« PreviousContinue »
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 forgyfay mannum hyra synna, bonne forgyfb 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 Sthenoboea.” (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,
(xii. 19.) (6) Whose double gates he findeth locked fast,
The one faire fram'd of burnisht yvory,
The other all with silver overcast; (i. 40.)
A Dragon fiers encountreth in his flight,
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 exchcat.
(v. 25.) (1) Here take thy lovers token on thy pate. (vi. 47.) (k) In their trinall triplicities on hye. (xii. 39.) (2) 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 firebushy teade—redounding teares. (i. 8, 9; iv. 20; ix. 29; xii. 37; id. ;
9. Explain, and (where you can) derive the words: bauldrick -bever-brent-bugle ---darrayne-eyne-forlorne-guerdonheben - mister -- palfrey-pardale-raught--recreant--samteene.
Writé out from memory, and in prose, the substance of Spenser's descriptions of Idelnesse, Avarice, and Wrath.
BEN JONSON. THE FOX, THE ALCHEMIST.
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.
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
Struck out of chaos, when all darkness fled
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, "Oʻthou son of Sol.” 4.
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. 5.
Give as characteristic a sketch as you can of the part of Sir Politick Would-be.
6. Illustrate and explain the following passages, noticing particularly the words in italics as to meaning or derivation :
Yet I glory
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, I have better.
O, Sir, proceed :
Who here is fled for liberty of conscience,
(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
(A. i. Sc. 1.) FACE. Away, this brach ! I'll bring thee, rogue, within
The statute of sorcery, tricesimo tertio
(A. i. Sc. 1.) Dol.
Why, so, my good baboons! Shall we go make
ť have but a hole to thrust your heads in,
To his most worsted worship. (A. i. Sc. 1.)
That look as big as five and fifty, and flush. (A. i. Sc. I.)
A rifling fly; none of your great familiars. (A. i. Sc. I.)
That is, my lad of land. (A. iv. Sc. 1.)
To plate at Christmas.
Christ-tide, I pray you. SUB. Yet, Ananias! (A. iii. Sc. 2.)
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 Augustaʼs, 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.) 11. Explain the following phrases :
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 soloecism, faery, doughty.
FLETCHER'S FAITHFUL SHEPHERDESS. FORD'S
1. 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.
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.