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GCE JUN 2006 : (AS 2) The Study of Shakespeare

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ADVANCED SUBSIDIARY (AS) General Certificate of Education 2006 English Literature Assessment Unit AS 2 assessing Module 2: The Study of Shakespeare [ASL21] TUESDAY 20 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 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. ASL2S6 806 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. ASL2S6 806 2 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 episodes in the play, write about the dramatic methods which Shakespeare uses to explore family relationships. In your answer, consider the dramatic methods listed below: Shakespeare s use of character interactions concerning family relationships Shakespeare s use of language (including imagery) concerning family relationships staging of significant episodes relevant to family relationships. 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 episodes in the play, write about the dramatic methods which Shakespeare uses to explore the theme of ambition. In your answer, consider the dramatic methods listed below: Shakespeare s use of character interactions relating to the theme of ambition Shakespeare s use of language (including imagery) relating to the theme of ambition staging of significant episodes relevant to the theme of ambition. 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. ASL2S6 806 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 which Shakespeare uses to explore family relationships. In your answer, consider the dramatic methods listed below: Shakespeare s use of character interactions concerning family relationships Shakespeare s use of language (including imagery) concerning family relationships staging of significant episodes relevant to family relationships. 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 which Shakespeare uses to present the country world of the Forest of Arden. In your answer, consider the dramatic methods listed below: Shakespeare s use of character interactions to present the country world of the Forest of Arden Shakespeare s use of language (including imagery) to present the country world of the Forest of Arden staging of significant episodes relevant to the presentation of the country world of the Forest of Arden. 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. ASL2S6 806 4 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 episodes in the play, write about the dramatic methods which Shakespeare uses to present the sufferings of Gloucester. In your answer, consider the dramatic methods listed below: Shakespeare s use of character interactions to present the sufferings of Gloucester Shakespeare s use of language (including imagery) to present the sufferings of Gloucester staging of significant episodes relevant to the presentation of the sufferings of 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 episodes in the play, write about the dramatic methods which Shakespeare uses to explore the theme of despair. In your answer, consider the dramatic methods listed below: Shakespeare s use of character interactions relating to the theme of despair Shakespeare s use of language (including imagery) relating to the theme of despair staging of significant episodes relevant to the theme of despair. 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. ASL2S6 806 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 episodes in the play, write about the dramatic methods which Shakespeare uses to present the relationship between Menenius and Coriolanus. In your answer, consider the dramatic methods listed below: Shakespeare s use of character interactions to present the relationship between Menenius and Coriolanus Shakespeare s use of language (including imagery) to present the relationship between Menenius and Coriolanus staging of significant episodes relevant to the presentation of the relationship between Menenius and Coriolanus. 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 episodes in the play, write about the dramatic methods which Shakespeare uses to explore the theme of ambition. In your answer, consider the dramatic methods listed below: Shakespeare s use of character interactions relating to the theme of ambition Shakespeare s use of language (including imagery) relating to the theme of ambition staging of significant episodes relevant to the theme of ambition. 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. ASL2S6 806 6 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 relationship between Caliban and Prospero. In your answer, consider the dramatic methods listed below: Shakespeare s use of character interactions to present the relationship between Caliban and Prospero Shakespeare s use of language (including imagery) to present the relationship between Caliban and Prospero staging of significant episodes relevant to the presentation of the relationship between Caliban and Prospero. 