2017 Literature Written examination - vcaa.vic.edu.au · 29.isława Szymborska, W Sounds, Feelings, Thoughts: Seventy Poems by Wisława Szymborska Discuss the proposition that the

LITERATUREWritten examination

Monday 13 November 2017 Reading time: 11.45 am to 12.00 noon (15 minutes) Writing time: 12.00 noon to 2.00 pm (2 hours)

TASK BOOK

Structure of bookSection Number of

questionsNumber of questions

to be answeredNumber of

marks

A 30 1 20B 30 1 20

Total 40

• Studentsarepermittedtobringintotheexaminationroom:pens,pencils,highlighters,erasers,sharpenersandrulers.

• StudentsareNOTpermittedtobringintotheexaminationroom:blanksheetsofpaper,correctionfluid/tapeanddictionaries.

• Nocalculatorisallowedinthisexamination.

Materials supplied• Taskbookof68pages,includingassessment criteriaonpage68• Oneormoreanswerbooks

The task• Youarerequiredtocompletetwopiecesofwriting:oneforSectionAandoneforSectionB.• Eachpieceofwritingmustbebasedonatextselectedfromthelistonpages2and3ofthistaskbook.• Eachselectedtextmustbefromadifferentcategory(novels,plays,shortstories,otherliterature,

poetry).Youmustnotwriteontwotextsfromthesamecategory.Studentswhowriteontwotextsfromthesamecategorywillreceiveascoreofzeroforoneoftheirresponses.

Instructions• Writeyourstudent numberinthespaceprovidedonthefrontcover(s)oftheanswerbook(s).• Intheanswerbook(s),indicatewhichsectionyouarerespondingtoandthetextnumberofyour

selectedtext.• AllwrittenresponsesmustbeinEnglish.

At the end of the examination• Placeallotherusedanswerbooksinsidethefrontcoverofthefirstanswerbook.• Youmaykeepthistaskbook.

Students are NOT permitted to bring mobile phones and/or any other unauthorised electronic devices into the examination room.

©VICTORIANCURRICULUMANDASSESSMENTAUTHORITY2017

Victorian Certificate of Education 2017

2017LITERATUREEXAM 2

Table of contents

Novels Page

Text number Section A Section B

1. ItaloCalvino Baron in the Trees 4 8–9

2. JosephConrad Heart of Darkness 4 10–11

3. MilesFranklin My Brilliant Career 4 12–13

4. ElizabethGaskell North and South 4 14–15

5. MichaelOndaatje The Cat’s Table 4 16–17

6. KimScott That Deadman Dance 4 18–19

7. ChristinaStead The Man Who Loved Children 4 20–21

8. GiuseppeTomasi diLampedusa

The Leopard 4 22–23

9. JuanGabrielVásquez The Sound of Things Falling 4 24–25

Plays

Text number

10. Aeschylus Agamemnon 5 26–27

11. HenrikIbsen A Doll’s House 5 28–29

12. EugèneIonesco Rhinoceros 5 30–31

13. WilliamShakespeare Coriolanus 5 32–33

14. WilliamShakespeare Twelfth Night 5 34–35

15. GeorgeBernardShaw Pygmalion 5 36–37

16. SamShepard Buried Child 5 38–39

17. TennesseeWilliams Cat on a Hot Tin Roof 5 40–41

Short stories

Text number

18. NikolayGogol The Diary of a Madman, The Government Inspector and Selected Stories

5 42–43

19. CateKennedy Dark Roots 5 44–45

20. AnnieProulx Close Range: Brokeback Mountain and Other Stories

5 46–47

3 2017LITERATUREEXAM

TURN OVER

Other literature Page

Text number Section A Section B

21. JulianBarnes A History of the World in 10½ Chapters 6 48–49

22. SheilaFitzpatrick My Father’s Daughter: Memories of an Australian Childhood

6 50–51

23. WEHStanner The Dreaming & Other Essays 6 52–53

24. Voltaire Candide, or Optimism 6 54–55

Poetry

Text number

25. RobertBrowning Selected Poems 6 56–57

26. TinaChang, NathalieHandaland RaviShankar(eds)

Language for a New Century: Contemporary Poetry from the Middle East, Asia, and Beyond

6 58–59

27. RosemaryDobson Collected 6 60–61

28. SeamusHeaney Opened Ground: Poems 1966–1996 6 62–63

29. WisławaSzymborska Sounds, Feelings, Thoughts: Seventy Poems by Wisława Szymborska

6 64–65

30. ChrisWallace-Crabbe New and Selected Poems 6 66–67

Assessment criteria 68


SECTION A – continued

SECTION A – Literary perspectives

Instructions for Section AYouarerequiredtocompleteonepieceofwritinginresponsetothetopicsetforonetext.Yourselectedtextmustbeusedasthebasisforyourresponsetothetopic.Youarerequiredtoproduceaninterpretationofthetextusingoneliteraryperspectivetoinformyourview.YourselectedtextforSectionAmustbefromadifferentcategorythanyourselectedtextforSectionB.Intheanswerbook,indicatewhichsectionyouarerespondingtoandthetextnumberofyourselectedtext.Yourresponsewillbeassessedaccordingtotheassessmentcriteriasetoutonpage68ofthisbook.SectionAisworth20marks.

Novels

1. Italo Calvino, Baron in the Trees ConsidertheextenttowhichCalvino’sBaron in the Treesisaboutrefusingtoconformtosocial

expectations.

2. Joseph Conrad, Heart of Darkness TowhatextentisConrad’sHeart of Darknessanindictmentofcolonialism?

3. Miles Franklin, My Brilliant Career Franklin’sMy Brilliant Careerdepictsasocietyinwhichchoicesarelimitedforallindividuals.Towhat

extentdoyouagree?

4. Elizabeth Gaskell, North and South North and Southexplorestheconflictsproducedbychangingsocialconditions.Discuss.

5. Michael Ondaatje, The Cat’s Table Attheendofthenarrator’sjourneyinThe Cat’s Table,thereislittletocompensateforwhathasbeen

lost.Discuss.

6. Kim Scott, That Deadman Dance InThat Deadman Dance,thenarrativeraisesthepossibilityofpeacefulcoexistencebetweentwovery

differentcultures.Towhatextentdoyouagree?

7. Christina Stead, The Man Who Loved Children Considerthepropositionthat,inThe Man Who Loved Children,thePollitsareunconventionalyetthe

familydynamicsaredisturbinglyreal.

8. Giuseppe Tomasi di Lampedusa, The Leopard TowhatextentisThe Leopardaconservativetextthatpresentschangenegatively?

9. Juan Gabriel Vásquez, The Sound of Things Falling ReflectontheideathatVásquez’sThe Sound of Things FallingdepictsagenerationofColombians

caughtupinanationaltragedy.


SECTION A – continuedTURN OVER

Plays

10. Aeschylus, Agamemnon TowhatextentisthetitlecharacterinAgamemnonultimatelyresponsibleforhisowndownfall?

11. Henrik Ibsen, A Doll’s House TowhatextentdoesIbsen’sA Doll’s Housesuggestthatindividualscanbeshapedbytheexpectations

ofothers?

12. Eugène Ionesco, Rhinoceros InRhinoceros,Ionescodemonstratesthatemotionalappealscannotbedefeatedbylogicandreason.

Towhatextentdoyouagree?

13. William Shakespeare, Coriolanus Reflectontheideathat,inShakespeare’sCoriolanus,manhoodisahighlyprizedbutfragilestate.

14. William Shakespeare, Twelfth Night Shakespeare’sromanticcomedyTwelfth Nightsuggeststheambiguityofsociallyconstructedgender

roles.Discuss.

15. George Bernard Shaw, Pygmalion Reflectontheideathat,inPygmalion,Shawcriticisessocietyforitsfailuretorecognisethepotentialin

allindividuals.

16. Sam Shepard, Buried Child InBuried Child,ShepardsuggeststhatthearchetypalAmericanfamilyisfundamentallydamaged.

Towhatextentdoyouagree?

17. Tennessee Williams, Cat on a Hot Tin Roof DiscussthepropositionthatcharactersinWilliams’sCat on a Hot Tin Roofarealonebecausetheyfail

todealwiththe‘inadmissiblethings’oflife.

Short stories

18. Nikolay Gogol, The Diary of a Madman, The Government Inspector and Selected Stories InThe Diary of a Madman, The Government Inspector and Selected Stories,Gogoloffersacritiqueof

Russiansociety,invitingustolaughatthefoolishandabsurd.Discuss.

19. Cate Kennedy, Dark Roots Reflectontheideathat,inDark Roots,Kennedyispessimisticaboutthepossibilityofindividuals

maintainingsuccessfulrelationships.

20. Annie Proulx, Close Range: Brokeback Mountain and Other Stories InClose Range: Brokeback Mountain and Other Stories,Proulxshowsthathostility,violenceand

disadvantageshapethelivesofthecentralcharacters.Towhatextentdoyouagree?


END OF SECTION A

Other literature

21. Julian Barnes, A History of the World in 10½ Chapters InBarnes’sA History of the World in 10½ Chapters,multiplenarrativevoicesinvestigatethenatureof

history.Discuss.

22. Sheila Fitzpatrick, My Father’s Daughter: Memories of an Australian Childhood Inhermemoir,Fitzpatrickdemonstratesthatfamilyshapesanindividual’scharacter.Towhatextentdo

youagree?

23. WEH Stanner, The Dreaming & Other Essays Stanner’scritiqueofgovernmentpoliciesinThe Dreaming & Other Essaysshowsthattherehasbeena

systematicattempttoerodeAboriginalidentity.Discuss.

24. Voltaire, Candide, or Optimism Atitscore,Candide, or Optimismexploresvariousresponsestoitscentralquestion:howshouldone

live?Discuss.

Poetry

25. Robert Browning, Selected Poems TowhatextentdothesetpoemsfromBrowning’sSelected Poemsofferacritiqueofthesocialand

moralconventionsofBrowning’stime?

26. Tina Chang, Nathalie Handal and Ravi Shankar (eds), Language for a New Century: Contemporary Poetry from the Middle East, Asia, and Beyond

DiscussthepropositionthatthesetpoemsfromLanguage for a New Century: Contemporary Poetry from the Middle East, Asia, and Beyondviewwritingaspolitical.

27. Rosemary Dobson, Collected InmanyofthesetpoemsfromCollected,Dobsoninvitesthereadertoreflectonthepassingoftimeand

thetransienceoflife.Discuss.

28. Seamus Heaney, Opened Ground: Poems 1966–1996 TowhatextentarethesetpoemsinHeaney’sOpened Groundconcernedwithresolvingtheproblemsof

apersonalandapoliticalidentity?

29. Wisława Szymborska, Sounds, Feelings, Thoughts: Seventy Poems by Wisława Szymborska DiscussthepropositionthatthesetpoemsfromSounds, Feelings, Thoughts: Seventy Poems by

Wisława Szymborskapersonalisethepoliticaltogenerateastrong,emotionalresponse.

30. Chris Wallace-Crabbe, New and Selected Poems ReflectontheideathatthesetpoemsfromWallace-Crabbe’sNew and Selected Poemsareacelebration

oflifeinthefaceofloss.


SECTION B – continuedTURN OVER

SECTION B – Close analysis

Instructions for Section BYouarerequiredtocompleteonepieceofwritingbasedononetextinresponsetothetaskset.Threepassageshavebeensetforeverytext.Thesetpassagesarepresentedintheorderinwhichtheyappearinthenominatedversionofthetext.Thesetpassagesarealsoreproducedastheyappearinthenominatedversionofthetext.Youmustusetwo or moreofthesetpassagesasthebasisforadiscussionabouttheselectedtext.Inyourresponse,referindetailtothesetpassagesandtheselectedtext.Youmayincludeminorreferencestoothertexts.YourselectedtextforSectionBmustbefromadifferentcategorythanyourselectedtextforSectionA.Intheanswerbook,indicatewhichsectionyouarerespondingtoandthetextnumberofyourselectedtext.Yourresponsewillbeassessedaccordingtotheassessmentcriteriasetoutonpage68ofthisbook.SectionBisworth20marks.


SECTION B – continued

Novels

1. Italo Calvino, Baron in the Trees

Use two or more of the set passages as the basis for a discussion of Baron in the Trees.

1.

Iyearnedtofollowhim…thehorngiltandhangingonherneckbyachain.

ItaloCalvino,‘BaronintheTrees’,inOur Ancestors, ArchibaldColquhoun(trans.),Vintage,1998

pp.113and114

Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.

2.

Mybrothersoonmadehimselfuseful…whichwouldburnupthetreeswitheveryoneonthem.


pp.202and203




Novels

1. Italo Calvino, Baron in the Trees

3.

Youthsoonpassesonearth…likeatrioofdrunks.


pp.276and277




Novels

2. Joseph Conrad, Heart of Darkness

Use two or more of the set passages as the basis for a discussion of Heart of Darkness.

1.

Twowomen,onefatandtheotherslim,satonstraw-bottomedchairs,knittingblackwool.Theslimonegotupandwalkedstraightatme—stillknittingwithdowncasteyes—andonlyjustasIbegantothinkofgettingoutofherway,asyouwouldforasomnambulist,stoodstill,andlookedup.Herdresswasasplainasanumbrella-cover,andsheturnedroundwithoutawordandprecededmeintoawaiting-room.Igavemyname,andlookedabout.Dealtableinthemiddle,plainchairsallroundthewalls,ononeendalargeshiningmap,markedwithallthecoloursofarainbow.Therewasavastamountofred—goodtoseeatanytime,becauseoneknowsthatsomerealworkisdoneinthere,adeuceofalotofblue,alittlegreen,smearsoforange,and,ontheEastCoast,apurplepatch,toshowwherethejollypioneersofprogressdrinkthejollylager-beer.However,Iwasn’tgoinginto anyof these. Iwasgoing into theyellow.Dead in thecentre.Andtheriverwasthere—fascinating—deadly—likeasnake.Ough!Adooropened,awhite-hairedsecretarialhead,butwearingacompassionateexpression,appeared,andaskinnyforefingerbeckonedmeintothesanctuary.Itslightwasdim,andaheavywriting-desksquattedinthemiddle.Frombehindthat structurecameoutan impressionofpaleplumpness inafrock-coat.Thegreatmanhimself.Hewasfivefeetsix,Ishouldjudge,andhadhisgriponthehandle-endofeversomanymillions.Heshookhands,Ifancy,murmuredvaguely,wassatisfiedwithmyFrench.Bon voyage. “In about forty-five seconds I foundmyself again in thewaiting-roomwiththecompassionatesecretary,who,fullofdesolation and sympathy,mademe sign somedocument. IbelieveIundertookamongstotherthingsnottodiscloseanytradesecrets.Well,Iamnotgoingto. “Ibegantofeelslightlyuneasy.YouknowIamnotusedtosuchceremonies,andtherewassomethingominousintheatmosphere. Itwas just as though I hadbeen let into someconspiracy—Idon’tknow—somethingnotquiteright;andIwasgladtogetout.Intheouterroomthetwowomenknittedblackwoolfeverishly.Peoplewerearriving,andtheyoungeronewaswalkingbackandforthintroducingthem.Theoldonesatonherchair.Herflatclothslipperswereproppeduponafoot-warmer,andacatreposedonherlap.Sheworeastarchedwhiteaffaironherhead,hadawartononecheek,andsilver-rimmedspectacleshungonthetipofhernose.Sheglancedatmeabove theglasses.Theswiftand indifferentplacidityofthatlooktroubledme.Twoyouthswithfoolishandcheerycountenanceswerebeingpilotedover,andshethrewatthemthesamequickglanceofunconcernedwisdom.Sheseemedtoknowallaboutthemandaboutmetoo.Aneeriefeelingcameoverme.Sheseemeduncannyandfateful.OftenfarawaythereIthoughtofthesetwo,guardingthedoorofDarkness,knittingblackwoolasforawarmpall,oneintroducing,introducingcontinuouslytotheunknown,theotherscrutinisingthecheeryandfoolishfaceswithunconcernedoldeyes.Ave! Oldknitterofblackwool.Morituri te salutant.Notmanyof these shelookedateversawheragain—nothalf,byalongway.

* * *

2.

