WILIAM SHAKESPEARE : King Lear

1. Discuss the importance of the fool in the play, King Lear

2. How has irony been used by Shakespeare in the play, King Lear?

WILLIAM SHAKESPEARE: Romeo and Juliet

3. Show the effectiveness of the imagery used in the play, Romeo and Juliet.

4. Discuss Shakespeare’s use of soliloquy in the play, Romeo and Juliet.

WILLIAM SHAKESPEARE: Julius Caesar

5. Justify the view that Shakespeare used the supernatural to portray the theme of fate in the play, Julius Caesar

6. Discuss Shakespeare’s use of symbols and motifs in Julius Caesar.

SECTION B

MOLIERE: The Imaginary Invalid.

7. Would you agree that the main character in The Imaginary Invalid are deceived in one way or another? Support your answer.

8. Describe the character of Argan as portrayed in the play, The Imaginary Invalid.

HENRIK IBSEN: A Doll’s House

9. If you were to act the part of Nora in A Doll’s House, what aspects of her character would you display to the audience?

10. What is the roel of the woman characters in the play, A Doll’s House?

OKOITI OMTATAH: Lwanda Magere

11. How far is Lwanda Magere responsible for what happens to him in the play?

12. Compare the characters of the princess and Mikayi in the play, Lwanda Magere. Who has more appeal to you and why?

SECTION C

GEORGE BENARD SHAW: The Devil’s Disciple

13.

JUDITH. I may well be. I don’t knoe what to do. I don’t know what to do. ( Tearing her hands away) I must save him. (Anderson rises in alarm as she runs widly to the door. It is opened inherit face by Essie, who hurries in full of anxiety. The surprise is so disagreeable to Judith that it brings her to her senses. Her tone is sharp and angry as she demands) What do you want?

ESSIE. I was to come to you.

ANDERSON. Who told you to?

ESSIE. (Staring at him, as if his presence astonished her.) Are you here?

JUDITH. Of course. Don’t be foolish, child.

ANDERSON. Gently, dearest: you’ll frighten her. (Gong between them.) come here, Essie. (She comes to him) Who sent you?

ESSIE. Dick. He sent me word by a soldier. I was to come here at once and do whatever Mrs. Anderson told me.

ANDERSON. (enlightened) A soldier! Ah, I see it all now! They have arrested Richard. (Judith makes a gesture of despair)

ESSIE. No. I asked the soldier. Dick’s safe. But the soldier said you had been taken.

ANDERSON. I! (Be wildered, he turns to Judith for an explanation.)

JUDITH. (Coaxingly) All right, dear: I understand. ( To Essie) Thank you, Essie, for coming; but I don’t need you now. You may go home.

ESSIE. (suspicious) Are you sure Dick has not been touched? Perhaps he told the soldier to say it was the minister. (Anxiously) Mrs. Anderson: do you think it can have been that?

ANDERSON. Tell her the truth if it is so, Judith. She will learn it from the first neighbor she meets in the street. (Judith turns away and covers her eyes with her hands.)

ESSIE. (wailing) But what will they do to him? Oh, what will they do to him? Will they hang him? (Judith shudders convulsively, and throws herself into the chair in which Richard sat at the tea table)

ANDERSON. (patting Essie’s shoulder and trying to comfort her) I hope not. I hope not. Perhaps if you’re very quiet and patient, we may be able to help him in some way.

ESSIE. Yes – help him – yes, yes, yes. I’ll be good.

ANDERSON. I must go to him at once, Judith.

JUDITH. (Springing up) Oh no. You must go away – far away, to some place of safety.

ANDERSON. Pooh!

JUDITH. (passionately) Do you want to kill me? Do you think I can bear to live for days and days with every knock at the door –every footstep – giving me a spasm of terror? to lie awake for nights and nights in an agony of dread, listening for them to come and arrest you?

ANDERSON. Do you think it would be better to know that I had run away from my post at the first sign of danger?

JUDITH. (bitterly) Oh, you won’t go. I know it. You’ll stay; and I shall go mad.

ANDERSON. My dear, your duty-

JUDITH. (fiercely)What do I care about my duty?

ANDERSON. (shocked) Judith!

JUDITH. I am doing my duty. I am clinging to my duty. My duty is to get you away, to save you, to leave him to his fate. (Essie utters a cry of distress and sinks on the chair at the fire, sobbing silently) My instinct is the same as hers – to save him above all things, though it would be so much better for him to die! so much greater! But I know you will take your own way as he took it. I have no power. (She sits down sullenly on the railed seat.) I’m only a woman: I can do nothing but sit here and suffer. Only, tell him I tried to save you _ that I did my best to save you.

