers sit within thy crown, Whose compass is no bigger than thy head, And yet encag d in so small a verge, The waste is no whit lesser than thy land. Oh, had thy grandsire with a prophet s eye, Seen how his son s son should destroy his sons, From forth thy reach he would have laid thy shame, Deposing thee before thou wert possessed, Which art possessed now to depose thyself. Why, cousin, wert thou regent of the world, It were a shame to let this land by lease; But, for thy world enjoying but this land, Is it not more than shame to shame it so? Landlord of England art thou now, not king: Thy state of law is bondslave to the law, And thou KING RICHARD A lunatic, lean-witted fool, Presuming on an ague s privilege, Dar st with thy frozen admonition Make pale our cheek, chasing the royal blood With fury, from his native residence! Now, by my seat s right royal majesty, Wert thou not brother to great Edward s son, This tongue that runs so roundly in thy head Should run thy head from thy unreverent shoulders. (Act 2 Scene 1, lines 69 123) 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. ASL2S7 RB2356.02 5 [Turn over 2 (a) As You Like It (extract to go with Question 2(a)) Enter SILVIUS and PHEBE SILVIUS Sweet Phebe, do not scorn me, do not, Phebe. Say that you love me not, but say not so In bitterness. The common executioner, Whose heart th accustomed sight of death makes hard, Falls not the axe upon the humbled neck But first begs pardon. Will you sterner be Than he that dies and lives by bloody drops? Enter ROSALIND (as GANYMEDE), CELIA (as ALIENA), and CORIN (they stand aside) PHEBE I would not be thy executioner; I fly thee for I would not injure thee. Thou tell st me there is murder in mine eye. Tis pretty, sure, and very probable That eyes, that are the frail st and softest things, Who shut their coward gates on atomies, Should be called tyrants, butchers, murderers! Now I do frown on thee with all my heart; And if mine eyes can wound, now let them kill thee. Now counterfeit to swoon, why, now fall down; Or, if thou canst not, O for shame, for shame, Lie not to say mine eyes are murderers. Now show the wound mine eye hath made in thee. Scratch thee but with a pin, and there remains Some scar of it; lean upon a rush, The cicatrice and capable impressure Thy palm some moment keeps. But now mine eyes, Which I have darted at thee, hurt thee not; Nor I am sure there is no force in eyes That can do hurt. SILVIUS O dear Phebe. If ever as that ever may be near You meet in some fresh cheek the power of fancy, Then shall you know the wounds invisible That love s keen arrows make. ASL2S7 RB2356.02 6 PHEBE But till that time Come not thou near me; and when, that time comes, Afflict me with thy mocks, pity me not, As till that time I shall not pity thee. (Act 3 Scene 5, lines 1 34) 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. ASL2S7 RB2356.02 7 [Turn over (b) As You Like It (extract to go with Question 2(b)) ROSALIND I might ask you for your commission, but I do take thee, Orlando, for my husband. There s a girl goes before the priest, and certainly a woman s thought runs before her actions. ORLANDO So do all thoughts: they are winged. ROSALIND Now, tell me how long you would have her after you have possessed her? ORLANDO For ever and a day. ROSALIND Say a day without the ever . No, no, Orlando: men are April when they woo, December when they wed; maids are May when they are maids, but the sky changes when they are wives. I will be more jealous of thee than a Barbary cock-pigeon over his hen; more clamorous than a parrot against rain, more new-fangled than an ape; more giddy in my desires than a monkey. I will weep for nothing, like Diana in the fountain, and I will do that when you are disposed to be merry. I will laugh like a hyena, and that when thou art inclined to sleep. ORLANDO But will my Rosalind do so? ROSALIND By my life, she will do as I do. ORLANDO O, but she is wise. ROSALIND Or else she could not have the wit to do this: the wiser, the waywarder. Make the doors upon a woman s wit, and it will out at the casement; shut that, and twill out at the key hole; stop that, twill fly with the smoke out at the chimney. ORLANDO A man that had a wife with such a wit, he might say, Wit, whither wilt? ROSALIND Nay, you might keep that check for it till you met your wife s wit going to your neighbour s bed. ORLANDO And what wit could wit have to excuse that? ASL2S7 RB2356.02 8 ROSALIND