Atorncurtainofredtwillhunginthedoorwayofthehut,andflappedsadlyinourfaces.Thedwellingwasdismantled;butwecouldseeawhitemanhadlivedtherenotverylongago.Thereremainedarudetable—aplankontwoposts;aheapofrubbishreposedinadarkcorner,andbythedoorIpickedupabook.Ithadlostitscovers,andthepageshadbeenthumbedintoastateofextremelydirtysoftness;butthebackhadbeenlovinglystitchedafreshwithwhitecottonthread,whichlookedcleanyet.Itwasanextraordinaryfind.Itstitlewas,‘AnInquiryintosomePointsofSeamanship,’byamanTowzer,Towson—somesuchname—MasterinhisMajesty’sNavy.Thematterlookeddrearyreadingenough,withillustrativediagramsandrepulsivetablesoffigures,andthecopywassixtyyearsold.Ihandledthisamazingantiquitywiththegreatestpossibletenderness,lestitshoulddissolveinmyhands.Within,TowsonorTowzerwasinquiringearnestlyintothebreakingstrainofships’chainsandtackle,andothersuchmatters.Notaveryenthrallingbook;butatthefirstglanceyoucouldseethereasinglenessofintention,anhonestconcernfortherightwayofgoingtowork,whichmade these humblepages, thought out somanyyears ago,luminouswithanotherthanaprofessionallight.Thesimpleoldsailor,withhistalkofchainsandpurchases,mademeforgetthejungleandthepilgrimsinadelicioussensationofhavingcomeuponsomethingunmistakablyreal.Suchabookbeingtherewaswonderfulenough;butstillmoreastoundingwerethenotespencilledinthemargin,andplainlyreferringtothetext.Icouldn’tbelievemyeyes!Theywereincipher!Yes,itlookedlikecipher.Fancyamanluggingwithhimabookofthatdescriptionintothisnowhereandstudyingit—andmakingnotes—incipheratthat!Itwasanextravagantmystery. “Ihadbeendimlyawareforsometimeofaworryingnoise,andwhenIliftedmyeyesIsawthewood-pilewasgone,andthemanager,aidedbyallthepilgrims,wasshoutingatmefromtheriver-side.Islippedthebookintomypocket.Iassureyoutoleaveoffreadingwasliketearingmyselfawayfromtheshelterofanoldandsolidfriendship. “Istartedthelameengineahead.‘Itmustbethismiserabletrader—this intruder,’ exclaimed themanager, lookingbackmalevolentlyattheplacewehadleft.‘HemustbeEnglish,’Isaid.‘Itwillnotsavehimfromgettingintotroubleifheisnotcareful,’mutteredthemanagerdarkly.Iobservedwithassumedinnocencethatnomanwassafefromtroubleinthisworld. “Thecurrentwasmorerapidnow,thesteamerseemedatherlastgasp,thestern-wheelfloppedlanguidlyandIcaughtmyself listeningon tiptoe for thenextbeatof thefloat, forinsobertruthIexpectedthewretchedthingtogiveupeverymoment.Itwaslikewatchingthelastflickersofalife.Butstillwecrawled.SometimesIwouldpickouta treea littlewayahead tomeasureourprogress towardsKurtzby,but I lostitinvariablybeforewegotabreast.Tokeeptheeyessolongononethingwastoomuchforhumanpatience.Themanagerdisplayedabeautifulresignation.IfrettedandfumedandtooktoarguingwithmyselfwhetherornoIwouldtalkopenlywith



Novels

2. Joseph Conrad, Heart of Darkness

Kurtz;butbeforeIcouldcometoanyconclusionitoccurredtomethatmyspeechormysilence,indeedanyactionofmine,wouldbeamerefutility.Whatdiditmatterwhatanyonekneworignored?Whatdiditmatterwhowasmanager?Onegetssometimessuchaflashofinsight.Theessentialsofthisaffairlaydeepunderthesurface,beyondmyreach,andbeyondmypowerofmeddling.

* * *

3.

“Themanagerappearedsilentlyinthedoorway;Isteppedoutatonceandhedrewthecurtainafterme.TheRussian,eyedcuriouslybythepilgrims,wasstaringattheshore.Ifollowedthedirectionofhisglance. “Darkhuman shapes couldbemadeout in thedistance,flittingindistinctlyagainstthegloomyborderoftheforest,andneartherivertwobronzefigures,leaningontallspears,stoodinthesunlight,underfantastichead-dressesofspottedskins,warlikeandstillinstatuesquerepose.Andfromrighttoleftalongthelightedshoremovedawildandgorgeousapparitionofawoman. “Shewalkedwithmeasured steps, draped in striped andfringedcloths,treadingtheearthproudly,withaslightjingleandflashofbarbarousornaments.Shecarriedherheadhigh;herhairwasdoneintheshapeofahelmet;shehadbrasslegginstotheknee,brasswiregauntletstotheelbow,acrimsonspotonhertawnycheek,innumerablenecklacesofglassbeadsonherneck;bizarrethings,charms,giftsofwitch-men,thathungabouther,glitteredandtrembledateverystep.Shemusthavehadthevalueofseveralelephanttusksuponher.Shewassavageandsuperb,wild-eyedandmagnificent;therewassomethingominous and stately in her deliberate progress.And in thehushthathadfallensuddenlyuponthewholesorrowfulland,theimmensewilderness,thecolossalbodyofthefecundandmysteriouslifeseemedtolookather,pensive,asthoughithadbeenlookingattheimageofitsowntenebrousandpassionatesoul. “Shecameabreastofthesteamer,stoodstill,andfacedus.Herlongshadowfelltothewater’sedge.Herfacehadatragicandfierceaspectofwildsorrowandofdumbpainmingledwith the fear of some struggling, half-shaped resolve. Shestoodlookingatuswithoutastir,andlikethewildernessitself,withanairofbroodingoveraninscrutablepurpose.Awholeminutepassed,andthenshemadeastepforward.Therewasalowjingle,aglintofyellowmetal,aswayoffringeddraperies,and she stopped as if her heart had failed her.The youngfellowbymy side growled.Thepilgrimsmurmured atmyback.Shelookedatusallasifherlifehaddependedupontheunswervingsteadinessofherglance.Suddenlysheopenedherbaredarmsandthrewthemuprigidaboveherhead,asthoughinanuncontrollabledesiretotouchthesky,andatthesametimetheswiftshadowsdartedoutontheearth,sweptaroundontheriver,gatheringthesteamerintoashadowyembrace.Aformidablesilencehungoverthescene. “Sheturnedawayslowly,walkedon,followingthebank,andpassedintothebushestotheleft.Onceonlyhereyesgleamedbackatusintheduskofthethicketsbeforeshedisappeared.

* * *



Novels

3. Miles Franklin, My Brilliant Career

Use two or more of the set passages as the basis for a discussion of My Brilliant Career.

1.

The curse ofEve being uponmy poormother in thosedays,shewasunabletofollowherhusband.Prideforbadeherappealingtoherneighbours,soonmedevolvedthedutyoftrackingmyfatherfromonepubtoanotherandbringinghimhome. HadIdonejusticetomymother’s trainingIwouldhavehonouredmypaternalparentinspiteofallthis,butIamanindividualeverdoingthingsIoughtn’tatthetimeIshouldn’t. Cominghome,oftenaftermidnight,withmydrunkenfathertalkingmaudlinconceitednonsensebesideme, Idevelopedcurious ideason thefifthcommandment.Those journeys inthespring-cartthroughthesoftfaintstarlightwereconducivetothought.Myfather,likemostmenwhenundertheinfluenceofliquor,wouldallownoonebuthimselftohandlethereins,andhewasoftensoincapablethathewouldkeepturningthehorseroundandroundintheoneplace.Itisamarvelwenevermetwithanaccident.Iwasnotnervous,butquitecontenttotakewhatevercame,andourtrustyoldhorsefulfilledhisduty,everfaithfullytakingushomealongthegum-tree-linedroad. MymotherhadtaughtmefromtheBiblethatIshouldhonourmyparents,whethertheyweredeservingofhonourornot. DickMelvynbeingmyfatherdidnotblindmetothefactthathewasadespicable,selfish,weakcreature,andassuchIdespisedhimwiththerelentlessnessoffifteen,whichmakesno allowance for human frailty andweakness.Disgust, nothonour,wasthefeelingwhichpossessedmewhenIstudiedthematter. TowardsmotherIfeltdifferently.Awomanisbutthehelplesstoolofman—acreatureofcircumstances. Seeingmyfatherbesideme,andthinkingofhisinfantwithitsmother,eatingherheartoutwithanxietyathome,thiswasthereasoningwhichtookpossessionofme.AmongothersuchinexpressiblethoughtsIgotlost,grewdizzy,anddrewbackappalledatthespiritwhichwasmaturingwithinme.Itwasagrimlonelyone,whichIvainlytriedtohideinabosomwhichwasnotbigorstrongenoughforitscomfortablehabitation.Itwas as a climbingplantwithout a pole—it groped abouttheground,bruiseditself,andbecamehungrysearchingforsomethingstrongtowhichtocling.Needingamaster-handtotrainandprune,itwasbecomingrankandsour.

* * *

2.

Iputitdowntohisconceit.Ithoughtthathefanciedhecouldwinanywoman,andmewithouttheleastpalaverortrouble.Ifeltannoyed.Isaidaloud,“Iwillbecomeengagedtoyou;”tomyselfIadded,“Justforalittlewhile,themoretosurpriseandtaketheconceitoutofyouwhenthetimecomes.” NowthatIunderstandhischaracterIknowthatitwasnotconceit,butjusthisquietunpretendingway.Hehadmeantallhisactionstowardsme,andhadtakenmineinreturn. “Thankyou,Sybylla,thatisallIwant.Wewilltalkaboutthemattermoresomeothertime.IwillgouptoCaddagatnextSunday.Youhavesurprisedmenearlyoutofmywits,”herehelaughed.“Ineverdreamtyouwouldsayyessoeasily,justlikeanyothergirl.IthoughtIwouldhavealotoftroublewithyou.” Heapproachedmeandwasstoopingtokissme.Icannotaccount formy action or condemn it sufficiently. Itwashysterical—theoutcomeofanover-strung,highlyexcitable,andnervoustemperament.Perhapsmyvanitywaswounded,andmytendencytostrikewhentouchedwasupinarms.ThecalmairofownershipwithwhichHarolddrewnearannoyedme,or,asSunday-schoolteacherswouldexplainit,Satangotholdofme.Hecertainlyplacedalongstrongriding-whiponthetablebeneathmyhand.AsHaroldstoopedwiththeintentionofpressinghislipstomine,Iquicklyraisedthewhipandbroughtitwithallmystrengthrightacrosshisface.The instant thewhiphaddescended Iwouldhave smashedmyarmon thedoorposttorecallthatblow.Butthatwasimpossible.Ithadleftagreatwealonthehealthysun-tannedskin.Hismoustachehadsavedhislips,butithadcaughthisnose,theleftcheek,hadblindedthelefteye,andhadleftacutonthetemplefromwhichdropsofbloodwererollingdownhischeekandstaininghiswhitecoat.Amomentarygleamofangershotintohiseyesandhegaveagasp,whetherofsurprise,pain,orannoyance,Iknownot.Hemadeagesturetowardsme.Ihalfexpectedandferventlywishedhewouldstrike.TheenormityofwhatIhaddoneparalysedme.ThewhipfellfrommyfingersandIdroppedontoalowloungebehindme,andplacingmyelbowsonmykneescrouchinglyburiedmyfaceinmyhands;myhairtumbledsoftlyovermyshouldersandreachedthefloor,asthoughtosympatheticallycurtainmyhumiliation.Oh,thatHaroldwouldthrashmeseverely!Itwouldhaveinfinitelyrelievedme.Ihaddoneameanunwomanly thing in thusstrikingaman,whobyhisgreatstrengthandsexwasdebarredretaliation.Ihadcommittedaviolationofself-respectandcommondecency;I hadgiven aman an ignominiousblow in the facewith ariding-whip.AndthatmanwasHaroldBeecham,whowithallhisstrengthandgreatstaturewassowondrouslygentle—whohadalwaystreatedmywhimsandnonsensewithsomethingliketheamusedtoleranceheldbyagreatNewfoundlandforthepranksofakitten.

* * *



Novels

3. Miles Franklin, My Brilliant Career

3.

DearHarold, Iwillnotgetachanceofspeakingtoyouinthemorning,sowrite.Nevermentionmarriagetomeagain.Ihavefirmlymadeupmymind—itmustbeNo.ItwillalwaysbeacomforttomeintheyearstocometoknowthatIwaslovedonce,ifonlyforafewhours.ItisnotthatIdonotcareforyou,asIlikeyoubetter thananymanIhaveeverseen;butIdonotmeanevertomarry.WhenyoulostyourfortuneIwaswillingtoaccede toyour request,as I thoughtyouwantedme;butnowthatyouarerichagainyouwillnotneedme.Iamnotgoodenough tobeyourwife, foryouareagoodman;andbetter,becauseyoudonotknowyouaregood.Youmayfeeluncomfortableorlonelyforalittlewhile,because,whenyoumakeupyourmind,youarenoteasilythwarted;butyouwillfindthatyourfancyformewillsoonpass.Itisonlyafancy,Hal.Takealookintheglass,andyouwillseereflectedtherethefigureofastalwartmanwhoispurelyvirile,possessingnottheslightestattributeoftheweakersex,thereforeyourloveismerelyapassingflame.Idonotimputeficklenesstoyou,butmerelypointoutamasculinecharacteristic,andthatyouareaman,andonlyaman,pureandunadulterated.Lookaround,andfromthenumbersofgoodwomentobefoundoneverysidechooseonewhowillmakeyouafitterhelpmeet,amoreconventionalcomrade,thanIcouldeverdo.Ithankyoufortheinestimablehonouryouhaveconferreduponme;butkeepittillyoufindsomeoneworthyofit,andbyandbyyouwillbegladthatIhavesetyoufree. Good-bye,Hal!

Yoursincereandaffec.friendSybyllaPenelopeMelvyn

ThenIcreptintobedbesidemylittlesister,andthoughtheairinsidehadnotcooled,andtheroomwaswarm,IshiveredsothatIclaspedthechubby,golden-hairedlittlesleeperinmyarmsthatImightfeelsomethinglivingandrealandwarm. “Oh,Rory,Rory!” Iwhispered, raininguponher lonely-heartedtears.“Inalltheworldisthereneveracomradestrongandtrue to teachmethemeaningof thishollow,grimlittletragedy—life?Willitalwaysbethisghastlyaloneness?WhyamInotgoodandprettyandsimplelikeothergirls?Oh,Rory,Rory,whywasIeverborn?Iamofnouseorpleasuretoanyoneinalltheworld!”

* * *



2.

Margaretfeltintuitively,thatinaninstantallwouldbeuproar;thefirst touchwould cause an explosion, inwhich, amongsuchhundredsofinfuriatedmenandrecklessboys,evenMrThornton’slifewouldbeunsafe,–thatinanotherinstantthestormypassionswouldhavepassedtheirbounds,andsweptawayallbarriersofreason,orapprehensionofconsequence.Evenwhileshelooked,shesawladsinthebackgroundstoopingtotakeofftheirheavywoodenclogs–thereadiestmissiletheycouldfind;shesawitwasthesparktothegunpowder,and,withacry,whichnooneheard,sherushedoutoftheroom,downstairs,–shehadliftedthegreatironbarofthedoorwithan imperiousforce–had thrown thedooropenwide–andwasthere,infaceofthatangryseaofmen,hereyessmitingthemwithflamingarrowsofreproach.Theclogswerearrestedinthehandsthatheldthem–thecountenances,sofellnotamomentbefore,nowlookedirresolute,andasifaskingwhatthismeant.Forshestoodbetweenthemandtheirenemy.Shecouldnotspeak,butheldoutherarmstowardsthemtillshecouldrecoverbreath. ‘Oh,donotuseviolence!Heisoneman,andyouaremany;’butherwordsdiedaway,fortherewasnotoneinhervoice;itwasbutahoarsewhisper.MrThorntonstoodalittleononeside; he hadmoved away frombehindher, as if jealousofanythingthatshouldcomebetweenhimanddanger. ‘Go!’saidshe,oncemore(andnowhervoicewaslikeacry).‘Thesoldiersaresentfor–arecoming.Gopeaceably.Goaway.Youshallhaverelieffromyourcomplaints,whatevertheyare.’ ‘ShallthemIrishblackguardsbepackedbackagain?’askedonefromoutthecrowd,withfiercethreateninginhisvoice. ‘Never, for your bidding!’ exclaimedMrThornton.Andinstantlythestormbroke.Thehootingsroseandfilledtheair–butMargaretdidnothearthem.Hereyewasonthegroupofladswhohadarmedthemselveswiththeirclogssometimebefore.Shesawtheirgesture–sheknewitsmeaning,–shereadtheiraim.Anothermoment,andMrThorntonmightbesmittendown,–hewhomshehadurgedandgoadedtocometothisperilousplace.Sheonlythoughthowshecouldsavehim.Shethrewherarmsaroundhim;shemadeherbodyintoashieldfromthefiercepeoplebeyond.Still,withhisarmsfolded,heshookheroff. ‘Goaway,’saidhe,inhisdeepvoice.‘Thisisnoplaceforyou.’ ‘Itis!’saidshe.‘YoudidnotseewhatIsaw.’Ifshethoughthersexwouldbeaprotection,–if,withshrinkingeyesshehadturnedawayfromtheterribleangerofthesemen,inanyhopethatereshelookedagaintheywouldhavepausedandreflected,andslunkaway,andvanished,shewaswrong.Theirrecklesspassionhadcarriedthemtoofartostop–atleasthadcarriedsomeofthemtoofar;foritisalwaysthesavagelads,withtheirloveofcruelexcitement,whoheadtheriot–recklesstowhatbloodshed itmay lead.Aclogwhizzed through theair.Margaret’sfascinatedeyeswatcheditsprogress;itmisseditsaim,andsheturnedsickwithaffright,butchangednotherposition,onlyhidherfaceonMrThornton’sarm.Thensheturnedandspokeagain:

1.