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 episodes in the play, write about the dramatic methods which Shakespeare uses to explore the theme of magic. In your answer, consider the dramatic methods listed below: Shakespeare s use of character interactions relating to the theme of magic Shakespeare s use of language (including imagery) relating to the theme of magic staging of significant episodes relevant to the theme of magic. 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. ASL2S6 806 7 S 4/05 5200 302507(6) [Turn over ADVANCED SUBSIDIARY (AS) General Certificate of Education 2006 English Literature Assessment Unit AS 2 assessing Module 2: The Study of Shakespeare [ASL21] TUESDAY 20 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). ASL2S6 806.02 1 (a) Richard II (extract to go with Question 1(a)) GAUNT What is six winters? They are quickly gone. BOLINGBROKE To men in joy, but grief makes one hour ten. GAUNT Call it a travel that thou tak st for pleasure. BOLINGBROKE My heart will sigh when I miscall it so, Which finds it an enforc d pilgrimage. GAUNT The sullen passage of thy weary steps Esteem a foil, wherein thou art to set The precious jewel of thy home return. BOLINGBROKE Nay, rather, every tedious stride I make, Will but remember me what deal of world I wander from the jewels that I love. Must I not serve a long apprenticehood, To foreign passages, and in the end, Having my freedom, boast of nothing else, But that I was a journeyman to grief? GAUNT All places that the eye of heaven visits Are to a wise man ports and happy havens. Teach thy necessity to reason thus: There is no virtue like necessity. Think not the King did banish thee, But thou the King. Woe doth the heavier sit, Where it perceives it is but faintly borne. Go say I sent thee forth to purchase honour, And not the King exiled thee; or suppose Devouring pestilence hangs in our air And thou art flying to a fresher clime. Look what thy soul holds dear, imagine it To lie that way thou go st, not whence thou com st. Suppose the singing birds musicians, The grass whereon thou tread st the presence strewed, The flowers fair ladies, and thy steps no more Than a delightful measure or a dance; For gnarling sorrow hath less power to bite The man that mocks at it, and sets it light. ASL2S6 806.02 2 BOLINGBROKE Oh, who can hold a fire in his hand By thinking on the frosty Caucasus? Or cloy the hungry edge of appetite By bare imagination of a feast? Or wallow naked in December snow, By thinking on fantastic summer s heat? Oh, no, the apprehension of the good Gives but the greater feeling to the worse! Fell sorrow s tooth doth never rankle more Than when he bites, but lanceth not the sore. GAUNT Come, come, my son, I ll bring thee on thy way: Had I thy youth and cause, I would not stay. BOLINGBROKE Then England s ground, farewell: sweet soil, adieu, My mother, and my nurse, that bears me yet! Where er I wander, boast of this I can, Though banished, yet a true-born Englishman. Exeunt (Act 1 Scene 3, lines 260 309) 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. ASL2S6 806.02 3 [Turn over (b) Richard II (extract to go with Question 1(b)) RICHARD What said our cousin when you parted with him? AUMERLE Farewell : And for my heart disdain d that my tongue Should so profane the word, that taught me craft To counterfeit oppression of such grief That words seemed buried in my sorrow s grave. Marry, would the word Farewell have lengthened hours, And added years to his short banishment, He should have had a volume of farewells, But since it would not, he had none of me. RICHARD He is our cousin, cousin, but tis doubt, When time shall call him home from banishment, Whether our kinsman come to see his friends. Ourself, and Bushy, Bagot here and Green Observed his courtship to the common people; How he did seem to dive into their hearts, With humble and familiar courtesy, What reverence he did throw away on slaves, Wooing poor craftsmen with the craft of smiles, And patient under-bearing of his fortune, As t were to banish their affects with him. Off goes his bonnet to an oyster-wench; A brace of draymen bid God speed him well, And had the tribute of his supple knee, With Thanks, my countrymen, my loving friends , As were our England in reversion his, And he our subjects next degree in hope. GREEN Well, he is gone, and with him go these thoughts! Now for the rebels which stand out in Ireland, Expedient manage must be made, my liege, Ere further leisure yield them further means For their advantage, and your highness loss. RICHARD We will ourself in person to this war; And, for our coffers, with too great a court, And liberal largess, are grown somewhat light, We are enforced to farm our royal realm, The revenue whereof shall furnish us For our affairs in hand: if that come short, Our substitutes at home shall have blank charters: ASL2S6 806.02 4 Whereto, when they shall know what men are rich, They shall subscribe them for large sums of gold, And