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

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ADVANCED General Certificate of Education January 2007 English Literature Assessment Unit A2 1 Module 4: Response to Unseen Poetry and The Study of Poetry Written Before 1770 A2L11 assessing [A2L11] THURSDAY 11 JANUARY, AFTERNOON TIME 2 hours 30 minutes. INSTRUCTIONS TO CANDIDATES Write your Centre Number and Candidate Number on the Answer Booklet provided. Answer two questions, the one from Section A and one from Section B. INFORMATION FOR CANDIDATES The total mark for this paper is 60. Each question carries a mark of 30. Quality of written communication will be assessed in all questions. You should not have with you copies of the prescribed texts or any other material relating to this examination. However, for Section B, copies of the poems or extracts from poems, referred to in the questions, can be found in the Resource Booklet provided. A2L1W7 2361 BLANK PAGE A2L1W7 2361 2 [Turn over Read all of this page first carefully Section A Response to Unseen Poetry You must answer the single question in this section. In Section A of this examination you will be marked on your ability to communicate clearly the knowledge, understanding and insight appropriate to literary study, using appropriate terminology and accurate and coherent written expression (AO1) respond with knowledge and understanding to literary texts of different types and periods, exploring and commenting on relationships and comparisons between literary texts (AO2ii) show detailed understanding of the ways in which writers choices of form, structure and language shape meanings (AO3). This means that in your answers, you must express your ideas in a clear and well-organised way, paying careful attention to spelling, punctuation and grammar and using appropriate literary terms show an awareness of the type of the given poems e.g. sonnet, lyric, elegy and draw appropriate comparisons and contrasts between them show an understanding of the poetic methods which the poets use e.g. form and structure, language (including imagery) and tone. A2L1W7 2361 3 [Turn over Answer the one question in this section 1 Sonnet 31 is written by the Elizabethan poet, Sir Philip Sidney (1554 1586), and Talking in Bed by the twentieth-century poet, Philip Larkin (1922 1985). Both poems reflect on a personal relationship. Compare and contrast the two poems, taking account of the themes developed, the situations and tones of the speakers, and the form, structure and language (including imagery) of the poems. N.B. Both poems should be given equal treatment in your response. Sonnet 31 With how sad steps, O Moon, thou climbst the skies! How silently, and with how wan1 a face! What, may it be that even in heavenly place That busy archer2 his sharp arrows tries? Sure, if that long-with love-acquainted eyes Can judge of love, thou feel st a lover s case: I read it in thy looks: thy languisht grace,3 To me that feel the like, thy state descries.4 Then, even of fellowship, O Moon, tell me, Is constant love deem d there but want of wit? Are beauties there as proud as here they be? Do they above love to be lov d, and yet Those lovers scorn whom that love doth possess? Do they call virtue there ungratefulness? Sir Philip Sidney 1 wan means pale and sickly. that busy archer means Cupid. 3 languisht grace means appearance of weariness. 4 descries means reveals. 2 A2L1W7 2361 4 [Turn over Talking in Bed Talking in bed ought to be easiest, Lying together there goes back so far, An emblem of two people being honest. Yet more and more time passes silently. Outside, the wind s incomplete unrest Builds and disperses clouds in the sky, And dark towns heap up on the horizon. None of this cares for us. Nothing shows why At this unique distance from isolation It becomes still more difficult to find Words at once true and kind, Or not untrue and not unkind. Philip Larkin A2L1W7 2361 5 [Turn over Read all of this page first carefully Section B Poetry Written Before 1770 Answer one question in this section. In Section B of this examination you will be marked on your ability to communicate clearly the knowledge, understanding and insight appropriate to literary study, using appropriate terminology and accurate and coherent written expression (AO1) respond with knowledge and understanding to literary texts of different types and periods, exploring and commenting on relationships and comparisons between literary texts (AO2ii) show detailed understanding of the ways in which writers choices of form, structure and language shape meanings (AO3). This means that in your answers, you must express your ideas in a clear and well-organised way, paying careful attention to spelling, punctuation and grammar and using appropriate literary terms show an awareness of the period in which the poems were written and of the type of the given poems e.g. sonnet, lyric, elegy where this is appropriate show an understanding of the poetic methods which the poets use e.g. form and structure, language (including imagery) and tone in relation to the main issue of the question. A2L1W7 2361 6 [Turn over 2 Chaucer: The Wife of Bath s Prologue and Tale Answer either (a) or (b) (a) By referring closely to extract 2(a), printed in the accompanying Resource Booklet, and other appropriately selected parts of the text, examine the poetic methods which Chaucer uses to present sexual and marriage relationships. N.B. Equal marks are available for your treatment of the given extract and of other parts of the text. (b) By referring closely to extract 2(b), printed in the accompanying Resource Booklet, and other appropriately selected parts of the text, examine the poetic methods which Chaucer uses to present the character of the Wife of Bath. N.B. Equal marks are available for your treatment of the given extract and of other parts of the text. A2L1W7 2361 7 [Turn over 3 Gardner (editor): The Metaphysical Poets Answer either (a) or (b) (a) By referring closely to The Flea , by John Donne, printed in the accompanying Resource Booklet, and one other appropriately selected poem by Donne or another set poet, examine the poetic methods used by the poet or poets to explore the theme of love. N.B. Equal marks are available for your treatment of each poem. (b) By referring closely to The Agonie , by George Herbert, printed in the accompanying Resource Booklet, and one other appropriately selected poem by Herbert or another set poet, examine the poetic methods used by the poet or poets to explore the theme of religious experience. N.B. Equal marks are available for your treatment of each poem. A2L1W7 2361 8 [Turn over 4 Herrick: Selected Poems Answer either (a) or (b) (a) By referring closely to The Hock-Cart, or Harvest Home , printed in the accompanying Resource Booklet, and one other appropriately selected poem, examine the poetic methods used by Herrick to present the ceremonies or rituals of country life. N.B. Equal marks are available for your treatment of each poem. (b) By referring closely to The Christian Militant , printed in the accompanying Resource Booklet, and one other appropriately selected poem, examine the poetic methods used by Herrick to explore religious themes. N.B. Equal marks are available for your treatment of each poem. A2L1W7 2361 9 [Turn over 5 Pope: The Rape of the Lock Answer either (a) or (b) (a) By referring closely to extract 5(a), printed in the accompanying Resource Booklet, and other appropriately selected parts of the poem, examine the poetic methods which Pope uses to present the theme of ageing and missed opportunities. N.B. Equal marks are available for your treatment of the given extract and other relevant parts of the poem. (b) By referring closely to extract 5(b), printed in the accompanying Resource Booklet, and other appropriately selected parts of the poem, examine the poetic methods which Pope uses to comment on his society s attitude to female beauty. N.B. Equal marks are available for your treatment of the given extract and other relevant parts of the poem. THIS IS THE END OF THE QUESTION PAPER A2L1W7 2361 10 [Turn over S 3/06 1500 9-037-1 [Turn over ADVANCED General Certificate of Education January 2007 English Literature assessing Module 4: Response to Unseen Poetry and The Study of Poetry Written Before 1770 A2L11RB Assessment Unit A2 1 [A2L11] THURSDAY 11 JANUARY, AFTERNOON RESOURCE BOOKLET FOR SECTION B ONLY 1 23.3.06BP If you are answering on Chaucer or Pope, you must make sure that you select the appropriate extract for the question you are doing. For example, if you are doing Question 2(a), you must select extract 2(a). A2L1W7 2361.02 2 (a) Chaucer: The Wife of Bath s Prologue and Tale (extract to go with Question 2(a)) 1 23.3.06BP And therefore every man this tale I telle, Winne whoso may, for al is for to selle; With empty hand men may none haukes lure. For winning wolde I al his lust endure, And make me a feyned appetit; And yet in bacon hadde I nevere delit; That made me that evere I wolde hem chide. For thogh the pope hadde seten hem biside, I wolde nat spare hem at hir owene bord; For, by my trouthe, I quitte hem word for word. As helpe me verray God omnipotent, Though I right now sholde make my testament, I ne owe hem not a word that it nis quit. I broghte it so aboute by my wit That they moste yeve it up, as for the beste, Or elles hadde we nevere been in reste. For thogh he looked as a wood leon, Yet sholde he faille of his conclusion. Thanne wolde I seye, Goode lief, taak keep How mekely looketh Wilkin, oure sheep! Com neer, my spouse, lat me ba thy cheke! Ye sholde been al pacient and meke, And han a sweete spiced conscience, Sith ye so preche of Jobes pacience. Suffreth alwey, sin ye so wel kan preche; And but ye do, certein we shal yow teche That it is fair to have a wyf in pees. Oon of us two moste bowen, doutelees; And sith a man is moore resonable Than womman is, ye moste been suffrable. A2L1W7 2361.02 2 [Turn over 2 (b) Chaucer: The Wife of Bath s Prologue and Tale (extract to go with Question 2(b) ) 1 23.3.06BP Who wolde