and Edexcel Exam Paper 1: Shakespeare and Post 1914 Literature
Question A: Mark Scheme The focus of Question A is on the language, form and structure used by Shakespeare within the extract you are provided with. You will be expected to use relevant subject terminology (see glossary) comment on the effect on the reader discuss the language, structure and form of the extract
Question B Mark Scheme For this question you will need to have made reference to context and to have referred to elsewhere in the play. and key scenes
Year 11 questions for Edexcel 1. The first view of 1:1: 151-186 (a) Explore how Shakespeare presents s emotions in this extract. Refer closely to the extract in your answer. (b) In this extract, speaks of love. Explain the importance of romantic love elsewhere in the play. In your answer, you must consider: How romantic love is presented The effect romantic love has within the play You must refer to the context of the play in your answer. Benvolio Good morrow, cousin. Is the day so young? Benvolio But new struck nine. Ay me, sad hours seem long. Was that my father that went hence so fast? Benvolio It was. What sadness lengthens s hours? Not having that which, having, makes them short. Benvolio In love? Out Benvolio Of love? Out of her favor where I am in love. Benvolio Alas that love, so gentle in his view, Should be so tyrannous and rough in proof! Alas that love, whose view is muffled still, Should, without eyes, see pathways to his will! Where shall we dine? O me! What fray was here? Yet tell me not, for I have heard it all: Here s much to do with hate, but more with love. Why then, O brawling love! O loving hate! O any thing, of nothing first create! O heavy lightness, serious vanity, Misshapen chaos of well-seeming forms, Feather of lead, bright smoke, cold fire, sick health,
Still-waking sleep, that is not what it is! This love feel I, that feel no love in this. Dost thou not laugh? Benvolio No, coz, I rather weep. Good heart, at what? Benvolio At thy good heart s oppression. Why, such is love s transgression. Griefs of mine own lie heavy in my breast, Which thou wilt propagate to have it press d With more of thine. This love that thou hast shown Doth add more grief to too much of mine own. Love is a smoke made with the fume of sighs, Being purg d, a fire sparkling in lovers eyes, Being vex d, a sea nourish d with loving tears. What is it else? A madness most discreet, A choking gall, and a preserving sweet. Farewell, my coz. Question A: A B C D E F H I J Identify key points about the presentation of the character / theme / setting Spot techniques and language devices used in presentation Use specific terminology to describe what the writer has done Zoom in on specific word choices in the writing Comment on how the audience should react to the text Explain why the writer wants the audience to have that particular reaction at that point in the story Link ideas to what is happening on stage the dramatic context Comment on how this fits in to events before and after it Give a clear reason to why the playwright included this particular scene Question B: G Link ideas to the time it was written in K Make connections to other parts in the play M Compare how presentation is consistent with other characters / themes / setting N Explore how the presentation changes in the play L Link presentation to the play s theme
2. The lovers talk for the first time 1: 5: 92-118 (a) Explore how Shakespeare presents the relationship between and in this extract Refer closely to the extract in your answer (b) In this extract, both and make reference to religion when discussing love. Explain the importance of religion elsewhere in the play. In your answer you must consider: How religion is shown The effect religion has within the play. To. If I profane with my unworthiest hand This holy shrine, the gentle sin is this, My lips, two blushing pilgrims, ready stand To smooth that rough touch with a tender kiss. Good pilgrim, you do wrong your hand too much, Which mannerly devotion shows in this: For saints have hands that pilgrims hands do touch, And palm to palm is holy palmers kiss. Have not saints lips, and holy palmers too? Ay, pilgrim, lips that they must use in pray r. O then, dear saint, let lips do what hands do, They pray grant thou, lest faith turn to despair. Saints do not move, though grant for prayers sake. Then move not while my prayer s effect I take. Thus from my lips, by thine, my sin is purg d. Kissing her. Then have my lips the sin that they have took. Sin from my lips? O trespass sweetly urg d! Give me my sin again. Kissing her again. You kiss by th book. Nurse Madam, your mother craves a word with you.
