English Study Buddy

Read the following passage carefully and answer the questions below it.

[Alexandria. A room in CLEOPATRA’s palace. Enter DEMETRIUS and PHILO.]

Nay, but his dotage of our general’s
O’erflows the measure: those his-goodly eyes
That o’er the files and musters of the war
Have glowed like plated-Mars, now bend, now turn
The office and devotion of their view
Upon a tawny front. His captain’s heart,
Which in the scumes of great fights hath burst
The buckles on his breast, reneges all temper,
And is become the bellows and the fan
To cool a gipsy’s lust.
[Flourish. Enter ANTONY,CLEOPATRA, her Ladies, the Train with Eunuchs fanning her.]
Look, where they come.
Take but good note, and you shall see in him
The triple pillar of the world transformed
Into a strumpet’s fool. Behold and see.
Cleopatra.  If it be love indeed, tell me how much.
Antony.  There’s beggary in the love that can be reckoned.
Cleopatra.  I’ll set a bourn how far to be beloved.
Antony.  Then must thou needs find out new heaven, new earth.
[Enter an ATTENDANT.]
Attendant.  News, my good lord, from Rome.
Anthony.  Grates me. The sum.
Cleopatra.   Nay, hear them, Antony.
Fulvia perchance is angry; or who knows
If the scarce-bearded Caesar have not sent
His powerful mandate to you, “Do this, or this;
Take in that kingdom, and enfranchise that.
Perferm’t or else we damn thee”.
Antony. How, my love?
Cleopatra. Perchance? Nay, and most like.
You must not stay here longer, your dismission
Is come from from Casar; therefore, hear it, Antony.
Where’s Fulvia’s process? Caesar’s I would say. Both?
Call in the messengers. As I am Egypt’s Queen,
Thou blushest, Antony, and that blood of thine
Is Caesar’s homager: else so thy cheek pays shame
When shrill-tongued Fulvia scolds. The messengers!
Antony. Let Rome in Tiber melt, and the wide arch
Of the rang’d empire fall! Here is my space.
Kingdoms are clay: our dungy earth alike
Feeds beast as man. The nobleness of life
Is to do thus, when such a mutual pair,
And such a train can do’t, in which I bind,
On pain of punishment, the world to weet
We stand up peerless.
Cleopatra. Excellent falsehood!
Why did he marry Fulvia, and not love her?
I’ll seem the fool I am not; Antony will be himself.
Antony. But stirred by Cleopatra
Now for the love of Love, and her soft hours,
Let’s not confound the time with conference harsh.
There’s not a minute of our lives should stretch
Without some pleasure now. What sport tonight?
Cleopatra. Hear the ambassadors.
Antony. Fie, wrangling Queen!
Whom everything becomes-to chide, to laugh,
To weep-whose every passion fully strives
To make itself, in thee, fair and admired.
No messenger but thine, and all alone,
Tonight we’ll wander through the streets, and note
The qualities of people. Come, my Queen;
Last night you did desire it.
[To the Attendant]: Speak not to us
[Exit all except DEMETRIUS and PHILO]
Demetrius.  Is Caesar with Antonius prized so slight?
Philo.  Sir, sometimes, when he is not Antony,
He comes too short of that great property
Which still should go with Antony.
Demetrius.  I am full sorry
That he approves the common liar, who
Thus speaks of him at Rome; but I will hope
Of better deeds tomorrow. Rest you happy.

In the passage, Philo’s commentary is followed by a conversation between Antony and Cleopatra.  Suggest why Shakespeare has constructed the opening scene in this way and consider the extent to which the passage prepares us for the major concerns of the play as a whole.

