
	Trending ▼ ICSE CBSE 10th ISC CBSE 12th CTET GATE UGC NET Vestibulares ResFinder

GCE JAN 2010 : (A2 1 ) The Study of Poetry 1300–1800 and Drama - Revised

24 pages, 12 questions, 0 questions with responses, 0 total responses,

	gce	+Fave Message
	Profile Timeline Uploads Q & A

Home > gce >

Instantly get Model Answers to questions on this ResPaper. Try now!
NEW ResPaper Exclusive!

Formatting page ...

Sp N ec e i w ca tio n ADVANCED General Certificate of Education January 2010 English Literature Assessment Unit A2 1 The Study of Poetry 1300 1800 and Drama AL211 assessing [AL211] MONDAY 18 JANUARY, AFTERNOON TIME 2 hours. INSTRUCTIONS TO CANDIDATES Write your Centre Number and Candidate Number on the Answer Booklet provided. Answer two questions. Answer one question from Section A and one question from Section B. Write your answer to Section A in the Red (Poetry) Answer Booklet. Write your answer to section B in the Purple (Drama) Answer Booklet. INFORMATION FOR CANDIDATES The total mark for this paper is 100. All questions carry equal marks, i.e. 50 marks for each question. Quality of written communication will be assessed in all questions. You should not have with you copies of the prescribed text or any other material relating to this examination. However, for Section A, copies of the poems or extracts from poems, referred to in the questions, can be found in the Resource Booklet provided. 5372 READ ALL OF THIS PAGE FIRST SECTION A: THE STUDY OF POETRY FROM 1300 1800 Answer one question on your chosen poet. In Section A you will be marked on your ability to articulate informed and relevant responses that communicate effectively your knowledge and understanding of poetry (AO1) analyse the poet s use of such poetic methods as form, structure, language and tone (AO2) demonstrate understanding of the context in which texts are written and received by drawing on appropriate information from outside the poems (AO4) 5372 2 [Turn over Section A The Study of Poetry 1300 1800 Answer one question from this section. 1 Chaucer: The Pardoner s Prologue and Tale Answer either (a) or (b) (a) By referring closely to extract 1(a) printed in the accompanying Resource Booklet, and other appropriately selected parts of the text, and making use of relevant external historical contextual material, examine the poetic methods which Chaucer uses to convey a medieval view of sin. N.B. Equal marks are available for your treatment of the given extract and other relevant parts of the text. (b) By referring closely to extract 1(b) printed in the accompanying Resource Booklet, and other appropriately selected parts of the text, and making use of relevant external literary contextual material, examine the poetic methods which Chaucer uses to present a medieval morality tale. N.B. Equal marks are available for your treatment of the given extract and other relevant parts of the text. 5372 3 [Turn over 2 Donne: Selected Poems Answer either (a) or (b) (a) By referring closely to The Sun Rising , printed in the accompanying Resource Booklet, and one other appropriately selected poem, and making use of relevant external contextual material on the nature of Metaphysical poetry, examine the poetic methods which Donne uses to challenge early seventeenth-century views of love. N.B. Equal marks are available for your treatment of each poem. (b) By referring closely to Holy Sonnet X ( Death be not proud ) , printed in the accompanying Resource Booklet, and one other appropriately selected poem, and making use of relevant external biographical contextual material, examine the poetic methods which Donne uses to explore his religious ideas and feelings. N.B. Equal marks are available for your treatment of each poem. 5372 4 [Turn over 3 Pope: The Rape of the Lock Answer either (a) or (b) (a) By referring closely to extract 3(a), printed in the accompanying Resource Booklet, and other appropriately selected parts of the text, and making use of relevant external historical contextual material, examine the poetic methods which Pope uses to present the superficiality of upper-class society in the eighteenth century. N.B. Equal marks are available for your treatment of the given extract and other relevant parts of the text. (b) By referring closely to extract 3(b), printed in the accompanying Resource Booklet, and other appropriately selected parts of the text, and making use of relevant external historical contextual material, examine the poetic methods which Pope uses to present the ritualised