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5. Punctuate the following passages; mark any metrical or grammatical peculiarities, and give explanations or derivations of the words in italics. (N.B. The two last are from Ford.) (a)
My fear says I am mortal
That break their confines. (i. 1.)
Of herbs and words I have as dark as night
The first fell stroke of that revenging steel. (iv. 1.) (c) Not a twig that durst deny me
Not a bush that durst descry me
Of seeded nettles not a hare
I measure many a league an hour (iv. 2). (d) Hold him gently till I fling
Water of a virtuous spring
From his great eclipse (iv. 2).
Hath drawn this piece calls it the Broken Heart
You may partake a pity with delight (Prologue). (5)
I feel no palsies
But which his name might have outfaced my vengeance
The dust he was first framed on thus he totters—(v. 2). 6. “I do not know where to find in any play, a catastrophe so grand, so solemn, and so surprising as this.”... “Ford was of the first order of poets.” C. Lamb, note to the Broken Heart.
“And then after the song she dies... This is the true false gallop of sentiment: anything more artificial and mechanical I cannot conceive.” Hazlitt's Lectures on Dramatic Literature.
Give your own views on the merits of the plot of the Broken Heart, and of the last scene in particular.
7. Give derivations or full explanations of the following words and phrases, adducing any quotations which may throw light on the history or meaning of any expression.
Had broached in blood. (i. 1.)
If opportunity but sort (id.).
In which the period of my fate consists—i. 2).
This spruce springal (ii. 1).
All his gray beard-id.).
1. From what sources do you think it probable that Shakespeare derived the plot of the Tempest? When was it first played? Does the date of its production lead you to believe that contemporaneous events suggested some of the incidents ?
2. (â) What cares these roarers for the name of king? (i. I. 17.)
Quote any other instances of a similar grammatical inaccuracy in the play. (6)
But nature should bring forth
Of its own kind (ii. 1. 162). Discuss Shakespeare's use of its,' 'it,' and 'his' with a neuter antecedent.
3. Paraphrase and explain the following passages :
He was indeed the Duke (i. 2. 99—103). This is the reading of the Folio. What emendation, if any, do you suggest ?
(c) Although this lord—here swims (ii. I. 232—238).
My sweet mistress-
4. Explain the following passages, with especial reference to anything that may appear to you to require illustration, in grammar, history, or allusion : (a)
The bettering of my mind
O'erprized all popular rate (i. 2. 90).
(i. 2. 155). (c) This is no mortal business, nor no sound
That the earth owes (i. 2. 406).
(d) Seb. But for your conscience
Ant. Ay Sir, where lies that? If 'twere a kibe,
And melt ere they molest! (ii. 1. 275.) (e)
Sometimes I'll get thee
Which now we find
. 3. 47).
Or that for which I live (iv. I. 2).
This is the reading of the Folio. State some of the best emendations that have been proposed.
What is known as to the date of the production of the "Tempest,” and of the sources from which it is derived ? Do you suppose it to belong to Shakespeare's earlier or to his later works? Give your reasons.
Compare the use made by Shakespeare in the Tempest of supernatural agents with their employment in Midsummer Night's Dream and Macbeth. Point out in each case their distinguishing characteristics, and the relation in which they stand to human beings.
3. Briefly discuss the characters of Caliban, and of Gonzalo.
4. Explain, and comment upon, the following passages, assigning each to the speaker of it. (a) ... Whiles you, doing thus—befits the hour (ii. I.
284-289). (B) Were I in England now, as once I was, and had but this fish painted, not a holiday fool there but would give me a piece of silver: there would this monster make a man: any strange beast there makes a man... Legged like a man, and his fins like arms! Warm o' my troth ! (ii. 2.) (v) ... thou shalt be my lieutenant, monster, or my standard.
Your lieutenant, if you list; he's no standard (iii. 2. 18). (8) When we were boys-Good warrant of (iii. 3. 43-49).