Margarethadnever spokenofHelstone since she left it,exceptjustnamingtheplaceincidentally.Shesawitindreamsmorevividthanlife,andasshefellawaytoslumberatnightshermemorywanderedinallitspleasantplaces.Butherheartwasopenedtothisgirl:‘Oh,Bessy,Ilovedthehomewehaveleftsodearly!Iwishyoucouldseeit.Icannottellyouhalfits beauty.There are great trees standing all about it,withtheirbranchesstretchinglongandlevel,andmakingadeepshadeofrestevenatnoonday.Andyet,thougheveryleafmayseemstill,thereisacontinualrushingsoundofmovementallaround–notcloseathand.Thensometimestheturfisassoftandfineasvelvet;andsometimesquitelushwiththeperpetualmoistureofalittle,hidden,tinklingbrooknearathand.Andtheninotherpartstherearebillowyferns–wholestretchesoffern;someinthegreenshadow;somewithlongstreaksofgoldensunlightlyingonthem–justlikethesea.’ ‘Ihaveneverseenthesea,’murmuredBessy.‘Butgoon.’ ‘Then,hereandthere,therearewidecommons,highupasifabovetheverytopsofthetrees–’ ‘I’mgladofthat.Ifeltsmotheredlikedownbelow.WhenIhavegoneforanout,I’vealwayswantedtogethighupandseefaraway,andtakeadeepbreatho’fulnessinthatair.IgetsmotheredenoughinMilton,andIthinkthesoundyo’speakofamongthetrees,goingonforeverandever,wouldsendmedazed;it’sthatmademyheadachesointhemill.NowonthesecommonsIreckonthereisbutlittlenoise?’ ‘No,’saidMargaret;‘nothingbuthereandtherealarkhighintheair.SometimesIusedtohearafarmerspeakingsharpandloudtohisservants;but itwassofarawaythat itonlyremindedmepleasantlythatotherpeoplewerehardatworkinsomedistantplace,whileIjustsatontheheatheranddidnothing.’ ‘Iused to thinkonce that if Icouldhaveadayofdoingnothing,torestme–adayinsomequietplacelikethatyo’speakon–itwouldmaybesetmeup.ButnowI’vehadmanydayso’idleness,andI’mjustaswearyo’themasIwaso’mywork.SometimesI’msotiredoutIthinkIcannotenjoyheavenwithoutapieceofrestfirst.I’mratherafeardo’goingstraighttherewithoutgettingagoodsleepinthegravetosetmeup.’ ‘Don’t be afraid,Bessy,’ saidMargaret, layingher handonthegirl’s;‘Godcangiveyoumoreperfectrestthanevenidlenessonearth,orthedeadsleepofthegravecando.’

* * *

Novels

4. Elizabeth Gaskell, North and South

Use two or more of the set passages as the basis for a discussion of North and South.



‘ForGod’ssake!donotdamageyourcausebythisviolence.Youdonotknowwhatyouaredoing.’Shestrovetomakeherwordsdistinct. Asharppebbleflewbyher,grazingforeheadandcheek,anddrawingablindingsheetoflightbeforehereyes.ShelaylikeonedeadonMrThornton’sshoulder.Thenheunfoldedhisarms,andheldherencircledinoneforaninstant: ‘You dowell!’ said he. ‘You come to oust the innocentstranger.Youfall–youhundreds–ononeman;andwhenawomancomesbeforeyou,toaskyouforyourownsakestobereasonablecreatures,yourcowardlywrathfallsuponher!Youdowell!’Theyweresilentwhilehespoke.Theywerewatching,open-eyed andopen-mouthed, the threadof dark-redbloodwhichwakenedthemupfromtheirtranceofpassion.Thosenearest the gate stole out ashamed; therewas amovementthroughallthecrowd–aretreatingmovement.Onlyonevoicecriedout: ‘Th’ stoneweremeant for thee; but thouwert shelteredbehindawoman!’

* * *

Novels

4. Elizabeth Gaskell, North and South

3.

‘[…]Aworkingmancanhardlybemadetofeelandknowhowmuchhisemployermayhavelabouredinhisstudyatplansforthebenefitofhisworkpeople.Acompleteplanemergeslikeapieceofmachinery,apparentlyfittedforeveryemergency.Butthehandsacceptitastheydomachinery,withoutunderstandingtheintensementallabourandforethoughtrequiredtobringittosuchperfection.ButIwouldtakeanidea,theworkingoutofwhichwouldnecessitatepersonalintercourse;itmightnotgowellatfirst,butateveryhitchinterestwouldbefeltbyanincreasingnumberofmen,andatlastitssuccessinworkingcometobedesiredbyall,asallhadborneapartintheformationoftheplan;andeventhenIamsurethatitwouldloseitsvitality,ceasetobeliving,assoonasitwasnolongercarriedonbythatsortofcommoninterestwhichinvariablymakespeoplefindmeansandwaysofseeingeachother,andbecomingacquaintedwitheachother’scharactersandpersons,andeventricksoftemperandmodesofspeech.Weshouldunderstandeachotherbetter,andI’llventuretosayweshouldlikeeachothermore.’ ‘Andyouthinktheymaypreventtherecurrenceofstrikes?’ ‘Notatall.Myutmostexpectationonlygoessofarasthis–thattheymayrenderstrikesnotthebitter,venomoussourcesofhatredtheyhavehithertobeen.Amorehopefulmanmightimagine that a closer andmore genial intercourse betweenclassesmightdoawaywithstrikes.But Iamnotahopefulman.’ Suddenly,asifanewideahadstruckhim,hecrossedovertowhereMargaretwassitting,andbegan,withoutpreface,asifheknewshehadbeenlisteningtoallthathadpassed: ‘MissHale,Ihadaround-robinfromsomeofmymen–IsuspectinHiggins’handwriting–statingtheirwishtoworkforme,ifeverIwasinapositiontoemploymenagainonmyownbehalf.Thatwasgood,wasn’tit?’ ‘Yes.Justright.Iamgladofit,’saidMargaret,lookingupstraightintohisfacewithherspeakingeyes,andthendroppingthemunderhiseloquentglance.Hegazedbackatherforaminute,asifhedidnotknowexactlywhathewasabout.Thensighed;andsaying,‘Iknewyouwouldlikeit,’heturnedaway,andneverspoketoheragainuntilhebidheraformal‘goodnight.’ AsMrLennox tookhisdeparture,Margaret said,withablushthatshecouldnotrepress,andwithsomehesitation, ‘CanIspeaktoyoutomorrow?Iwantyourhelpabout–something.’ ‘Certainly. Iwill come atwhatever timeyouname.Youcannotgivemeagreaterpleasurethanbymakingmeofanyuse.Ateleven?Verywell.’ Hiseyebrightenedwithexultation.Howshewaslearningtodependuponhim!Itseemedasifanydaynowmightgivehim the certainty,withouthavingwhichhehaddeterminednevertooffertoheragain.

* * *



Novels

5. Michael Ondaatje, The Cat’s Table

Use two or more of the set passages as the basis for a discussion of The Cat’s Table.

1.

We considered ourselves good at vacuuming…along thefamiliarruttheyhavemadeforthemselves.

MichaelOndaatje,The Cat’s Table, JonathanCape,2011

pp.79–81


2.

Irememberstillhowwemovedinthatcanal…withoureyeswideopen.


pp.139and140




Novels

5. Michael Ondaatje, The Cat’s Table

3.

we slipped into england in the dark … hordeofpassengerscomingofftheboat.


pp.284and285




Novels

6. Kim Scott, That Deadman Dance

Use two or more of the set passages as the basis for a discussion of That Deadman Dance.

1.

Drenchedwithspray…KingGeorgeTownpeoplecallthisplacenow.

KimScott,That Deadman Dance, Picador,2013

pp.9–11


2.

Asamucholdermanontheharbourshore…Womennolongerseeanoldmanlikehim.


pp.158–160




Novels

6. Kim Scott, That Deadman Dance

3.

Butwhataboutthewhales?…Wouldtheyfindalonewhale?


pp.338–340




2.

LouieandSamchattedforawhileonthisinterestingsubjectofcountenancedmurder,andthenSamtoldLouiethat theymustbeserious,formurderwasreallyaseriousthing,becauseitmeanthate,andhateproducedallthewickednessoftheworld. “Ifyourowndearmotherhadlived,forexample,mylifewouldhavebeenfulfilledanditwouldhavebeenaparadiseforme.Iwouldnothavemindedifhermindhadnotdeveloped,ifshehadjustremainedmyowndearwife,forIshouldhavebeenheartened to goon.Your dearmother understoodmyaims—or,letussay,sheunderstoodmeandurgedmeon,ineverything.Shewasanxiousformetostudyandgeton,notforvulgarsuccess,butbecauseshewasatruewomanwhosehomewasdeartoherandbecauseIwasdeartoherandyoutoo,littleDuckyshecalledyou,andthenbecausesheknewofmyhighambitions,throughmysooftenhavingtoldthemtoher.” “Whatwasyourambition?”askedLouie,fullofinterest.Shetoowasveryambitious.ShewishedtobeaSpartan,forexample:ifshecouldgotothedentistandnevermakeasqueak,shefeltshewouldmakeagreatimpression.Thenshewishedtobecomegreat.Atpresentsheonlyreadaboutmenofdestiny. “Youknowit,Looloo,”herepliedinadeepvoice.“Itistobeofthosewhospreadthelight,thechildrenoflight.” On thewayback,hewas soulfullyhappy.Toamuseherhetoldhersomemoreaboutpermittedmurder,forhecouldseeitamusedher.Insomesecretsocieties,itwasunderstoodthatatraitorwouldbemurderedbyamemberofthesociety:thiswastheunderstandingonwhichheenteredthefraternity.Suicideought tobe recognizedandpermitted, for apersonwascaptainofhisownlife.Murderoftheunfit,incurable,andinsaneshouldbepermitted.Childrenbornmentallydeficientordiseasedshouldbemurdered,andnoneof thesemurderswouldreallybeacrime,forthecommunitywasbenefited,andthegoodofthewholewastheaimofall,orshouldbe. “Murdermight be beautiful, a self-sacrifice, a sacrificeof someone near and dear, for the good of others—I canconceiveofsuchathing,Looloo!Theextinctionofonelife,whenmanyarethreatened,orwhenfuturegenerationsmightsuffer—wouldn’tyou,evenyou,thinkthatafinething?Why,wemightmurderthousands—notindiscriminatelyasinwarnow—butpickingout theunfitandputting thempainlesslyintothelethalchamber.Thisalonewouldbenefitmankindbyclearingthewayforaeugenicrace.Iamgladtosaythatsomeofourstateshavealreadypassedlawswhichseemtopointtoareallyscientificviewofthesethings,inthenearfuture.Butyouareright,Looloo,theoldsavageswentusonebetter—thePolynesiansgottherebeforeus,inaway.” Whentheygothome,Louiewasfullofexcitement.Shehadnevercomesoneartotalkingaboutherownambitions,andSamwasinacomradelymood. “Youwillbeallright,Looloo,”concludedSam,kissinghergoodnight.“Youaremyself;Iknowyoucannotgoastray.” “Iwon’tbelikeyou,Dad.” Helaughed,“Youcan’thelpit:youaremyself.”

* * *

1.

Hennysatdreaming,withtheletterinherlap.ShewasnotnervousandlivelylikethePollits,herhusband’sfamily,who,shesaid,“alwaysbehavedlikechickenswiththeirheadscutoff,” butwould sit there still, so gracefully languid, exceptto runherfingers over the tablecloth, tracing the design inthe damask, or to alter her pose and lean her face on herhandandstareintothedistance,acommonplacehabitwhichlookedverytheatricalinHenny,becauseofherlarge,brighteyeballsandthin,high-curvedblackeyebrows.Shewaslikeatallcraneinthereachesoftheriver,standingwithonelegcrookedand listening.Shewould lookfixedlyathervisionandsuddenlyclosehereyes.Thechildwatching(therewasalways one)would see nothing but the huge eyeball in itsgloveofflesh,deep-sunkinthewrinkledskullhole,thedarkcirclerounditandtheeyebrowfarabove,asitseemed,whileallherskin,unrelievedbybrillianteye,cameoutinitsrealshade,burntolive.Shelookedformidableinsuchmoments,inherintemperatesilence,thebittersetofherdiscoloredmouthwithherunevenslendergambler’snoseandscornfulnostrils,lengthening her sharp oval face, pulling the dry skinfolds.Thenwhensheopenedhereyes,therewouldshootoutalookofhate,horror,passion,orcontempt.Thechildren(theyweregoodchildren,aseveryonesaid)wouldcreepup,soasnottoannoyherandsay,atherelbow,“Moth,canWhiteycomein?”Orsomesuchthing,andshewouldstartandcry, “Whatdoyoumeansneakinguponmelikethat,areyouspyingonmelikeyourfather?”or,“GetoutofmysightbeforeIlandyouone,youcreeper!”or,“Whatdoyoumeantryingtofrightenme,isitsupposedtobefunny?” Andatothertimes,asnow,shewouldsitwithherglanceshovering round the room, running from dustymolding totorn curtain frill, from a nail under the transom left overfrom the lastChristmas to awornpatchon the oilcloth bythedoor,threadbareundersomanythousandlittlefootsteps,notworryingabout them,but consideringeachwell-knownitem,almostamiablefromfamiliarity,almostinterested,asifconsideringanewhowtofixupthesethingswhenfatiguehadgoneandtheteaandresthadputnewenergyintoher. Henny had never lived in an apartment. She was an old-fashionedwoman. She had the calm of frequentation;shebelonged to thishouseand it toher.Thoughshewasaprisonerinit,shepossessedit.Sheanditwerehermarriage.Shewasindwellingineveryboardandstoneofit:everyfoldinthecurtainshadameaning(perhapstheyweresofoldedtohideadarnorstain);everyroomwasaphialofrevelationtobepouredoutsomefeverishnight in thesecret laboratoriesof her decisions, full of living cancers of insult, leprosiesofdisillusion, abscessesofgrudge,gangreneofnevermore,quintanfeversofdivorce,andall theproliferatingmiseries,therunningsoresandthickscabs,forwhich(andnotforitsheavenlyjoys)thefleshofmarriageissoheavilyveiledandconventuallyinterned.

* * *

Novels

7. Christina Stead, The Man Who Loved Children

Use two or more of the set passages as the basis for a discussion of The Man Who Loved Children.



3.

True,theworldwasallearsandeyesforSam’smisfortune,butSamboreitwithnobledignity,fornowatleastpeopleknewwhathehadbornealltheseyears.Butastowherethemoneyhadgone,hewasasinnocentasababe,hetoldthecreditorslateron:itwaslikelightningopeningthegroundathisfeet,andnow,toacertainextent,hecouldunderstandsomeoftherages of the unfortunate, guilty, butmiserablewoman.Shehadbeenharassedbythebloodhoundsofdebt;theirtongueshadbeenbellinginherbrain,theirmawsopeningathershins,theirhell-breathmixingwithherbreathalltheseyears.Yes,ifshehadonlyconfidedinhim,hewouldhavebeenabletodenypubliclyhisresponsibilityandsotakepossibilityofcreditawayfromher,orhewouldhavebeenabletoreinherin,saveherfromthiscriminalrecklessness.Forsheknew,hesaidsadly,toJo,alas!sheknewonlytoowellwhatmoneywastewas:itwasintheblood.Sheknewbetterthanhe,butshewasafoolish,weak,sillywomanwithatasteforextravaganceandnomeansofgratifyingit.Wheredidthemoneygo?Theymustnotaskhim.Hissalarywouldhavebeenampleforasensiblewoman,andheshouldhaveknownbetterthantomarryarichgirlwithnoideaofaplannedeconomy. Now, he proposed a five-year-plan for his creditors: herefusedtoletoneborrowedcentgoroundtheworldinraggedtrouserswithhisnametoit—hewouldpaybackeverything.Hehadnomoney.Theysawinhimapennilessman,whosegoodnamehadbeentornfromhisbackbythewickednessoftheworld,buthewouldwinhiswayback,makeanewworldforhischildren,andpaybackallthemoneythatthewretchedcreaturehadborrowed.Therewasnotevenanysensetoallthiswaste:itwasmerepointlessruin,forthemoneyhadgonetobuyclothesandfoodthatwouldhavebeenpaidforoutofhissalaryifhissalaryhadnotbeeneatenupsecretlybytheloansharksandbloodsuckingusurersagainstwhomhehadnorecourse,sincetheirprocedureswereillegal.HewalkedbacktoSpaHouseabeatenman,withhispocketsoutandhisnamemud-spattered,true,saidhe;butwhatdidhecareforslanderandname-slinging?Infiveyearshewouldhavepaidoffall,andhischildrenwouldbeprouderthaneveroftheirfather’shonor;histruthcrushedtoearthwouldriseagain,fresherfromhermudbath.

* * *

Novels

7. Christina Stead, The Man Who Loved Children



Novels

8. Giuseppe Tomasi di Lampedusa, The Leopard

Use two or more of the set passages as the basis for a discussion of The Leopard.

1.

Now,withhissensibilitytopresagesandsymbols…aswellasthatoflocalbeauty.

