2. Distinguish between strong and weak declension of adjectives, and between strong and weak verbs. Which of our personal pronouns formerly possessed a dual form?

Translate the passage:

Witodlice gif ge forgyfax mannum hyra synna, þonne forgyfp eower se heofenlica fæder eow eowre gyltas.

3. Give a brief account, with dates, of the life and principal works of Spenser.

4. What are the chief characteristics of Spenser's poetry and style? Mention some peculiarities of his language, and shew that it bears traces of a Northern dialect. Compare the Spenserian stanza with that employed by Chaucer in his "Troilus," and also with that known as the ottava rima.

5. Give a sketch of Spenser's general design in the Faerie Queene, and especially of his plan of the Twelfth Book. Shew (from his fifth book) for whom Duessa was intended. Why was the Red Cross Knight called "Georgos"?

6. Enumerate the seven deadly sins. (c. iv.) How does Spenser describe Charissa, and what is meant by Mercy's "seven Beadmen"? (c. x.) Explain the allusions to Aldeboran, Ixion, Tityus, Hippolytus, "proud Antiochus," "bold Semiramis," "Ammons sonne," and "faire Sthenobœa." (c. v.)

7. Carefully explain the following passages, so as to shew (where necessary) their connection with the context, the exact sense in which the italicized words are used, or the allusions which they contain:

(a) Unhappy falls that hard necessity,

Quoth he, the troubler of my happy peace,
And vowed foe of my felicity;

Ne I against the same can justly preace:

But since that band ye cannot now release,

Nor doen undo, (for vowes may not be vaine),

Soone as the terme of those six yeares shall cease,
Ye then shall hither backe returne againe,

The marriage to accomplish vowd betwixt you twain.
(xii. 19.)

(b) Whose double gates he findeth locked fast,
The one faire fram'd of burnisht yvory,
The other all with silver overcast; (i. 40.)
(c) As when a Gryfon, seized of his pray,
A Dragon fiers encountreth in his flight,
Through widest ayre making his ydle way,

That would his rightfull ravine rend away. (v. 8.) (d) And he, that points the centonell his roome,

Doth license him depart at sound of morning droome.
(ix. 41.)

(e) Vere the maine shete, and beare up with the land,
The which afore is fairely to be kend. (xii. 1.)
(f) And, glauncing down his shield, from blame him fairly
blest. (ii. 18.) [Should the comma follow down?]
(g) All in a kirtle of discolourd say. (iv. 31.)
(h) To make one great by others losse is bad excheat.

(v. 25.)
(i) Here take thy lovers token on thy pate. (vi. 47.)
(k) In their trinall triplicities on hye. (xii. 39.)

And he, that harrowd hell with heavie stowre. (x. 40.) 8. Explain the phrases: the sayling pine-the carver holmehe chalenged essoyne-harts embost with bale-housling fire— bushy teade redounding teares. (i. 8, 9; iv. 20; ix. 29; xii. 37; id. ; iii. 8.)

9. Explain, and (where you can) derive the words: bauldrick -bever-brent-bugle-darrayne-eyne-forlorne—guerdon— mister-palfrey-pardale-raught-recreant--sam

heben

teene.

IO. Writé out from memory, and in prose, the substance of Spenser's descriptions of Idelnesse, Avarice, and Wrath.

BEN JONSON. THE FOX, THE ALCHEMIST.

I. Contrast Shakespeare and Ben Jonson as to the way in which they present and develop their characters and plot in comedy, and depict the humours of their day.

2. What is meant by the term "The unities of the drama"? Give the chief arguments for and against them. How far are the rules with regard to them rightly ascribed to Aristotle? What schools of critics in modern Europe imposed them? Shew by instances what was the practice of Ben Jonson and other dramatic poets of his age with regard to them.

3.

Hail the world's soul, and mine! more glad than is
The teeming earth to see the long'd-for sun
Peep through the horns of the celestial Ram,
Am I, to view thy splendor darkening his;
That lying here, amongst my other hoards,
Shew'st like a flame by night, or like the day

Struck out of chaos, when all darkness fled
Unto the centre. O thou son of Sol,

But brighter than thy father, let me kiss,
With adoration, thee, and every relick

Of sacred treasure in this blessed room. (A. i. Sc. 1.) Write a comment on this passage, especially on the third line, on the expression "unto the centre," illustrating it from Shakespeare, and on the words, "O'thou son of Sol."

4.

Sed omni

Membrorum damno maior dementia, quæ nec
Nomina seruorum, nec uultum agnoscit amici,
Cum quo præterita cœnauit nocte; nec illos,
Quos genuit, quos eduxit.

JUVENAL Sat. X. 232. Quote the lines in The Fox (A. i. Sc. 1.) which are taken from this passage, and cite any imitations of classical authors in this play. Give as characteristic a sketch as you can of the part of Sir Politick Would-be.

5.