ANDERSON. My dear, I am afraid he will be thinking more of his own danger than of mine.

JUDITH. Stop; or I shall hate you

ANDERSON. (remonstrating) Come, come, come! How am I to leave you if you talk like this! You are quite out of your senses. (He turns to Essie.) Essie.

ESSIE. (eargerly rising and drying her eyes) Yes?

ANDERSON. Just wait outside a moment, like a good girl: Mrs Anderson s not well. (Essie looks doubtful) Never fear; I’ll come to you presently; and I’ll go to Dick.

ESSIE. You are sure will go to him? (Whispering) You won’t let her prevent you?

ANDERSON. (smiling) No, no: it’s all right. All right. (She goes). That’s a good girl. (He closes the door, and returns to Judith.)

JUDITH. (seated-rigid) You are going to your death.

Questions:

a) What events lead to the exchange in this extract?

b) Describe the prevailing mood in this passage?

c) Discuss the character of Anderson as portrayed in this extract

d) Show how this scene affects the character of Judith later.

R. B SHERIDAN: The School for Scandal

14.

LADY SNEERWELL: Ha, ha, ha! well said, Sir Peter! But you are a cruel creature, too phlegmatic yourself for a jest, and too peevish to allow wit in others.

SIR PETER: Ah, madam, true wit more nearly allied to good nature than your ladyship is aware of.

LADY TEAZLE: True, Sir Peter: I believe they are so near akin that they can never be united.

SIR BENJAMIN: Or rather, madam, suppose them to be man and wife, because one seldom sees them together.

LADY TEAZLE: But Sir Peter is such an enemy to scandal, I believe he would have it put down by parliament.

SIR PETER: ’Fore heaven, madam, if they were to consider the sporting with reputation of as much importance as poaching on manors, and pass an Act for the Preservation of Fame, I believe there are many would thank them for the Bill.

LADY SNEERWELL: O Lud, Sir Peter, would you deprive us of our privileges?

SIR PETER: Aye, madam; and then no person should be permitted to kill characters and run down reputations, but qualified old maids and disappointed widows.

LADY SNEERWELL: Go, you monster!

MRS CANDOUR: But surely you would not be quite so severe on thise who only report what they hear?

SIR PETER: Yes madam, I would have law merchant for them too; and in all cases of slander currency, whenever the drawer of the lie was not to be found, the injured parties should have a right to come on any of the endorsers.

CRABTREE: Well, for my part I believe there never was a scandalous tale without some foundation.

SIR PETER: Oh, nine out of ten of the malicious inventions are founded on some ridiculous misrepresentation.

LADY SNEERWELL: Come, ladies, shall we sit down to cards in the next room?

[Enter a SERVANT, WHO WHISPERS SIR PETER.]

SIR PETER: I’ll be with them directly.

[Exist SERVANT.]

[Aside] I’ll get away unperceived.

LADY SNEERWELL: Sir Peter, you are not leaving us?

SIR PETER: Your ladyship must excuse me; I’m called away by particular business. but I leave my character behind me.

[Exist SIR PETER]

SIR BENJAMIN: Well, certainly, Lady Teazle, that lord of yours is a strange being. I could tell you some stories of him would make you laugh heartily of he were not your husband.

LADY TEAZLE: Oh, pray don’t mind that. Come, do let’s hear them.

[They join the rest of the company, all talking as they are going into the next room.]

JOSEPH: [rising with MARIA]: Maria, I see you have no satisfaction in this society.

MARIA: How is it possible I should? If to raise malicious smiles are the infirmities or misfortunes of those who have never injured us be the province of wit or humor, heaven grant me a double portion of dullness!

JOSEPH: Yet they appear more ill-natured than they are – they have no malice at heart

MARIA: Then is their conduct still more contemptible, for, in my opinion, nothing could excuse the intemperance of their tongues but a natural and ungovernable bitterness of mind.

JOSEPH: Undoubtedly, madam; and it has always been a sentiment of mine, that to propagate a malicious truth wantonly is more despicable than to falsify from revenge. but can you, Maria, feel thus for others, and be unkind to me alone? Is hope to be denied the tenderest passion?

MARIA: Why will you distress me by renewing the subject?

JOSEPH: Ah, Maria, you would not treast me thus, and oppose your guardian Sir Peter’s will, but that I see that profligate Charles is still a favored rival.

MARIA: Ungenerously urged! But whatever my sentiments are of that unfortunate young man, be assured I shall not feel more bound to give him up because of his distresses have lost him the regard even of a brother.