GiuseppeTomasidiLampedusa,The Leopard, Vintage,2007

pp.55–57


2.

november,1860as meetings due to themarriage contract becamemorefrequent…ableinanywaytodiscernitsorigins.


pp.102and103




Novels

8. Giuseppe Tomasi di Lampedusa, The Leopard

3.

TherewasorhadbeenasenateinPalermo…simplythatof‘doing’atall.[…]


pp.134–136




2.

ThefirstMondayof1970–adry,tough,hotday,adayofsomuchlightthattheheavensseemedwhiteinsteadofblue–ElainerodeoffonTrumaninthedirectionofGuarinocito,wheretheywerebuildingaschoolandshewasgoingtotalkaboutaliteracyprogrammethevolunteersinthedepartmenthadbeguntocoordinate,andwhenshecamearoundacornershethoughtshesawCarlosandMikeBarbieriinthedistance.Thatevening,whenshegothome,Ricardohadnewsforher:they’dgothimajob,hewasgoingtobeawayforacoupleofdays.HewasgoingtobringacoupleoftelevisionsfromSanAndrés,nothingeasier,buthewouldhavetosleepoveratthedestination.That’showheputit,‘atthedestination’.Elainewas pleased that hewas starting to getwork:maybe, afterall,itwasn’tgoingtobesohardtomakealivingasapilot.‘Everything’sgoingwell,’Elainewrote at thebeginningofFebruary.‘Ofcourse,it’sathousandtimeseasiertoflyalightaircraftonceyouknowhowtoreadtheinstruments thantomakevillagepoliticianscooperatewitheachother.’Sheadded:‘Andharderstillforawoman.’Andthen:

OnethingIhavelearned:sincethepeopleareusedtobeingtoldwhattodo,Ihavebeguntoactlikeapatrón.I’mverysorrytohavetoreportthatitgetsresults.IgotthewomenofVictoria(anearbyvillage)todemandthedoctororganizeanutritionanddental-healthcampaign.Yes,it’soddtoseethe two together, but feeding themselves on sugar-waterwoulddestroyanyone’steeth.So,atleastI’veaccomplishedsomething.It’snotmuch,butit’sastart. Ricardoishappy,that’sforsure.Likeakidinacandystore.He’sstartingtoget jobs,nota lot,butenough.Hedoesn’thavetheflyinghourstobecomeacommercialpilotyet,butthat’sbetter,becausehechargeslessandtheypreferhimfor that (inColombiaeverything’sbetter if it’sdoneunderthecounter).Ofcourse,Iseelessofhim.Heleavesveryearly,flyingoutofBogotáandthesejobseatuphisday.Sometimeshehastosleepoverathisoldhouse,athisparents’house,onhiswayoutoronhiswayback,orboth.Andmeherebymyself.Sometimes it’s infuriatingbut Ihavenorighttocomplain.

* * *

1.

Laverdehandedherthecassettelikeasoldiersurrenderinghisweapon,withfingersvisiblysmudgedwithbluebilliardchalk.Hewent to sit down, submissive as I’d never seenhimbefore, in the armchair thewomanpointed him to; heput on the headphones, leaned back and closed his eyes.Meanwhile,Iwaslookingforsomethingtooccupymytimewhile Iwaited, andmyhandpickedupSilva’spoemsas itmighthavechosenanyotherrecording(Imusthavegivenintothesuperstitionofanniversaries).Isatdowninmychair,pickedupthecorrespondingheadphones,adjustedthemovermyearswiththatfeelingofputtingmyselfbeyondorclosertoreallife,ofstartingtoliveinanotherdimension.Andwhenthe‘Nocturne’begantoplay,whenavoiceIcouldn’tidentify–abaritone thatvergedonmelodrama–read thatfirst linethateveryColombianhaspronouncedaloudat leastonce,InoticedthatRicardoLaverdewascrying.One night all heavy with perfume,saidthebaritoneoverapianoaccompaniment,andafewstepsawayfrommeRicardoLaverde,whowasn’tlisteningtothelinesIwaslisteningto,wipedthebackofhishandacrosshiseyes,thenhiswholesleeve,with murmurs and music of wings.RicardoLaverde’sshouldersbegantoshake;hehunghishead,broughthishands together like someonepraying.And your shadow, lean and languid,saidSilvainthevoiceofthemelodramaticbaritone,And my shadow, cast by the moonbeams.Ididn’tknowwhethertolookatLaverdeornot,whethertoleavehimaloneinhissorroworgoandaskhimwhatwaswrong.IrememberhavingthoughtthatIcouldatleasttakeoffmyheadphones,awaylikeanyotherofopeningaspacebetweenLaverdeandme,ofinvitinghimtospeaktome;andIrememberdecidingagainstit,havingchosenthesafetyandsilenceofmyrecording,wherethemelancholyofSilva’spoemwouldsaddenmewithoutputtingmeatrisk.IguessedthatLaverde’ssadnesswasfullofrisks,Iwasafraidofwhatthatsadnessmightcontain,butmyintuitiondidn’tgofarenoughtounderstandwhathadhappened.Ididn’trememberthewomanLaverdehadbeenwaitingfor,Ididn’trememberhername,Ididn’tassociatehimwiththeaccidentatElDiluvio,butIstayedwhereIwas,inmychairandwiththeheadphoneson,tryingnottointerruptRicardoLaverde’ssadness,andIevenclosedmyeyessoIwouldn’tbotherhimwithmyindiscreetgaze,toallowhimacertainprivacyinthemiddleofthatpublicplace.Inmyhead,andonlyinmyhead,Silvasaid:And they were one single long shadow.Inmyself-containedworld,whereallwasfullofthebaritonevoiceandSilva’swordsandthedecadentpianomusicthatenvelopedthem,atimewentbythatlengthensinmymemory.Thosewholistentopoetryknowhowthiscanhappen,timekeptbythelinesofverselikeametronomeandatthesametimestretchinganddispersingandconfusinguslikedreamtime. WhenIopenedmyeyesLaverdewasnolongerthere.

* * *

Novels

9. Juan Gabriel Vásquez, The Sound of Things Falling

Use two or more of the set passages as the basis for a discussion of The Sound of Things Falling.

©JuanGabrielVásquez,2012;AnneMcLean(trans.);BloomsburyPublishingPlc.;reproducedbypermission



3.

Butmaybe the strangest thing that afternoonwas thateverythingwe sawwe saw in silence.We looked at eachotherfrequently,butweneverspokeanythingmorethananinterjectionoranexpletive,perhapsbecauseallthatwewereseeingwas evoking differentmemories and different fearsforeachofus,anditseemedimprudentorperhapsrashtogorummagingaroundineachother’spasts.Becauseitwasthat,ourcommonpast,thatwastherewithoutbeingthere,liketheunseenrustthatwasrightinfrontofuseatingawayatthecardoorsandrimsandfendersanddashboardsandsteeringwheels.Asfortheproperty’spast,weweren’toverlyinterested:thethingsthathadhappenedthere,thedealsthatweremadeandthelivesthatwereextinguishedandthepartiesthatwereheldand theviolence thatwasplanned,all thatwasabackdrop,scenery.Without awordwe agreedwe’d seen enough andbegantowalktowardstheNissan.AndthisIremember:Mayatookmyarm,orslippedherarminminelikewomenusedtodointimesgoneby,andintheanachronismofhergesturetherewasanintimacyIcouldnothavepredicted,thatnothinghadforetold. Thenitbegantorain. Itwasjustdrizzleatfirst,althoughwithfatdrops,butinamatterofsecondstheskyturnedasblackasadonkey’sbellyandadownpourdrenchedour shirtsbeforewehad time toseekshelteranywhere.‘Shit,that’stheendofourstroll,’saidMaya.BythetimewegottotheNissan,weweresoakedtotheskin;sincewe’drun(shouldersraised,onearmuptoshieldoureyes),thefrontsofourtrouserswerewetthrough,whiletheback,almostdry,seemedmadeofadifferentfabric.Thewindowsofthejeepfoggedupimmediatelywiththeheatofourbreathing,andMayahadtogetaboxoftissuesoutoftheglovecompartmenttocleanthewindscreensowewouldn’tcrash.Sheopenedthevents,ablackgrilleinthemiddleofthedashboard,andwebegantomovecautiouslyforward.Butwehadonlygoneabout100metreswhenMayastoppedsuddenly,rolleddown thewindowas fastasshecouldso I, fromthepassengerseat,couldseewhatshewaslookingat:thirtystepsawayfromus,halfwaybetween theNissanand thepond,ahippopotamuswasstudyingusgravely.

* * *

Novels

9. Juan Gabriel Vásquez, The Sound of Things Falling

©JuanGabrielVásquez,2012;AnneMcLean(trans.);BloomsburyPublishingPlc.;reproducedbypermission



Plays

10. Aeschylus, Agamemnon

Use two or more of the set passages as the basis for a discussion of Agamemnon.

1.

clytaemnestra:Thecity’sours–inourhandsthisveryday!

[…]

leader:[…]Thejoyisworththelabour.

Aeschylus,‘Agamemnon’,inThe Oresteia, RobertFagles(trans.),PenguinClassics,1979

pp.215and216


2.

agamemnon: First,[…]theflatteringmirroroftheproud.


pp.133and134




Plays

10. Aeschylus, Agamemnon

3.

aegisthus: Yousay!youslavesattheoars–whilethemasteronthebenchescracksthewhip?

[…]

clytaemnestra:[…]Nobloodshednow.


pp.170and171




2.

helmer:But,Noradear,youlooktiredout–haveyoubeenrehearsingtoomuch?

nora:No,Ihaven’trehearsedatall.helmer:Oh,butyoushouldhave.nora:Yes,IknowIshouldhave,butIcan’tdoanythingunless

youhelpme,Torvald.I’veforgottenabsolutelyeverything.helmer:Oh,we’llsoonpolishitupagain.nora:Yes,dotakemeinhand,Torvald–promiseyouwill.I’m

sonervous–allthosepeople...Youmustgiveupthewholeevening tome;youmustn’tdoascrapofbusiness–notevenpickupapen!You’lldothat,won’tyou,dearTorvald?

torvald:Ipromise.ThiseveningI’llbewhollyandentirelyatyourservice–youpoorhelplesslittlecreature!Ah,butfirst,whileIthinkofit,Imustjust–[going towards the hall door].

nora:Whatdoyouwantoutthere?torvald:I’mjustseeingifthepost’scome.nora:No,no,Torvald–don’tdothat.helmer:Whynot?nora:Pleasedon’tTorvald–there’snothingthere.torvald:I’lljustlook[He starts to go.]

[nora, at the piano, plays the opening bars of the tarantella.]

helmer[stopping in the doorway]:Aha!nora:Ishan’tbeabletodancetomorrowifIdon’tgoover

itwithyou.helmer[going to her]:Noradear,areyoureallysoworried

aboutit?nora:Yes,terriblyworried.Letmerehearseitnow–there’s

stilltimebeforedinner.Sitdownandplayforme,Torvalddear;criticizeme,andshowmewhereI’mwrong,thewayyoualwaysdo.

helmer:I’dliketo,if that’swhatyouwant.[He sits at the piano.]

[nora pulls a tambourine out of the box, then a long parti-coloured shawl which she quickly drapes round herself. Then, with a bound, she takes up her position in the middle of the floor, and calls:]

nora:Nowplayforme,andI’lldance![helmer plays and nora dances. dr rank stands behind helmer at the piano and looks on.]

helmer[as he plays]:Slower–slower!nora:Icanonlydoitthisway.helmer:Notsoviolently,Nora!nora:Thisishowitshouldgo.helmer[stops playing]:No,no,that’sallwrong.nora [laughing and brandishing her tambourine]:There!

Didn’tItellyou?rank:Letmeplayforher.helmer[rising]:Yes,do;thenIcanshowherbetter.

[rank sits at the piano and plays. nora dances more and more wildly. helmer, taking up a position by the stove, gives her frequent directions as she dances. She seems not to hear them, her hair comes down and falls over her shoulders, but she goes on dancing without taking any notice. mrs linde comes in.]

1.

nora:But...Oh,Iseewhatyoumean–youthinkperhapsTorvaldmightbeabletodosomethingforyou.

mrs linde:Yes,Ithoughthemight.nora:Oh,hewill,Kristina;justleaveittome.I’llbringthe

subjectupverycleverly....I’llthinkofsomewonderfulwaytoputhiminagoodmood....Oh,Ishouldsoliketohelpyou.

mrs linde: It is kind of you,Nora, towant to do this for me...especiallywhenyouknowsolittleaboutthetroublesandhardshipsoflife.

nora:I?Solittle?mrs linde[smiling]:Well,goodheavens,alittlebitofsewing

andthatsortofthing!You’reonlyababy,Nora!nora[crossing the room with a toss of her head]:Don’tbe

sosuperior.mrs linde:No?nora:You’relikealltheothers–younoneofyouthinkIcould

doanythingworthwhile....mrs linde:Well?nora:AndyouthinkI’vehadaneasylife,withnothingto

contendwith.mrs linde: But,Nora dear, you’ve just toldme all your

troubles.norah: Pooh, theywere nothing. [Dropping her voice] I

haven’ttoldyouthereallyimportantthing.mrs linde:Theimportantthing?Whatwasthat?nora:Iexpectyoulookdownonme,Kristina,butyou’veno

rightto.You’reproudbecauseyouworkedsohardforyourmotherallthoseyears.

mrs linde:Idon’tlookdownonanyone;butofcourseI’mproud–andglad–toknowthatIwasabletomakeMother’slastdaysalittleeasier.

nora:Andyou’reproudofwhatyoudidforyourbrothers.mrs linde:IthinkIhaveeveryrighttobe.nora: I quite agree.But now letme tell you something,

Kristina;I’vegotsomethingtobeproudof,too.mrs linde:I’msureyouhave;whatisit?nora:Notsoloud–supposeTorvaldweretohear!Iwouldn’t

havehimfindoutfortheworld.Noonemustknowaboutit–noonebutyou,Kristina.

mrs linde:Butwhatisit?nora:Comeoverhere.[Pulling her down on the sofa beside

her]Ohyes,I’vesomethingtobeproudof.ItwasIwhosavedTorvald’slife.

* * *

Plays

11. Henrik Ibsen, A Doll’s House

Use two or more of the set passages as the basis for a discussion of A Doll’s House.



mrs linde[stopping spellbound in the doorway]: Ah!nora[as she dances]:Oh,thisisfun,Kristina!helmer:But,Nora darling, you’re dancing as if your life

dependedonit!nora:Soitdoes.

* * *

Plays

11. Henrik Ibsen, A Doll’s House

3.

nora[after a short pause]:Doesn’titstrikeyouthatthere’ssomethingstrangeaboutthewaywe’resittinghere?

helmer:No...what?nora:We’vebeenmarried for eight years now.Don’t you

realizethatthisisthefirsttimethatwetwo–youandI,manandwife–havehadaserioustalktogether?

helmer:Serious?Whatdoyoumeanbythat?nora:Foreightwholeyears–no,longerthanthat–eversince

wefirstmet,we’veneverexchangedaseriouswordonanyserioussubject.

helmer:WasItokeepforeverinvolvingyouinworriesthatyoucouldn’tpossiblyhelpmewith?

nora:I’mnottalkingaboutworries;whatI’msayingisthatwe’veneversatdowninearnesttogethertogettothebottomofasinglething.

helmer:But,Noradearest,whatgoodwouldthathavebeentoyou?

nora:That’s just thepoint –you’veneverunderstoodme.I’vebeendreadfullywronged,Torvald–firstbyPapa,andthenbyyou.

helmer:What?Byyourfatherandme?Thetwopeoplewholovedyoumorethananyoneelseintheworld.

nora[shaking her head]:You’veneverlovedme,you’veonlyfounditpleasanttobeinlovewithme.

helmer:Nora–whatareyousaying?nora:It’strue,Torvald.WhenIlivedathomewithPapa,he

usedtotellmehisopinionabouteverything,andsoIhadthesameopinion.IfIthoughtdifferently,Ihadtohideitfromhim,orhewouldn’thavelikedit.Hecalledmehislittledoll,andheusedtoplaywithmejustasIplayedwithmydolls.ThenIcametoliveinyourhouse–

helmer:That’snowaytotalkaboutourmarriage!nora[undisturbed]:ImeanwhenIpassedoutofPapa’shands

intoyours.Youarrangedeverythingtosuityourowntastes,and so I came tohave the same tastes as yours . . . or Ipretendedto.I’mnotquitesurewhich...perhapsitwasabitofboth–sometimesoneandsometimestheother.NowthatIcometolookatit,I’velivedherelikeapauper–simplyfromhandtomouth.I’velivedbyperformingtricksforyou,Torvald.Thatwashowyouwantedit.YouandPapahavecommittedagrievoussinagainstme:it’syourfaultthatI’vemadenothingofmylife.

helmer:That’sunreasonable,Nora–andungrateful.Haven’tyoubeenhappyhere?

nora:No,that’ssomethingI’veneverbeen.IthoughtIhad,butreallyI’veneverbeenhappy.

helmer:Never...happy?nora:No,onlygay.Andyou’vealwaysbeensokindtome.