Marry, to say she came to seek you there: you shall never take her without her answer unless you take her without her tongue. O, that woman that cannot make her fault her husband s occasion, let her never nurse her child herself for she will breed it like a fool. ORLANDO For these two hours, Rosalind, I will leave thee. ROSALIND Alas, dear love, I cannot lack thee two hours. ORLANDO I must attend the duke at dinner, by two o clock I will be with thee again. ROSALIND Aye, go your ways, go your ways. I knew what you would prove my friends told me as much, and I thought no less. That flattering tongue of yours won me. Tis but one cast away, and so come, Death! Two o clock is your hour? ORLANDO Aye, sweet Rosalind. ROSALIND By my troth, and in good earnest, and so God mend me, and by all pretty oaths that are not dangerous, if you break one jot of your promise or come one minute behind your hour, I will think you the most pathetical break-promise, and the most hollow lover, and the most unworthy of her you call Rosalind that may be chosen out of the gross band of the unfaithful. Therefore beware my censure, and keep your promise. ORLANDO With no less religion than if thou wert indeed my Rosalind. So adieu. ROSALIND Well, Time is the old justice that examines all such offenders, and let Time try. Adieu. (Act 4 Scene 1, lines 127 185) 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. ASL2S7 RB2356.02 9 [Turn over 3 (a) King Lear (extract to go with Question 3(a)) LEAR Return to her, and fifty men dismissed? No, rather I abjure all roofs, and choose To wage against the enmity o th air, To be a comrade with the wolf and owl Necessity s sharp pinch! Return with her? Why, the hot-blooded France, that dowerless took Our youngest born, I could as well be brought To knee his throne and, squire-like, pension beg To keep base life afoot. Return with her? Persuade me rather to be slave and sumpter To this detested groom. (Pointing at OSWALD) GONERILL At your choice, sir. LEAR I prithee, daughter, do not make me mad. I will not trouble thee, my child; farewell. We ll no more meet, no more see one another. But yet thou art my flesh, my blood, my daughter Or rather a disease that s in my flesh, Which I must needs call mine. Thou art a boil, A plague-sore, or embossed carbuncle In my corrupted blood. But I ll not chide thee; Let shame come when it will, I do not call it. I do not bid the thunder-bearer shoot, Nor tell tales of thee to high-judging Jove. Mend when thou canst; be better at thy leisure. I can be patient; I can stay with Regan, I and my hundred knights. REGAN Not altogether so. I looked not for you yet, nor am provided For your fit welcome. Give ear, sir, to my sister; For those that mingle reason with your passion Must be content to think you old, and so But she knows what she does. LEAR Is this well spoken? ASL2S7 RB2356.02 10 REGAN I dare avouch it, sir. What! fifty followers? Is it not well? What should you need of more? Yea, or so many, sith that both charge and danger Speak gainst so great a number? How in one house Should many people, under two commands, Hold amity? Tis hard, almost impossible. GONERILL Why might not you, my lord, receive attendance From those that she calls servants, or from mine? REGAN Why not, my lord? If then they chanced to slack ye, We could control them. If you will come to me (For now I spy a danger), I entreat you To bring but five and twenty; to no more Will I give place or notice. LEAR I gave you all REGAN And in good time you gave it. (Act 2 Scene 4, lines 205 249) 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. ASL2S7 RB2356.02 11 [Turn over (b) King Lear (extract to go with Question 3(b)) LEAR Howl, howl, howl, howl! O, you are men of stones! Had I your tongues and eyes, I d use them so That heaven s vault should crack! She s gone for ever. I know when one is dead, and when one lives; She s dead as earth. Lend me a looking-glass; If that her breath will mist or stain the stone, Why, then she lives. KENT Is this the promised end? EDGAR Or image of that horror? ALBANY Fall and cease! LEAR This feather stirs she lives! If it be so, It is a chance which does redeem all sorrows That ever I have felt. KENT (Kneeling) O my good master! LEAR Prithee away! EDGAR Tis noble Kent, your friend. 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. ASL2S7 RB2356.02 12 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. 