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

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ADVANCED SUBSIDIARY (AS) General Certificate of Education January 2007 English Literature assessing Module 2: The Study of Shakespeare ASL21 Assessment Unit AS 2 [ASL21] WEDNESDAY 24 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. ASL2W7 2360 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. ASL2W7 2360 2 [Turn over 1 Richard II Answer either (a) or (b) (a) By examining closely extract 1(a) printed in the accompanying Resource Booklet, and referring to other appropriately selected parts of the play, write about the dramatic methods which Shakespeare uses to present the character of Bolingbroke in the play. In your answer, consider the dramatic methods listed below: Shakespeare s use of character interactions to present the character of Bolingbroke Shakespeare s use of language (including imagery) to present the character of Bolingbroke staging of significant episodes relevant to the presentation of the character of Bolingbroke. N.B. Half the marks for this question (a maximum of 15/30) are available for your use of the given extract in your answer. (b) By examining closely extract 1(b) printed in the accompanying Resource Booklet, and referring to other appropriately selected parts of the play, write about the dramatic methods which Shakespeare uses to explore the theme of kingship. In your answer, consider the dramatic methods listed below: Shakespeare s use of character interactions relating to the theme of kingship Shakespeare s use of language (including imagery) relating to the theme of kingship staging of significant episodes relevant to the theme of kingship. 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. ASL2W7 2360 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 episodes in the play, write about the dramatic methods used by Shakespeare to present the character of Celia. In your answer, consider the dramatic methods listed below: Shakespeare s use of character interactions to present the character of Celia Shakespeare s use of language (including imagery) to present the character of Celia staging of significant episodes relevant to the presentation of the character of Celia. N.B. Half the marks for this question (a maximum of 15/30) are available for your use of the given extract in your answer. (b) By examining closely extract 2(b) printed in the accompanying Resource Booklet, and referring to other appropriately selected episodes in the play, write about the dramatic methods used by Shakespeare to explore the theme of being in love. In your answer, consider the dramatic methods listed below: Shakespeare s use of character interactions relating to the theme of being in love Shakespeare s use of language (including imagery) relating to the theme of being in love staging of significant episodes relevant to the theme of being in love. 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. ASL2W7 2360 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 Edmund s relationship with Gloucester. In your answer, consider the dramatic methods listed below: Shakespeare s use of character interactions to present Edmund s relationship with Gloucester Shakespeare s use of language (including imagery) to present Edmund s relationship with Gloucester staging of significant episodes relevant to the presentation of Edmund s relationship with Gloucester. N.B. Half the marks for this question (a maximum of 15/30) are available for your use of the given extract in your answer. (b) By examining closely extract 3(b) printed in the accompanying Resource Booklet, and referring to other appropriately selected parts of the play, write about the dramatic methods which Shakespeare uses to explore the theme of treachery. In your answer, consider the dramatic methods listed below: Shakespeare s use of character interactions relating to the theme of treachery Shakespeare s use of language (including imagery) relating to the theme of treachery staging of significant episodes relevant to the theme of treachery. 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. ASL2W7 2360 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 relationship between Coriolanus and Volumnia. In your answer, consider the dramatic methods listed below: Shakespeare s use of character interactions to present the relationship between Coriolanus and Volumnia Shakespeare s use of language (including imagery) to present the relationship between Coriolanus and Volumnia staging of significant episodes relevant to the presentation of the relationship between Coriolanus and Volumnia. 