send them after to supply our wants; For we will make for Ireland presently. Enter BUSHY with news Bushy, what news? BUSHY Old John of Gaunt is grievous sick, my lord, Suddenly taken, and hath sent post haste To entreat your majesty to visit him. RICHARD Where lies he? BUSHY At Ely House. RICHARD Now put it, God, in the physician s mind To help him to his grave immediately! The lining of his coffers shall make coats To deck our soldiers for these Irish wars. Come, gentlemen, let s all go visit him. Pray God we may make haste, and come too late. ALL Amen. Exeunt (Act 1 Scene 4, lines 10 65) 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. ASL2S6 806.02 5 [Turn over 2 (a) As You Like It (extract to go with Question 2(a)) OLIVER Now, sir, what make you here? ORLANDO Nothing: I am not taught to make anything. OLIVER What mar you then, sir? ORLANDO Marry, sir, I am helping you to mar that which God made, a poor unworthy brother of yours, with idleness. OLIVER Marry, sir, be better employed, and be naught a while. ORLANDO Shall I keep your hogs and eat husks with them? What prodigal portion have I spent, that I should come to such penury? OLIVER Know you where you are, sir? ORLANDO O, sir, very well: here in your orchard. OLIVER Know you before whom, sir? ORLANDO Ay, better than him I am before knows me: I know you are my eldest brother, and in the gentle condition of blood you should so know me. The courtesy of nations allows you my better, in that you are the first born, but the same tradition takes not away my blood, were there twenty brothers betwixt us: I have as much of my father in me as you, albeit I confess your coming before me is nearer to his reverence. OLIVER (threatening him) What, boy! ORLANDO (seizing him by the throat) Come, come, elder brother, you are too young in this. OLIVER Wilt thou lay hands on me, villain? ASL2S6 806.02 6 ORLANDO I am no villain: I am the youngest son of Sir Rowland de Boys; he was my father, and he is thrice a villain that says such a father begot villains. Wert thou not my brother, I would not take this hand from thy throat till this other had pulled out thy tongue for saying so; thou hast railed on thyself. ADAM (coming forward) Sweet masters, be patient; for our father s remembrance, be at accord. OLIVER Let me go, I say. ORLANDO I will not till I please: you shall hear me. My father charged you in his will to give me good education: you have trained me like a peasant, obscuring and hiding from me all gentleman-like qualities. Therefore allow me such exercises as may become a gentleman, or give me the poor allottery my father left me by testament; with that I will go buy my fortunes. OLIVER And what wilt thou do, beg when that is spent? Well, sir, get you in. I will not long be troubled with you: you shall have some part of your will. I pray you, leave me. ORLANDO I will no further offend you than becomes me for my good. (Act 1 Scene 1, lines 27 75) 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. ASL2S6 806.02 7 [Turn over (b) As You Like It (extract to go with Question 2(b)) Enter DUKE SENIOR, AMIENS, and two or three LORDS dressed like foresters DUKE Now my co-mates and brothers in exile, Hath not old custom made this life more sweet Than that of painted pomp? Are not these woods More free from peril than the envious court? Here feel we not the penalty of Adam, The seasons difference, as the icy fang And churlish chiding of the winter s wind, Which when it bites and blows upon my body Even till I shrink with cold, I smile and say This is no flattery; these are counsellors That feelingly persuade me what I am ? Sweet are the uses of adversity, Which, like the toad, ugly and venomous, Wears yet a precious jewel in his head; And this our life, exempt from public haunt, Finds tongues in trees, books in the running brooks, Sermons in stones, and good in everything. AMIENS I would not change it. Happy is your grace That can translate the stubbornness of fortune Into so quiet and so sweet a style. DUKE Come, shall we go and kill us venison? And yet it irks me the poor dappled fools, Being native burghers of this desert city, Should in their own confines with fork d heads Have their round haunches gored. FIRST LORD Indeed, my lord, The melancholy Jaques grieves at that And, in that kind, swears you do more usurp Than doth your brother that hath banished you. Today my lord of Amiens and myself Did steal behind him as he lay along Under an oak whose antick root peeps out Upon the brook that brawls along this wood, To the which place a poor sequestered stag That from the hunter s aim had ta en a hurt Did come to languish; and indeed, my lord, The wretched animal heaved forth such groans That their discharge did stretch his leathern coat Almost to bursting, and the big round tears ASL2S6 806.02 8 Coursed one another down his innocent nose In piteous chase; and thus the hairy fool, Much mark d of the melancholy Jaques, Stood on th extremest verge of the swift brook Augmenting it