What is her mother? Nurse Marry, bachelor, Her mother is the lady of the house, I tell you, he that can lay hold of her Shall have the chinks. Is she a Capulet O dear account! My life is my foe s debt. And a good lady, and a wise and virtuous. I nurs d her daughter that you talk d withal; Question A: A B C D E F H I J Identify key points about the presentation of the character / theme / setting Spot techniques and language devices used in presentation Use specific terminology to describe what the writer has done Zoom in on specific word choices in the writing Comment on how the audience should react to the text Explain why the writer wants the audience to have that particular reaction at that point in the story Link ideas to what is happening on stage the dramatic context Comment on how this fits in to events before and after it Give a clear reason to why the playwright included this particular scene Question B: G Link ideas to the time it was written in K Make connections to other parts in the play M Compare how presentation is consistent with other characters / themes / setting N Explore how the presentation changes in the play L Link presentation to the play s theme
3. The Balcony Scene 2: 2: 107-137 (a) Explore how Shakespeare presents the relationship between and in this extract Refer closely to the extract in your answer. (b) In this extract, the lovers declare their feelings for one another. Explain the importance of love elsewhere in the play. In your answer you must consider How love is shown The effects of romantic love in the play You must refer to the context of the play in your answer. Lady, by yonder blessed moon I vow, That tips with silver all these fruit-tree tops O, swear not by the moon, th inconstant moon, That monthly changes in her circled orb, Lest that thy love prove likewise variable. What shall I swear by? Do not swear at all; Or if thou wilt, swear by thy gracious self, Which is the god of my idolatry, And I ll believe thee. If my heart s dear love Well, do not swear. Although I joy in thee, I have no joy of this contract tonight, It is too rash, too unadvis d, too sudden, Too like the lightning, which doth cease to be Ere one can say it lightens. Sweet, good night! This bud of love, by summer s ripening breath, May prove a beauteous flow r when next we meet. Good night, good night! As sweet repose and rest Come to thy heart as that within my breast! O, wilt thou leave me so unsatisfied?
What satisfaction canst thou have tonight? Th exchange of thy love s faithful vow for mine. I gave thee mine before thou didst request it; And yet I would it were to give again. Wouldst thou withdraw it? For what purpose, love? But to be frank and give it thee again, And yet I wish but for the thing I have. My bounty is as boundless as the sea, My love as deep; the more I give to thee, The more I have, for both are infinite. Nurse calls within. I hear some noise within; dear love, adieu! Anon, good nurse! Sweet Montague, be true. Stay but a little, I will come again. Exit above. O blessed, blessed night! I am afeard, Being in night, all this is but a dream, Too flattering-sweet to be substantial. Enter above. Three words, dear, and good night indeed. If that thy bent of love be honorable, Thy purpose marriage, send me word tomorrow, By one that I ll procure to come to thee, Where and what time thou wilt perform the rite, And all my fortunes at thy foot I ll lay, And follow thee my lord throughout the world. Nurse Within. Madam! I come, anon. But if thou meanest not well, I do beseech thee Nurse Within. Madam! By and by, I come To cease thy strife, and leave me to my grief. Tomorrow will I send. So thrive my soul A thousand times good night! Exit above. A thousand times the worse, to want thy light.
Love goes toward love as schoolboys from their books, But love from love, toward school with heavy looks. Question A: A B C D E F H I J Identify key points about the presentation of the character / theme / setting Spot techniques and language devices used in presentation Use specific terminology to describe what the writer has done Zoom in on specific word choices in the writing Comment on how the audience should react to the text Explain why the writer wants the audience to have that particular reaction at that point in the story Link ideas to what is happening on stage the dramatic context Comment on how this fits in to events before and after it Give a clear reason to why the playwright included this particular scene Question B: G Link ideas to the time it was written in K Make connections to other parts in the play M Compare how presentation is consistent with other characters / themes / setting N L Explore how the presentation changes in the play Link presentation to the play s theme
The Wedding 2: 6: 1-37 (a) Explore how Shakespeare presents the character of the Friar in this extract Refer closely to the extract in your answer (b) In this extract, the Friar prepares to join and in marriage Explain the importance of marriage elsewhere in the play. In your answer you must consider: When marriage is talked about Why marriage is important You must refer to the context of the play in your answer. s cell. (; ; ) Enter and. So smile the heavens upon this holy act, That after-hours with sorrow chide us not! Amen, amen! But come what sorrow can, It cannot countervail the exchange of joy That one short minute gives me in her sight. Do thou but close our hands with holy words, Then love-devouring death do what he dare, It is enough I may but call her mine. These violent delights have violent ends, And in their triumph die, like fire and powder, Which as they kiss consume. The sweetest honey Is loathsome in his own deliciousness, And in the taste confounds the appetite. Therefore love moderately: long love doth so; Too swift arrives as tardy as too slow. Enter. Here comes the lady. O, so light a foot Will ne er wear out the everlasting flint; A lover may bestride the gossamers That idles in the wanton summer air, And yet not fall; so light is vanity.