Cleopatra. Nay, hear them, Antony:
Fulvia perchance is angry; or, who knows
If the scarce-bearded Caesar have not sent
His powerful mandate to you, ” Do this, or this;
Take in that kingdom, and enfranchise that;
Perform’t, or else we damn thee.”
Antony. How, my love?
Cleopatra. Perchance? Nay, and most like:
You must not stay here longer, your dismission
Is come from Caesar; therefore hear it, Antony.
Where’s Fulvia’s process? Caesar’s I would say? Both?
Call in the messengers. As I am Egypt’s queen,
Thou blushest, Antony, and that blood of thine
Is Caesar’s homager: else so thy cheek pays shame
When shrill-tongued Fulvia scolds. The messengers!
Antony. Let Rome in Tiber melt, and the wide arch
Of the ranged empire fall! Here is my space.
Kingdoms are clay: our dungy earth alike
Feeds beast as man: the nobleness of life
Is to do thus; when such a mutual pair [embracing]
And such a twain can do’t, in which I bind,
On pain of punishment, the world to weet
We stand up peerless.
Cleopatra. Excellent falsehood!
Why did he marry Fulvia, and not love her?
I’ll seem the fool I am not; Antony
Will be himself.
Antony. But stirred by Cleopatra.
Now, for the love of Love and her soft hours,
Let’s not confound the time with conference harsh:
There’s not a minute of our lives should stretch
Without some pleasure new. What sport to-night?
Cleopatra. Hear the ambassadors.

A. Indicate briefly the occasion on which these lines were spoken.
B. Write an explanatory note on:
the world to weet
We stand up peerless. (lines 22-23)
C. What do we learn about the characters of Antony and Cleopatra from this dialogue?
D. Discuss the quality or qualities of Shakespeare’s dramatic art that the passage illustrates.

1. What do you learn about characterization from the presentation of Viola and one other character in the play?

2. What do find interesting and vivid in the plot and structure of Twelfth Night?

3. How effectively, in your opinion, is the setting and atmosphere of Twelfth Night used?

4. What do you find interesting and vivid in the ways Viola and the Duke are presented through what they say and the language they use?

5. What do you learn from Twelfth Night about love?

Read the extract printed below and answer the questions which follow.

DUKE: Once more, Cesario,
Get thee to yond same sovereign cruelty.
Tell her, my love, more noble than the world,
Prizes not quantity of dirty lands;
The parts that fortune hath bestowed upon her,
Tell her, I hold as giddily as fortune.
But ’tis that miracle and queen of gems
That nature pranks in her attracts my soul.
VIOLA: But if she cannot love you, sir?
DUKE: I cannot be so answered.
VIOLA: Sooth, but you must.
Say that some lady, as perhaps there is,
Hath for your love as great a pang of heart
As you have for Olivia. You cannot love her;
You tell her so. Must she not then be answered?
DUKE: There is no woman’s sides
Can bide the beating of so strong a passion
As love doth give my heart; no woman’s heart
So big, to hold so much; they lack retention.
Alas, their love may be called appetite,
No motion of the liver, but the palate,
That suffer surfeit, cloyment and revolt;
But mine is all as hungry as the sea,
And can digest as much. Make no compare
Between that love a woman can bear me
And that I owe Olivia.
VIOLA: Aye, but I know
DUKE: What dost thou know?
VIOLA: Too well what love women to men may owe.
In faith, they are as true of heart as we.
My father had a daughter loved a man,
As it might be perhaps, were I a woman,
I should your lordship.
DUKE: And what’s her history?
VIOLA: A blank, my lord. She never told her love,
But let concealment, like a worm i’ the bud,
Feed on her damask cheek. She pined in thought,
And with a green and yellow melancholy
She sat like patience on a monument,
Smiling at grief. Was this not love indeed?
We men may say more, swear more, but indeed
Our shows are more than will; for still we prove
Much in our vows, but little in our love.
DUKE: But died thy sister of her love, my boy?
VIOLA: I am all the daughters of my father’s house,
And all the brothers too - and yet I know not.
Sir, shall I to this lady?
DUKE: Ay, that’s the theme.
To her in haste; give her this jewel; say,
My love can give no place, bide no deny.

A. What do you learn about Viola’s character from this extract?
B. Is the Duke always like this in the rest of the play?
C. Describe what has led to the relationship between Viola and the Duke in this extract.
D. How significant is the relationship between Viola and the Duke to the whole play?