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 rebellion. In your answer, consider the dramatic methods listed below: Shakespeare s use of character interactions relating to the theme of rebellion Shakespeare s use of language (including imagery) relating to the theme of rebellion staging of significant episodes relevant to the theme of rebellion. 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. ASL2W7 2360 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 episodes in the play, write about the dramatic methods which Shakespeare uses to present the characters of Sebastian and Antonio. In your answer, consider the dramatic methods listed below: Shakespeare s use of character interactions to present the characters of Sebastian and Antonio Shakespeare s use of language (including imagery) to present the characters of Sebastian and Antonio staging of significant episodes relevant to the presentation of the characters of Sebastian and Antonio. 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. You should give equal treatment to each character. (b) By examining closely extract 5(b) printed in the accompanying Resource Booklet, and referring to other appropriately selected episodes in the play, write about the dramatic methods which Shakespeare uses to explore the theme of punishment. In your answer, consider the dramatic methods listed below: Shakespeare s use of character interactions relating to the theme of punishment Shakespeare s use of language (including imagery) relating to the theme of punishment staging of significant episodes relevant to the theme of punishment. 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. ASL2W7 2360 7 [Turn over S 3/06 2200 9-029-1 [Turn over ADVANCED SUBSIDIARY (AS) General Certificate of Education January 2007 English Literature assessing Module 2: The Study of Shakespeare ASL21 Assessment Unit AS 2 [ASL21] WEDNESDAY 24 JANUARY, MORNING RESOURCE BOOKLET 1 21.3.06EA 2 18.4.06GG 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). ASL2W7 RB2360.02 1 (a) Richard II (extract to go with question 1(a)) BOLINGBROKE Harry of Hereford, Lancaster, and Derby Am I: who ready here do stand in arms, To prove by God s grace, and my body s valour, In lists, on Thomas Mowbray, Duke of Norfolk, That he s a traitor, foul and dangerous, To God of heaven, King Richard, and to me, And as I truly fight, defend me heaven! MARSHAL On pain of death, no person be so bold Or daring-hardy as to touch the lists, Except the Marshal, and such officers Appointed to direct these fair designs. BOLINGBROKE Lord Marshal, let me kiss my sovereign s hand, And bow my knee before his majesty: For Mowbray and myself are like two men That vow a long and weary pilgrimage; Then let us take a ceremonious leave And loving farewell of our several friends. MARSHAL The appellant in all duty greets your highness, And craves to kiss your hand and take his leave. KING RICHARD 1 21.3.06EA 2 18.4.06GG We will descend and fold him in our arms. Cousin of Hereford, as thy cause is right, So be thy fortune in this royal fight! Farewell, my blood, which if today thou shed, Lament we may, but not revenge thee dead. ASL2S7 RB2360.02 2 BOLINGBROKE Oh, let no noble eye profane a tear For me, if I be gored with Mowbray s spear! As confident as is the falcon s flight Against a bird, do I with Mowbray fight. (to the MARSHAL) My loving lord, I take my leave of you, (to AUMERLE) Of you, my noble cousin, Lord Aumerle; Not sick, although I have to do with death, But lusty, young, and cheerly drawing breath. Lo, as at English feasts, so I regreet The daintiest last, to make the end most sweet; (to GAUNT) Oh thou, the earthly author of my blood, Whose youthful spirit, in me regenerate, Doth with a twofold vigour lift me up To reach at victory above my head, Add proof unto mine armour with thy prayers, And with thy blessings steel my lance s point, That it may enter Mowbray s waxen coat, And furbish new the name of John of Gaunt, Even in the lusty haviour of his son. GAUNT God in thy good cause make thee prosperous! Be swift like lightning in the execution, And let thy blows, doubly redoubled, Fall like amazing thunder on the casque Of thy adverse pernicious enemy. Rouse up thy youthful blood, be valiant, and live! BOLINGBROKE Mine innocence, and Saint George to thrive! (Act 1 Scene 3, line 35 84) 1 21.3.06EA 2 18.4.06GG 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 RB2360.02 3 [Turn over (b) Richard II (extract to go with question 1(b)) CARLISLE Fear not, my lord! That power that made you king Hath power to keep you king. In spite of all, The means that heaven yields must be embraced And not neglected; else, if heaven would, And we will not, heaven s offer we refuse, The proffered means of succour and redress. AUMERLE He means, my