Good even to my ghostly confessor. shall thank thee, daughter, for us both. As much to him, else is his thanks too much. Ah,, if the measure of thy joy Be heap d like mine, and that thy skill be more To blazon it, then sweeten with thy breath This neighbor air, and let rich music s tongue Unfold the imagin d happiness that both Receive in either by this dear encounter. Conceit, more rich in matter than in words, Brags of his substance, not of ornament; They are but beggars that can count their worth, But my true love is grown to such excess I cannot sum up sum of half my wealth. Come, come with me, and we will make short work, For by your leaves, you shall not stay alone Till Holy Church incorporate two in one. Exeunt. Question A: A B C D E F H I J Identify key points about the presentation of the character / theme / setting Spot techniques and language devices used in presentation Use specific terminology to describe what the writer has done Zoom in on specific word choices in the writing Comment on how the audience should react to the text Explain why the writer wants the audience to have that particular reaction at that point in the story Link ideas to what is happening on stage the dramatic context Comment on how this fits in to events before and after it Give a clear reason to why the playwright included this particular scene Question B: G Link ideas to the time it was written in K Make connections to other parts in the play M Compare how presentation is consistent with other characters / themes / setting N L Explore how the presentation changes in the play Link presentation to the play s theme
4. Mercutio s death 3: 1: 70-100 (a) Explore how Shakespeare presents Mercutio s character in this extract Refer closely to the extract in your answer. (b) Explain the importance of death elsewhere in the play. In your answer you must consider: How death is shown The effect death has within the play You must refer to the context of the play in your answer. Mercutio O calm, dishonorable, vile submission! Alia stoccato carries it away. Draws. Tybalt, you rat-catcher, will you walk? Tybalt What wouldst thou have with me? Mercutio Good King of Cats, nothing but one of your nine lives; that I mean to make bold withal, and as you shall use me hereafter, dry-beat the rest of the eight. Will you pluck your sword out of his pilcher by the ears? Make haste, lest mine be about your ears ere it be out. Tybalt I am for you. Gentle Mercutio, put thy rapier up. Mercutio Come, sir, your passado. They fight. Draw, Benvolio, beat down their weapons. Gentlemen, for shame, forbear this outrage! Tybalt, Mercutio, the Prince expressly hath Forbid this bandying in Verona streets. steps between them.
Hold, Tybalt! Good Mercutio! Tybalt under s arm thrusts Mercutio in. Away Tybalt with his followers. Mercutio I am hurt. A plague a both houses! I am sped. Is he gone and hath nothing? Benvolio What, art thou hurt? Mercutio Ay, ay, a scratch, a scratch, marry, tis enough. Where is my page? Go, villain, fetch a surgeon. Exit Page. Mercutio No, tis not so deep as a well, nor so wide as a church-door, but tis enough, twill serve. Ask for me tomorrow, and you shall find me a grave man. I am pepper d, I warrant, for this world. A plague a both your houses! Zounds, a dog, a rat, a mouse, a cat, to scratch a man to death! A braggart, a rogue, a villain, that fights by the book of arithmetic! Why the dev l came you between us? I was hurt under your arm. I thought all for the best. Mercutio Help me into some house, Benvolio, Or I shall faint. A plague a both your houses! They have made worms meat of me. I have it, And soundly too. Your houses! Exeunt Mercutio and Benvolio. Courage, man, the hurt cannot be much. Question A: A B C D E F H I J Identify key points about the presentation of the character / theme / setting Spot techniques and language devices used in presentation Use specific terminology to describe what the writer has done Zoom in on specific word choices in the writing Comment on how the audience should react to the text Explain why the writer wants the audience to have that particular reaction at that point in the story Link ideas to what is happening on stage the dramatic context Comment on how this fits in to events before and after it Give a clear reason to why the playwright included this particular scene Question B: G Link ideas to the time it was written in
K Make connections to other parts in the play M Compare how presentation is consistent with other characters / themes / setting N L Explore how the presentation changes in the play Link presentation to the play s theme 5. Tybalt s death 3: 1: 107:137 (a) Explore how Shakespeare presents Tybalt s death in this extract Refer closely to the extract in your answer (b) In this extract, kills Tybalt in revenge for Mercutio s death Explain the importance of revenge elsewhere in the play. In your answer you must consider: When revenge occurs The reasons for revenge You must refer to the context of the play in your answer. This gentleman, the Prince s near ally, My very friend, hath got this mortal hurt In my behalf; my reputation stain d With Tybalt s slander Tybalt, that an hour Hath been my cousin! O sweet, Thy beauty hath made me effeminate, And in my temper soft ned valor s steel! Enter Benvolio. Benvolio O,, brave Mercutio is dead! That gallant spirit hath aspir d the clouds, Which too untimely here did scorn the earth. This day s black fate on more days doth depend, This but begins the woe others must end. Enter Tybalt. Benvolio Here comes the furious Tybalt back again.