6. Illustrate and explain the following passages, noticing particularly the words in italics as to meaning or derivation : Yet I glory

More in the cunning purchase of my wealth. (A. i. Sc. 1.) See here, a rope of pearl; and each, more orient Than that the brave Ægyptian queen caroused. (A. iii. Sc. 5.) SIR P. I will not touch, sir, at your phrase, or clothes, For they are old.

PER.
SIR P.

PER.

Sir, I have better.

Pardon,

O, Sir, proceed:

I meant, as they are themes.

I'll slander you no more of wit, good Sir. (A. iv. Sc. 1.) LADY P. But for your carnival concupiscence,

Who here is fled for liberty of conscience,
From furious persecution of the marshal,
Her will I disple. (A. iv. Sc. 1.)

'Twere a rare motion to be seen in Fleet-street.

(A. v. Sc. 2.)

7. Write a short criticism on the plot of The Fox.

8. What are the names of Subtle's various dupes in the Alchemist? Give a short account of each.

9. Explain and illustrate the following passages, noticing especially the words in italics :

SUB.

I know you were one could keep

The buttery-hatch still lock'd, and save the chippings,
Sell the dole beer to aqua-vitæ men,

The which, together with your Christmas vails
At post-and-pair, your letting out of counters,
Made you a pretty stock, some twenty marks,
And gave you credit to converse with cobwebs,
Here, since your mistress' death hath broke up house.
(A. i. Sc. I.)

FACE. Away, this brach! I'll bring thee, rogue, within
The statute of sorcery, tricesimo tertio
Of Harry the Eighth: ay, and perhaps, thy neck
Within a noose, for laundring gold and barbing it.

(A. i. Sc. 1.)

DOL. Why, so, my good baboons! Shall we go make
A sort of sober, scurvy, precise neighbours,
That scarce have smiled twice since the king came in,
A feast of laughter at our follies? Rascals,
Would run themselves from breath, to see me ride,
Or you t' have but a hole to thrust your heads in,
For which you should pay ear-rent? No, agree.
And may don Provost ride a feasting long,
In his old velvet jerkin and stain'd scarfs,
My noble sovereign, and worthy general,
Ere we contribute a new crewel garter

To his most worsted worship. (A. i. Sc. 1.)

FACE. This is the gentleman, and he is no chiaus. (A. i. Sc. I.)
FACE. No cheating Clim o' the Cloughs, and Claribels,

That look as big as five and fifty, and flush. (A. i. Sc. 1.)
Why he does ask one but for cups and horses,

A rifling fly; none of your great familiars. (A. i. Sc. 1.) SUR. Did Adam write, Sir, in High Dutch?

MAM.

He did; Which proves it was the primitive tongue. (A. ii. Sc. 1.) SUB. Come near, my worshipful boy, my terræ fili, That is, my lad of land. (A. iv. Sc. 1.) SUB. And then the turning of this lawyer's pewter To plate at Christmas.

ΑΝΑ.

Christ-tide, I pray you.

SUB. Yet, Ananias! (A. iii. Sc. 2.)

IO.

Write a full comment on the following passage:
You shall no more deal with the hollow dye,
Or the frail card. No more be at charge of keeping
The livery-punk for the young heir, that must
Seal, at all hours, in his shirt: no more,

If he deny, have him beaten to't, as he is
That brings him the commodity. No more
Shall thirst of satin, or the covetous hunger
Of velvet entrails for a rude-spun cloke,

To be display'd at madam Augusta's, make
The sons of Sword and Hazard fall before

The golden calf, and on their knees, whole nights
Commit idolatry with wine and trumpets :

Or go a feasting after drum and ensign. (A. ii. Sc. 1.)
Explain the following phrases:

II.

The hay's a pitching-Ay, are you bolted-Six of thy legs more will not do it, Nab―at the groom porters-A kind of modern happiness-bonds current for commodity-parcel-gilt, (ii. 1; id.; id.; iii. 2; iv. 1; iii. 2; id.) Derive solœcism, faery, doughty.

FLETCHER'S FAITHFUL SHEPHERDESS. FORD'S
BROKEN HEART.

I. In what stage of the literary taste of a nation and in what condition of society do we usually find, that what we now call Pastoral Poetry became popular? Illustrate your answer by reference to the history of Pastoral Poetry in ancient and modern times.

2.

Give some account of the principal Pastoral Dramas from which the idea of the Faithful Shepherdess was taken. Examine the points of similarity between Fletcher and his models as regards both treatment and style.

3. What are the advantages or disadvantages of the introduction of supernatural agency into Dramatic Poetry? Write a short criticism on the structure and on the characters of the Faithful Shepherdess.

4. Hallam observed of this play, "Every one knows that it contains the germ of Comus. Milton has borrowed largely from

the imagination of his predecessor."

Discuss these remarks and trace any parallelisms in passages or in plan.