with tears. (Act 2 Scene 1, lines 1 43) 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. ASL2S6 806.02 9 [Turn over 3 (a) King Lear (extract to go with Question 3(a)) EDGAR (Aside) Why I do trifle thus with his despair Is done to cure it. GLOUCESTER O you mighty gods! (He kneels) This world I do renounce, and in your sights Shake patiently my great affliction off. If I could bear it longer, and not fall To quarrel with your great opposeless wills, My snuff and loath d part of nature should Burn itself out. If Edgar live, O bless him! Now, fellow, fare thee well. EDGAR Gone, sir; farewell! (GLOUCESTER falls forward.) (Aside) And yet I know not how conceit may rob The treasury of life when life itself Yields to the theft. Had he been where he thought, By this had thought been past. (Aloud ) Alive, or dead? Ho, you sir! friend! Hear you, sir? Speak! (Aside) Thus might he pass indeed; yet he revives. (Aloud) What are you, sir? GLOUCESTER Away, and let me die. EDGAR Hadst thou been aught but gossamer, feathers, air, (So many fathom down precipitating), Thou dst shivered like an egg; but thou dost breathe, Hast heavy substance, bleed st not, speak st, art sound. Ten masts at each make not the altitude Which thou has perpendicularly fell; Thy life s a miracle. Speak yet again. GLOUCESTER But have I fall n, or no? EDGAR From the dread summit of this chalky bourn. Look up a-height; the shrill-gorged lark so far Cannot be seen, or heard. Do but look up. ASL2S6 806.02 10 GLOUCESTER Alack, I have no eyes. Is wretchedness deprived that benefit To end itself by death? Twas yet some comfort When misery could beguile the tyrant s rage And frustrate his proud will. EDGAR Give me your arm. Up; so. How is t? Feel you your legs? You stand. GLOUCESTER Too well, too well. EDGAR This is above all strangeness. Upon the crown o th cliff what thing was that Which parted from you? GLOUCESTER A poor unfortunate beggar. EDGAR As I stood here below methought his eyes Were two full moons; he had a thousand noses, Horns whelked and waved like the enridg d sea. It was some fiend. Therefore, thou happy father, Think that the clearest gods, who make them honours Of men s impossibilities, have preserved thee. GLOUCESTER I do remember now. Henceforth I ll bear Affliction till it do cry out itself Enough, enough , and die. That thing you speak of, I took it for a man. Often twould say The fiend, the fiend ; he led me to that place. EDGAR Bear free and patient thoughts. Enter LEAR, mad, fantastically dressed with wild flowers But who comes here? The safer sense will ne er accommodate His master thus. (Act 4 Scene 6, lines 32 82) N.B. Half the marks for this question (a maximum of 15/30) are available for your use of the above extract in your answer. ASL2S6 806.02 11 [Turn over (b) King Lear (extract to go with Question 3(b)) The storm continues. Enter LEAR and FOOL LEAR Blow, winds, and crack your cheeks! Rage! Blow! You cataracts and hurricanoes, spout Till you have drenched our steeples, drowned the cocks! You sulphurous and thought-executing fires, Vaunt-couriers of oak-cleaving thunderbolts, Singe my white head! And thou, all-shaking thunder, Strike flat the thick rotundity o th world, Crack Nature s moulds, all germens spill at once That makes ingrateful man! FOOL O nuncle, court holy water in a dry house is better than this rain-water out o door. Good nuncle, in; ask thy daughters blessing! Here s a night pities neither wise men nor fools. LEAR Rumble thy bellyful! Spit, fire! spout, rain! Nor rain, wind, thunder, fire are my daughters. I tax not you, you elements, with unkindness; I never gave you kingdom, called you children; You owe me no subscription. Then let fall Your horrible pleasure. Here I stand your slave, A poor, infirm, weak, and despised old man. But yet I call you servile ministers, That will with two pernicious daughters join Your high-engendered battles gainst a head So old and white as this. O, ho! tis foul! FOOL He that has a house to put s head in has a good head-piece: The codpiece that will house Before the head has any, The head and he shall louse; So beggars marry many. The man that makes his toe What he his heart should make Shall of a corn cry woe, And turn his sleep to wake. For there was never yet fair woman but she made mouths in a glass. Enter KENT ASL2S6 806.02 12 LEAR No, I will be the pattern of all patience; I will say nothing. KENT Who s there? FOOL Marry, here s grace and a codpiece; that s a wise man and a fool. KENT Alas, sir, are you here? Things that love night Love not such nights as these. (Act 3 Scene 2, lines 1 42) 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. ASL2S6 806.02 13 [Turn over 4 (a) Coriolanus (extract to go with Question 4(a)) Enter MENENIUS with the SENATORS MENENIUS Come, come, you have been too rough, something too rough. You must return and mend it. FIRST SENATOR There s no remedy, Unless, by not so doing, our good city Cleave in the midst and perish. VOLUMNIA Pray be counselled. I