Butourhomehasbeennothingbutaplay-room.I’vebeenyourdoll-wifehere,justasathomeIwasPapa’sdoll-child.Andthechildrenhavebeenmydollsintheirturn.Ilikeditwhenyoucameandplayedwithme,justastheylikeditwhenIcameandplayedwiththem.That’swhatourmarriagehasbeen,Torvald.

* * *



1.

jean[to Berenger]:Insteadofsquanderingallyoursparemoneyondrink,isn’titbettertobuyaticketforaninterestingplay?

[…]

[A sound of rapid galloping is heard approaching again, trumpeting and the sound of rhinoceros hooves and pantings; this time the sound comes from the opposite direction approaching from back-stage to front, in the left wings.]

EugèneIonesco,‘Rhinoceros’,DerekProuse(trans.),inRhinoceros, The Chairs, The Lesson,

PenguinModernClassics,2000

pp.30–32


Plays

12. Eugène Ionesco, Rhinoceros

Use two or more of the set passages as the basis for a discussion of Rhinoceros.



2.

jean:Itellyouit’snotasbadasallthat.

[…]

jean [from the bathroom in a very hoarse voice, difficult to understand]:Utterrubbish!



pp.79and80


Plays

12. Eugène Ionesco, Rhinoceros

3.

berenger:Justthesightofthemupsetsme.

[…]

berenger [getting up]:Well, I don’twant to accept thesituation.



pp.91–93



SECTION B–continued

2.

cominius Ihavebeeni’th’marketplace;and,sir,’tisfit

Youmakestrongparty,ordefendyourself Bycalmnessorbyabsence.All’sinanger.

menenius Onlyfairspeech.cominius Ithink’twillserve,ifhe

Cantheretoframehisspirit.volumnia Hemust,andwill.

Pritheenow,sayyouwill,andgoaboutit.coriolanus MustIgoshowthemmyunbarbedsconce?MustI

Withmybasetonguegivetomynobleheart Aliethatitmustbear?Well,Iwilldo’t. Yet,weretherebutthissingleplottolose, ThismoldofMartius,theytodustshouldgrindit Andthrow’tagainstthewind.Toth’marketplace! Youhaveputmenowtosuchapartwhichnever Ishalldischargetoth’life.

cominius Come,come,we’llpromptyou.volumnia Ipritheenow,sweetson,asthouhastsaid

Mypraisesmadetheefirstasoldier,so, Tohavemypraiseforthis,performapart Thouhastnotdonebefore.

coriolanus Well,Imustdo’t. Away,mydisposition,andpossessme Someharlot’sspirit!Mythroatofwarbeturned, Whichquiredwithmydrum,intoapipe Smallasaneunuch,orthevirginvoice Thatbabieslullsasleep!Thesmilesofknaves Tentinmycheeks,andschoolboys’tearstakeup Theglassesofmysight!Abeggar’stongue Makemotionthroughmylips,andmyarmedknees, Whobowedbutinmystirrup,bendlikehis Thathathreceivedanalms!Iwillnotdo’t, LestIsurceasetohonormineowntruth Andbymybody’sactionteachmymind Amostinherentbaseness.

volumnia Atthychoice,then. Tobegofthee,itismymoredishonor Thanthouofthem.Comealltoruin!Let Thymotherratherfeelthypridethanfear Thydangerousstoutness,forImockatdeath Withasbigheartasthou.Doasthoulist. Thyvaliantnesswasmine,thousuck’stitfromme, Butowethypridethyself.

coriolanus Pray,becontent. Mother,Iamgoingtothemarketplace. Chidemenomore.I’llmountebanktheirloves, Cogtheirheartsfromthem,andcomehomebeloved OfallthetradesinRome.Look,Iamgoing. Commendmetomywife.I’llreturnconsul, Ornevertrusttowhatmytonguecando I’th’wayofflatteryfurther.

volumnia Doyourwill.Exit Volumnia.

* * *

1.

II.1 Enter Menenius, with the two Tribunes of the People, Sicinius and Brutus.

menenius Theaugurertellsmeweshallhavenewstonight.brutus Goodorbad?menenius Notaccordingtotheprayerofthepeople,forthey

lovenotMartius.sicinius Natureteachesbeaststoknowtheirfriends.menenius Prayyou,whodoesthewolflove?sicinius Thelamb.menenius Ay,todevourhim,asthehungryplebeianswould

thenobleMartius.brutus He’salambindeed,thatbaaslikeabear.menenius He’sabearindeed,thatliveslikealamb.Youtwo

areoldmen:tellmeonethingthatIshallaskyou.both Well,sir.menenius InwhatenormityisMartiuspoorin,thatyoutwo

havenotinabundance?brutus He’spoorinnoonefault,butstoredwithall.sicinius Especiallyinpride.brutus Andtoppingallothersinboasting.menenius Thisisstrangenow.Doyoutwoknowhowyou

arecensuredhereinthecity,Imeanofuso’th’right-handfile?Doyou?

both Why,howarewecensured?menenius Becauseyoutalkofpridenow–willyounotbe

angry?both Well,well,sir,well.menenius Why,’tisnogreatmatter,foraverylittlethiefof

occasionwillrobyouofagreatdealofpatience.Giveyourdispositionsthereinsandbeangryatyourpleasures–attheleast,ifyoutakeitasapleasuretoyouinbeingso.YoublameMartiusforbeingproud?

brutus Wedoitnotalone,sir.menenius Iknowyoucandoverylittlealone,foryourhelps

aremany,orelseyouractionswouldgrowwondroussingle.Yourabilitiesaretooinfantlikefordoingmuchalone.Youtalkofpride:Othatyoucouldturnyoureyestowardthenapesofyournecks,andmakebutaninteriorsurveyofyourgoodselves!Othatyoucould!

brutus Whatthen,sir?menenius Why, then you should discover a brace of

unmeriting, proud, violent, testymagistrates, alias fools,asanyinRome.

* * *

Plays

13. William Shakespeare, Coriolanus

Use two or more of the set passages as the basis for a discussion of Coriolanus.



3.

aufidius Readitnot,noblelords, Buttellthetraitorinthehighestdegree Hehathabusedyourpowers.coriolanus Traitor?hownow?aufidius Ay,traitor,Martius!coriolanus Martius?aufidius Ay,Martius,CaiusMartius!Dostthouthink I’llgracetheewiththatrobbery,thystol’nname “Coriolanus”inCorioles? Youlordsandheadso’th’state,perfidiously Hehasbetrayedyourbusinessandgivenup, Forcertaindropsofsalt,yourcityRome– Isay“yourcity”–tohiswifeandmother, Breakinghisoathandresolutionlike Atwistofrottensilk;neveradmitting Counselo’th’war;butathisnurse’stears Hewhinedandroaredawayyourvictory, Thatpagesblushedathimandmenofheart Lookedwond’ringeachatother.coriolanus Hear’stthou,Mars?aufidius Namenotthegod,thouboyoftears!coriolanus Ha!aufidius Nomore.coriolanus Measurelessliar,thouhastmademyheart Toogreatforwhatcontainsit.Boy?Oslave! Pardonme,lords,’tisthefirsttimethatever Iwasforcedtoscold.Yourjudgments,mygravelords, Mustgivethiscurthelie;andhisownnotion– Whowearsmystripesimpresseduponhim,that Mustbearmybeatingtohisgrave–shalljoin Tothrustthelieuntohim.first lord Peace,both,andhearmespeak.coriolanus Cutmetopieces,Volsces.Menandlads, Stainallyouredgesonme.Boy?Falsehound! Ifyouhavewrityourannalstrue,’tisthere That,likeaneagleinadovecote,I FlutteredyourVolsciansinCorioles. AloneIdidit.Boy?aufidius Why,noblelords, Willyoubeputinmindofhisblindfortune, Whichwasyourshame,bythisunholybraggart, ’Foreyourowneyesandears?all conspirators Lethimdiefor’t.all people Tearhimtopieces!–Doitpresently!– Hekilledmyson!–Mydaughter!–Hekilledmy cousinMarcus!Hekilledmyfather!

Plays

13. William Shakespeare, Coriolanus

second lord Peace,ho!Nooutrage.Peace! Themanisnobleandhisfamefoldsin Thisorbo’th’earth.Hislastoffensestous Shallhavejudicioushearing.Stand,Aufidius, Andtroublenotthepeace.coriolanus OthatIhadhim, WithsixAufidiuses,ormore,histribe, Tousemylawfulsword!aufidius Insolentvillain!all conspirators Kill,kill,kill,kill,killhim! Draw the Conspirators, and kill Martius, who falls. Aufidius stands on him.

* * *



Plays

14. William Shakespeare, Twelfth Night

Use two or more of the set passages as the basis for a discussion of Twelfth Night.

1.

orsino Thereisnowoman’ssidesCanbidethebeatingofsostrongapassionAslovedothgivemyheart;nowoman’sheartSobig,toholdsomuch.Theylackretention.Alas,theirlovemaybecalledappetite,Nomotionoftheliver,butthepalate,Thatsufferssurfeit,cloyment,andrevolt,Butmineisallashungryasthesea,Andcandigestasmuch.MakenocompareBetweenthatloveawomancanbearme,AndthatIoweOlivia.

viola Ay,butIknow–orsinoWhatdostthouknow?viola Toowellwhatlovewomentomenmayowe.

Infaith,theyareastrueofheartaswe.MyfatherhadadaughterlovedamanAsitmightbeperhaps,wereIawoman,Ishouldyourlordship.

orsino Andwhat’sherhistory?viola Ablank,mylord.Shenevertoldherlove,

Butletconcealmentlikeawormi’th’budFeedonherdamaskcheek.Shepinedinthought,AndwithagreenandyellowmelancholyShesatlikePatienceonamonument,Smilingatgrief.Wasnotthisloveindeed?Wemenmaysaymore,swearmore,butindeedOurshowsaremorethanwill:forstillweproveMuchinourvows,butlittleinourlove.

orsino Butdiedthysisterofherlove,myboy?viola Iamallthedaughtersofmyfather’shouse,

Andallthebrothers,too–andyetIknownot.Sir,shallItothislady?

orsino Ay,that’sthetheme.Toherinhaste;giveherthisjewel;sayMylovecangivenoplace,bidenodenay.

* * *

2.

malvolio Bymylife,thisismylady’shand:thesebeherveryc’s,heru’s,andhert’s,andthusmakesshehergreatP’s.Itis,incontemptofquestion,herhand.

sir andrew Herc’s,heru’s,andhert’s:whythat?malvolio [Reads]‘Totheunknownbeloved,this,andmy

goodwishes’–herveryphrases!Byyour leave,wax.Soft!AndtheimpressureherLucrece,withwhich she uses to seal: ’tismy lady.Towhomshouldthisbe?[Opens the letter]

fabian Thiswinshim,liverandall.malvolio [Reads]JoveknowsIlove, Butwho? Lips,donotmove: Nomanmustknow.

‘Nomanmustknow.’Whatfollows?Thenumbersaltered!‘Nomanmustknow’!Ifthisshouldbethee,Malvolio!

sir toby Marry,hangthee,brock!malvolio [Reads]ImaycommandwhereIadore, Butsilence,likeaLucreceknife, Withbloodlessstrokemyheartdothgore; M.O.A.I.dothswaymylife.fabian Afustianriddle!sir toby Excellentwench,sayI.malvolio ‘M.O.A.I.dothswaymylife.’Nay,butfirstlet

mesee,letmesee,letmesee.fabian Whatdisho’poisonhasshedressedhim!sir toby Andwithwhatwingthestanielchecksatit!malvolio ‘ImaycommandwhereIadore.’Why,shemay

commandme: I serveher; she ismy lady.Why,thisisevidenttoanyformalcapacity.Thereisnoobstructioninthis,andtheend–whatshouldthatalphabeticalpositionportend?IfIcouldmakethatresemblesomethinginme–Softly!‘M.O.A.I.’–

sir toby Oay,makeupthat!Heisnowatacoldscent.fabian Sowterwillcryupon’tforallthis,thoughitbeas

rankasafox.malvolio ‘M’–Malvolio.‘M’–why,thatbeginsmyname!fabian Did not I say hewouldwork it out?The cur is

excellentatfaults.malvolio ‘M’– but then there is no consonancy in the

sequel that suffers under probation. ‘A’ shouldfollow,but‘O’does.

fabian AndOshallend,Ihope.sir toby Ay,orI’llcudgelhimandmakehimcry‘O’!malvolio Andthen‘I’comesbehind.fabian Ay,andyouhadanyeyebehindyou,youmightsee

moredetractionatyourheelsthanfortunesbeforeyou.



Plays

14. William Shakespeare, Twelfth Night

malvolio ‘M.O.A.I.’Thissimulationisnotastheformer,andyet,tocrushthisalittle,itwouldbowtome,foreveryoneoftheselettersareinmyname.Soft,here followsprose. [Reads] ‘If this fall into thyhand,revolve.InmystarsIamabovethee,butbenotafraidofgreatness.Someareborngreat,someachievegreatness,andsomehavegreatnessthrustupon’em.Thyfatesopentheirhands;letthybloodandspiritembrace them,and, to inure thyself towhat thouart like tobe,cast thyhumblesloughand appear fresh.Be oppositewith a kinsman,surlywithservants;letthytonguetangargumentsofstate;putthyselfintothetrickofsingularity.Shethus advises thee that sighs for thee.Rememberwhocommendedthyyellowstockingsandwishedtoseetheeevercross-gartered:Isay,remember.Go to, thou artmade if thoudesir’stto be so; if not, letme see thee a steward still,the fellowof servants, and notworthy to touchFortune’sfingers.Farewell.She thatwouldalterserviceswiththee,

TheFortunate-Unhappy.’Daylight and champain discovers not more!This is open. Iwill be proud, Iwill readpoliticauthors,IwillbaffleSirToby,Iwillwashoffgrossacquaintance,Iwillbepoint-device,theveryman.Idonotnowfoolmyself to let imaginationjademe;foreveryreasonexcitestothis,thatmyladylovesme.Shedidcommendmyyellowstockingsoflate,shedidpraisemylegbeingcross-gartered;and in this shemanifests herself tomy love,andwithakindof injunctiondrivesme to thesehabitsofherliking.Ithankmystars,Iamhappy.Iwill be strange, stout, in yellow stockings and cross-gartered,evenwiththeswiftnessofputtingon. Jove andmy stars be praised!Here is yet apostscript. [Reads] ‘Thou canst not choose butknowwhoIam.Ifthouentertain’stmylove,letitappearinthysmiling;thysmilesbecometheewell.Thereforeinmypresencestillsmile,dearmysweet,Iprithee.’Jove,Ithankthee.Iwillsmile;Iwilldoeverythingthatthouwilthaveme. Exit

* * *

3.

olivia Stay!Ipritheetellmewhatthouthink’stofme.

viola Thatyoudothinkyouarenotwhatyouare.olivia IfIthinkso,Ithinkthesameofyou.viola Thenthinkyouright:IamnotwhatIam.olivia IwouldyouwereasIwouldhaveyoube.viola Woulditbebetter,madam,thanIam?

Iwishitmight,fornowIamyourfool.olivia [Aside]Owhatadealofscornlooksbeautiful

Inthecontemptandangerofhislip!Amurd’rousguiltshowsnotitselfmoresoon,Thanlovethatwouldseemhid.Love’snightisnoon.Cesario,bytherosesofthespring,Bymaidhood,honour,truth,andeverything,Ilovetheesothat,maugreallthypride,Norwitnorreasoncanmypassionhide.Donotextortthyreasonsfromthisclause,ForthatIwoo,thouthereforehastnocause;Butratherreasonthuswithreasonfetter:Lovesoughtisgood,butgiv’nunsoughtisbetter.

viola ByinnocenceIswear,andbymyyouth,Ihaveoneheart,onebosom,andonetruth,Andthatnowomanhas;nornevernoneShallmistressbeofit,saveIalone.Andso,adieu,goodmadam;nevermoreWillImymaster’stearstoyoudeplore.

olivia Yetcomeagain:forthouperhapsmaystmoveThatheartwhichnowabhorstolikehislove.

Exeunt

* * *



Plays

15. George Bernard Shaw, Pygmalion

Use two or more of the set passages as the basis for a discussion of Pygmalion.