He gone in triumph, and Mercutio slain! Away to heaven, respective lenity, And fire-ey d fury be my conduct now! Now, Tybalt, take the villain back again That late thou gavest me, for Mercutio s soul Is but a little way above our heads, Staying for thine to keep him company. Either thou or I, or both, must go with him. Tybalt Thou wretched boy, that didst consort him here, Shalt with him hence. This shall determine that. They fight; Tybalt falls. Benvolio, away, be gone! The citizens are up, and Tybalt slain. Stand not amazed, the Prince will doom thee death If thou art taken. Hence be gone, away! O, I am fortune s fool! Benvolio Why dost thou stay? Exit. Question A: A B C D E F H I J Identify key points about the presentation of the character / theme / setting Spot techniques and language devices used in presentation Use specific terminology to describe what the writer has done Zoom in on specific word choices in the writing Comment on how the audience should react to the text Explain why the writer wants the audience to have that particular reaction at that point in the story Link ideas to what is happening on stage the dramatic context Comment on how this fits in to events before and after it Give a clear reason to why the playwright included this particular scene Question B: G Link ideas to the time it was written in K Make connections to other parts in the play M Compare how presentation is consistent with other characters / themes / setting N Explore how the presentation changes in the play
s banishment from Verona 3:3: (a) Explore how Shakespeare presents s feelings in this extract. Refer closely to the extract in your answer. (b) In this extract, learns of his punishment for disobedience. Explain the importance of disobedience elsewhere in the play. In your answer, you must consider: When characters are disobedient The reasons why they are disobedient L Link presentation to the play s theme s cell. (; ; Nurse) Enter., come forth, come forth, thou fearful man: Affliction is enamor d of thy parts, And thou art wedded to calamity. Enter. Father, what news? What is the Prince s doom? What sorrow craves acquaintance at my hand, That I yet know not? Too familiar Is my dear son with such sour company! I bring thee tidings of the Prince s doom. What less than dooms-day is the Prince s doom? A gentler judgment vanish d from his lips Not body s death, but body s banishment. Ha, banishment? Be merciful, say death ; For exile hath more terror in his look, Much more than death. Do not say banishment! Here from Verona art thou banished. Be patient, for the world is broad and wide. There is no world without Verona walls,
But purgatory, torture, hell itself. Hence banished is banish d from the world, And world s exile is death; then banished Is death misterm d. Calling death banished, Thou cut st my head off with a golden axe, And smilest upon the stroke that murders me. O deadly sin! O rude unthankfulness! Thy fault our law calls death, but the kind Prince, Taking thy part, hath rush d aside the law, And turn d that black word death to banishment. This is dear mercy, and thou seest it not. Tis torture, and not mercy. Heaven is here Where lives, and every cat and dog And little mouse, every unworthy thing, Live here in heaven and may look on her, But may not. More validity, More honorable state, more courtship lives In carrion flies than ; they may seize On the white wonder of dear s hand, And steal immortal blessing from her lips, Who, even in pure and vestal modesty, Still blush, as thinking their own kisses sin; But may not, he is banished. Flies may do this, but I from this must fly; They are free men, but I am banished: And sayest thou yet that exile is not death? Hadst thou no poison mix d, no sharp-ground knife, No sudden mean of death, though ne er so mean, But banished to kill me? Banished? O friar, the damned use that word in hell; Howling attends it. How hast thou the heart, Being a divine, a ghostly confessor, A sin-absolver, and my friend profess d, To mangle me with that word banished? Thou fond mad man, hear me a little speak. O, thou wilt speak again of banishment. I ll give thee armor to keep off that word: Adversity s sweet milk, philosophy, To comfort thee though thou art banished. Yet banished? Hang up philosophy! Unless philosophy can make a, Displant a town, reverse a prince s doom, It helps not, it prevails not. Talk no more. O then I see that madmen have no ears.
How should they when that wise men have no eyes? Let me dispute with thee of thy estate. Thou canst not speak of that thou dost not feel. An hour but married, Tybalt murdered, Doting like me, and like me banished, Then mightst thou speak, then mightst thou tear thy hair, And fall upon the ground, as I do now, Taking the measure of an unmade grave. Wert thou as young as I, thy love, Question A: A B C D E F H I J Identify key points about the presentation of the character / theme / setting Spot techniques and language devices used in presentation Use specific terminology to describe what the writer has done Zoom in on specific word choices in the writing Comment on how the audience should react to the text Explain why the writer wants the audience to have that particular reaction at that point in the story Link ideas to what is happening on stage the dramatic context Comment on how this fits in to events before and after it Give a clear reason to why the playwright included this particular scene Question B: G Link ideas to the time it was written in K Make connections to other parts in the play M Compare how presentation is consistent with other characters / themes / setting N L Explore how the presentation changes in the play Link presentation to the play s theme