have a heart as little apt as yours, But yet a brain that leads my use of anger To better vantage. MENENIUS Well said, noble woman! Before he should thus stoop to th heart, but that The violent fit o th time craves it as physic For the whole state, I would put mine armour on, Which I can scarcely bear. CORIOLANUS What must I do? MENENIUS Return to th Tribunes. CORIOLANUS Well, what then? What then? MENENIUS Repent what you have spoke. CORIOLANUS For them! I cannot do it to the gods. Must I then do t to them? VOLUMNIA You are too absolute, Though therein you can never be too noble. But when extremities speak, I have heard you say, Honour and policy, like unsevered friends, I th war do grow together. Grant that, and tell me In peace what each of them by th other lose That they combine not there. ASL2S6 806.02 14 CORIOLANUS Tush, tush! MENENIUS A good demand. VOLUMNIA If it be honour in your wars to seem The same you are not, which for your best ends You adopt your policy, how is it less or worse That it shall hold companionship in peace With honour as in war, since that to both It stands in like request? CORIOLANUS Why force you this? VOLUMNIA Because that now it lies you on to speak To th people, not by your own instruction, Nor by th matter which your heart prompts you, But with such words that are but roted in Your tongue, though but bastards and syllables Of no allowance to your bosom s truth. Now this no more dishonours you at all Than to take in a town with gentle words, Which else would put you to your fortune and The hazard of much blood. I would dissemble with my nature where My fortunes and my friends at stake required I should do so in honour. I am in this Your wife, your son, these Senators, the nobles; And you will rather show our general louts How you can frown, than spend a fawn upon em For the inheritance of their loves and safeguard Of what that want might ruin. MENENIUS Noble lady! Come, go with us, speak fair. You may salve so, Not what is dangerous present, but the loss Of what is past. (Act 3 Scene 2, lines 25 72) 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. ASL2S6 806.02 15 [Turn over (b) Coriolanus (extract to go with Question 4(b)) Flourish. Cornets. Exeunt in state, as before. BRUTUS and SICINIUS come forward BRUTUS All tongues speak of him and the blear d sights Are spectacled to see him. Your prattling nurse Into a rapture lets her baby cry While she chats him. The kitchen malkin pins Her richest lockram bout her reechy neck, Clambering the walls to eye him. Stalls, bulks, windows Are smothered up, leads filled, and ridges horsed With variable complexions, all agreeing In earnestness to see him. Seld-shown flamens Do press among the popular throngs and puff To win a vulgar station. Our veiled dames Commit the war of white and damask in Their nicely gawded cheeks to th wanton spoil Of Phoebus burning kisses. Such a pother As if that whatsoever god who leads him Were slily crept into his human powers And gave him graceful posture. SICINIUS On the sudden I warrant him consul. BRUTUS Then our office may During his power go sleep. SICINIUS He cannot temperately transport his honours From where he should begin and end, but will Lose those he hath won. BRUTUS In that there s comfort. SICINIUS Doubt not The commoners, for whom we stand, but they Upon their ancient malice will forget With the least cause these his new honours, which That he will give them make I as little question As he is proud to do t. ASL2S6 806.02 16 BRUTUS I heard him swear, Were he to stand for consul, never would he Appear i th market-place nor on him put The napless vesture of humility, Nor showing, as the manner is, his wounds To th people, beg their stinking breaths. SICINIUS Tis right. BRUTUS It was his word. O, he would miss it rather Than carry it by the suit of the gentry to him And the desire of the nobles. SICINIUS I wish no better Than have him hold that purpose and to put it In execution. BRUTUS Tis most like he will. SICINIUS It shall be to him then as our good wills, A sure destruction. BRUTUS So it must fall out To him, or our authority s for an end. We must suggest the people in what hatred He still hath held them; that to s power he would Have made them mules, silenced their pleaders and Dispropertied their freedoms, holding them In human action and capacity Of no more soul nor fitness for the world Than camels in the war, who have their provand Only for bearing burdens, and sore blows For sinking under them. SICINIUS This, as you say, suggested At some time when his soaring insolence Shall teach the people which time shall not want, If he be put upon t, and that s as easy As to set dogs on sheep will be his fire To kindle their dry stubble; and their blaze Shall darken him for ever. ASL2S6 806.02 17 [Turn over Enter a Messenger BRUTUS What s the matter? MESSENGER You are sent for to the Capitol. Tis thought That Martius shall be consul. I have seen the dumb men throng to see him and The blind to hear him