behaviour of eighteenth-century English high society. N.B. Equal marks are available for your treatment of the given extract and other relevant parts of the text. 5372 5 [Turn over 4 Goldsmith: Selected Poems Answer either (a) or (b) (a) By referring closely to extract 4(a) from The Deserted Village , printed in the accompanying Resource Booklet, and other appropriately selected parts of the poem, and making use of relevant external historical contextual material, examine the poetic methods which Goldsmith uses to present the damaging effects of wealth in the eighteenth century. N.B. Equal marks are available for your treatment of the given extract and other relevant parts of the text. (b) By referring closely to extract 4(b) from The Deserted Village , printed in the accompanying Resource Booklet, and other appropriately selected parts of the poem, and making use of relevant external historical contextual material, examine the poetic methods which Goldsmith uses to present rural life in the eighteenth century. N.B. Equal marks are available for your treatment of the given extract and other relevant parts of the text. 5372 6 [Turn over BLANK PAGE (Questions continue overleaf) 5372 7 [Turn over READ ALL OF THIS PAGE FIRST SECTION B: THE STUDY OF DRAMA Answer one question on your chosen pair of dramatists. In section B you will be marked on your ability to articulate informed and relevant responses that communicate effectively your knowledge and understanding of two drama texts (AO1) analyse the dramatists use of such dramatic methods as characterisation, structure, language and staging (AO2) demonstrate understanding of the context in which texts are written and received by drawing on appropriate information from outside the plays (AO4) construct a response to a stimulus statement which expresses a particular reading of the two plays (AO3) sustain a comparison/contrast between the plays (AO3) 5372 8 [Turn over Section B The Study of Drama Answer one question from this section. 1 Satire Jonson: Volpone Sheridan: The School for Scandal Volpone, having more satirical bite than The School for Scandal, is the more instructive and entertaining play. By comparing and contrasting appropriately selected parts of the two plays, show how far you would agree with the view expressed above. Your argument should include relevant comments on each writer s dramatic methods and relevant external contextual material on the nature of satire. 2 Historical Drama Eliot: Murder in the Cathedral Bolt: A Man for All Seasons Bolt is more successful than Eliot in taking long-dead historical figures and making them dramatically alive and relevant to a modern audience. By comparing and contrasting appropriately selected parts of the two plays, show how far you would agree with the view expressed above. Your argument should include relevant comments on each writer s dramatic methods and relevant external contextual material on the historical figures. 5372 9 [Turn over 3 Drama of Social Realism Ibsen: A Doll s House Osborne: Look Back in Anger Of the three characters, it is easier to see Nora Helmer in A Doll s House as heroic than either Alison or Helena in Look Back in Anger. By comparing and contrasting appropriately selected parts of the two plays, show how far you would agree with the view expressed above. Your argument should include relevant comments on each writer s dramatic methods and relevant external contextual material on the nature of the heroine in the drama of Social Realism. 4 Tragedy Shakespeare: King Lear Heaney: The Burial at Thebes Because Lear is capable of change, he becomes a tragic hero: because Antigone is incapable of change, she never becomes a tragic heroine. By comparing and contrasting appropriately selected parts of the two plays, show how far you would agree with the view expressed above. Your argument should include relevant comments on each writer s dramatic methods and relevant external contextual material on the nature of the tragic hero/heroine. THIS IS THE END OF THE QUESTION PAPER 5372 10 [Turn over Permission to reproduce all copyright material has been applied for. In some cases, efforts to contact copyright holders may have been unsuccessful and CCEA will be happy to rectify any omissions of acknowledgement in future if notified. 1312-025-1 Sp N ec e i w ca tio n ADVANCED General Certificate of Education January 2010 English Literature Assessment Unit A2 1 assessing The Study of Poetry 1300 1800 and Drama [AL211] MONDAY 18 JANUARY, AFTERNOON RESOURCE BOOKLET FOR SECTION A ONLY If you are answering on Chaucer, Pope or Goldsmith, 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). 