1.

mrs pearce [returning]Thisistheyoungwoman,sir. The flower girl enters in state. She has a hat with three ostrich feathers, orange, sky-blue, and red. She has a nearly clean apron and the shoddy coat has been tidied a little. The pathos of this deplorable figure, with its innocent vanity and consequential air, touches Pickering, who has already straightened himself in the presence of Mrs Pearce. But as to Higgins, the only distinction he makes between men and women is that when he is neither bullying nor exclaiming to the heavens against some featherweight cross, he coaxes women as a child coaxes its nurse when it wants to get anything out of her.

higgins [brusquely, recognizing her with unconcealed disappointment, and at once, babylike, making an intolerable grievance of it]Why,thisisthegirlIjotteddownlastnight.She’snouse:IvegotalltherecordsIwantoftheLissonGrovelingo;andI’mnotgoingtowasteanothercylinderonit.[To the girl]Beoffwithyou:Idontwantyou.

the flower girl. Dontyoubesosaucy.YouaintheardwhatIcomeforyet.[To Mrs Pearce, who is waiting at the door for further instructions]DidyoutellhimIcomeinataxi?

mrs pearce. Nonsense,girl!whatdoyouthinkagentlemanlikeMrHigginscareswhatyoucamein?

the flowers girl. Oh,weareproud!Heaintabovegivinglessons,nothim:Iheardhimsayso.Well,Iaintcomeheretoask foranycompliment;and ifmymoney’snotgoodenoughIcangoelsewhere.

higgins. Goodenoughforwhat?the flower girl. Goodenoughforyә-oo.Nowyouknow,

dontyou?I’mcomingtohavelessons,Iam.Andtopayforemtә-oo:makenomistake.

higgins [stupent]Well!!![Recovering his breath with a gasp]Whatdoyouexpectmetosaytoyou?

the flower girl. Well,ifyouwasagentleman,youmightaskmetositdown,I think.DontI tellyouI’mbringingyoubusiness?

higgins. Pickering:shallweaskthisbaggagetositdown,orshallwethrowheroutofthewindow?

the flower girl [running away in terror to the piano, where she turns at bay]Ah-ah-oh-ow-ow-ow-oo![Wounded and whimpering]IwontbecalledabaggagewhenIveofferedtopaylikeanylady. Motionless, the two men stare at her from the other side of the room, amazed.

pickering [gently]Butwhatisityouwant?the flower girl. Iwanttobealadyinaflowershopsteadof

sellinatthecornerofTottenhamCourtRoad.ButtheywonttakemeunlessIcantalkmoregenteel.Hesaidhecouldteachme.Well,hereIamreadytopayhim–notaskinganyfavor–andhetreatsmezifIwasdirt.

* * *

2.

higgins [fervently]ThankGodit’sover! Eliza flinches violently; but they take no notice of her; and she recovers herself and sits stonily as before.

pickering. Wereyounervousatthegardenparty?Iwas.Elizadidntseemabitnervous.

higgins. Oh,shewasntnervous.Iknewshe’dbeallright.No:it’sthestrainofputtingthejobthroughallthesemonthsthathastoldonme.Itwasinterestingenoughatfirst,whilewewereatthephonetics;butafterthatIgotdeadlysickofit.IfIhadntbackedmyselftodoitIshouldhavechuckedthewholethinguptwomonthsago.Itwasasillynotion:thewholethinghasbeenabore.

pickering. Ohcome!thegardenpartywasfrightfullyexciting.Myheartbeganbeatinglikeanything.

higgins. Yes,forthefirstthreeminutes.ButwhenIsawweweregoingtowinhandsdown,Ifeltlikeabearinacage,hangingaboutdoingnothing.Thedinnerwasworse:sittinggorgingthereforoveranhour,withnobodybutadamnedfoolofafashionablewomantotalkto!Itellyou,Pickering,neveragainforme.Nomoreartificialduchesses.Thewholethinghasbeensimplepurgatory.

pickering. Youveneverbeenbrokeninproperlytothesocialroutine.[Strolling over to the piano]Iratherenjoydippingintoitoccasionallymyself:itmakesmefeelyoungagain.Anyhow,itwasagreatsuccess:animmensesuccess.IwasquitefrightenedonceortwicebecauseElizawasdoingitsowell.Yousee,lotsoftherealpeoplecantdoitatall:theyresuchfoolsthattheythinkstylecomesbynaturetopeoplein theirposition; and so theynever learn.Theresalwayssomethingprofessionalaboutdoinga thingsuperlativelywell.

higgins. Yes: thatswhat drivesmemad: the silly peopledontknowtheirownsillybusiness.[Rising]However,it’soveranddonewith;andnowIcangotobedatlastwithoutdreadingtomorrow.

Eliza’s beauty becomes murderous.pickering. IthinkIshallturnintoo.Still,it’sbeenagreat

occasion:atriumphforyou.Goodnight.[He goes].higgins [following him]Goodnight. [Over his shoulder, at

the door]Putoutthelights,Eliza;andtellMrsPearcenottomake coffee forme in themorning: I’ll take tea. [He goes out]. Eliza tries to control herself and feel indifferent as she rises and walks across to the hearth to switch off the lights. By the time she gets there she is on the point of screaming. She sits down in Higgins’s chair and holds on hard to the arms. Finally she gives way and flings herself furiously on the floor, raging.

higgins [in despairing wrath outside]WhatthedevilhaveIdonewithmyslippers?[He appears at the door].

* * *



Plays

15. George Bernard Shaw, Pygmalion

3.

liza […]YouthinkImustgobacktoWimpoleStreetbecauseIhavenowhereelsetogobutfather’s.Butdontyoubetoosurethatyouhavemeunderyourfeet tobetrampledonandtalkeddown.I’llmarryFreddy,Iwill,assoonasI’mabletosupporthim.

higgins [thunderstruck]Freddy!!!thatyoungfool!Thatpoordevilwhocouldntgetajobasanerrandboyevenifhehadthegutstotryforit!Woman:doyounotunderstandthatIhavemadeyouaconsortforaking?

liza. Freddylovesme:thatmakeshimkingenoughforme.Idontwanthimtowork:hewasntbroughtuptoitasIwas.I’llgoandbeateacher.

higgins. Whatllyouteach,inheaven’sname?liza. Whatyoutaughtme.I’llteachphonetics.higgins.Ha!ha!ha!liza. I’ll offermyself as an assistant to that hairyfaced

Hungarian.higgins [rising in a fury]What!Thatimpostor!thathumbug!

that toadying ignoramus!Teach himmymethods!mydiscoveries!YoutakeonestepinhisdirectionandI’llwringyourneck.[He lays hands on her].Doyouhear?

liza [defiantly non-resistant]Wringaway.WhatdoIcare?Iknewyoudstrikemesomeday.[He lets her go, stamping with rage at having forgotten himself, and recoils so hastily that he stumbles back into his seat on the ottoman].Aha!NowIknowhowtodealwithyou.WhatafoolIwasnottothinkofitbefore!Youcanttakeawaytheknowledgeyougaveme.YousaidIhadafinerearthanyou.AndIcanbecivilandkindtopeople,whichismorethanyoucan.Aha![Purposely dropping her aitches to annoy him]Thatsdoneyou,EnryIggins,itaz.NowIdontcarethat[snapping her fingers]foryourbullyingandyourbigtalk.I’lladvertizeitinthepapersthatyourduchessisonlyaflowergirlthatyoutaught,andthatshe’llteachanybodytobeaduchessjustthesameinsixmonthsforathousandguineas.Oh,whenIthinkofmyselfcrawlingunderyourfeetandbeingtrampledonandcallednames,whenallthetimeIhadonlytoliftupmyfingertobeasgoodasyou,Icouldjustkickmyself.

higgins [wondering at her]Youdamnedimpudentslut,you!Butit’sbetterthansnivelling;betterthanfetchingslippersandfindingspectacles,isntit?[Rising]ByGeorge,Eliza,IsaidI’dmakeawomanofyou;andIhave.Ilikeyoulikethis.

liza. Yes:youcanturnroundandmakeuptomenowthatI’mnotafraidofyou,andcandowithoutyou.

higgins. OfcourseIdo,youlittlefool.Fiveminutesagoyouwerelikeamillstoneroundmyneck.Nowyoureatowerofstrength:aconsortbattleship.YouandIandPickeringwillbethreeoldbachelorsinsteadofonlytwomenandasillygirl. Mrs Higgins returns, dressed for the wedding. Eliza instantly becomes cool and elegant.

mrs higgins. Thecarriageiswaiting,Eliza.Areyouready?liza. Quite.IstheProfessorcoming?mrs higgins. Certainlynot.Hecantbehavehimselfinchurch.

Hemakesremarksoutloudallthetimeontheclergyman’spronunciation.

liza. ThenIshallnotseeyouagain,Professor.Goodbye.[She goes to the door].

* * *



Plays

16. Sam Shepard, Buried Child

Use two or more of the set passages as the basis for a discussion of Buried Child.

1.

dodge:Turnitoff!Turnthedamnthingoff!What’sitdoingon?

[…] dodge sleeps on, undisturbed.)

SamShepard,Buried Child, VintageBooks,2006

pp.40and41


2.

shelly:Doyoudomuchdrivingnow?

[…]

tilden:[…]Youprobablywantyourcoatbacknow.IwouldifIwasyou.(shelly stares at the coat but doesn’t move to take it.[…])


pp.76–79




Plays

16. Sam Shepard, Buried Child

3.

halie: Oh,shutup,Bradley!Justshutup!Youdon’tneedyourlegnow!

[…]

dewis: Well,youcanhardlyblameothersfornotfulfillingyourhallucination.


pp.105and106




Plays

17. Tennessee Williams, Cat on a Hot Tin Roof

Use two or more of the set passages as the basis for a discussion of Cat on a Hot Tin Roof.

1.

margaret: You’retheonlydrinkin’manIknowthatitneverseemst’putfaton.

[…]

BigDaddyisdyingofcancer...

TennesseeWilliams,Cat on a Hot Tin Roof, PenguinModernClassics,2009

pp.9and10


2.

brick: Whocanfacetruth?Canyou?

[…]

[He takes the crutch from Big Daddy’s loose grip and swings out on the gallery leaving the doors open.(…)]


pp.67and68




Plays

17. Tennessee Williams, Cat on a Hot Tin Roof

3.

big mama: […] Oh,youknowwejustgottoloveeachotheran’stay

[…]

margaret: Gracious! I didn’t know that my littleannouncementwasgoingtoprovokesuchastorm!


pp.87and88




Short stories

18. Nikolay Gogol, The Diary of a Madman, The Government Inspector and Selected Stories

Use two or more of the set passages as the basis for a discussion of The Diary of a Madman, The Government Inspector and Selected Stories.

1.

How Ivan Ivanovich Quarrelled with Ivan Nikiforovich

However, toputmatters right…Everythingwent to thedevil...

NikolayGogol,The Diary of a Madman, The Government Inspector and Selected Stories,

PenguinClassics,2005

pp.73and74


2.

Nevsky Prospekt

Thus perished a victim of insane passion… they areconsideredcultured,highlyeducatedmen.



pp.100and101




Short stories

18. Nikolay Gogol, The Diary of a Madman, The Government Inspector and Selected Stories

3.

The Carriage

‘Veryfine,veryfine!’…Thecolonel,majorandtheotherofficersthankedhimwithpolitebows.



pp.202and203




2.

Seizure

Allshecouldthinkof…Thatwastheword.

CateKennedy,Dark Roots, Scribe,2012

pp.110and111


1.

Resize

He’ddriventhecarontheirfirstdate…cupsrimmedwithtidemarksofcoffee.


pp.61and62


Short stories

19. Cate Kennedy, Dark Roots

Use two or more of the set passages as the basis for a discussion of Dark Roots.



3.

Direct Action

And,lastofall…thelevelsintheacetylenetank.


pp.134–136


Short stories

19. Cate Kennedy, Dark Roots



Short stories

20. Annie Proulx, Close Range: Brokeback Mountain and Other Stories

Use two or more of the set passages as the basis for a discussion of Close Range: Brokeback Mountain and Other Stories.

1.

The Half-Skinned Steer

Hisinterestinwomenbegan…Theanthropologistlaughed.

AnnieProulx,Close Range: Brokeback Mountain and Other Stories,HarperPerennial,2006

pp.26and27


2.

The Bunchgrass Edge of the World

WhatwasthereforOttaline…anOregoncattledrive).


pp.140–142




Short stories

20. Annie Proulx, Close Range: Brokeback Mountain and Other Stories

3.

A Lonely Coast

All threewomenhadbeenmarried…Mustbecuddlyasapileasticks.”


p.216




2.

The Mountain

Theyhadclimbedhardallafternoon…waysaswell.

JulianBarnes,A History of the World in 10½ Chapters, Vintage,2009

pp.162and163


1.

The Survivor

She remembered the reindeer…especially the partswedon’tlike.


pp.83and84


Other literature

21. Julian Barnes, A History of the World in 10½ Chapters

Use two or more of the set passages as the basis for a discussion of A History of the World in 10½ Chapters.



3.

Parenthesis

Infourteenhundredandninety-three…Buttheywentandfounditjustthesame.


pp.241–243


Other literature

21. Julian Barnes, A History of the World in 10½ Chapters



Other literature

22. Sheila Fitzpatrick, My Father’s Daughter: Memories of an Australian Childhood

Use two or more of the set passages as the basis for a discussion of My Father’s Daughter: Memories of an Australian Childhood.

1.

Speak, Memory

Unlikemymother,whowasverydefinitelypartofafamily,my father stood alone, self-fashioned, aswas appropriateforonesogreat.Heactuallydidhaveafamily,ashewouldadmitunderquestioning,butitwasirrelevanttohim,whichIheardwithawe.Hismotherandfather—IrishCatholic,asIunderstood(inaccurateonbothcounts,asitlaterturnedout,butthatwasmyfather’smythologyofhisfamily),incontrasttomymother’sScottishPresbyterians—werebothdead,andhehadbeenverysadwhenhismotherdied(hedidnotsayanything about his reaction to his father’s death).He hadmanysiblings,buttheonlyoneIknewasachildwasKevin,themiddle brother,whomBrian seemed to regardmore inthelightofacivillibertiescasethanasibling(therehadbeensometroublewhenhewasservinginthearmyinWorldWarII).Brianclaimednottobeabletorememberthenamesofallhissistersand,whenoneofthemgreetedhimbynameonthetram,hethoughtshewasbeingover-familiar(notrecognisingher,owingtohisshortsight)andsnubbedher;thatwasoneofhisfunnystories.Formeasasmallchild,thiswasanotherproofofhisremarkablesingularity. WhenIwasolder,butstillquiteyoung,heusedtotakemeout—intotownonthetram,toconcerts,torestaurants,atleastoncetoaMayDayprocession—andintroducedmeproudlytohisfriends.Doffmusthavecomesometimes,butoftenthetwoofuswentalone.Everyoneknewhim,andhekneweveryone.Inmyeyes,hewastheultimateinsavoir faireandsavoir vivre:Icouldnotimaginehimatadisadvantageoratalosstodealwithasituation.Hewasmyaudience,theonewhocouldbecountedontowatchasIjumpedfromatreebranchandlistenwhenIspoke(notalwaystoobusy,likeMummy),theonewhowassurenotonlytoapplaudbuttodosointelligently(notlikethegreat-aunts,Ishiealwaysexcepted,whooftendidn’tgetthepoint).Mylove,prideandadmirationforhimwerefullyreciprocated; I felt him to be an absolutely reliable sourceof encouragement and approval, and indeed, seeingmyselfthroughhiseyes,hadnothingbutapprovalandadmirationformyself.Itwasimpossibletoimagineabetterfather.

* * *

2.

Now What?

Whatevermyfather thoughtaboutbeingpassedover,hewasextremelysupportiveofmymotherinherfirstmonthsatMonash.Itmademeconsciousagainofallhisgoodqualities:the loyalty and generosity, the instinct to sympathise andsupport, the competence andworldly commonsense.Doffwasvery anxious about the new job, both in its social andintellectualaspects;andBrianwasanassettoher,ashehadbeentomeasafirst-yearuniversitystudent:peopleknewwhohewas,andthatmadeheraninterestingpersontomeet.Shestarted invitingMonash colleagues home for small parties,something almost unthinkableunder the closed-doorpolicywithwhichwehadgrownup.Briandidn’tspoil thepartiesby being drunk, presumably the result of conscious effort,for‘makingyourMonash-peoplepartiessuccessful’wasoneofthefewvirtueshelaterclaimedasahusband.Perhapstheself-restraintwasonly temporary,but it lasted longenoughtolaunchDoffsociallyatMonash.Irememberhimatthoseearlyparties,charmingtothewomen,friendlytothemen,notpatronising,notpompous,alwaysacentreofattention(butinawaythatbroughtDoffintoo),alivelyraconteurandattentivehost.Fleetingly,perhaps,thehusbandshehadthoughtshewasmarryingtwentyyearsearlier. Itwasastonishingtoseethechangeinher.First,shelostalotofweight;thensheboughtclothes,startedusinglipstick,changedherhairstyle.Sheacquiredanewmanner,onewitha good deal of sweetness alongwith thewrywit and anaffectionateand interestedconcern for theyoung tutorssheworkedwith(‘likeamothertous’,theytellme).Shemadefriends,especiallywiththeyoung.Shelearnedtodrive,sinceMonashwashardtoreachbypublictransport,andboughtacar.Nothingcouldstopherrelentlessnegativism,ofcourse,herhabitofpickingawayatanygeneralisationanddeconstructinganyparadigm,butnowitwasdonewithacertainlightness,evenwhimsically.Thatwas ‘justDorothy’, peoplewouldsay indulgently (Dorothy,notDoff,was thenamesheusedatMonash).Likeme,thoughafewyearslater,shehadbeenmiraculouslyliberatedfromthemiseriesofhomeandrecoveredthecapacityofenjoyment.ShefellinlovewithMonash—thestaff,thestudents,theinstitutionanditspolitics,everythingaboutit—andtalkedsomuchabouthercolleaguesthatwecametowinceatthesoundoftheirnames,thoughgratefulfortheirexistence inDoff’s life.Shebecamepassionately interestedinthehistoryshetaught,particularlytheRenaissancecourse.While shewasnever a practising historian, in the sense ofwritingscholarlybooksandarticles,shereadverywidely;greatpilesofPenguinsrosefromthedeskshehadinstalledinthelivingroom.Oneoftheendearingthingsaboutheratthistimewasheraimtolearnallofhumanhistory,thatis,thehistoryofalltimesandplaces,notbecauseshewantedtogeneralise(heavenforbid!)butforthesakeofcompleteness.