The lovers are parted 3: 5: 26-59 (a) Explore how Shakespeare presents the relationship between and in this extract Refer closely to the extract in your answer (b) In this extract, tells her fears that she will not see him again. Explain the importance of fears elsewhere in the play. Explain the importance of the fears characters face The reasons for the fears. You must refer to the context of the play in your answer. Enter and aloft at the window. Wilt thou be gone? It is not yet near day. It was the nightingale, and not the lark, That pierc d the fearful hollow of thine ear; Nightly she sings on yond pomegranate tree. Believe me, love, it was the nightingale. It was the lark, the herald of the morn, No nightingale. Look, love, what envious streaks Do lace the severing clouds in yonder east. Night s candles are burnt out, and jocund day Stands tiptoe on the misty mountain tops. I must be gone and live, or stay and die. Yond light is not day-light, I know it, I; It is some meteor that the sun exhal d To be to thee this night a torch-bearer And light thee on thy way to Mantua. Therefore stay yet, thou need st not to be gone. Let me be ta en, let me be put to death, I am content, so thou wilt have it so. I ll say yon grey is not the morning s eye,
Tis but the pale reflex of Cynthia s brow; Nor that is not the lark whose notes do beat The vaulty heaven so high above our heads. I have more care to stay than will to go. Come, death, and welcome! wills it so. How is t, my soul? Let s talk, it is not day. It is, it is! Hie hence, be gone, away! It is the lark that sings so out of tune, Straining harsh discords and unpleasing sharps. Some say the lark makes sweet division; This doth not so, for she divideth us. Some say the lark and loathed toad change eyes; O now I would they had chang d voices too, Since arm from arm that voice doth us affray, Hunting thee hence with hunt s-up to the day. O now be gone, more light and light it grows. More light and light, more dark and dark our woes! Enter Nurse hastily. Nurse Madam! Nurse? Nurse Your lady mother is coming to your chamber. The day is broke, be wary, look about. Exit. Then, window, let day in, and let life out. Farewell, farewell! One kiss, and I ll descend. He goeth down. Art thou gone so, love, lord, ay, husband, friend! I must hear from thee every day in the hour, For in a minute there are many days. O, by this count I shall be much in years Ere I again behold my! From below. Farewell! I will omit no opportunity That may convey my greetings, love, to thee. O, think st thou we shall ever meet again? I doubt it not, and all these woes shall serve For sweet discourses in our times to come. O God, I have an ill-divining soul! Methinks I see thee now, thou art so low, As one dead in the bottom of a tomb. Either my eyesight fails, or thou lookest pale.
And trust me, love, in my eye so do you; Dry sorrow drinks our blood. Adieu, adieu! Exit. O Fortune, Fortune, all men call thee fickle; If thou art fickle, what dost thou with him That is renowm d for faith? Be fickle, Fortune: For then I hope thou wilt not keep him long, But send him back. Question A: A B C D E F H I J Identify key points about the presentation of the character / theme / setting Spot techniques and language devices used in presentation Use specific terminology to describe what the writer has done Zoom in on specific word choices in the writing Comment on how the audience should react to the text Explain why the writer wants the audience to have that particular reaction at that point in the story Link ideas to what is happening on stage the dramatic context Comment on how this fits in to events before and after it Give a clear reason to why the playwright included this particular scene Question B: G Link ideas to the time it was written in K Make connections to other parts in the play M Compare how presentation is consistent with other characters / themes / setting N L Explore how the presentation changes in the play Link presentation to the play s theme learns of s death 5: (a) Explore how Shakespeare presents s reactions to s death Refer closely to the extract in your answer (b) In this extract, forces the apothecary to sell him poison so he can commit suicide. Explain the importance of characters being forced to do something against their will elsewhere in the play In your answer you must consider: Why characters are forced into doing things against their will The effect of characters being forced into doing something
When but love s shadows are so rich in joy! Enter s man Balthasar, booted. News from Verona! How now, Balthasar? Dost thou not bring me letters from the friar? How doth my lady? Is my father well? How doth my? That I ask again, For nothing can be ill if she be well. Balthasar Then she is well and nothing can be ill: Her body sleeps in Capel s monument, And her immortal part with angels lives. I saw her laid low in her kindred s vault, Mantua. A street. (; Balthasar; Apothecary) Enter. If I may trust the flattering truth of sleep, My dreams presage some joyful news at hand. My bosom s lord sits lightly in his throne, And all this day an unaccustom d spirit Lifts me above the ground with cheerful thoughts. I dreamt my lady came and found me dead Strange dream, that gives a dead man leave to think! And breath d such life with kisses in my lips That I reviv d and was an emperor. Ah me, how sweet is love itself possess d, And presently took post to tell it you. O, pardon me for bringing these ill news, Since you did leave it for my office, sir. Is it e en so? Then I defy you, stars! Thou knowest my lodging, get me ink and paper, And hire post-horses; I will hence tonight. Balthasar I do beseech you, sir, have patience. Your looks are pale and wild, and do import Some misadventure. Tush, thou art deceiv d. Leave me, and do the thing I bid thee do. Hast thou no letters to me from the friar?