lord, that we are too remiss, Whilst Bolingbroke, through our security, Grows strong and great in substance and in power. KING RICHARD 1 21.3.06EA 2 18.4.06GG Discomfortable cousin, know st thou not That, when the searching eye of heaven is hid Behind the globe, that lights the lower world, Then thieves and robbers range abroad unseen, In murders and in outrage bloody here: But when from under this terrestrial ball, He fires the proud tops of the eastern pines, And darts his light through every guilty hole, Then murders, treasons, and detested sins, The cloak of night being plucked from off their backs, Stand bare and naked, trembling at themselves. So when this thief, this traitor, Bolingbroke, Who all this while hath revelled in the night, Whilst we were wandering with the Antipodes, Shall see us rising in our throne, the east, His treasons will sit blushing in his face, Not able to endure the sight of day, But self-affrighted tremble at his sin. Not all the water in the rough rude sea Can wash the balm from an anointed king. The breath of worldly men cannot depose The deputy elected by the Lord. For every man that Bolingbroke hath pressed To lift shrewd steel against our golden crown, God, for his Richard, hath in heavenly pay A glorious angel: then, if angels fight, Weak men must fall, for heaven still guards the right. (Enter SALISBURY) Welcome, my lord! How far off lies your power? ASL2W7 RB2360.02 4 SALISBURY Nor near, nor farther off, my gracious lord, Than this weak arm. Discomfort guides my tongue, And bids me speak of nothing but despair. One day too late, I fear me, noble lord, Hath clouded all thy happy days on earth. Oh, call back yesterday, bid time return, And thou shalt have twelve thousand fighting men! Today, today, unhappy day, too late, O erthrows thy joys, friends, fortune, and thy state; For all the Welshmen, hearing thou wert dead, Are gone to Bolingbroke, dispersed, and fled. (Act 3 Scene 2, line 27 74) 1 21.3.06EA 2 18.4.06GG 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. ASL2W7 RB2360.02 5 [Turn over 2 (a) As You Like It (extract to go with question 2(a)) CELIA Dear sovereign, hear me speak. DUKE FREDERICK Aye, Celia, we stayed her for your sake, Else had she with her father ranged along. CELIA I did not then entreat to have her stay; It was your pleasure and your own remorse. I was too young that time to value her, But now I know her: if she be a traitor, Why so am I. We still have slept together, Rose at an instant, learned, played, eat together, And wheresoe er we went, like Juno s swans, Still we went coupled and inseparable. DUKE FREDERICK She is too subtle for thee, and her smoothness, Her very silence, and her patience Speak to the people and they pity her. Thou art a fool: she robs thee of thy name And thou wilt show more bright and seem more virtuous When she is gone. (CELIA starts to speak) Then open not thy lips! Firm and irrevocable is my doom Which I have passed upon her: she is banished. CELIA Pronounce that sentence then on me, my liege, I cannot live out of her company. DUKE FREDERICK You are a fool. You, niece, provide yourself: If you outstay the time, upon mine honour And in the greatness of my word, you die. 1 21.3.06EA 2 18.4.06GG (Exeunt DUKE and Lords) CELIA O my poor Rosalind, whither wilt thou go? Wilt thou change fathers? I will give thee mine! I charge thee be not thou more grieved than I am. ASL2W7 RB2360.02 6 ROSALIND I have more cause. CELIA Thou hast not, cousin: Prithee be cheerful. Know st thou not the duke Hath banished me, his daughter? ROSALIND That he hath not. CELIA No? Hath not ? Rosalind lacks then the love Which teacheth thee that thou and I am one; Shall we be sundered, shall we part, sweet girl? No, let my father seek another heir! Therefore devise with me how we may fly, Whither to go, and what to bear with us; And do not seek to take your change upon you, To bear your griefs yourself and leave me out: For, by this heaven, now at our sorrows pale, Say what thou canst, I ll go along with thee. ROSALIND Why, whither shall we go? CELIA To seek my uncle in the Forest of Arden. (Act 1 Scene 3, lines 56 97) 1 21.3.06EA 2 18.4.06GG 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. ASL2W7 RB2360.02 7 [Turn over (b) As You Like It (extract to go with question 2(b)) ROSALIND O, I know where you are. Nay, tis true, there was never anything so sudden but the fight of two rams, and Caesar s thrasonical brag of I came, saw, and overcame . For your brother and my sister no sooner met but they looked; no sooner looked, but they loved; no sooner loved, but they sighed; no sooner sighed, but they asked one another the reason; no sooner knew the reason, but they sought the remedy; and