* * *



Other literature

22. Sheila Fitzpatrick, My Father’s Daughter: Memories of an Australian Childhood

3.

Afterword

TheyplayedBeethoven’s‘Eroica’atmyfather’sfuneral.Itwasappropriate;hewasaBeethovenman.Andheroic,iflookedatfromtherightangle.Myproblemwasthat,aftertheendofchildhood,Inevercouldgettheangleright.Ordidn’twantto. That’spresumablywhyIhavevirtuallynomemoryofthetributespaidtomyfatherathisTestimonialDinnerin1964.Goodspeechesweremadeatthatdinner,thoughIdon’tseemtohaveheardthem;hisfriendsandadmirersmanagedtocapturealikenesswhileatthesametimeshowinghim,asthegenredemands,inthebestpossiblelight.BillCookoftheRationalistSocietycalledhim:

a rare man who has always been prepared to argue in a cause which he holds to be right and humane, without regard to his own profit… He has appointed himself a kind of Ombudsman (unpaid) for the protection of rights under common law… He has always refused to obey the unwritten law: thou shalt do as thou art told and not ask why… Some might question whether a government of Brian Fitzpatricks would be in the national interest. But a democracy without at least one would be a poorer place…

Well,that’sfairenough,touseafavouritephraseofBrian’s.ButLaborSenatorSamCohenwasright,too,toquestionwhetheronecouldspeakevenhypotheticallyofagovernment,oranyothercollectiveentity,ofBrianFitzpatrick’s:‘youdon’ttalkabout“peoplelikeBrianFitzpatrick”…Hewas“suigeneris”…’Therewasa lotof talkat thedinneraboutBrian tiltinghislance,animagethatforsomereasonmakesmethinkofamedievalknightonarockinghorse.Still,themetaphordidneatlycombineBrian’sfondnessforpoliticalandintellectualcombatandhisoccupationalstatusasafreelancer:‘Hemightbecalledafreelance,buthislanceisnotforsale…’(BillCookagain),andSamCohenaddedthat:

he has never tilted his lance in a personal sense, and that’s a reason you are all here tonight, people of so many different views—because none of you have ever had a bitter personal encounter with Brian; in conducting his public activities he is devoid of bitterness and hate.

Tobesure,therewassomehyperbole.Oneofthespeakersathisfuneral(forsomereasonreportedinthesameissueofThe RationalistastheTestimonialDinner)spokeofhimturninghis backnot only on the pampered andprotectedworld ofacademiabutalsoon the‘glitteringprizes’of journalisminorder‘toputhisgreat talentsat theserviceof thepoor, theweak,thesuffering—victimsofinjusticewhohadno-onetodefendthemortorighttheirwrongs’,whichseemstoglossover thequestionofwho turned their backsonwhom.Butthedinnerspeakersdidn’tentirelyignorethenegative:ClemChristesen,theeditorofMeanjin,managedtosqueezeinanAudenquotationtotheeffectthatapersonmightbe‘wrongandattimesabsurd’butstill,likeBrian,anexemplarofurbanity,tolerance,compassionandcourage.‘His influenceuponmehasbeengreaterthananyotherman’s’,saidClem,asignificant

tributefromonewholikedtheinfluencetrajectorytogotheotherway;headdedsternlythatmostpeoplepresentwouldhavetoagreethat‘BrianFitzpatrickhasbeenyourteacher[hemeantamoralteacher],too’.Aconsciencefortherestofus,othersechoed.ThinkwhatyouwillofFitzpatrick,saidHaroldHolt, a representativeof theRightwhoon thispoint foundhimselfinagreementwiththeLeftistmajority,youcouldn’tdoubthismotives,orthathefoughtnotforhimselfbutforthecommongoodasheconceivedit.

* * *



Other literature

23. WEH Stanner, The Dreaming & Other Essays

Use two or more of the set passages as the basis for a discussion of The Dreaming & Other Essays.

1.

The Aborigines (1938)

Asitis,theoldtribesmenofNewSouthWalesandVictoriamightaswellhavebeenshadowsmovinginthetreesoftheeighteenthcenturyforall the imprint theyhave leftbehind.Will history be content to record their disappearance, andleaveitatthat? TheAustralianpointofviewabout it isshapeless.Thereareafewvestigialregretsappearinghereandthereinamassofsolidindifference.Implicitly,perhaps,thismaymeanthatthelossoftheprimitivetribesisheld,afterall,tobeheavilyoutweighed by the gain of thewealthy democracywhichhas replaced them; and it is true that there are nownearly7,000,000whiteAustraliansandamateriallyrichcivilisationwhere formerly therewere 300,000StoneAgeAboriginesand awilderness.Thematerial and social achievements ofthe150yearssince1788haveindeedbeenunparalleled.Itisalsotruethatweembracefutilitybypiouslywishingthattheliberal regretsof todayhadbeenoperativeyesterday.Then,acquisitivenessandeagernessforprogressdrunkorsoberwerethedrivingincentivestocolonialeffort,andlaissez-fairewasstillthegoldenruleonfrontiersaswellasincities.MostoftheconquestofAustralia,andthusmostoftheobliterationofthetribes, tookplacebetween1830and1890,theperiodinwhich economicexpansionism, landhunger andpioneeringwereat theirstrongest. InsuchaperiodnothingwhichwasthenpoliticallypracticablecouldhavebeendonetoisolatethesimpleAustraliantribes.Theywentdownlikeninepins,andmadenomarkontheground. TherearefewsignsthatthelifeanddeathofthetribeshavemadeanymarkatallonAustralia;thethought,culture,eventhe literatureof thedominion, have scarcelybeen affected.Thenativetragedydoesnotyetserveasthemotifofdramatic,literaryorartisticworkofanyconsequence.Therearenoepicsonthelastofthetribes.Therearenonationalmonumentstoavanishingpeople,yetthereisamonumenttoamythicalDogonaTucker-BoxninemilesfromGundagai.Therearenotevenagreatmanywriterscommercialisingthedisappearanceofaquaintandatleasttourist-worthyrace.Spuriousboomerangsarestillmadefortourists,andothersonlyslightlylessspuriousforinnocentswhovisittheencampmentatLaPerouse,butmostoftheseartifactsaresoinferiorthateventouristspassthemby.EachyearinthegoldenwinterofnorthAustraliamotor-touristparties are visiting someof themore accessibleAboriginalcamps,buttheyseelittleandtakeawayless.

* * *

2.

Continuity and Change among the Aborigines

Indeedifonetriedtoinventtwostylesoflife,asunlikeeachother as could be,while still following the ruleswhich arenecessaryifpeoplearetolivetogetheratall,onemightwellendupwithsomethingliketheAboriginalandtheEuropeantraditions. Wherewehavegonemostseriouslywrongisintwothings.We imagine thatwhen theseAboriginal traditions breakdown,astheywidelyhave,onlyscrapssurviveandsurvivefortuitously.Theothermistakeistoimaginethatthewaytochangethiskindofcontinuityisbytherationaldemonstrations. ItwouldbehelpfultostopthinkingoftheAboriginesasa‘primitive’people.Theyareahighlyspecialisedpeopleandacontemporarypeople.TheirmodesoflifeandthoughthavebeenelaboratedoveratleastaslongaperiodoftimeasweordinarilythinkofascomposingEuropean‘history’.Unlessweseeboththeircontemporaneityandtheirspecialisation,wesetupafalsemodel,akindof‘genetic’modelinwhichtheyaredepictedas‘simple’or‘earlier’or‘moreprimitive’thanourselves.Theimageisofpeoplelyingsomewherealongauniformlinearserialsequencewithus.Accordingtothismodel,wethushaveonlyto‘teach’or‘show’AborigineswheretheymadetheirmistakesandtheywillquicklybecomeEuropeansinoutlook,organisationandcustom.Allwehavetodoisinstructtheminthemanifestvirtuesofourstyleoflifeand,withoutunduestrain,theywillfollow.Thisisafantasy.Itperishesonasinglefactoflife.Theyhaveto‘unlearn’beingAborigines,inmind,bodyandestate.Theproblemsof ‘unlearning’arevisible in a thousandmiserable encampments around thecontinent.Thesecampsinpartmirrorourself-centredness.InparttheymirroralsotheAborigines’inabilitytoworkmiracles.Considertheoutcomeifweweretotrytoconvertthemodernpriceeconomytothemedievalprincipleofthe‘justprice’.YetthisprincipleisclosertomodernprinciplesthananyofourculturalprinciplesaretothoseoftheAborigines.TheirrapidassimilationtoEuropeanculturewillbepossibleonlybyakindofbrain-washing.

* * *



Other literature

23. WEH Stanner, The Dreaming & Other Essays

3.

Aborigines and Australian Society

LetmetrytosumupwhatIhavebeensaying.Intheoldendays all the dynamic things—that is, the changing, active,movingthings—oftheworld,eventhingswithonlyapotentialforchange,activityandmovement,seemtohavefascinatedtheAborigines: themotions of the planets, comets andshootingstars;thetidesandthewinds;thunderandlightning;thewhirlwindsandbushfires;thesilentgrowthofplants,thechangeof theseasons—andofcourse thegrowthofhumanbeings.Allwerebroughtupandgivenrecognitionandplaceinaninterestingphilosophyoflife.Boyhoodwasastageonalonger,dynamicpathoflife,notjustfrombirthtodeath,butfrombeforebirthtoafterdeath.Thebodywentalongpartofthispath.Thesoulorspiritwentoverthewholeofit.Otherpeoplehaddutiestoyouallthewayalongit.Beforebirththeyhelpedyourspiritfindamother.Afterdeaththeyhelpedyourspirittoreturntotheworldofinvisiblespirits.Inlifetheyhelpedyoutomanhoodandtoallthehigherstagesofattainmentandrespect.Initiationwasmeanttocreateinaboyanunderstandingofallthis,andtomakehimseethathehadaneedofothersbutcouldalsocountonthemand,correspondingly,haddutiestowardsthem. Itwouldmiss thewhole point tomake toomuchof theparticular customs bywhich thiswas done.The grown-upmenusedshock,fear,terror,privation,isolation,andmysteryinthecustoms,buttheyusedthemwithcareanddiscretion,asmaterialsofteaching.Buttheyalsousedthemostspectaculartheatricals, and the best art,music, singing anddancingofwhichtheywerecapable,interspersedwithjollityandhumour.Therewasalways,unfailingly,someone—astrongguardian,afriend,aswellasateacher—whowastheretogiveaboysupportandprotection.Whenitwasallover,andonlythen,aboycouldstandupproudlyinanewstatus. Thecallingoftheboys,whentheyweretakenawaytobeinitiated,‘creaturesofthewilds’,wasawayofsaying:‘manistrulymanonlywithinthecompanionshipandthesocietyofhisfellows.Withoutthem,heisnothuman.’ Allthatisnowgoneorgoing.Missionsandgovernmentsdidnotcareforitandsawnovalueinit.Theythoughttheycoulddobetterbyreligiousinstructionandeducationinourstyle.Itwouldbehardnowtosayonwhichsortofnotionofpeople,cultureandsocietytheybasedtheirtheories.Theywere theorists, though theymighthavedenied it.But theycouldnotfindawayofmakingourreligionandeducationpartofAboriginalwaysofthinkingandliving,andtheydeepenedtheirowninstructional—andtheAborigines’learning—troublesbyrefusingtoteachliteracyinthenativelanguagesorusethemforteachingpurposes.Thecustodiansoftheoldtradition,seeingtheirwisdom, teachingand language thusdishonoured,andsometimesridiculedbytheirownyoungunderourteaching,retaliated.Theywithheldknowledgeandwisdomtheywouldordinarilyhavefeltunderdutytopassontotheyoung.The‘lostgeneration’ofwhichIspeakareproductsofthatprocess,andof thepallid,unstructured, imperceptivesequel thatwecondoneandperhapsevenapprove.

* * *



2.

Candide,seeinganeditionofMilton,askedhimifhedidnotconsiderthatauthortobeagreatman.‘Who?’saidPococuranté,‘thatbarbarianwhowroteaninterminablecommentaryonthefirstchapterofGenesisintenbooksofcrabbedverse?ThatcrudeimitatoroftheGreeks,whodistortstheCreationstoryand,whereMosesshowstheEternalBeingproducingtheworldthroughtheWord,hastheMessiahpullingalargecompassoutofsomecelestialcupboardinordertotakemeasurementsforhiswork?YouaskmetoadmirethemanwhoruinedthehellandSatanofTasso’sinvention;whohasLuciferappearvariouslydisguisedasatoadorapygmy,andhashimrehashthesamearguments a hundred times, and showshimquibbling overpointsoftheology;whotakesliterallyAriosto’sbitofcomedyabouttheinventionoffirearms,andhasthedevilsfiringoffcannoninheaven?NeitherInoranyotherItalianhasevertakenpleasure in this sad extravaganza.ThemarriageofSin andDeath,andtheadderstowhichSingivesbirth,mustnauseateanymanofremotelydelicatetaste,andhislongdescriptionofahospitalcouldonlyinterestagrave-digger.Thisobscure,bizarreanddisgustingpoemwasspurnedatbirth;Iamonlyjudgingitasitwasjudgedinitsowncountrybyitscontemporaries.Anyway,IsaywhatI think,andIcare littlewhetherothersthinklikeme.’CandidewasdistressedbythisspeechforheadmiredHomer,andhadsomelikingforMilton.‘Alas!’hesaidtoMartinunderhisbreath,‘IratherfearthisgentlemanwillhavenothingbutcontemptforourGermanpoets.’–‘Nogreatharminthat,’saidMartin.–‘Butwhatasuperiorbeing,thisPococuranté,’murmuredCandideagain,‘whatagenius!Thereisnopleasinghim.’ Having thus inspected the library, theywent down intothegarden.Candidepraiseditsmanybeauties.‘Itisallintheworstpossibletaste,’saidtheowner.‘Fulloftriflingconceitswhereveryouturn.AsfromtomorrowIamhavinganotheronelaidoutonanoblerplan.’ When our two curious visitors had taken leave ofHisExcellency,Candide turned toMartin: ‘Now then,youwillagreethathereisthehappiestofmen,forheissuperiortoallhepossesses.’–‘Don’tyousee,’saidMartin,‘thatheisdisgustedbyallhepossesses?Platosaidlongagothatthebeststomachsarenot those that refuseeverydish.’– ‘But,’ saidCandide,‘isn’tthereapleasureinbeingcritical,indiscoveringfaultswhereothermenthinktheyseeexcellences?’–‘Whichistosay,’counteredMartin,‘thatthereispleasuretobehadinnottakingpleasure?’–‘Oh,whateveryoulike!’saidCandide.‘Inwhichcasenooneishappybutme,whenIseeMademoiselleCunégonde again.’ – ‘One always doeswell to hope,’ saidMartin.

* * *

1.

During thewhole voyage they discussed endlessly thephilosophyofpoorPangloss.‘Wearegoingtoanotherworld,’saidCandide.‘Nodoubtitmustbetherethatalliswell.Foryouhavetoadmit,thereisreasontoblenchatsomeofwhatgoesoninourworld,whetherphysicallyormorally.’–‘Iloveyouwithallmyheart,’Cunégondesaid,‘butmymindisstillreelingfromwhatIhaveseen,fromwhatIhavesuffered.’–‘Allwillbewell,’Candidereplied.‘TheseaofthisnewworldisalreadysuperiortoourEuropeanseas;itiscalmer,itstradewindsmoreconstant.Nodoubtaboutit,theNewWorldisthebestofallpossibleworlds.’–‘Godwilling!’saidCunégonde.‘ButIhavebeensohorriblyunhappyinmyworldsofar,thatmyheartisalmostsealedagainsthope.’–‘Youtwodonothingbutcomplain,’saidtheoldwoman,‘butyouhavesufferednothinglikemymisfortunes,Icanassureyou!’Cunégondewasonthevergeoflaughter,findingitverydrollofthisgoodcreaturetoclaimtobetwiceasunfortunatethanherself.‘Alas,mygoodwoman,’shesaidtoher,‘unlessyouhavebeenrapedbytwoBulgars,beenstabbedtwiceinthestomach,hadtwocastlesdemolished,hadthethroatsoftwomothersandtwofathersslitbeforeyourveryeyes,andwatchedtwoloversbeingfloggedinanauto-da-fé,Ireallycannotseethatyouhavetheadvantageoverme;towhichImightaddthatIwasbornabaroness,withseventy-twoquarterings tomycoatofarms,andhavebeenput towork in a scullery.’ – ‘Mydear young lady,’ repliedtheoldwoman,‘youknownothingofmybirth;andwereItoshowyoumybottomyouwouldnottalkasyoudo,andwouldsuspendyourjudgement.’ThisspeecharouseddeepcuriosityinthemindsofCunégondeandCandide;andtheoldwomancontinuedasfollows.