JOSEPH: Nay, but Maria, do not leave me with a frown. By all that’s honest I swear – [Kneels.]

Questions:

a) Place the passage in context.

b) Describe the characters of the following as portrayed in this extract:

i) Joseph Surface

ii) Lady Sneerwell

iii) Maria

c) Briefly discuss the major themes portrayed in the passage.

d) What techniques does the playwright use in this extract?

e) What important lessons do you learn from this extract?

ROBERT BOLT: A Man for All Seasons

15.

HENRY (reproving) Thomas, Thomas, does a man need a Pope to tell him when he’s sinned? It was a sinned? It was a sin, Thomas; I admit it; I repent. And God has punished me; I have no son… Son after son she’s borne me, Thomas, all dead at birth, or dead within the month; I never saw the hand of God so clear in anything … I have a daughter, she’s a good child, a well-set child – But I have no son. (Flares up) It is my bounden duty to put away the Queen and all the Popes back to St. Peter shall not come between me and my duty! How is it thay you cannot see> Everyone else does.

MORE (eagerly) Then why does Your Grace need my poor support?

HENRY Because you are honest. What’s more to the purpose, you’re known to be honest… There are those in Norfolk who follow me because I wear the crown, and there are those like Master Cromwell who follow me because they are jackals with sharp teeth and I am their lion, and there is a mass that follows me because it follows anything that moves – and there is you.

MORE I am sick to think how much I must displease Your Grace.

HENRY No, Thomas, I respect your sincerity. Respect ? Oh, man it’s water in the desert… How did you like our music? That air they played, it had a certain – well, tell me what you thought of it.

MORE (relieved at this turn; smiling) Could it have been your Grace’s own?

HENRY (smiles back) Discovered! Now I’ll never know your true opinion. And that’s irksome, Thomas, for we artists, though we love praise, yet we love truth better.

MORE (mildly) Then I will tell Your Grace truly what I thought of it.

HENRY (a little disconcerted) Speak then.

MORE To me it seemed – delightful.

HENRY Thomas – I chose the right man for Chancellor

MORE I must in fairness add that my taste in music is reputedly deplorable.

HENRY Your taste in music is excellent. It exactly coincides with my own. Ah music! Music! Send them back without me, Thomas; I will live here in Chelsea and make music.

MORE My house is at Your Grace’s disposal

HENRY Thomas, you understand me; we will stay here together and make music.

MORE Will your Grace honor my roof at dinner?

HENRY ( has walked away, blowing moodily on his whistle) Mm? Yes; I expect I’ll below for you…

MORE My wife will be more –

HENRY Yes, yes (He turns, his face set.) Touching this other business, mark you , Thomas, I’ll have no opposition.

MORE (sadly)Your Grace?

HENRY No opposition I say! No opposition! Your conscience is your own affair; but you are my Chancellor! There, you have my word – I’ll leave you out of it. But I don’t take it kindly, Thomas, and I’ll have no opposition! I see how it will be; the Bishops will oppose me. The full-fed, hypocritical ‘Princes of the Church’! Ha! As for the pope! – Am I to burn in hell because the Bishop of Rome with the Emperor’s knife to this throat, mouths me Deuteronomy? Hypocrites! They’re all hypocrites! Mind they do not take you in, Thomas! Lie low if you will, but I’ll brook no opposition – no words, no signs, no letters, no pamphlets – mind that, Thomas – no writings against me!

MORE Your grace is unjust. I am Your Grace’s loyal minister. If I cannot serve Your Grace in this great matter of the Queen –

HENRY I have no Queen! Catherine is not my wife and no priest can make her so, and they that say she is my wife are not only liars … but Traitors! Mind it, Thomas!

Questions:

a) Place the extract in context

b) Describe the characters of Thomas More and King Henry as portrayed in the extract.

c) Briefly discuss the themes brought out in this extract.

d) Describe the mood of this passage.

e) What is the significance of this extract to the development of the plot of the play?

SECTION D

JOHN RUGANDA: Echoes of Silence

16. Discuss the theme of disillusionment as portrayed in the play, Echoes of Silence.

17. What lessons do we learn from the play, Echoes of Silence?

DAVID MULWA: Inheritance

18. Explain the major conflicts in the play, Inheritance. How are they resolved?

19. Discuss the theme of colonialism as portrayed in the play, Inheritance.

FRANCIS IMBUGA: Aminata

20. In what ways is the play, Aminata, a reflection of our contemporary society?

21. Discuss the theme of tradition as portrayed in Aminata.

END