Balthasar No, my good lord. No matter, get thee gone, And hire those horses; I ll be with thee straight. Exit Balthasar. Well,, I will lie with thee tonight. Let s see for means. O mischief, thou art swift To enter in the thoughts of desperate men! I do remember an apothecary And hereabouts a dwells which late I noted In tatt red weeds, with overwhelming brows, Culling of simples; meagre were his looks, Sharp misery had worn him to the bones; And in his needy shop a tortoise hung, An alligator stuff d, and other skins Of ill-shap d fishes, and about his shelves A beggarly account of empty boxes, Green earthen pots, bladders, and musty seeds, Remnants of packthread, and old cakes of roses Were thinly scattered, to make up a show. Noting this penury, to myself I said, An if a man did need a poison now, Whose sale is present death in Mantua, Here lives a caitiff wretch would sell it him. O, this same thought did but forerun my need, And this same needy man must sell it me. As I remember, this should be the house. Being holiday, the beggar s shop is shut. What ho, apothecary! Question A: A B C D E F H I J Identify key points about the presentation of the character / theme / setting Spot techniques and language devices used in presentation Use specific terminology to describe what the writer has done Zoom in on specific word choices in the writing Comment on how the audience should react to the text Explain why the writer wants the audience to have that particular reaction at that point in the story Link ideas to what is happening on stage the dramatic context Comment on how this fits in to events before and after it Give a clear reason to why the playwright included this particular scene Question B: G Link ideas to the time it was written in
K Make connections to other parts in the play M Compare how presentation is consistent with other characters / themes / setting N L Explore how the presentation changes in the play Link presentation to the play s theme Death of both and 5: 3: 90-120 (a) Explore how Shakespeare presents s feelings in this extract Refer closely to the extract in your answer (b) In this extract, learns that is dead and drinks some poison himself unaware that is still alive. Explain the importance of misunderstandings elsewhere in the play. In your answer you must consider: When misunderstandings are shown The effects of misunderstandings on the characters. You must refer to the context of the play in your answer. In faith, I will. Let me peruse this face. Mercutio s kinsman, noble County Paris! What said my man, when my betossed soul Did not attend him as we rode? I think He told me Paris should have married. Said he not so? Or did I dream it so? Or am I mad, hearing him talk of, To think it was so? O, give me thy hand, One writ with me in sour misfortune s book! I ll bury thee in a triumphant grave. A grave? O no, a lantern, slaught red youth; For here lies, and her beauty makes This vault a feasting presence full of light. Death, lie thou there, by a dead man interr d. Laying Paris in the tomb. How oft when men are at the point of death Have they been merry, which their keepers call
A lightning before death! O how may I Call this a lightning? O my love, my wife, Death, that hath suck d the honey of thy breath, Hath had no power yet upon thy beauty: Thou art not conquer d, beauty s ensign yet Is crimson in thy lips and in thy cheeks, And death s pale flag is not advanced there. Tybalt, liest thou there in thy bloody sheet? O, what more favor can I do to thee, Than with that hand that cut thy youth in twain To sunder his that was thine enemy? Forgive me, cousin! Ah, dear, Why art thou yet so fair? Shall I believe That unsubstantial Death is amorous, And that the lean abhorred monster keeps Thee here in dark to be his paramour? For fear of that, I still will stay with thee, And never from this palace of dim night Depart again. Here, here will I remain With worms that are thy chambermaids; O, here Will I set up my everlasting rest, And shake the yoke of inauspicious stars From this world-wearied flesh. Eyes, look your last! Arms, take your last embrace! And, lips, O you The doors of breath, seal with a righteous kiss A dateless bargain to engrossing death! Come, bitter conduct, come, unsavory guide! Thou desperate pilot, now at once run on The dashing rocks thy sea-sick weary bark! Here s to my love! Drinks. O true apothecary! Thy drugs are quick. Thus with a kiss I die. Dies. Enter with lantern, crow, and spade. Saint Francis be my speed! How oft tonight Have my old feet stumbled at graves! Who s there? Balthasar Here s one, a friend, and one that knows you well. Bliss be upon you! Tell me, good my friend, What torch is yond, that vainly lends his light To grubs and eyeless skulls? As I discern, It burneth in the Capels monument. Balthasar It doth so, holy sir, and there s my master, One that you love. Who is it? Balthasar
. How long hath he been there? Balthasar Full half an hour. Go with me to the vault. Balthasar I dare not, sir. My master knows not but I am gone hence, And fearfully did menace me with death If I did stay to look on his intents. Stay then, I ll go alone. Fear comes upon me. O, much I fear some ill unthrifty thing. Balthasar As I did sleep under this yew tree here, I dreamt my master and another fought, And that my master slew him.! Friar stoops and looks on the blood and weapons. Alack, alack, what blood is this, which stains The stony entrance of this sepulchre? What mean these masterless and gory swords To lie discolor d by this place of peace? Enters the tomb., O, pale! Who else? What, Paris too? And steep d in blood? Ah, what an unkind hour Is guilty of this lamentable chance! The lady stirs. rises. O comfortable friar! Where is my lord? I do remember well where I should be, And there I am. Where is my? Noise within. I hear some noise, lady. Come from that nest Of death, contagion, and unnatural sleep. A greater power than we can contradict Hath thwarted our intents. Come, come away. Thy husband in thy bosom there lies dead; And Paris too. Come, I ll dispose of thee Among a sisterhood of holy nuns. Stay not to question, for the watch is coming. Come go, good, Noise again. I dare no longer stay. Exit. Go get thee hence, for I will not away. What s here? A cup clos d in my true love s hand? Poison, I see, hath been his timeless end.