* * *

Other literature

24. Voltaire, Candide, or Optimism

Use two or more of the set passages as the basis for a discussion of Candide, or Optimism.



3.

‘Youmusthaveavastandmagnificentestate,’saidCandidetotheTurk.–‘Ihavebuttwentyacres,’repliedtheTurk.‘Icultivatethemwithmychildren;ourworkkeepsatbaythethreegreatevils:boredom,vice,andnecessity.’ Backonhis little farm,Candide reflecteddeeply on thewords of theTurk.He said toPangloss andMartin: ‘Thatworthyoldmanseemstohavecreatedforhimselfanexistencefarpreferabletothatofthesixkingswithwhomwehadthehonourofdining.’–‘Rankandtitles,’saidPangloss,‘areoftendangerous,asallthephilosophersagree:witnessEglon,KingoftheMoabites,whowasassassinatedbyEhud;Absalomwashangedbyhishairandstabbedintheheartwiththreespears;KingNadab,sonofJeroboam,waskilledbyBaasha;KingElahbyZimri;JehorambyJehu;AthaliahbyJehoiada;andtheKingsJehoiakim,JehoiachinandZedekiahwereallsoldintocaptivity.AndyouwillrecallinwhatmannerdeathcameforCroesus,Astyages,Darius,Dionysius ofSyracuse, Pyrrhus, Perseus,Hannibal,Jugurtha,Ariovistus,Caesar,Pompey,Nero,Otho,Vitellius,Domitian,RichardIIofEngland,EdwardII,HenryVI,RichardIII,MaryStuartandCharlesI,nottomentionthethreeHenrisofFranceandtheEmperorHenryIV.Andyoumustalsoknow...’–‘AllIknow,’saidCandide,‘isthatwemustcultivateourgarden.’–‘Youareright,’saidPangloss,‘forwhenmanwasplacedinthegardenofEden,hewasputthereut operaretur eum,sothathemightwork:whichprovesthatmanwasnotbornforrest.’–‘Letussettoworkandstopprovingthings,’saidMartin,‘forthatistheonlywaytomakelifebearable.’ Thelittlesocietyallenteredintothislaudableplan;eachbegantoexercisehistalents.Thesmallfarmyieldedagreatdeal.True,Cunégondewasstillveryugly,butshebecameanexcellentpastry-chef;Paquetteembroidered;theoldwomantook care of the laundry. Everyonemade himself useful,includingBrotherGirofleo,whowasafirst-ratecarpenterandevenbecamequitegoodcompany.SometimesPanglosswouldsaytoCandide:‘Alleventsformachaininthis,thebestofallpossibleworlds.Afterall,hadyounotbeenexpelledfromabeautifulcastlewithgreatkickstothebehindfortheloveofMademoiselleCunégonde,andhadyounotbeenturnedovertotheInquisition,andhadyounotroamedAmericaonfoot,andhadyounotruntheBaronthroughwithafinethrustofyoursword,andhadyounotlostallyoursheepfromthegoodlandofEldorado,youwouldnotbesittingherenoweatingcandiedcitronandpistachios.’–‘Thatiswellsaid,’repliedCandide,‘butwemustcultivateourgarden.’

* * *

Other literature

24. Voltaire, Candide, or Optimism



Poetry

25. Robert Browning, Selected Poems

Use two or more of the set passages as the basis for a discussion of the poetry of Robert Browning.

1.

The Bishop Orders His Tomb at Saint Praxed’s Church

Rome,15—

Vanity,saiththepreacher,vanity!Drawroundmybed:isAnselmkeepingback?Nephews–sonsmine…ahGod,Iknownot!Well–She,menwouldhavetobeyourmotheronce,OldGandolfenviedme,sofairshewas!What’sdoneisdone,andsheisdeadbeside,Deadlongago,andIamBishopsince,Andasshediedsomustwedieourselves,Andthenceyemayperceivetheworld’sadream.Life,howandwhatisit?AshereIlieInthisstate-chamber,dyingbydegrees,Hoursandlonghoursinthedeadnight,Iask‘DoIlive,amIdead?’Peace,peaceseemsall.SaintPraxed’severwasthechurchforpeace;Andso,aboutthistombofmine.IfoughtWithtoothandnailtosavemyniche,yeknow:–OldGandolfcozenedme,despitemycare;ShrewdwasthatsnatchfromoutthecornerSouthHegracedhiscarrionwith,Godcursethesame!YetstillmynicheisnotsocrampedbutthenceOneseesthepulpito’theepistle-side,Andsomewhatofthechoir,thosesilentseats,AndupintotheairydomewhereliveTheangels,andasunbeam’ssuretolurk:AndIshallfillmyslabofbasaltthere,And’neathmytabernacletakemyrest,Withthoseninecolumnsroundme,twoandtwo,TheoddoneatmyfeetwhereAnselmstands:Peach-blossommarbleall,therare,theripeAsfresh-pouredredwineofamightypulse.–OldGandolfwithhispaltryonion-stone,PutmewhereImaylookathim!Truepeach,Rosyandflawless:howIearnedtheprize!

* * *

2.

Love Among the Ruins

IWherethequiet-colouredendofeveningsmiles, MilesandmilesOnthesolitarypastureswhereoursheep Half-asleepTinklehomewardthroughthetwilight,strayorstop Astheycrop–Wasthesiteonceofacitygreatandgay, (Sotheysay)Ofourcountry’sverycapital,itsprince AgessinceHeldhiscourtin,gatheredcouncils,wieldingfar Peaceorwar.

IINow,–thecountrydoesnotevenboastatree, Asyousee,Todistinguishslopesofverdure,certainrills FromthehillsIntersectandgiveanameto,(elsetheyrun Intoone)Wherethedomedanddaringpalaceshotitsspires UplikefiresO’erthehundred-gatedcircuitofawall Boundingall,Madeofmarble,menmightmarchonnorbepressed, Twelveabreast.

IIIAndsuchplentyandperfection,see,ofgrass Neverwas!Suchacarpetas,thissummer-time,o’erspreads AndembedsEveryvestigeofthecity,guessedalone, Stockorstone–Whereamultitudeofmenbreathedjoyandwoe Longago;Lustofgloryprickedtheirheartsup,dreadofshame Struckthemtame;Andthatgloryandthatshamealike,thegold Boughtandsold.

IVNow,–thesinglelittleturretthatremains Ontheplains,Bythecaperover-rooted,bythegourd Overscored,Whilethepatchinghouseleek’sheadofblossomwinks Throughthechinks–Marksthebasementwhenceatowerinancienttime Sprangsublime,Andaburningring,allround,thechariotstraced Astheyraced,Andthemonarchandhisminionsandhisdames Viewedthegames.

VAndIknow,whilethusthequiet-colouredeve SmilestoleaveTotheirfolding,allourmany-tinklingfleece Insuchpeace,Andtheslopesandrillsinundistinguishedgrey Meltaway–Thatagirlwitheagereyesandyellowhair WaitsmethereIntheturretwhencethecharioteerscaughtsoul Forthegoal,Whenthekinglooked,whereshelooksnow,breathless,dumb TillIcome.

* * *



Poetry

25. Robert Browning, Selected Poems

3.

Youth and Art

VIYoulounged,likeaboyoftheSouth, Capandblouse–nay,abitofbeardtoo;Oryougotit,rubbingyourmouth Withfingerstheclayadheredto.

VIIAndI–soonmanagedtofind Weakpointsintheflower-fencefacing,Wasforcedtoputupablind Andbesafeinmycorset-lacing.

VIIINoharm!Itwasnotmyfault Ifyouneverturnedyoureye’stailupAsIshookuponEin alt, Orranthechromaticscaleup:

IXForspringbadethesparrowspair, Andtheboysandgirlsgaveguesses,Andstallsinourstreetlookedrare Withbulrushandwatercresses.

XWhydidnotyoupinchaflower Inapelletofclayandflingit?WhydidnotIputapower Ofthanksinalook,orsingit?

XIIdidlook,sharpasalynx, (Andyetthememoryrankles)Whenmodelsarrived,someminx Trippedup-stairs,sheandherankles.

XIIButIthinkIgaveyouasgood! ‘Thatforeignfellow,–whocanknowHowshepays,inaplayfulmood, Forhistuningherthatpiano?’

XIIICouldyousayso,andneversay ‘Supposewejoinhandsandfortunes,AndIfetchherfromovertheway, Her,piano,andlongtunesandshorttunes?’

XIVNo,no:youwouldnotberash, NorIrasherandsomethingover:You’vetosettleyetGibson’shash, AndGrisiyetlivesinclover.

XVButyoumeetthePrinceattheBoard, I’mqueenmyselfatbals-paré,I’vemarriedaricholdlord, Andyou’redubbedknightandanR.A.

XVIEachlifeunfulfilled,yousee; Ithangsstill,patchyandscrappy:Wehavenotsigheddeep,laughedfree, Starved,feasted,despaired,–beenhappy.

XVIIAndnobodycallsyouadunce, Andpeoplesupposemeclever:Thiscouldbuthavehappenedonce, Andwemissedit,lostitforever.

* * *



2.

Parsed into Colors

Leung Ping-Kwan

Postcards of Old Hong Kong

Thepictureswesentoffhavebeentouchedup

…

howdowepaintourselves?

TranslatedfromtheChinesebyMarthaP.Y.Cheung

TinaChang,NathalieHandalandRaviShankar(eds),Language for a New Century: Contemporary Poetry

from the Middle East, Asia, and Beyond, WWNorton&Company,2008

pp.70and71


Poetry


Use two or more of the set passages as the basis for a discussion of the poetry set from this text.

1.

In the Grasp of Childhood Fields

Luis Cabalquinto

Depths of Field

Iwalksomehundredpacesfromtheoldhouse

…

inthegraspofchildhoodfields,I’llmissnothing.



pp.47and48




Poetry


3.

Parsed into Colors

Gregory Djanikian

The Boy Who Had Eleven Toes

ItwasasignofGod’sbounty,

…

Theheel,suddenly,aprofusionoffeathers.



pp.76and77




2.

Eutychus

Thefirstdayoftheweekhespoketothem

…

Andspringtolifeagain,likeEutychus.

RosemaryDobson,Collected, UniversityofQueenslandPress,2012

pp.137and138


1.

The Mirror

Jan Vermeer Speaks

Timethatisalwaysgonestaysstill

…

Areblindedinitsblazeoflight.


p.82


Poetry

27. Rosemary Dobson, Collected

Use two or more of the set passages as the basis for a discussion of the poetry of Rosemary Dobson.



3.

The Almond-tree in the King James Version

White,yes,palewiththepallorofoldtimbers,

…

ItisallinthetwelfthchapterofEcclesiastes.


p.249


Poetry

27. Rosemary Dobson, Collected



2.

The Strand at Lough Beg

in memory of Colum McCartney

…

Greenscapularstowearoveryourshroud.

SeamusHeaney,Opened Ground: Poems 1966–1996,FaberandFaber,2005

pp.152and153


Poetry

28. Seamus Heaney, Opened Ground: Poems 1966–1996

Use two or more of the set passages as the basis for a discussion of the poetry of Seamus Heaney.

1.

Requiem for the Croppies

Thepocketsofourgreatcoatsfullofbarley–

…

AndinAugustthebarleygrewupoutofthegrave.


p.22




Poetry

28. Seamus Heaney, Opened Ground: Poems 1966–1996

3.

A Transgression

Theteacherletsomebigboysoutattwo

…

Andtheirknowledgethatlovedonwithoutado.

(1994)


p.393




Poetry

29. Wisława Szymborska, Sounds, Feelings, Thoughts: Seventy Poems by Wisława Szymborska

Use two or more of the set passages as the basis for a discussion of the poetry of Wisława Szymborska.

1.

Atlantis

Didtheyexistornot.Onanislandornot.Wasitanoceanornotthatswallowedthemupornot.

Didsomeonehavesomeonetolove?Didsomeonehavesomeonetofightwith?Dideverythinghappenornothingthereornotthere?

Therestoodsevencities.Butarewesureofthat?Theywishedtostandforever.Wherethenistheproof?

Theydidnotinventgunpowder,no.Theydidinventit,yes.

Hypothetical.Dubious.Unimmortalized.Unextractedfromair,fromfire,fromwater,fromearth.

Uncontainedinstoneorinadropofrain.Unableseriouslytoposeforacautionarytale.

Ameteorfell.No,notameteor.Avolcanoerupted.No,notavolcano.Someoneyelledsomething.No,noonedid.

OnthisplusminusAtlantis.

* * *

2.

Travel Elegy

Allisminebutnothingowned,nothingownedformemory,andmineonlywhileIlook.

Nosoonerrememberedthanuncertainarethegoddessesoftheirheads.

OfthetownofSamokovonlyrainandnothingbuttherain.

ParisfromLouvretofingernailiscoveredwithafilm.

OfBoulevardSaint-Martinthestepsremainandleadintoextinction.

NothingmorethanabridgeandahalfinbridgeyLeningrad.

PoorUppsalawiththemiteofagreatcathedral.

ThehaplessdancerofSofia,abodywithoutaface.

Separate—hisfacewithouteyes,separate—hiseyeswithoutpupils,separate—thepupilsofacat.

TheCaucasianeaglesoarsoverareconstructionofacanyon,theimpuregoldofasunandfakestones.

Allisminebutnothingowned,nothingownedformemory,andmineonlywhileIlook.

Innumerable,infinite,yetindividualtotheveryfilament,thegrainofsand,thedropofwater—landscapes.

Iwon’tretainonebladeofgrassinsharpcontour.

Greetingandfarewellinasingleglance.

Forexcessandforlackasinglemovementoftheneck.

* * *



Poetry

29. Wisława Szymborska, Sounds, Feelings, Thoughts: Seventy Poems by Wisława Szymborska

3.

Psalm

Oh,howporousaretheboundariesofman-madestates!Hownumerousthecloudsthatfloatunpunishedoverthem,hownumerousthedesertsandsthatshiftfromlandtoland,hownumerousthemountainpebblesthatgorollingintoalien

domainsprovocativelyhopping!

MustIhereenumeratehowbirdfliesafterbird,orhowitjustnowlightsupontheloweredbarrier?Beitbutasparrow—itstailisnowabroad,thoughitsbeakisstillathome.Moreover—whatafidget!

FrominsectsnumberlessI’llmentionjusttheant,whichbetweentheleftandrightbootoftheborderguardtothequestion:fromwheretowhere?—disclaimsallresponse.

Oh,toseeallthischaosallatonceindetail,oneverycontinent!Forisitnottheprivetontheoppositebankthatsmugglesitsumpteenthleafacrosstheriver?Forwho,ifnotthecuttlefish,brazenlylong-armed,violatesthesacredsphereofterritorialwaters?

Ingeneralcanonetalkofanykindoforderifeventhestarscannotbesoarrangedforeachtoknowwhichshinesforwhom?

Andaddtothis,thereprehensiblespreadofthefog!Andthebillowingofthedustoverallthesteppe’sexpanse,asifitwerenotcutinhalfatall!Andtheechoingofvoicesalongtheobligingwavesofair,ofsummoningsquealingsandsuggestivegurgles!

Onlythatwhichishumancanbetrulyalien.Therestisallmixedforests,theburrowingofmoles,andwind.

* * *



Poetry

30. Chris Wallace-Crabbe, New and Selected Poems

Use two or more of the set passages as the basis for a discussion of the poetry of Chris Wallace-Crabbe.

1.

Sacred Ridges above Diamond Creek

for Les Murray

Iwanttomakesomekindofgestureofalienresponse,

…

butIlaydownmyarms.

ChrisWallace-Crabbe,New and Selected Poems, Carcanet,2013

pp.109and110


2.

Reality

Alostboyinanotherbody

…

letyougo.


p.139



END OF SECTION BTURN OVER

Poetry

30. Chris Wallace-Crabbe, New and Selected Poems

3.

At the Clothesline

WhatI’dthoughtafallenshirt

…

Arainbowringaroundthemoon.


p.179



Assessment criteriaSectionAwillbeassessedagainstthefollowingcriteria:• developmentofaninformed,relevantandplausibleinterpretationofthetext• understandingandanalysisofthetext,demonstratedthroughtheuseoftextualevidence• analysisandevaluationoftheviewsandvaluesforegroundedinthetopicandunderlyingoneliterary

perspectiveofthetext,andawarenessofhowtheseviewsandvaluesrelatetothetext• expressive,fluentandcoherentuseoflanguageanddevelopmentofideas

SectionBwillbeassessedagainstthefollowingcriteria:• understandingofthetext,demonstratedinarelevantandplausibleinterpretation• abilitytowriteexpressivelyandcoherentlytopresentaninterpretation• understandingofhowviewsandvaluesmaybesuggestedinthetext• analysisofhowkeypassagesand/ormomentsinthetextcontributetoaninterpretation• analysisofthefeaturesofthetextandhowtheycontributetoaninterpretation• analysisandclosereadingoftextualdetailstosupportacoherentanddetailedinterpretationofthetext

END OF TASK BOOK

Documents

2017 Literature Written examination - vcaa.vic.edu.au · 29.isława Szymborska, W Sounds, Feelings, Thoughts: Seventy Poems by Wisława Szymborska Discuss the proposition that the