speak. Matrons flung gloves, Ladies and maids their scarfs and handkerchers, Upon him as he passed. The nobles bended As to Jove s statue, and the commons made A shower and thunder with their caps and shouts. I never saw the like. BRUTUS Let s to the Capitol. (Act 2 Scene 1, lines 197 260) 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. ASL2S6 806.02 18 BLANK PAGE (Resources continue overleaf) ASL2S6 806.02 19 [Turn over 5 (a) The Tempest (extract to go with Question 5(a)) MIRANDA Tis a villain, sir, I do not love to look on. PROSPERO But as tis, We cannot miss him. He does make our fire, Fetch in our wood, and serves in offices That profit us. What, ho! Slave! Caliban! Thou earth, thou! Speak! CALIBAN (Within) There s wood enough within. PROSPERO Come forth, I say! There s other business for thee. Come, thou tortoise! When? Enter ARIEL like a water nymph. Fine apparition! My quaint Ariel, Hark in thine ear. (Whispers.) ARIEL My lord, it shall be done. Exit. PROSPERO Thou poisonous slave, got by the devil himself Upon thy wicked dam, come forth! Enter CALIBAN. CALIBAN As wicked dew as e er my mother brushed With raven s feather from unwholesome fen Drop on you both! A southwest blow on ye And blister you all o er! PROSPERO For this, be sure, tonight thou shalt have cramps, Side-stitches that shall pen thy breath up. Urchins Shall, for that vast of night that they may work, All exercise on thee; thou shalt be pinched As thick as honeycomb, each pinch more stinging Than bees that made em. ASL2S6 806.02 20 CALIBAN I must eat my dinner. This island s mine by Sycorax my mother, Which thou tak st from me. When thou cam st first, Thou strok st me and made much of me; wouldst give me Water with berries in t; and teach me how To name the bigger light, and how the less, That burn by day and night. And then I loved thee And showed thee all the qualities o th isle, The fresh springs, brine pits, barren place and fertile. Cursed be I that did so! All the charms Of Sycorax toads, beetles, bats, light on you! For I am all the subjects that you have, Which first was mine own king; and here you sty me In this hard rock, whiles you do keep from me The rest o th island. PROSPERO Thou most lying slave, Whom stripes may move, not kindness! I have used thee (Filth as thou art) with humane care, and lodged thee In mine own cell till thou didst seek to violate The honour of my child. CALIBAN O ho, O ho! Would t had been done! Thou didst prevent me; I had peopled else This isle with Calibans. (Act 1 Scene 2, lines 308 350) 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. ASL2S6 806.02 21 [Turn over (b) The Tempest (extract to go with Question 5(b)) ARIEL (to PROSPERO) Your charm so strongly works em, That if you now beheld them, your affections Would become tender. PROSPERO Dost thou think so, spirit? ARIEL Mine would, sir, were I human. PROSPERO And mine shall. Hast thou, which art but air, a touch, a feeling Of their afflictions, and shall not myself, One of their kind, that relish all as sharply, Passion as they, be kindlier moved than thou art? Though with their high wrongs I am struck to th quick, Yet with my nobler reason gainst my fury Do I take part. The rarer action is In virtue than in vengeance. They being penitent, The sole drift of my purpose doth extend Not a frown further. Go, release them, Ariel. My charms I ll break, their senses I ll restore, And they shall be themselves. ARIEL I ll fetch them, sir. Exit. PROSPERO Ye elves of hills, brooks, standing lakes, and groves, And ye that on the sands with printless foot Do chase the ebbing Neptune, and do fly him When he comes back; you demi-puppets that By moonshine do the green sour ringlets make, Whereof the ewe not bites; and you whose pastime Is to make midnight mushrumps, that rejoice To hear the solemn curfew; by whose aid (Weak masters though ye be) I have bedimmed The noontide sun, called forth the mutinous winds, And twixt the green sea and the azured vault Set roaring war; to the dread rattling thunder Have I given fire and rifted Jove s stout oak With his own bolt; the strong-based promontory Have I made shake and by the spurs plucked up ASL2S6 806.02 22 The pine and cedar; graves at my command Have waked their sleepers, oped, and let em forth By my so potent art. But this rough magic I here abjure; and when I have required Some heavenly music (which even now I do) To work mine end upon their senses that This airy charm is for, I ll break my staff, Bury it certain fathoms in the earth, And deeper than did ever plummet sound I ll drown my book. Solemn music (Act 5 Scene 1, lines 20 57) N.B. Half the marks for this question (a maximum of 15/30) are available for your use of the above extract in your answer. ASL2S6 806.02 23 S 4/05 5200 302507(7) [Turn over

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Additional Info : Gce English Literature June 2006 Assessment Unit AS 2 Module 2: The Study of Shakespeare
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