in these degrees have they made a pair of stairs to marriage, which they will climb incontinent or else be incontinent before marriage. They are in the very wrath of love, and they will together clubs cannot part them. ORLANDO They shall be married tomorrow and I will bid the duke to the nuptial. But O, how bitter a thing it is to look into happiness through another man s eyes. By so much the more shall I tomorrow be at the height of heart-heaviness, by how much I shall think my brother happy in having what he wishes for. ROSALIND Why then, tomorrow, I cannot serve your turn for Rosalind? ORLANDO I can live no longer by thinking. ROSALIND I will weary you then no longer with idle talking. Know of me, then for now I speak to some purpose that I know you are a gentleman of good conceit. I speak not this that you should bear a good opinion of my knowledge, insomuch, I say, I know you are; neither do I labour for a greater esteem than may in some little measure draw a belief from you to do yourself good, and not to grace me. Believe then, if you please, that I can do strange things. I have, since I was three year old, conversed with a magician most profound in his art, and yet not damnable. If you do love Rosalind so near the heart as your gesture cries it out, when your brother marries Aliena shall you marry her. I know into what straits of fortune she is driven, and it is not impossible to me, if it appear not inconvenient to you, to set her before your eyes tomorrow, human as she is, and without any danger. ORLANDO Speak st thou in sober meanings? ROSALIND 1 21.3.06EA 2 18.4.06GG By my life, I do, which I tender dearly, though I say I am a magician. Therefore put you in your best array, bid your friends. For if you will be married tomorrow, you shall, and to Rosalind, if you will. (Enter SILVIUS and PHEBE) Look, here comes a lover of mine and a lover of hers. ASL2W7 RB2360.02 8 PHEBE Youth, you have done me much ungentleness To show the letter that I writ to you. ROSALIND I care not if I have. It is my study To seem despiteful and ungentle to you. You are there followed by a faithful shepherd; Look upon him, love him: he worships you. PHEBE Good shepherd, tell this youth what tis to love. SILVIUS It is to be all made of sighs and tears, And so am I for Phebe. PHEBE And I for Ganymede. ORLANDO And I for Rosalind. ROSALIND And I for no woman. SILVIUS It is to be all made of faith and service, And so am I for Phebe. PHEBE And I for Ganymede. ORLANDO And I for Rosalind. ROSALIND And I for no woman. (Act 5 Scene 2, lines 23 76) 1 21.3.06EA 2 18.4.06GG 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. ASL2W7 RB2360.02 9 [Turn over 3 (a) King Lear (extract to go with question 3(a)) EDMUND The Duke be here tonight? The better! best! This weaves itself perforce into my business. My father hath set guard to take my brother, And I have one thing, of a queasy question, Which I must act. Briefness and fortune, work! Brother, a word! Descend! Brother, I say! (Enter EDGAR) My father watches. O sir, fly this place! Intelligence is given where you are hid. You have now the good advantage of the night. Have you not spoken gainst the Duke of Cornwall? He s coming hither, now i th night, i th haste, And Regan with him. Have you nothing said Upon his party gainst the Duke of Albany? Advise yourself. EDGAR I am sure on t, not a word. EDMUND I hear my father coming. Pardon me, In cunning I must draw my sword upon you. Draw! Seem to defend yourself. Now quit you well (Aloud) Yield! Come before my father. Light, ho! Here! (Aside) Fly, brother. Torches, torches! So; farewell. (Exit EDGAR) Some blood drawn on me would beget opinion Of my more fierce endeavour. I have seen drunkards Do more than this in sport. (Wounds his arm) (Aloud) Father, father! Stop, stop! No help? (Enter GLOUCESTER, and servants with torches) GLOUCESTER 1 21.3.06EA 2 18.4.06GG Now, Edmund, where s the villain? EDMUND Here stood he in the dark, his sharp sword out, Mumbling of wicked charms, conjuring the moon To stand auspicious mistress. GLOUCESTER But where is he? ASL2W7 RB2360.02 10 EDMUND Look sir, I bleed. GLOUCESTER Where is the villain, Edmund? EDMUND Fled this way, sir, when by no means he could GLOUCESTER Pursue him, ho! Go after. (Exeunt some servants) By no means what? EDMUND Persuade me to the murder of your lordship. But that I told him the revenging gods Gainst parricides did all the thunder bend, Spoke with how manifold and strong a bond The child was bound to th father sir, in fine, Seeing how loathly opposite I stood To his unnatural purpose, in fell motion With his prepar d sword he charges home My unprovided body, latched mine arm; But when he saw my best alarumed spirits, Bold