5372.02 1 (a) Chaucer: The Pardoner s Tale (extract to go with Question 1(a) ) O glotonye, ful of cursednesse! O cause first of oure confusioun! O original of oure dampnacioun, Til Crist hadde boght us with his blood again! Lo, how deere, shortly for to sayn, Aboght was thilke cursed vileynye Corrupt was al this world for glotonye. Adam oure fader, and his wyf also, Fro Paradis to labour and to wo Were driven for that vice, it is no drede. For whil that Adam fasted, as I rede, He was in Paradis; and whan that he Eet of the fruit deffended on the tree, Anon he was out cast to wo and peyne. O glotonye, on thee wel oghte us pleyne! O, wiste a man how manye maladies Folwen of excesse and of glotonies, He wolde been the moore mesurable Of his diete, sittinge at his table. Allas, the shorte throte, the tendre mouth, Maketh that est and west and north and south, In erthe, in eir, in water, men to swinke To gete a glotoun deyntee mete and drinke. Of this matiere, o Paul, wel kanstow trete: Mete unto wombe, and wombe eek unto mete, Shal God destroyen bothe, as Paulus seith. Allas, a foul thing is it, by my feith, To seye this word, and fouler is the dede, Whan man so drinketh of the white and rede That of his throte he maketh his privee, Thurgh thilke cursed superfluitee. The apostel weping seith ful pitously, Ther walken manye of whiche yow toold have I I seye it now weping, with pitous vois That they been enemys of Cristes crois, Of whiche the ende is deeth, wombe is hir god. O wombe! O bely! O stinking cod, Fulfilled of dong and of corrupcioun! At either ende of thee foul is the soun. How greet labour and cost is thee to finde! Thise cookes, how they stampe, and streyne, and grinde, And turnen substaunce into accident, To fulfille al thy likerous talent! Out of the harde bones knokke they The mary, for they caste noght awey That may go thurgh the golet softe and swoote. 5372.02 2 [Turn over 1 (b) Chaucer: The Pardoner s Tale (extract to go with Question 1(b) ) And forth he gooth, no lenger wolde he tarie, Into the toun, unto a pothecarie, And preyde him that he him wolde selle Som poison, that he mighte his rattes quelle; And eek ther was a polcat in his hawe, That, as he seyde, his capouns hadde yslawe, And fain he wolde wreke him, if he mighte, On vermin that destroyed him by nighte. The pothecarie answerde, And thou shalt have A thing that, also God my soule save, In al this world ther is no creature, That eten or dronken hath of this confiture Noght but the montance of a corn of whete, That he ne shal his lif anon forlete; Ye, sterve he shal, and that in lasse while Than thou wolt goon a paas nat but a mile, This poisoun is so strong and violent. This cursed man hath in his hond yhent This poisoun in a box, and sith he ran Into the nexte strete unto a man, And borwed of him large botelles thre; And in the two his poison poured he; The thridde he kepte clene for his drinke. For al the night he shoop him for to swinke In caryinge of the gold out of that place. And whan this riotour, with sory grace, Hadde filled with wyn his grete botels thre, To his felawes again repaireth he. What nedeth it to sermone of it moore? For right as they hadde cast his deeth bifoore, Righth so they han him slain, and that anon. And whan that this was doon, thus spak that oon: Now lat us sitte and drinke, and make us merie, And afterward we wol his body berie. And with that word it happed him, par cas, To take the botel ther the poison was, And drank, and yaf his felawe drinke also, For which anon they storven bothe two. But certes, I suppose that Avycen Wroot nevere in no canon, ne in no fen, Mo wonder signes of empoisoning Than hadde thise wrecches two, er hir ending. Thus ended been thise homicides two, And eek the false empoisonere also. 5372.02 3 [Turn over 2 (a) Donne: Selected Poems (extract to go with Question 2(a) ) The Sun Rising Busy old fool, unruly Sun, Why dost thou thus, Through windows and through curtains call on us? Must to thy motions lovers seasons run? Saucy pedantic wretch, go chide Late schoolboys and sour prentices, Go tell court-huntsmen that the King will ride, Call country ants to harvest offices; Love, all alike, no season knows, nor clime, Nor hours, days, months, which are the rags of time. Thy beams, so reverend and strong, Why should st thou think? I could eclipse and cloud them with a wink, But that I would not lose her sight so long: If her eyes have not blinded thine, Look, and tomorrow late, tell me Whether both the Indias of spice and mine Be where thou left st them, or lie here with me. Ask for those kings whom thou saw st yesterday, And thou shalt hear, All here in one bed lay. She s all states, and all princes I, Nothing else is. Princes do but play us; compared to this, All honour s mimic, all wealth alchemy; Thou Sun art half as happy as we, In that the world s contracted thus. Thine age asks ease, and since thy duties be To warm the world, that s done in warming us. Shine here to us, and thou art everywhere; This bed thy centre is, these walls, thy sphere. 