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 My virgin flow'r uncropt pure chaste and fair Thro' mire and standing pools to find my ruin That break their confines. (i. 1.) (b) And if I do not shew thee thro' the pow'r 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 To the little bird that sleeps Flying faster than the wind Leaving all the clouds behind Of seeded nettles not a hare Water of a virtuous spring On his temples turn him twice To the moonbeams pinch him thrice (e) Our scene is Sparta. He whose best of art When innocence and sweetness crown'd their lays This law we keep in our presentment now Not to take freedom more than we allow What may be here thought fiction when time's youth In which if words have clothed the subject right On a pair-royal do I wait in death My sovereign as his liegeman on my mistress As if no brave yet no unworthy enemy Nor did I use an engine to entrap Youth strength or cunning but for that I durst not 6. But which his name might have outfaced my vengeance I call to mind thy augury 'twas perfect When feeble man is bending to his mother The dust he was first framed on thus he totters—(v. 2), "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.) All eyes who gaze upon that shrine of beauty, He doth resolve, do homage to the miracle (id.). Cal. Your friend-Pro. He is so, madam, In which the period of my fate consists―(i. 2). At odds with nature—(i. 3). The information Of an unsettled mind (id.). Bass. Hey-day! up and ride me, rascal! What is't? Phu. Forsooth, they say, the king has mew'd All his gray beard-(id.). Ambition, like a seeled dove (ii. 2). Now, uncle, now; this Now is now too late. So provident is folly in sad issue, That afterwit, like bankrupts debts, stands tallied, Disturb him not; it is a talking motion Provided for my torment (iv. 2). THE TEMPEST. I. 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. (a) What cares these roarers for the name of king? (i. 1. 17.) Quote any other instances of a similar grammatical inaccuracy in the play. (b) But nature should bring forth Discuss Shakespeare's use of its,' 'it,' and 'his' with a neuter antecedent. 3. Paraphrase and explain the following passages: (b) Who hauing into truth, by telling of it, This is the reading of the Folio. What emendation, if any, do you suggest? (c) Although this lord-here swims (ii. 1. 232-238). (d) My sweet mistress Most busie lest, when I doe it (iii. I. 11-15). In the last line the reading and punctuation is that of the Folio. State some of the principal emendations that have been suggested. Which do you prefer? 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 Explain the derivation and use of 'but.' (b) When I have decked the sea with drops full salt (c) This is no mortal business, nor no sound Discuss the etymology and use of the verb 'owe.' (i. 2. 155). (d) Seb. But for your conscience— (e) (f) Ant. Ay Sir, where lies that? If 'twere a kibe, Each putter-out of five for one will bring us (g) One dowle that's in my plume (iii. 3. 65). (i) Thy bankes with pioned and twilled brims (iv. 1. 64). This is the reading of the Folio. State some of the best emendations that have been proposed. I. THE TEMPEST. 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. 2. 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. 1. 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.) (y)...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). |