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 a Messenger) MESSENGER Edmund is dead, my lord. ASL2S7 RB2356.02 13 [Turn over 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! (Act 5 Scene 3, lines 257 308) 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. ASL2S7 RB2356.02 14 BLANK PAGE (Resources continue overleaf) ASL2S7 RB2356.02 15 [Turn over 4 (a) Coriolanus (extract to go with Question 4(a)) MARTIUS How lies their battle? Know you on which side They have placed their men of trust? COMINIUS As I guess, Martius, Their bands i th vaward are the Antiates, Of their best trust; o er them Aufidius, Their very heart of hope. MARTIUS I do beseech you By all the battles wherein we have fought, By th blood we have shed together, by th vows We have made to endure friends, that you directly Set me against Aufidius and his Antiates, And that you not delay the present, but, Filling the air with swords advanced and darts, We prove this very hour. COMINIUS Though I could wish You were conducted to a gentle bath And balms applied to you, yet dare I never Deny your asking. Take your choice of those That best can aid your action. MARTIUS Those are they That most are willing. If any such be here As it were sin to doubt that love this painting Wherein you see me smeared; if any fear Lesser his person than an ill report; If any think brave death outweighs bad life And that his country s dearer than himself; Let him alone, or so many so minded, Wave thus to express his disposition, And follow Martius. (They all shout and wave their swords, take him up in their arms, and cast up their caps) ASL2S7 RB2356.02 16 O me alone, make you a sword of me. If these shows be not outward, which of you But is four Volsces? None of you but is Able to bear against the great Aufidius A shield as hard as his. A certain number, Though thanks to all, must I select from all. The rest Shall bear the business in some other fight, As cause will be obeyed. Please you to march; And I shall quickly draw out my command, Which men are best inclined. COMINIUS March on, my fellows. Make good this ostentation, and you shall Divide in all with us. (Exeunt) (Act 1 Scene 6, lines 51 88) 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. ASL2S7 RB2356.02 17 [Turn over (b) Coriolanus (extract to go with Question 4(b)) SICINIUS This is a happier and more comely time Than when these fellows ran about the streets Crying confusion. BRUTUS Caius Martius was A worthy officer i th war, but insolent, O ercome with pride, ambitious past all thinking, Self-loving SICINIUS And affecting one sole throne Without assistance. MENENIUS I think not so. SICINIUS We should by this, to all our lamentation, If he had gone forth Consul, found it so. BRUTUS The gods have well prevented it, and Rome Sits safe and still without him. (Enter an Aedile) AEDILE Worthy Tribunes, There is a slave, whom we have put in prison, Reports the Volsces with two several powers Are entered in the Roman territories, And with the deepest malice of the war Destroy what lies before em. MENENIUS Tis Aufidius, Who, hearing of our Martius banishment, Thrusts forth his horns again into the world, Which were inshelled when Martius stood for Rome, And durst not once peep out. ASL2S7 RB2356.02 18 SICINIUS Come, what talk you of Martius? BRUTUS Go see this rumourer whipped. It cannot be The Volsces dare break with us. MENENIUS Cannot be! We have record that very well it can, And three examples of the like hath been Within my age. But reason with the fellow Before you punish him, where he heard this, Lest you shall chance to whip your information And beat the messenger who bids beware Of what is to be dreaded. SICINIUS Tell not me. I know this cannot be. BRUTUS Not possible. (Enter a Messenger) MESSENGER The nobles in great earnestness are going All to the Senate House. Some news is coming That turns their countenances. SICINIUS Tis this slave Go whip him fore the people s eyes his raising, Nothing but his report. MESSENGER Yes, worthy sir, The slave s report is seconded, and more, More fearful is delivered. SICINIUS What more fearful? ASL2S7 RB2356.02 19 [Turn over MESSENGER It is spoke freely out of many mouths How probable I do not know that Martius, Joined with Aufidius, leads a power gainst Rome, And vows revenge as spacious as between The young st and oldest thing. SICINIUS This is most likely! (Act 4 Scene 6, lines 27 69) 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. ASL2S7 RB2356.02 20 BLANK PAGE (Resources continue overleaf) ASL2S7 RB2356.02 21 [Turn over 5 (a) The Tempest (extract to go with Question 5(a)) FERDINAND I am, in my condition, A prince, Miranda; I do think, a king (I would not so), and would no more endure This wooden slavery than to suffer The fleshfly blow my mouth. Hear my soul speak! The very instant that I saw you, did My heart fly to your service; there resides, To make me slave to it; and for your sake Am I this patient log-man. MIRANDA Do you love me? FERDINAND O heaven, O earth, bear witness to this sound, And crown what I profess with kind event If I speak true! If hollowly, invert What best is boded me to mischief! I, Beyond all limit of what else i th world, Do love, prize, honor you. MIRANDA I am a fool To weep at what I am glad of. PROSPERO (Aside) Fair encounter Of two most rare affections! Heavens rain grace On that which breeds between em! FERDINAND Wherefore weep you? MIRANDA At mine unworthiness, that dare not offer What I desire to give, and much less take What I shall die to want. But this is trifling; And all the more it seeks to hide itself, The bigger bulk it shows. Hence, bashful cunning, And prompt me, plain and holy innocence! I am your wife, if you will marry me; If not, I ll die your maid. To be your fellow You may deny me; but I ll be your servant, Whether you will or no. ASL2S7 RB2356.02 22 FERDINAND My mistress, dearest, And I thus humble ever. MIRANDA My husband then? FERDINAND Ay, with a heart as willing As bondage e er of freedom. Here s my hand. MIRANDA And mine, with my heart in t; and now farewell Till half an hour hence. FERDINAND A thousand thousand! (Exeunt FERDINAND and MIRANDA in different directions) PROSPERO So glad of this as they I cannot be, Who are surprised withal; but my rejoicing At nothing can be more. I ll to my book; For yet ere suppertime must I perform Much business appertaining. Exit. (Act 3 Scene 1, lines 59 96) 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. ASL2S7 RB2356.02 23 [Turn over (b) The Tempest (extract to go with Question 5(b)) CALIBAN I ll show thee every fertile inch o th island; and I will kiss thy foot. I prithee, be my god. TRINCULO By this light, a most perfidious and drunken monster! When s god s asleep, he ll rob his bottle. CALIBAN I ll kiss thy foot. I ll swear myself thy subject. STEPHANO Come on then. Down, and swear! TRINCULO I shall laugh myself to death at this puppy-headed monster. A most scurvy monster! I could find in my heart to beat him STEPHANO Come, kiss. TRINCULO But that the poor monster s in drink. An abominable monster! CALIBAN I ll show thee the best springs; I ll pluck thee berries; I ll fish for thee, and get thee wood enough. A plague upon the tyrant that I serve! I ll bear him no more sticks, but follow thee, Thou wondrous man. TRINCULO A most ridiculous monster, to make a wonder of a poor drunkard! CALIBAN I prithee let me bring thee where crabs grow; And I with my long nails will dig thee pignuts, Show thee a jay s nest, and instruct thee how To snare the nimble marmoset. I ll bring thee To clust ring filberts, and sometimes I ll get thee Young scamels from the rock. Wilt thou go with me? ASL2S7 RB2356.02 24 STEPHANO I prithee now, lead the way without any more talking. Trinculo, the King and all our company else being drowned, we will inherit here. Here, bear my bottle. Fellow Trinculo, we ll fill him by and by again. (CALIBAN sings drunkenly.) CALIBAN Farewell, master; farewell, farewell! TRINCULO A howling monster! A drunken monster! CALIBAN No more dams I ll make for fish, Nor fetch in firing At requiring, Nor scrape trenchering, nor wash dish. Ban, Ban, Ca Caliban Has a new master. Get a new man! Freedom, high day! High day, freedom! Freedom, high day, freedom! STEPHANO O brave monster! Lead the way. Exeunt (Act 2 Scene 2, lines 148 187) 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. [THIS IS THE END OF THE RESOURCE BOOKLET] ASL2S7 RB2356.02 25 S 3/06 7-048-2

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Additional Info : Gce English Literature June 2007 Assessment Unit AS 2 Module 2: The Study of Shakespeare
Tags : General Certificate of Education, A Level and AS Level, uk, council for the curriculum examinations and assessment, gce exam papers, gce a level and as level exam papers , gce past questions and answer, gce past question papers, ccea gce past papers, gce ccea past papers  

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