FRIDAY, JUNE 13, from 2.30 to 5.30 P.M. SECTION I. English. VIII. [Not more than nine questions are to be attempted.] 1. Illustrate the meanings which Wordsworth seems to have given to the words Fancy and Imagination by a comparison (a) of The Waggoner with Peter Bell, (b) of the poems To the Daisy with Yew-trees. 2. In what poems does Wordsworth speak of the cuckoe and the skylark? What are the most characteristic ideas which each of them suggests to him? 3. Point out passages in which Wordsworth (a) attributes joy to nature; (b) gives a separate personality to special scenes or parts of nature; (c) teaches the duty of love and piety to nature, animate and inanimate. 4. Mention and criticise any poems in this volume which deal (a) with painting, () with music. 5. What is the metrical construction of the sonnet most common in Wordsworth? Compare his sonnets with those of any of the writers mentioned in 'Scorn not the Sonnet.' 6. Explain, with reference to the context, the following lines :— (a) 'And this, too, from the Laureate's child, A living lord of melody! How will her sire be reconciled To the refined indignity?' (b) 'Ye gods, thought He, that servile Implement Obeys a mystical intent!' (c) 'Come, if the notes thine ear may pierce, Come, youngest of the lovely three!" (d) Thou liest in Abraham's bosom all the year.' (e) There is a pleasure in poetic pains Which only poets know;-'twas rightly said.' 7. What reasons can be given for the fact that Byron has a far greater European reputation than Wordsworth? 8. Illustrate from these Cantos the main feelings which nature seems to have inspired in Byron; and estimate his powers of description by reference to the passage beginning The sky is changed,' and the passage on the Falls of the Velino. 9. What can be gathered from these two Cantos as to (a) Byron's past life; (b) his relation to the hero of Childe Harold; (c) the way in which he regarded his poetry? 10. Byron has been said to possess in a high degree the power of reasoning in verse. Examine this judgment by reference to these Cantos. 11. Explain, with reference to the context, these passages: (a) In "pride of place" here last the eagle flew, Then tore with bloody talon the rent plain.' (6) (d) By Coblentz, on a rise of gentle ground, (c) 'Lausanne and Ferney! ye have been the abodes (f) 'his country's creaking lyre, That whetstone of the teeth-monotony in wire!' (9) 'In Santa Croce's holy precinct lie Ashes which make it holier.' (h) 'The forum's champion, and the people's chief Her new-born Numa thou-with reign, alas! too brief.' (i) 'Or view the lord of the unerring bow.' MONDAY, JUNE 9, from 2.30 to 5.30 P.M. SECTION III. French and German. I. 1. Translate, explaining etymologically the words in italics : (a) Quant li bons roys ot enseignié son fil mon signour Phelippe l'enfermetés que il avait commença à croistre forment; et demanda les sacremens de sainte Esglise, et les ot en sainne pensée et en droit entendement, ainsi comme il apparut: car quant l'on l'enhuiloit et on disoit les sept pseaumes, il disoit les vers d'une part. (6) Lors fu acordei que la saiete que li enfes leveroit, de celle feroit l'on roy. Et li enfes en leva une, d'icelui saige home qui ainsi les avoit enseigniez; et li peuples en furent si lié que chascuns en fist grant joie. (c) Quant li roys oy ces nouvelles, mout en fu courouciés se amender le peust !). (d) Berrie-Kasel-Agais-Fourcelle-Cendaus. 2. Translate, giving context where you can:- Qu'il a gagné votre âme en faisant votre esclave? (d) Nous ne verrons que nous qui sachent bien écrire. (e) Adieu notre braverie! Voilà le marquisat et la vicomté à bas! (f) Votre œil en tapinois me dérobe mon cœur. (g) On a deviné l'enclouure. (h) Un pain de rive à biseau doré. Explain grammatically the words in italics. 3. What stage in the formation of French does the language of Joinville mark? 4. L'histoire de Joinville est parfois une chanson de geste, parfois un charmant fabliau.' Illustrate this statement. 5. Illustrate from Joinville the characters of St. Louis and of Joinville himself, 6. Courage, Molière, voilà la bonne comédie!' What is it in Molière's comedies that justifies this exclamation, more especially with reference to his predecessors? 7. Give short sketches of the following characters :(a) Gorgibus, (b) Dorante, (c) Philinte, (d) Vadius, (e) Henriette, 8. Compare the scene in which Mascarille repeats his impromptu with that in which Trissotin recites his sonnet. 9. Illustrate from your books the élément éternel in Molière's comedies. TUESDAY, JUNE 10, from 9.30 A. M. to 12.30. SECTION III. French and German. Translate into German : II. (1) In the tenth year of the reign of Nero the capital of the empire was afflicted by a fire which raged beyond the memory or example of former ages. The monuments of Grecian art and of Roman virtue, the trophies of the Punic and Gallic wars, the most holy temples, and the most splendid palaces were involved in one common destruction. Of the fourteen regions or quarters into which Rome was divided, four only subsisted entire; three were levelled with the ground, and the remaining seven, which had experienced the fury of the flames, displayed a melancholy prospect of ruin and desolation. The vigilance of government appears not to have neglected any of the precautions which might alleviate the sense of so dreadful a calamity. The Imperial gardens were thrown open to the distressed multitude, temporary buildings were erected for their accommodation, and a plentiful supply of corn and provisions was distributed at a very moderate price. The most generous policy seemed to have dictated the edicts which regulated the disposition of the streets and the construction of private houses; and, as it usually happens in an age of prosperity, the conflagration of Rome, in the course of a few years, produced a new city, more regular and more beautiful than the former. But all the prudence and humanity affected by Nero on this occasion were insufficient to preserve him from the popular suspicion. Every crime might be imputed to the assassin of his wife and mother. The voice of rumour accused the emperor as the incendiary of his own capital; and as the most incredible stories are the best adapted to the genius of an enraged people, it was gravely reported and firmly believed that Nero, enjoying the calamity which he had occasioned, amused himself with singing to his lyre the destruction of ancient Troy. (2) When the soul applies itself to the performance of any action, or the conception of any object, to which it is not accustomed, there is a certain unpliableness in the faculties, and a difficulty of the spirits' moving in their new direction. As this difficulty excites the spirits, 'tis the source of wonder, surprise, and of all the emotions, which arise from novelty; and is in itself very agreeable, like everything, which enlivens the mind to a moderate degree. But though surprise be agreeable in itself, yet as it puts the spirits in agitation, it not only augments our agreeable affections, but also our painful, according to the foregoing principle, that every emotion which precedes or attends a passion, is easily converted into it. Hence everything, that is new, is most affecting, and gives us either more pleasure or pain, than what, strictly speaking, belongs to it. When it often returns upon us, the novelty wears off; the passions subside; the hurry of the spirits is over; and we survey the objects with greater tranquillity. TUESDAY, JUNE 10, from 2.30 to 5.30 P.M. SECTION III. French and German. 1. Translate: III. (a) Schönste Tugend einer Seele Wenn ein andres Feuer brennet, Flieht dein zärtlich schwaches Licht; Göttin, in dem Paradiese Lebtest du mit uns vereint; Noch erscheinst du mancher Wiese Morgens, eh die Sonne scheint. Nur der sanfte Dichter siehet |