5372.02 4 [Turn over 2 (b) Donne: Selected Poems (extract to go with Question 2(b) ) Holy Sonnet X Death be not proud, though some have called thee Mighty and dreadful, for thou art not so; For those whom thou think st thou dost overthrow Die not, poor Death, nor yet canst thou kill me. From rest and sleep, which but thy pictures be, Much pleasure; then from thee much more must flow, And soonest our best men with thee do go, Rest of their bones and soul s delivery. Thou art slave to fate, chance, kings, and desperate men, And doth with poison, war, and sickness dwell; And poppy or charms can make us sleep as well, And better than thy stroke; why swell st thou then? One short sleep past, we wake eternally, And death shall be no more; Death, thou shalt die. 5372.02 5 [Turn over 3 (a) Pope: The Rape of the Lock (extract to go with Question 3(a) ) O wretched maid! she spread her hands, and cry d, (While Hampton s echoes, wretched maid! reply d) Was it for this you took such constant care The bodkin, comb, and essence to prepare? For this your locks in paper durance bound, For this with tort ring irons wreath d around? For this with fillets strain d your tender head, And bravely bore the double loads of lead? Gods! shall the ravisher display your hair, While the Fops envy, and the Ladies stare! Honour forbid! at whose unrival d shrine Ease, pleasure, virtue, all, our sex resign. Methinks already I your tears survey, Already hear the horrid things they say, Already see you a degraded toast, And all your honour in a whisper lost! How shall I, then, your helpless fame defend? Twill then be infamy to seem your friend! And shall this prize, th inestimable prize, Expos d thro crystal to the gazing eyes, And heighten d by the diamond s circling rays, On that rapacious hand for ever blaze? Sooner shall grass in Hyde-Park Circus grow, And wits take lodgings in the sound of Bow; Sooner let earth, air, sea, to Chaos fall, Men, monkeys, lap-dogs, parrots, perish all! 5372.02 6 [Turn over 3 (b) Pope: The Rape of the Lock (extract to go with Question 3(b) ) And now, unveil d, the Toilet stands display d, Each silver Vase in mystic order laid. First, rob d in white, the nymph intent adores, With head uncover d, the Cosmetic pow rs. A heav nly Image in the glass appears, To that she bends, to that her eyes she rears; Th inferior Priestess, at her altar s side, Trembling, begins the sacred rites of Pride. Unnumber d treasures ope at once, and here The various off rings of the world appear; From each she nicely culls with curious toil, And decks the Goddess with the glitt ring spoil. This casket India s glowing gems unlocks, And all Arabia breathes from yonder box. The Tortoise here and Elephant unite, Transform d to combs, the speckled, and the white. Here files of pins extend their shining rows, Puffs, Powders, Patches, Bibles, Billet-doux. Now awful Beauty puts on all its arms; The fair each moment rises in her charms, Repairs her smiles, awakens ev ry grace, And calls forth all the wonders of her face; Sees by degrees a purer blush arise, And keener lightnings quicken in her eyes. 5372.02 7 [Turn over 4 (a) Goldsmith: Selected Poems (extract to go with Question 4(a) ) Vain transitory splendours! Could not all Reprieve the tottering mansion from its fall! Obscure it sinks, nor shall it more impart An hour s importance to the poor man s heart; Thither no more the peasant shall repair, To sweet oblivion of his daily care; No more the farmer s news, the barber s tale, No more the wood-man s ballad shall prevail; No more the smith his dusky brow shall clear, Relax his ponderous strength, and lean to hear; The host himself no longer shall be found Careful to see the mantling bliss go round; Nor the coy maid, half willing to be prest, Shall kiss the cup to pass it to the rest. Yes! let the rich deride, the proud disdain, These