wene, or who wolde suppose, The wo that in myn herte was, and pine? And whan I saugh he wolde nevere fine To reden on this cursed book al night, Al sodeynly thre leves have I plight Out of his book, right as he radde, and eke I with my fest so took him on the cheke That in oure fyr he fil bakward adoun. And he up stirte as dooth a wood leoun, And with his fest he smoot me on the heed, That in the floor I lay as I were deed. And whan he saugh how stille that I lay, He was agast, and wolde han fled his way, Til atte laste out of my swogh I breyde. O, hastow slain me, false theef? I seyde, And for my land thus hastow mordred me? Er I be deed, yet wol I kisse thee. And neer he cam, and kneled faire adoun, And seyde, Deere suster Alisoun, As help me God! I shal thee nevere smite. That I have doon, it is thyself to wite. Foryeve it me, and that I thee biseke! And yet eftsoones I hitte him on the cheke, And seyde, Theef, thus muchel am I wreke; Now wol I die, I may no lenger speke. But atte laste, with muchel care and wo, We fille acorded by us selven two. He yaf me al the bridel in myn hond, To han the governance of hous and lond, And of his tonge, and of his hond also; And made him brenne his book anon right tho. And whan that I hadde geten unto me, By maistrie, al the soverainetee, And that he seyde, Myn owene trewe wyf, Do as thee lust the terme of al thy lyf; Keep thyn honour, and keep eek myn estaat After that day we hadden never debaat. God helpe me so, I was to him as kinde As any wyf from Denmark unto Inde, And also trewe, and so was he to me. I prey to God, that sit in magestee, So blesse his soule for his mercy deere. Now wol I seye my tale, if ye wol heere. A2L1W7 2361.02 3 [Turn over 3 (a) Gardner (editor): The Metaphysical Poets The Flea Marke but this flea, and marke in this, How little that which thou deny st me is; Mee it suck d first, and now sucks thee, And in this flea, our two bloods mingled bee; Confess it, this cannot be said A sinne, or shame, or losse of maidenhead, Yet this enjoyes before it wooe, And pamper d swells with one blood made of two, And this, alas, is more than wee would doe. Oh stay, three lives in one flea spare, Where wee almost, nay more than maryed are: This flea is you and I, and this Our mariage bed, and mariage temple is; Though parents grudge, and you, w are met, And cloysterd in these living walls of Jet. Though use make thee apt to kill mee, Let not to this, selfe murder added bee, And sacrilege, three sinnes in killing three. Cruell and sodaine, hast thou since Purpled thy naile, in blood of innocence? In what could this flea guilty bee, Except in that drop which it suckt from thee? Yet thou triumph st, and saist that thou Find st not thy selfe, nor mee the weaker now; Tis true, then learne how false, feares bee; Just so much honor, when thou yeeld st to mee, Will wast, as this flea s death tooke life from thee. 1 23.3.06BP John Donne A2L1W7 A2L1W7 2361.02 4 [Turn over 3 (b) Gardner (editor): The Metaphysical Poets The Agonie Philosophers have measur d mountains, Fathom d the depths of seas, of states, and kings, Walk d with a staffe to heav n, and traced fountains: But there are two vast, spacious things, The which to measure it doth more behove: Yet few there are that sound them; Sinne and Love. Who would know Sinne, let him repair Unto Mount Olivet; there shall he see A man so wrung with pains, that all his hair, His skinne, his garments bloudie be. Sinne is that presse and vice, which forceth pain To hunt his cruell food through ev ry vein. Who knows not Love, let him assay And taste that juice, which on the crosse a pike Did set again abroach; then let him say If ever he did taste the like. Love is that liquour sweet and most divine, Which my God feels as bloud; but I, as wine. 1 23.3.06BP George Herbert A2L1W7 2361.02 5 [Turn over 4 (a) Herrick: Selected Poems The Hock-cart or Harvest Home to the Right Honourable Mildmay, Earl of Westmoreland 1 23.3.06BP Come, sons of summer, by whose toil We are the lords of wine and oil: By whose tough labours, and rough hands, We rip up first, then reap our lands. Crowned with the ears of corn, now come, And to the pipe sing harvest home. Come forth, my Lord, and see the cart Dressed up with all the country art. See here a maukin, there a sheet, As spotless pure as it is sweet: The horses, mares, and frisking fillies, (Clad all in linen, white as lilies). The harvest swains, and wenches bound For joy, to see the hock-cart crown d. About the cart, hear, how the rout Of rural younglings raise the shout; Pressing before, some coming after, Those with a shout, and these with laughter. Some bless the cart; some kiss the sheaves; Some prank them up with oaken leaves: Some cross the fill-horse; some with great Devotion, stroke the home-borne wheat: While other rustics, less attent To prayers than to merriment, Run after with their breeches rent. Well, on, brave boys, to your Lord s hearth, Glitt ring with fire; where, for your mirth, Ye shall see first the large and chief Foundation of your feast, fat beef: With