A.     Shakespeare is not criticizing Coriolanus’s contempt for the mob.  He is showing the cost of his hero’s inability to conceal it.’  With close reference to the text, say how adequate you find this view of Coriolanus’s role in the play.

B.      By what means and how successfully does Shakespeare seem to have made drama out of history in Coriolanus?  You are not required to consider the source material of the play.

C.  Either, (1) “His nature is too noble for the world.” “He’s poor in no one fault, but stored with all.” Discuss these two comments on Coriolanus, examining and criticizing the attitudes towards his character and tragic predicament which they represent.

Or, (2) “Quarrelling and fighting scarcely cease from beginning to end, yet they only reflect, never dominate, the fundamental stresses in Coriolanus.”  Discuss, with illustrations.

Or, (3) “Why, he is so made on here within as if he were son and heir to Mars; set at upper end o’ the table; no question asked him by any of the senators but they Stand bald before him.  Our general himself makes a mistress of him, sanctifies himself with’s hand, and turns up the white o’ th’ eye to his discourse.  But the bottom of the news is, our general is cut i’ th’ middle and but one half of what he was yesterday, for the other has half by the entreaty and grant of the whole table.  He’ll go, he says, and sowl the porter of Rome’s gates by th’ ears; he will mow all down before him, and leave his passage polled.”

D. Either, (1) “In Coriolanus, the dramatic conflict lies less in the military and political struggles than in the struggles within and between individuals.”  How far do you agree with this view of “dramatic conflict” of the play?

Or, (2) How successful is Shakespeare in creating scenes of (a) war, and (b) popular feeling in Coriolanus, and to what dramatic purposes does he put them?

E. Either, (1) In your view, is Coriolanus truly a tragedy?

Or, (2) What are the interest and significance of Menenius and Volumnia in the drama and themes of Coriolanus?

A.     By whom and in what circumstances is the passage spoken? (Use not more than 50 words.)

B.      What is the dramatic significance of the subject matter of the passage?

C.     What do you consider to be the interest and importance of the way in which this subject matter is expressed?  (In this section you are expected to comment on such matters as diction, imagery and verse.)

VOL. I pray you, daughter, sing, or express yourself in a more comfortable sort. If my son were my husband, I should freelier rejoice in that absence wherein he won honour than in the embracements of his bed where he would show most love. When yet he was but tender-bodied, and the only son of my womb; when youth with comeliness pluck’d all gaze his way; when, for a day of kings’ entreaties, a mother should not sell him an hour from her beholding; I, considering how honour would become such a person—that it was no better than picture-like to hang by th’ wall, if renown made it not stir— was pleas’d to let him seek danger where he was like to find fame. To a cruel war I sent him, from whence he return’d his brows bound with oak. I tell thee, daughter, I sprang not more in joy at first hearing he was a man-child than now in first seeing he had proved himself a man.

VIR. But had he died in the business, madam, how then?

VOL. Then his good report should have been my son; I therein would have found issue. Hear me profess sincerely: had I a dozen sons, each in my love alike, and none less dear than thine and my good Marcius, I had rather had eleven die nobly for their country than one voluptuously surfeit out of action.

[Enter a Gentlewoman]

GENT. Madam, the Lady Valeria is come to visit you.

VIR. Beseech you give me leave to retire myself.

VOL. Indeed you shall not. Methinks I hear hither your husband’s drum;

See him pluck Aufidius down by th’ hair;

As children from a bear, the Volsces shunning him.

Methinks I see him stamp thus, and call thus:

 ‘Come on, you cowards! You were got in fear,

Though you were born in Rome’. His bloody brow

With his mail’d hand then wiping, forth he goes,

Like to a harvest-man that’s task’d to mow

Or all or lose his hire.

VIR. His bloody brow? O Jupiter, no blood!

VOL. Away, you fool! It more becomes a man

Than gilt his trophy. The breasts of Hecuba,

When she did suckle Hector, look’d not lovelier

Than Hector’s forehead when it spit forth blood

40 At Grecian sword, contemning. Tell Valeria

We are fit to bid her welcome. [Exit Gentlewoman.]

VIR. Heavens bless my lord from fell Aufidius!

VOL. He’ll beat Aufidius’ head below his knee

And tread upon his neck.

[Re-enter Gentlewoman, with VALERIA and an Usher.]

VALERIA. My ladies both, good day to you.

VOL. Sweet madam!

VIR. I am glad to see your ladyship.

VALERIA. How do you both? You are manifest housekeepers.

What are you sewing here? A fine spot, in good faith.

How does your little son?

VIR. I thank your ladyship; well, good madam.

VOL He had rather see the swords and hear a drum than look upon his schoolmaster.

VALERIA. O’ my word, the father’s son! I’ll swear ’tis a very pretty boy. O’ my troth, I look’d upon him a Wednesday half an hour together; has such a confirm’d countenance! I saw him run after a gilded butterfly; and when he caught it he let it go again, and after it again, and over and over he comes, and up again, catch’d it again; or whether his fall enrag’d him, or how ’twas, he did so set his teeth and tear it. O, I warrant, how he mammock’d it!

VOL. One on’s father’s moods.

65 VALERIA. Indeed, la, ’tis a noble child.

A.     By whom and in what circumstances is the passage spoken? (Use not more than 50 words.)

B.      What is the dramatic significance of the subject matter of the passage?

C.     What do you consider to be the interest and importance of the way in which this subject matter is expressed?  (In this section you are expected to comment on such matters as diction, imagery and verse.)

(1) Well, I must do’t.

Away, my disposition, and possess me

Some harlot’s spirit! My throat of war be turn’d,

Which quier’d with my drum, into a pipe

5 Small as an eunuch or the virgin voice

That babies lulls asleep! The smiles of knaves

Tent in my cheeks, and schoolboys’ tears take up

The glasses of my sight! A beggar’s tongue

Make motion through my lips, and my arm’d knees,

10 Who bow’d but in my stirrup, bend like his

That hath receiv’d an alms! I will not do’t,

Lest I surcease to honour mine own truth,

And by my body’s action teach my mind

A most inherent baseness.

(2) O world, thy slippery turns! Friends now fast sworn,

Whose double bosoms seems to wear one heart,

Whose hours, whose bed, whose meal and exercise

Are still together, who twin, as ’twere, in love

5 Unseparable, shall within this hour,

On a dissension of a doit, break out

To bitterest enmity; so fellest foes,

Whose passions and whose plots have broke their sleep

To take the one the other, by some chance,

10 Some trick not worth an egg, shall grow dear friends

And interjoin their issues. So with me:

My birthplace hate I, and my love’s upon

This enemy town. I’ll enter. If he slay me,

He does fair justice; if he give me way,

15 I’ll do his country service.

A.     By whom and in what circumstances is the passage spoken? (Use not more than 50 words.)

B.      What is the dramatic significance of the subject matter of the passage?

C.     What do you consider to be the interest and importance of the way in which this subject matter is expressed?  (In this section you are expected to comment on such matters as diction, imagery and verse.)

 [Flourish.]

ALL. Welcome to Rome, renowned Coriolanus.

CORIOLANUS. No more of this, it does offend my heart.

Pray now, no more.

COM. Look, sir, your mother!

5 CORIOLANUS.   0, You have, I know, petition’d all the gods

For my prosperity!  [Kneels.]

VOL. Nay, my good soldier, up;

My gentle Marcius, worthy Caius, and

10 By deed-achieving honour newly nam’d—

What is it? Coriolanus must I call thee?

But, O, thy wife!

CORIOLANUS. My gracious silence, hail!

Wouldst thou have laugh’d had I come coffin’d home,

15 That weep’st to see me triumph? Ah, my dear,

Such eyes the widows in Corioli wear,

And mothers that lack sons.

MEN. Now the gods crown thee!

CORIOLANUS. And live you yet? [To Valeria] O my sweet lady, pardon

20 VOL. I know not where to turn.

0, welcome home! And welcome, General.

And y’are welcome all.

MEN. A hundred thousand welcomes. I could weep

And I could laugh; I am light and heavy. Welcome!

25 A curse begin at very root on’s heart

That is not glad to see thee! You are three

that Rome should dote on

We have some old crab trees here at home that will not    

Be grafted to your relish.  Yet welcome, warriors.

30 We call a nettle a nettle, and

The faults of fools but folly.

COM. Ever right.

CORIOLANUS. Menenius ever, ever.

HER. Give way there, and go on.

CORIOLANUS [To his wife and mother]. Your hand, and yours.

Ere in our own house I do shade my head,

The good patricians must be visited;

From whom I have received not only greetings

But with them change of honours.

VOL.  I have lived

To see inherited my very wishes,

And the buildings of my fancy; only

There’s one thing wanting, which I doubt not but

Our Rome Will cast upon thee.

CORIOLANUS:  Know, good mother,

I had rather be their servant in my way

Than sway with them in theirs.

COM. On to the Capitol.

[FLOURISH. CORNETS. EXIT IN STATE, AS BEFORE.  BRUTUS AND SICINIUS COME FORWARD.]

BRUTUS:  All tongues speak of him, and the bleared sights

Are spectacled to see him.  Your prattling nurse

Into a rapture lets her baby cry

While she chats him; the kitchen malkin pins

Her richest lockram ‘bout her reechy neck,

Clamering the walls to seye him; stalls, bulks, windows,

Are smothered up, leads filled and ridges horsed,

With variable complexions, all agreeing

In earnestness to see him.  Seld-shown flamens

Do press among the popular throngs and puff

To win a vulgar station; our veil’d dames

60 Commit the war of white and damask in

Their nicely gawded cheeks to th’ wanton spoil

Of Phoebus’ burning kisses. Such a pother,

As if that whatsoever god who leads him

Were slily crept into his human powers,

65 And gave him graceful posture.

A.     By whom and in what circumstances is the passage spoken? (Use not more than 50 words.)

B.      What is the dramatic significance of the subject matter of the passage?

C.     What do you consider to be the interest and importance of the way in which this subject matter is expressed?  (In this section you are expected to comment on such matters as diction, imagery and verse.)

(1) Most sweet voices!

Better it is to die, better to starve,

Than crave the hire which first we do deserve.

Why in this wolvish toge should I stand here

5 To beg of Hob and Dick that do appear

Their needless vouches? Custom calls me to’t.

What custom wills, in all things should we do’t,

The dust on antique time would lie unswept,

And mountainous error be too highly heap’d

10 For truth to o’erpeer. Rather than fool it so,

Let the high offlce and the honour go

To one that would do thus. I am half through;

The one part suffered, the other will I do.

A.     By whom and in what circumstances is the passage spoken? (Use not more than 50 words.)

B.      What is the dramatic significance of the subject matter of the passage?

C.     What do you consider to be the interest and importance of the way in which this subject matter is expressed?  (In this section you are expected to comment on such matters as diction, imagery and verse.)

(1) He that will give good words to thee will flatter

Beneath abhorring. What would you have, you curs,

That like nor peace nor war? The one affrights you,

The other makes you proud. He that trusts to you,

Where he should find you lions, finds you hares;

Where foxes, geese; you are no surer, no

Than is the coal of fire upon the ice

Or hailstone in the sun. Your virtue is

To make him worthy whose offence subdues him,

And curse that justice did it. Who deserves greatness

Deserves your hate; and your affections are

A sick man’s appetite, who desires most that

Which would increase his evil.

(2) O mother, mother!

What have you done? Behold, the heavens do ope,

The gods look down, and this unnatural scene

They laugh at. O my mother, mother! O!

You have won a happy victory to Rome;

But for your son—believe it, O, believe it !—

Most dangerously you have with him prevail’d

If not most mortal to him. But let it come.

Aufidius, though I cannot make true wars,

I’ll frame convenient peace. Now, good Aufidius,

Were you in my stead, would you have heard

A mother less, or granted less, Aufidius?