O churl, drunk all, and left no friendly drop To help me after? I will kiss thy lips, Haply some poison yet doth hang on them, To make me die with a restorative. Thy lips are warm. First Watchman Within. Yea, noise? Then I ll be brief. O happy dagger, Taking s dagger. This is thy sheath; Stabs herself. there rust, and let me die. Falls on s body and dies. Lead, boy, which way? Question A: A B C D E F H I J Identify key points about the presentation of the character / theme / setting Spot techniques and language devices used in presentation Use specific terminology to describe what the writer has done Zoom in on specific word choices in the writing Comment on how the audience should react to the text Explain why the writer wants the audience to have that particular reaction at that point in the story Link ideas to what is happening on stage the dramatic context Comment on how this fits in to events before and after it Give a clear reason to why the playwright included this particular scene Question B: G Link ideas to the time it was written in K Make connections to other parts in the play M Compare how presentation is consistent with other characters / themes / setting N L Explore how the presentation changes in the play Link presentation to the play s theme Antithesis Aside Term Meaning/explanation A figure of speech in which thoughts are balanced in contrast When a character speaks aloud to the audience sometimes to themselves, but the other characters on stage cannot hear what is said.
Atmosphere Blank verse Character/s Confidante Couplet Denouement Dialogue Dramatic device Dramatic irony Epithalamium Foil Foreshadow Iambic pentameter Imagery Irony Juxtaposition Metaphor Monologue Narrative Oxymoron Pathos Petrarchan love Quatrain Semantic field Simile Soliloquy Sonnet Setting Subplot Theme Tragedy A mood or feeling suggested by what is happening on stage Unrhymed iambic pentameter The people in the play and their personality A close friend entrusted with secrets A pair of rhymed lines The climax of the play and the final unravelling of events A conversation between characters; the words spoken by characters throughout the play A trick or technique used by the playwright to make the play more effective, dramatic or exciting such as dramatic irony When the audience knows more about what is happening than some of the characters A wedding poem sung for bride and groom before their first night together Something with provides a contrast A warning of something that will later follow usually something bad A line of poetry consisting of five iambic feet (, wherefore art thou ) Descriptive language which uses images to make actions, objects, characters, etc more vivid in the reader s mind. When someone deliberately says one thing when the mean another, usually in a humorous or sarcastic way When two ideas or events are placed one after the other to create a dramatic effect When one thing is used to describe another thing to create a striking or unusual image in the reader s head A longer section of speech delivered to another character A story or tale and the way it is told to the reader/audience When contradictory terms are brought together The depiction of events in a way that evokes strong feelings of pity or sorrow in the reader/audience A type of idealised and romanticised love described by the Italian poet Petrarch (1304-74), where a man worships a woman from afar A verse of poetry four lines in length A cluster of words which, when grouped together link to the same theme When one thing is compared directly to another using like or as When a character speaks directly to the audience as if thinking aloud, revealing their inner thoughts, feelings, emotions and intentions A poem of 14 lines on a specific subject usually dealing with love The scene of the play and where the main action takes place Another story within the main play; usually concerns minor characters A recurrent idea in a work A drama dealing with tragic events, usually contains at least one death Avenging Desperate Determined Determined Devoted Emotional Foolish Hasty Hero Highly-esteemed Vocabulary list for writing about the characters Nurse Friar Tybalt Mercutio Aware Bawdy/lewd Advisor Fiery Beautiful Betrays Cowardly Touchy Challenging Coarse Friend Volatile Complex Crass Good/honest Pugnacious Confident Critical/judgemental Irresponsible Aggravating Conventional/ Fickle Naïve Catalytic unconventional Friend/confidante Overoptimistic Troublemaker Courageous Inappropriate Violent Deceptive Indelicate Persuasive Powerful Decisive Insensitive Pivotal Unpredictable Angry Changeable Contrast Courageous Friend/confidante Hot-headed Humorous/witty Imaginative Impulsive Leader
Hopeless Idealistic Loving Loyal Matures Naïve Rash/impetuous Romantic Sensitive Serious Tragic Weak Young Defiant Disobedient Duplicitous Dutiful Fated Independent Innocent Intelligent Loyal Privileged Rebellious Resourceful Romantic heroine Self-aware Sensitive Strong Tragic Unafraid Victim Wary Young Maternal Mother figure Selfish Trusted Unreliable Unsophisticated Well-liked/popular Resourceful Respected Self-aware Skilled Trusted Wise Vehement Angry Divisive Vengeful Aggressive Superficial Unpleasant Dislikeable Menacing Mendacious Tough Hate-filled Light-hearted Lively Mercurial Misogynistic? Passionate Pivotal/significant Provocative Quick-tempered Regarded Restless Touchy Unromantic Violent Volatile Quotations about Fate and Destiny 1. Prologue From forth the fatal loins of these two foes A pair of star-cross'd lovers take their life 2. ROMEO I fear, too early, for my mind misgives Some consequence yet hanging in the stars Shall bitterly begin his fearful date 3. JULIET Go ask his name. The Nurse goes. If he be marrièd. My grave is like to be my wedding bed. 4. ROMEO O, I am fortune's fool! 7. ROMEO Is it e'en so? Then I defy you, stars! 8. FRIAR LAURENCE Unhappy fortune! 9. ROMEO (to in the tomb) I still will stay with thee And never. Depart again.. O, here Will I set up my everlasting rest And shake the yoke of inauspicious stars From this world-wearied flesh! 10. FRIAR LAWRENCE Lady, come from that nest Of death, contagion, and unnatural sleep. A greater power than we can contradict Hath thwarted our intents. 5. JULIET O God, I have an ill-divining soul! Methinks I see thee, As one dead in the bottom of a tomb. 6. JULIET O Fortune, Fortune! All men call thee fickle. If thou art fickle,. Be fickle, Fortune. For then I hope thou wilt not keep him long, But send him back. 1. CAPULET Quotations about Marriage Let two more summers wither in their pride Ere we may think her ripe to be a bride. And too soon marred are those so early made.