upper storeys, mutton, veal And bacon (which makes full the meal), With sev ral dishes standing by, As here a custard, there a pie, And here all-tempting frumenty. And for to make the merry cheer, If smirking wine be wanting here, There s that which drowns all care, stout beer; Which freely drink to your lord s health, Then to the plough, (the common-wealth), Next to your flails, your fans, your fats, Then to the maids with wheaten hats: To the rough sickle, and crook d scythe, Drink, frolic, boys, till all be blithe. A2L1W7 2361.02 6 [Turn over 1 23.3.06BP Feed, and grow fat; and as ye eat, Be mindful that the lab ring neat, (As you) may have their fill of meat. And know besides, ye must revoke The patient ox unto the yoke, And all go back unto the plough And harrow, (though they re hanged up now). And, you must know, your Lord s word s true, Feed him ye must, whose food fills you; And that this pleasure is like rain, Now sent ye for to drown your pain, But for to make it spring again. A2L1W7 2361.02 7 [Turn over 4 (b) Herrick: Selected Poems The Christian Militant 1 23.3.06BP A man prepar d against all ills to come, That dares to dead the fire of martyrdom: That sleeps at home, and sailing there at ease, Fears not the fierce sedition of the seas; That s counter-proof against the farm s mishaps, Undreadful too of courtly thunderclaps; That wears one face (like heaven) and never shows A change, when Fortune either comes or goes: That keeps his own strong guard in the despite Of what can hurt by day, or harm by night; That takes and re-delivers every stroke Of Chance, (as made up all of rock, and oak:) That sighs at others death, smiles at his own Most dire and horrid crucifixion. Who for true glory suffers thus, we grant Him to be here our Christian militant. A2L1W7 2361.02 8 [Turn over BLANK PAGE 1 23.3.06BP (Resource to Question 5 overleaf) A2L1W7 2361.02 9 [Turn over 5 (a) Pope: The Rape of the Lock (extract from Canto IV to go with Question 5(a)) 1 23.3.06BP Two handmaids wait the throne: alike in place, But diff ring far in figure and in face. Here stood Ill-nature like an ancient maid, Her wrinkled form in black and white array d; With store of pray rs, for mornings, nights, and noons, Her hand is fill d; her bosom with lampoons. There Affectation, with a sickly mien, Shows in her cheek the roses of eighteen, Practis d to lisp, and hang the head aside, Faints into airs, and languishes with pride, On the rich quilt sinks with becoming woe, Wrapt in a gown, for sickness and for show. The fair-ones feel such maladies as these, When each new night-dress gives a new disease. A constant Vapour o er the palace flies; Strange phantoms rising as the mists arise; Dreadful, as hermit s dreams in haunted shades, Or bright, as visions of expiring maids. Now glaring fiends, and snakes on rolling spires, Pale spectres, gaping tombs, and purple fires: Now lakes of liquid gold, Elysian scenes, And crystal domes, and Angels in machines. Unnumber d throngs on ev ry side are seen, Of bodies chang d to various forms by Spleen. Here living Tea-pots stand, one arm held out, One bent; the handle this, and that the spout: A Pipkin there, like Homer s Tripod walks; Here sighs a Jar, and there a Goose-pye talks; Men prove with child, as pow rful fancy works, And maids turn d bottles, call aloud for corks. A2L1W7 2361.02 10 [Turn over 5 (b) Pope: The Rape of the Lock (extract from Canto V to go with Question 5(b)) Say why are Beauties prais d and honour d most, The wise man s passion, and the vain man s toast? Why deck d with all that land and sea afford, Why Angels call d, and Angel-like ador d? Why round our coaches crowd the white-glov d Beaus, Why bows the side-box from its inmost rows? How vain are all these glories, all our pains, Unless good sense preserve what beauty gains: That men may say when we the front-box grace, Behold the first in virtue, as in face! Oh! if to dance all night, and dress all day, Charm d the small-pox, or chas d old-age away; Who would not scorn what housewife s cares produce, Or who would learn one earthly thing of use? To patch, nay ogle, might become a Saint, Nor could it sure be such a sin to paint. But since, alas! frail beauty must decay, Curl d or uncurl d, since Locks will turn to grey; Since painted, or not painted, all shall fade, And she who scorns a man, must die a maid; What then remains but well our pow r to use, And keep good-humour still, whate er we lose? And trust me, dear! good-humour can prevail, When airs, and flights, and screams, and scolding fail. Beauties in vain their pretty eyes may roll; Charms strike the sight, but merit wins the soul. 1 23.3.06BP THIS IS THE END OF THE RESOURCE BOOKLET A2L1W7 2361.02 11 [Turn over 1 23.3.06BP Permission to reproduce all copyright material has been applied for. In some cases, efforts to contact copyright holders may have been unsuccessful and CCEA will be happy to rectify any omissions of acknowledgement in future if notified. S 3/06 1500 9-037-2 [Turn over

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