in the quarrel s right, roused to th encounter, Or whether gasted by the noise I made, Full suddenly he fled. (Act 2 Scene 1, lines 14 56) 1 21.3.06EA 2 18.4.06GG 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. ASL2W7 RB2360.02 11 [Turn over (b) King Lear (extract to go with question 3(b)) Enter OSWALD OSWALD A proclaimed prize! Most happy! That eyeless head of thine was first framed flesh To raise my fortunes. Thou old unhappy traitor, Briefly thyself remember; the sword is out That must destroy thee. GLOUCESTER Now let thy friendly hand Put strength enough to t. (EDGAR interposes) OSWALD Wherefore, bold peasant, Dar st thou support a published traitor? Hence, Lest that th infection of his fortune take Like hold on thee. Let go his arm. EDGAR Chill not let go, zir, without vurther cagion. OSWALD Let to, slave, or thou di st. EDGAR Good gentleman, go your gait, and let poor volk pass. An chud ha bin zwaggered out of my life, twould not ha bin zo long as tis by a vortnight. Nay, come not near th old man; keep out, che vor ye, or I ce try whither your costard or my ballow be the harder. Chill be plain with you. OSWALD Out, dunghill! (They fight) EDGAR Chill pick your teeth, zir. Come; no matter vor your foins. 1 21.3.06EA 2 18.4.06GG (OSWALD falls) ASL2W7 RB2360.02 12 OSWALD Slave, thou hast slain me. Villain, take my purse: If ever thou wilt thrive, bury my body, And give the letters which thou find st about me To Edmund, Earl of Gloucester; seek him out Upon the British party. O, untimely death! Death! (He dies) EDGAR I know thee well a serviceable villain, As duteous to the vices of thy mistress As badness would desire. GLOUCESTER What, is he dead? EDGAR Sit you down, father; rest you. Let s see these pockets; the letters that he speaks of May be my friends. He s dead; I am only sorry He had no other deathsman. Let us see. Leave, gentle wax; and, manners, blame us not: To know our enemies minds we rip their hearts; Their papers is more lawful. (Reads the letter) Let our reciprocal vows be remembered. You have many opportunities to cut him off; if your will want not, time and place will be fruitfully offered. There is nothing done if he return the conqueror. Then am I the prisoner, and his bed my gaol; from the loathed warmth whereof deliver me, and supply the place for your labour. Your (wife, so I would say) affectionate servant, Gonerill 1 21.3.06EA 2 18.4.06GG O indistinguished space of woman s will! A plot upon her virtuous husband s life, And the exchange my brother! Here in the sands Thee I ll rake up, thou post unsanctified Of murderous lechers; and in the mature time With this ungracious paper strike the sight Of the death-practised Duke. For him tis well That of thy death and business I can tell. (Act 4 Scene 6, lines 224 274) 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. ASL2W7 RB2360.02 13 [Turn over 4 (a) Coriolanus (extract to go with question 4(a)) VOLUMNIA I th shoulder and i th left arm. There will be large cicatrices to show the people, when he shall stand for his place. He received in the repulse of Tarquin seven hurts i th body. MENENIUS One i th neck and two i th thigh there s nine that I know. VOLUMNIA He had before this last expedition twenty-five wounds upon him. MENENIUS Now it s twenty-seven. Every gash was an enemy s grave. (A shout and flourish) Hark, the trumpets. VOLUMNIA These are the ushers of Martius. Before him he carries noise, and behind him he leaves tears. Death, that dark spirit, in s nervy arm doth lie, Which, being advanced, declines, and then men die. (A sennet. Trumpets sound. Enter COMINIUS THE GENERAL and TITUS LARTIUS; between them, CORIOLANUS, crowned with an oaken garland; with Captains and Soldiers and a Herald) HERALD Know, Rome, that all alone Martius did fight Within Corioles gates, where he hath won, With fame, a name to Caius Martius; these In honour follows Coriolanus . Welcome to Rome, renown d Coriolanus! (Sound flourish) ALL Welcome to Rome, renown d Coriolanus! CORIOLANUS 1 21.3.06EA 2 18.4.06GG No more of this; it does offend my heart. Pray now, no more. COMINIUS Look, sir, your mother! CORIOLANUS You have, I know, petitioned all the gods For my prosperity! (He kneels) ASL2W7 RB2360.02 14 VOLUMNIA Nay, my good soldier, up, My gentle Martius, worthy Caius, and By deed-achieving honour newly named What is it? Coriolanus must I call thee? But, O, thy wife! CORIOLANUS My gracious silence, hail! Wouldst thou have laughed had I come coffined home, That weep st to see me triumph? Ah, my dear, Such eyes the widows in Corioles wear, And mothers that lack sons. MENENIUS Now the gods crown thee! CORIOLANUS And live you yet? (To VALERIA) O my sweet lady, pardon. VOLUMNIA I know not where to turn. O, welcome home. And welcome, general, and y are welcome all. MENENIUS A hundred thousand welcomes. I could weep And I could laugh, I am light and heavy. Welcome. A curse begin at very root on s heart That is not glad to see thee. You are three That Rome should dote on. Yet, by the faith of men, We have some old crab-trees here at home that will not Be grafted to your relish. Yet welcome, warriors. We call a nettle but a nettle and The faults of fools but folly. COMINIUS Ever right. CORIOLANUS Menenius, ever, ever. HERALD Give way there, and go on. 1 21.3.06EA 2 18.4.06GG CORIOLANUS ASL2W7 RB2360.02 [to Volumnia and Virgilia] Your hand, and yours. 15 [Turn over HERALD Give way there, and go on. (to VOLUMNIA and VIRGILIA) Your hand, and yours. Ere in our own house I do shade my head, The good patricians must be visited, From whom I have received not only greetings, But with them change of honours. CORIOLANUS VOLUMNIA I have lived To see inherited my very wishes And the buildings of my fancy. Only There s one thing wanting, which I doubt not but Our Rome will cast upon thee. CORIOLANUS Know, good mother, I had rather be their servant in my way Than sway with them in theirs. COMINIUS On, to the Capitol. (Flourish. Cornets. Exeunt in state, as before. BRUTUS and SICINIUS come forward) (Act 2 Scene 1, lines 141 198) 1 21.3.06EA 2 18.4.06GG 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. ASL2W7 RB2360.02 16 (b) Coriolanus (extract to go with question 4(b)) (Shouts within) What shouts are these? The other side o th city is risen. Why stay we prating here? To th Capitol! ALL Come, come. FIRST CITIZEN Soft, who comes here? (Enter MENENIUS AGRIPPA) SECOND CITIZEN Worthy Menenius Agrippa, one that hath always loved the people. FIRST CITIZEN He s one honest enough. Would all the rest were so! MENENIUS What work s, my countrymen, in hand? Where go you With bats and clubs? The matter? Speak, I pray you. FIRST CITIZEN Our business is not unknown to th Senate. They have had inkling this fortnight what we intend to do, which now we ll show em in deeds. They say poor suitors have strong breaths. They shall know we have strong arms too. MENENIUS Why, masters, my good friends, mine honest neighbours, Will you undo yourselves? FIRST CITIZEN 1 21.3.06EA 2 18.4.06GG We cannot, sir, we are undone already. ASL2W7 RB2360.02 17 [Turn over MENENIUS I tell you, friends, most charitable care Have the patricians of you. For your wants, Your suffering in this dearth, you may as well Strike at the heaven with your staves as lift them Against the Roman state, whose course will on The way it takes, cracking ten thousand curbs Of more strong link asunder than can ever Appear in your impediment. For the dearth, The gods, not the patricians, make it, and Your knees to them, not arms, must help. Alack, You are transported by calamity Thither where more attends you, and you slander The helms o th state, who care for you like fathers, When you curse them as enemies. FIRST CITIZEN Care for us? True indeed! They ne er cared for us yet. Suffer us to famish, and their store-houses crammed with grain; make edicts for usury, to support usurers; repeal daily any wholesome act established against the rich, and provide more piercing statutes daily to chain up and restrain the poor. If the wars eat us not up, they will; and there s all the love they bear us. MENENIUS Either you must Confess yourselves wondrous malicious, Or be accused of folly. I shall tell you A pretty tale. It may be you have heard it, But, since it serves my purpose, I will venture To stale t a little more. FIRST CITIZEN Well, I ll hear it, sir. Yet you must not think to fob off our disgrace with a tale. But, an t please you, deliver. MENENIUS 1 21.3.06EA 2 18.4.06GG There was a time when all the body s members Rebelled against the belly, thus accused it: That only like a gulf it did remain I th midst o th body, idle and unactive, Still cupboarding the viand, never bearing Like labour with the rest, where th other instruments Did see and hear, devise, instruct, walk, feel, And, mutually participate, did minister Unto the appetite and affection common Of the whole body. The belly answered ASL2W7 RB2360.02 18 FIRST CITIZEN Well, sir, what answer made the belly? MENENIUS Sir, I shall tell you. With a kind of smile, Which ne er came from the lungs, but even thus For look you, I may make the belly smile As well as speak it tauntingly replied To th discontented members, the mutinous parts That envied his receipt; even so most fitly As you malign our senators for that They are not such as you. FIRST CITIZEN Your belly s answer What? The kingly crown d head, the vigilant eye, The counsellor heart, the arm our soldier, Our steed the leg, the tongue our trumpeter, With other muniments and petty helps In this our fabric, if that they MENENIUS What then? Fore me, this fellow speaks! What then? What then? FIRST CITIZEN Should by the cormorant belly be restrained Who is the sink o th body MENENIUS Well, what then? (Act 1 Scene 1, lines 44 120) 1 21.3.06EA 2 18.4.06GG 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. ASL2W7 RB2360.02 19 [Turn over 5 (a) The Tempest (extract to go with question 5(a)) ANTONIO A space whose ev ry cubit Seems to cry out How shall that Claribel Measure us back to Naples? Keep in Tunis, And let Sebastian wake! Say this were death That now hath seized them, why, they were no worse Than now they are. There be that can rule Naples As well as he that sleeps; lords that can prate As amply and unnecessarily As this Gonzalo; I myself could make A chough of as deep chat. O, that you bore The mind that I do! What a sleep were this For your advancement! Do you understand me? SEBASTIAN Methinks I do. ANTONIO And how does your content Tender your own good fortune? SEBASTIAN I remember You did supplant your brother Prospero. ANTONIO True. And look how well my garments sit upon me, Much feater than before. My brother s servants Were then my fellows; now they are my men. SEBASTIAN But, for your conscience? ANTONIO 1 21.3.06EA 2 18.4.06GG Ay, sir, where lies that? If twere a kibe, Twould put me to my slipper; but I feel not This deity in my bosom. Twenty consciences That stand twixt me and Milan, candied be they And melt, ere they molest! Here lies your brother, No better than the earth he lies upon If he were that which now he s like, that s dead Whom I with this obedient steel (three inches of it) Can lay to bed forever; whiles you, doing thus, To the perpetual wink for aye might put This ancient morsel, this Sir Prudence, who ASL2W7 RB2360.02 20 Should not upbraid our course. For all the rest, They ll take suggestion as a cat laps milk; They ll tell the clock to any business that We say befits the hour. SEBASTIAN Thy case, dear friend, Shall be my precedent. As thou got st Milan, I ll come by Naples. Draw thy sword. One stroke Shall free thee from the tribute which thou payest, And I the King shall love thee. ANTONIO Draw together; And when I rear my hand, do you the like, To fall it on Gonzalo. (They draw) SEBASTIAN O, but one word! (Enter ARIEL (invisible) with music and song) (Act 2 Scene 1, lines 250 287) 1 21.3.06EA 2 18.4.06GG 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. ASL2W7 RB2360.02 21 [Turn over (b) The Tempest (extract to go with question 5(b)) (Thunder and lightning. Enter ARIEL, like a harpy; claps his wings upon the table; and with a quaint device the banquet vanishes) ARIEL You are three men of sin, whom destiny That hath to instrument this lower world And what is in t the never-surfeited sea Hath caused to belch up you and on this island, Where man doth not inhabit, you mongst men Being most unfit to live. I have made you mad; And even with suchlike valor men hang and drown Their proper selves. (ALONSO, SEBASTIAN, etc. draw their swords.) You fools! I and my fellows Are ministers of Fate. The elements, Of whom your swords are tempered, may as well Wound the loud winds, or with bemocked-at stabs Kill the still-closing waters, as diminish One dowle that s in my plume. My fellow ministers Are like invulnerable. If you could hurt, Your swords are now too massy for your strengths And will not be uplifted. But remember (For that s my business to you) that you three From Milan did supplant good Prospero; Exposed unto the sea, which hath requit it, Him and his innocent child; for which foul deed The pow rs, delaying, not forgetting, have Incensed the seas and shores, yea, all the creatures, Against your peace. Thee of thy son, Alonso, They have bereft; and do pronounce by me Ling ring perdition (worse than any death Can be at once) shall step by step attend You and your ways; whose wraths to guard you from, Which here, in this most desolate isle, else falls Upon your heads, is nothing but heart s sorrow And a clear life ensuing. 1 21.3.06EA 2 18.4.06GG (He vanishes in thunder; then, to soft music, enter the Shapes again, and dance with mocks and mows, and carrying out the table.) (Act 3 Scene 3, lines 53 83) 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. ASL2W7 RB2360.02 22 1 21.3.06EA 2 18.4.06GG ASL2W7 RB2360.02 23 [Turn over 1 21.3.06EA 2 18.4.06GG S 3/06 2200 9-029-2 ASL2W7 RB2360.02 24

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Additional Info : Gce English Literature January 2007 Assessment Unit AS 2 Module 2: The Study of Shakespeare
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