simple blessings of the lowly train; To me more dear, congenial to my heart, One native charm, than all the gloss of art; Spontaneous joys, where Nature has its play, The soul adopts, and owns their first born sway; Lightly they frolic o er the vacant mind, Unenvied, unmolested, unconfined. But the long pomp, the midnight masquerade, With all the freaks of wanton wealth arrayed, In these, ere triflers half their wish obtain, The toiling pleasure sickens into pain; And, even while fashion s brightest arts decoy, The heart distrusting asks, if this be joy. Ye friends to truth, ye statesmen, who survey The rich man s joys encrease, the poor s decay, Tis yours to judge, how wide the limits stand Between a splendid and an happy land. Proud swells the tide with loads of freighted ore, And shouting Folly hails them from her shore; Hoards, even beyond the miser s wish abound, And rich men flock from all the world around. Yet count our gains. This wealth is but a name That leaves our useful products still the same. Not so the loss. The man of wealth and pride, Takes up a space that many poor supplied; Space for his lake, his park s extended bounds, Space for his horses, equipage, and hounds; 5372.02 8 [Turn over The robe that wraps his limbs in silken sloth, Has robbed the neighbouring fields of half their growth; His seat, where solitary sports are seen, Indignant spurns the cottage from the green; Around the world each needful product flies, For all the luxuries the world supplies. While thus the land adorned for pleasure, all In barren slendour feebly waits the fall. 5372.02 9 [Turn over 4 (b) Goldsmith: Selected Poems (extract to go with Question 4(b) ) Sweet was the sound when oft at evening s close, Up yonder hill the village murmur rose; There as I past with careless steps and slow, The mingling notes came softened from below; The swain responsive as the milk-maid sung, The sober herd that lowed to meet their young, The noisy geese that gabbled o er the pool, The playful children just let loose from school, The watch-dog s voice that bayed the whispering wind, And the loud laugh that spoke the vacant mind, These all in sweet confusion sought the shade, And filled each pause the nightingale had made. But now the sounds of population fail, No chearful murmurs fluctuate in the gale, No busy steps the grass-grown foot-way tread, For all the bloomy flush of life is fled. All but yon widowed, solitary thing That feebly bends beside the plashy spring; She, wretched matron, forced, in age, for bread, To strip the brook with mantling cresses spread, To pick her wintry faggot from the thorn, To seek her nightly shed, and weep till morn; She only left of all the harmless train, The sad historian of the pensive plain. Near yonder copse, where once the garden smil d, And still where many a garden flower grows wild; There, where a few torn shrubs the place disclose, The village preacher s modest mansion rose. A man he was, to all the country dear, And passing rich with forty pounds a year; Remote from towns he ran his godly race, Nor e er had changed, nor wish d to change his place; Unpractised he to fawn, or seek for power, By doctrines fashioned to the varying hour; Far other aims his heart had learned to prize, More skilled to raise the wretched than to rise. His house was known to all the vagrant train, He chid their wanderings, but relieved their pain; 5372.02 10 [Turn over The long remembered beggar was his guest, Whose beard descending swept his aged breast; The ruined spendthift, now no longer proud, Claimed kindred there, and had his claims allowed; The broken soldier, kindly bade to stay, Sate by his fire, and talked the night away; Wept o er his wounds, or tales of sorrow done, Shouldered his crutch, and shewed how fields were won. Pleased with his guests, the good man learned to glow, And quite forgot their vices in their woe; Careless their merits, or their faults to scan, His pity gave ere charity began. 5372.02 11 [Turn over Permission to reproduce all copyright material has been applied for. In some cases, efforts to contact copyright holders may have been unsuccessful and CCEA will be happy to rectify any omissions of acknowledgement in future if notified. 5372.02

Formatting page ...

Additional Info : Gce English Literature January 2010 Assessment Unit A2 1The Study of Poetry 1300–1800 and Drama - Revised
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

gce chat

Horizontal lines at:
Guest Horizontal lines at:
AutoRM Data:
Box geometries: