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BBA PRACTICE EXAMINATION

2010
ENGLISH
Level Three
QUESTION AND ANSWER BOOKLET
(PAPER SAVE VERSION)
90722
Respond critically to Shakespearean drama studied.
Credits: Three
Suggested time: 45 minutes
Answer ONE of the questions in this booklet.
Check that this booklet has pages 2-8 in the correct order and that none of these
pages is blank.
HAND THIS BOOKLET TO THE SUPERVISOR AT THE END OF THE EXAMINATION.
.............................................................................................................................................................
STUDENTS NAME
NOT ACHIEVED ACHIEVED ACHIEVED WITH MERIT ACHIEVED WITH EXCELLENCE
Develop a critical
response to specied
aspect(s) of a
Shakespearean drama
using supporting
evidence.
Develop a convincing
critical response to
specied aspect(s) of a
Shakespearean drama
using supporting evidence.
Develop an integrated
and perceptive
critical response to
specied aspect(s) of a
Shakespearean drama
using supporting
evidence.
ASSESSORS USE ONLY
Overall Level of Performance
Achievement Criteria

BBA Educational Resources 2010

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You are advised to spend 45 minutes answering ONE question in this booklet.
Write an essay about ONE Shakespearean play you have studied in class.
You may write about:
EITHER:
Henry V
OR King Lear
OR Much Ado About Nothing
OR Othello
OR The Tempest
At the beginning of your answer on page 8:
circle the studied Shakespearean play you are discussing
write the number of the question
write the letter of the option you have chosen
Choose ONE question for your chosen Shakespearean play.
Write AT LEAST 400 words for your essay.
Your essay should develop a critical response based on close analysis of appropriate
text(s).
You should support your ideas with relevant evidence.
You will be rewarded for perceptive understanding and sustained insight.
Your essay should include:
an introduction stating clearly the focus and scope of the argument
a range of appropriate points supported by accurate and relevant evidence
a reasoned conclusion
Your essay should show accurate use and control of writing conventions.
3
QUESTION ONE: HENRY V
Either:
1. Use the following extracts as a starting point to discuss the effects of persuasive speech making
in the play. Your discussion should involve comparison of the passages AND some consideration
of the play as a whole.
ACT ONE, SCENE TWO
KING HENRY
May I with right and conscience make this claim?
CANTERBURY
The sin upon my head, dread sovereign!
For in the book of Numbers is it writ,
When the man dies, let the inheritance
Descend unto the daughter. Gracious lord,
Stand for your own, unwind your bloody ag,
Look back into your mighty ancestors:
Go, my dread lord, to your great-grandsires tomb,
From whom you claim; invoke his warlike spirit,
And your great-uncles, Edward the Black Prince,
Who on the French ground played a tragedy,
Making defeat on the full power of France,
Whiles his most mighty father on a hill
Stood smiling to behold his lions whelp
Forage in blood of French nobility.
O, noble English, that could entertain
With half their forces the full pride of France
And let another half stand laughing by,
All out of work and cold for action!
ACT FOUR, SCENE THREE
WESTMORELAND
O, that we now had here
But one ten thousand of those men in England
That do no work today!
KING HENRY
Whats he that wishes so?
My cousin Westmoreland? No, my fair cousin,
If we are marked to die, we are enough
To do our country loss, and if to live,
The fewer men, the greater share of honour.
Gods will, I pray thee, wish not one man more.
By Jove, I am not covetous for gold,
Nor care I who doth feed upon my cost,
It yearns me not if men my garments wear;
Such outward things dwell not in my desires.
But if it be a sin to covet honour,
I am the most offending soul alive.
No, faith, my coz, wish not a man from England.
Gods peace, I would not lose so great an honour
As one man more, methinks, would share from me
For the best hope I have. O, do not wish one more.
Rather proclaim it, Westmoreland, through my host,
That he which hath no stomach to this ght,
Let him depart, his passport shall be made
And crowns for convoy put into his purse:
We would not die in that mans company
That fears his fellowship to die with us.
This day is called the feast of Crispian:
He that outlives this day, and comes safe home,
Will stand a tiptoe when this day is named,
And rouse him at the name of Crispian.
[Speech continues]
Or:
2. To what extent does the use of dramatic irony in Henry V deepen the audiences understanding
of character?
Or:
3. Shakespeares primary focus is on those who govern and the ways they exercise power. Use
Henry V to focus a discussion on the extent to which this is true. You may conne your discussion
to Henry V or include other Shakespeare plays you have studied.
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QUESTION TWO: KING LEAR
Either:
1. Use the following extracts as a starting point to discuss the theme of sibling rivalry and its
consequences in the play. Your discussion should involve comparison of the passages AND some
consideration of the play as a whole.
ACT ONE, SCENE TWO
EDMUND
Thou, nature, art my goddess: to thy law
My services are bound. Wherefore should I
Stand in the plague of custom and permit
The curiosity of nations to deprive me
For that I am some twelve or fourteen moonshines
Lag of a brother? Why bastard? Wherefore base?
When my dimensions are as well compact,
My mind as generous, and my shape as true,
As honest madams issue? Why brand they us
With base? With baseness? Bastardy? Base, base?
Who in the lusty stealth of nature take
More composition and erce quality
Than doth within a dull, stale, tird bed.
Go to thcreating a whole tribe of fops
Got tween a sleep and wake? Well then,
Legitimate Edgar, I must have your land:
Our fathers love is to the bastard Edmund
As to thlegitimate ne word, legitimate
Well, my legitimate, if this letter speed
And my invention thrive, Edmund the base
Shall to thlegitimate. I grow, I prosper:
Now, gods, stand up for bastards!
ACT FIVE, SCENE THREE
ALBANY
Where have you hid yourself?
How have you known the miseries of your father?
EDGAR
By nursing them, my lord. List a brief tale,
And when tis told, O, that my heart would burst!
The bloody proclamation to escape
That followed me so near O, our lives sweetness!
That we the pain of death would hourly die
Rather than die at once! taught me to shift
Into a madmans rags, tassume a semblance
That very dogs disdained: and in this habit
Met I my father with his bleeding rings,
Their precious stones new lost, became his guide,
Led him, begged for him, saved him from despair,
Never O, fault! revealed myself unto him
Until some half-hour past, when I was armed.
Not sure, though hoping, of this good success,
I asked his blessing, and from rst to last
Told him our pilgrimage: but his awed heart
Alack, too weak the conict to support
Twixt two extremes of passion, joy and grief,
Burst smilingly.
Or:
2. To what extent does the use of dramatic irony in King Lear deepen the audiences
understanding of character?
Or:
3. Shakespeares primary focus is on those who govern and the ways they exercise power.
Use King Lear to focus a discussion on the extent to which this is true. You may conne your
discussion to King Lear or include other Shakespeare plays you have studied.
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QUESTION THREE: MUCH ADO ABOUT NOTHING
Either:
1. Use the following extracts as a starting point to discuss the theme of mischief making in the play.
Your discussion should involve comparison of the passages AND some consideration of the play
as a whole.
ACT TWO, SCENE THREE
DON PEDRO
Why, what effects of passion shows she?
CLAUDIO
Bait the hook well, this sh will bite. Aside to Don
Pedro, Leonato, and Claudio
LEONATO
What effects, my lord? She will sit you you heard
my daughter tell you how.
CLAUDIO
She did indeed.
DON PEDRO
How, how, I pray you? You amaze me: I would have
thought her spirit had been invincible against all
assaults of affection.
LEONATO
I would have sworn it had, my lord, especially against
Benedick.
BENEDICK
I should think this a gull, but that the white-bearded
fellow speaks it: knavery cannot sure hide himself in
such reverence. Aside
CLAUDIO
He hath taen thinfection hold it up. Aside to them
ACT THREE, SCENE ONE
URSULA
Shes taen, I warrant you: we have caught her, madam.
HERO
If it prove so, then loving goes by haps:
Some Cupid kills with arrows, some with traps.
Exeunt [Hero and Ursula]
BEATRICE She comes forward
What re is in mine ears? Can this be true?
Stand I condemned for pride and scorn so much?
Contempt farewell, and maiden pride adieu!
No glory lives behind the back of such.
And, Benedick, love on, I will requite thee,
Taming my wild heart to thy loving hand.
If thou dost love, my kindness shall incite thee
To bind our loves up in a holy band.
For others say thou dost deserve, and I
Believe it better than reportingly.
Or:
2. To what extent does the use of dramatic irony in Much Ado About Nothing deepen the
audiences understanding of character?
Or:
3. Shakespeares primary focus is on those who govern and the ways they exercise power.
Use Much Ado About Nothing to focus a discussion on the extent to which this is true. You may
conne your discussion to Much Ado About Nothing or include other Shakespeare plays you have
studied.
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QUESTION FOUR: OTHELLO
Either:
1. Use the following extracts as a starting point to discuss the theme of deception in the play.
Your discussion should involve comparison of the passages AND some consideration of the play
as a whole.
ACT ONE, SCENE THREE
IAGO
Thus do I ever make my fool my purse,
For I mine own gained knowledge should profane,
If I would time expend with such a snipe
But for my sport and proft. I hate the Moor:
And it is thought abroad that twixt my sheets
He has done my offce: I know not ift be true,
But I, for mere suspicion in that kind,
Will do as if for surety. He holds me well,
The better shall my purpose work on him.
Cassios a proper man. Let me see now:
To get his place and to plume up my will
In double knavery. How, how? Lets see:
After some time, to abuse Othellos ears
That he is too familiar with his wife.
He hath a person and a smooth dispose
To be suspected, framed to make women false.
The moor is of a free and open nature,
That thinks men honest that but seem to be so,
And will as tenderly be led by thnose
As asses are.
I havet: it is engendred: hell and night
Must bring this monstrous birth to the worlds light.
ACT FIVE, SCENE TWO
LODOVICO
This wretch hath part confessed his villainy.
Did you and he consent in Cassios death?
OTHELLO
Ay.
CASSIO
Dear general, I never gave you cause.
OTHELLO
I do believe it, and I ask your pardon.
Will you, I pray, demand that demi-devil
Why he hath thus ensnared my soul and body?
IAGO
Demand me nothing: what you know, you know:
From this time forth I never will speak word.
LODOVIO
What? Not to pray?
GRATIANO
Torments will ope your lips.
OTHELLO
Well, thou dost best.
Or:
2. To what extent does the use of dramatic irony in Othello deepen the audiences understanding of
character?
Or:
3. Shakespeares primary focus is on those who govern and the ways they exercise power. Use
Othello to focus a discussion on the extent to which this is true. You may conne your discussion to
Othello or include other Shakespeare plays you have studied.
7
QUESTION FIVE: THE TEMPEST
Either:
1. Use the following extracts as a starting point to discuss the theme of exploiting others and its
consequences in the play. Your discussion should involve comparison of the passages AND
some consideration of the play as a whole.
ACT TWO, SCENE TWO
STEPHANO
Here, kiss the book. Though thou canst swim like a
duck, thou art made like a goose.
Gives Trinculo the bottle
TRINCULO
O Stephano, hast any more of this?
STEPHANO
The whole butt, man: my cellar is in a rock by
thseaside, where my wine is hid.
_
How now, moon-
calf? How does thine ague?
CALIBAN
Hast thou not dropped from heaven?
STEPHANO
Out othmoon, I do assure thee: I was the man
ithmoon when time was.
CALIBAN
I have seen thee in her, and I do adore thee: my
mistress showed me thee, and thy dog, and thy bush.
STEPHANO
Come, swear to that: kiss the book: I will furnish it
anon with new contents. Swear.
Gives Caliban the bottle. Caliban drinks
TRINCULO
By this good light, this is a very shallow monster! I
afeard of him? A very weak monster! The man ithmoon?
A most poor, credulous monster! Well drawn, monster, in
good sooth!
ACT FOUR, SCENE ONE
STEPHANO
Monster, lay to your ngers: help to bear this away
where my hogshead of wine is, or Ill turn you out of
my kingdom: go to, carry this.
TRINCULO
And this.
STEPHANO
Ay, and this. They load Caliban with garments
A noise of hunters heard. Enter diverse spirits, in
shape of dogs and hounds, hunting them about,
Prospero and Ariel setting them on
PROSPERO
Hey, Mountain, hey!
ARIEL
Silver! There it goes, Silver!
PROSPERO
Fury, Fury! There, Tyrant, there: hark! Hark! Caliban,
Stephano and Trinculo are driven out
Go, charge my goblins that they grind their joints To Ariel
With dry convulsions, shorten up their sinews
With aged cramps, and more pinch-spotted make them
Than pard or cat omountain.
Or:
2. To what extent does the use of dramatic irony in The Tempest deepen the audiences
understanding of character?
Or:
3. Shakespeares primary focus is on those who govern and the ways they exercise power.
Use The Tempest to focus a discussion on the extent to which this is true. You may conne your
discussion to The Tempest or include other Shakespeare plays you have studied.
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Teachers
use only
Question number: ____________
Option: _____________________
Begin your answer here:
Henry V King Lear Othello The Tempest
Planning. (This planning section will NOT be assessed).
Text type (circle the title of the play you have chosen to answer on):
Much Ado About
Nothing

BBA Educational Resources 2010

Continue your answer on the rell provided. Write your name and the topic/question number
clearly at the top of EACH PAGE you complete. Hand in ALL rell sheets WITH THIS BOOKLET
at the end of the examination to your supervisor.