2. LADY CAPULET Tell me, daughter, How stands your disposition to be married? JULIET It is an honor that I dream not of. 3. JULIET (about ) If he be marrièd My grave is like to be my wedding bed. 4. JULIET Where and what time thou wilt perform the rite, And all my fortunes at thy foot I'll lay And follow thee my lord throughout the world. 5. FRIAR LAWRENCE So smile the heavens upon this holy act That after-hours with sorrow chide us not. 6. NURSE Marry, bachelor, Her mother is the lady of the house, I nursed her daughter I tell you, he that can lay hold of her Shall have the chinks. 7. JULIET They are but beggars that can count their worth, But my true love is grown to such excess I cannot sum up some of half my wealth. 8. FRIAR LAWRENCE Come, come with me, and we will make short work, For, by your leaves, you shall not stay alone Till Holy Church incorporate two in one. 9. LADY CAPULET The gallant, young, and noble gentleman, The County Paris, Shall happily make thee there a joyful bride. 10. CAPULET (When Capulet realises that will disobey him by not marrying Paris) Disobedient wretch! I tell thee what: get thee to church o' Thursday, Or never after look me in the face. Speak not; reply not; do not answer me Quotations about love 1. ROMEO Out of her favor, where I am in love 2. ROMEO Love is a smoke raised with the fume of sighs; Being purged, a fire sparkling in lovers' eyes; Being vexed a sea nourish'd with loving tears: What is it else? a madness most discreet, A choking gall, and a preserving sweet. 3. MERCUTIO You are a lover. Borrow Cupid's wings And soar with them above a common bound ROMEO I am too sore enpiercèd with his shaft To soar with 4. ROMEO Did my heart love till now? Forswear it, sight, For I ne'er saw true beauty till this night. 5. JULIET Then have my lips the sin that they have took. ROMEO Sin from thy lips? O trespass sweetly urged! Give me my sin again. He kisses her. 6. ROMEO But soft, what light through yonder window breaks? It is the east, and is the sun 7. ROMEO, aside She speaks. O, speak again, bright angel, for thou art As glorious to this night, being o'er my head, As is a wingèd messenger of heaven 8. JULIET But my true love is grown to such excess I cannot sum up sum of half my wealth. 9. ROMEO O my love! my wife, Death, that hath sucked the honey of thy breath, Hath had no power yet upon thy beauty 10. ROMEO Here's to my love! [Drinking]. O true apothecary, Thy drugs are quick. Thus with a kiss I die. Quotations about death 1. CHORUS The fearful passage of their death-marked love [ ] Is now the two hours' traffic of our stage;
2. MERCUTIO A plague o' both your houses! They have made worms' meat of me. 3. JULIET How if, when I am laid into the tomb, I wake before the time that Come to redeem me?,,! Here s drink. I drink to thee. 4. CAPULET Death lies on her like an untimely frost Upon the sweetest flower of all the field. 5. CAPULET All things that we ordainèd festival Turn from their office to black funeral; 6. ROMEO Let me have A dram of poison, such soon-speeding gear As will disperse itself through all the veins, That the life-weary taker may fall dead,.. 7. ROMEO Thou detestable maw, thou womb of death, Gorged with the dearest morsel of the earth, Thus I enforce thy rotten jaws to open, And in despite I'll cram thee with more food. 8. ROMEO I would I were thy bird. JULIET Sweet, so would I. Yet I should kill thee with much cherishing. 9. JULIET Come, gentle night; come, loving, blackbrowed night, Give me my, and, when he shall die, Take him and cut him out in little stars, 10. ROMEO Ha, banishment! be merciful, say 'death;' For exile hath more terror in his look, Much more than death: do not say 'banishment.'