Hi all
Should you need to see me regarding AMSND, I am available in school Monday to Friday from 10am to 1pm.
Please sms me @ 9.0.1.6.6.2.4.9 to reserve a consultation slot. Please also email me your queries at least ONE day in advance so that I will have time to prepare a good answer for you. All consultations will take place in the Lit Room.
Slots taken up will be updated here.
Thank you & all the best with your revisions! :)
Monday- 12th
1000-1030
1030-1100
1100-1130 Alicia Teo
1130-1200 Shubin
1200-1230
1230-1300
Tuesday- 13th
1000-1030
1030-1100
1100-1130
1130-1200
1200-1230 Not available
1230-1300 Not available
Wednesday- 14th
1000-1030
1030-1100
1100-1130
1130-1200
1200-1230
1230-1300 Not Available
Thursday- 15th
1000-1030
1030-1100
1100-1130
1130-1200
1200-1230
1230-1300
Friday- 16th
1000-1030
1030-1100
1100-1130
1130-1200
1200-1230
1230-1300
Wednesday, October 7, 2009
Sunday, August 9, 2009
CRITICAL ESSAYS & NOTES ON AMSND (OPTIONAL)
Hi all, hope that this post finds you well and that you are coping awesomely in school :)
I have spent the last month or so putting together essays that I have found online and in reference books. Some essays have been edited and re-hashed so that it makes more sense to readers (you). I have also spent some time paraphrasing essays that make references to history and other sources that may be obscure to you. The essays are strictly additional reading and are not compulsory in any way (which is also the reason why I've not uploaded them directly to the blog).
I realize the Sec 4s barely have time to indulge in additional reading, so please only elect to receive them if you are absolutely keen and are able to find the time to go through them. Please note that some of the essays require a little more effort in reading in terms of critical references etc but most of the essays are quite straightforward.
I have spent the last month or so putting together essays that I have found online and in reference books. Some essays have been edited and re-hashed so that it makes more sense to readers (you). I have also spent some time paraphrasing essays that make references to history and other sources that may be obscure to you. The essays are strictly additional reading and are not compulsory in any way (which is also the reason why I've not uploaded them directly to the blog).
I realize the Sec 4s barely have time to indulge in additional reading, so please only elect to receive them if you are absolutely keen and are able to find the time to go through them. Please note that some of the essays require a little more effort in reading in terms of critical references etc but most of the essays are quite straightforward.
Now the question is: Who would like me to email them what I have?
If you are keen, please reply via the comments box in the following format:
Full name_(Email address)_YES
I will only send the package to those who reply as per my instructions above. Please check that you have given me a valid email address.
The package will be emailed out BY Saturday, 22nd August 2009. Hope to hear from you soon!
Disclaimer: Reading the essays will NOT guarantee a distinction. Choosing not to read them will not necessarily result in an abysmal grade either.
Wednesday, June 10, 2009
SECONDARY 4 MYE 2009 ELIT DEBRIEF
SUGGESTED ANSWERS
1(a) In what ways is the world of the Athenian woods different from the world of Athens in the play? Discuss the dramatic atmosphere and purpose of each setting.
Dramatic atmosphere
- The night-time woods provide a strange and confusing environment for the four lovers and for the craftsmen, while being somewhere that the ethereal fairies can seem perfectly at home—a place of hidden events, strange happenings and mysterious (transformed) creatures. With the woods, Shakespeare creates an ideal setting for the strangeness and unreality that takes place in the play.
- The chaos of the night also helps to teach the lovers to value the order of the day.
- The ordered world is one in which all human faculties are in harmony, in which man and woman, nobility and craftsmen, form parts of one well-balanced world.
- Evil things lurk in the woods. The fairies mutter incantations to ward off witchcraft as Titania prepares to sleep for the night. Puck describes the ghosts and spirits that wander in the night. Oberon declares that ‘we are spirits of another sort’.
- Hermia and Helena fear the wild beasts that roam the woods.
- The woods as a place of fearful changes, of distorted vision, of illusion and even of dreams that threaten.
- Threat, fear and death are a necessary part of the allegory of the lovers lost in the wood of chaos and confusion, and of the conflict between the forces of light and those of darkness.
Purpose
- For many scenes, the darkness brought about by night is an essential ingredient. Night is when humans usually sleep and when magical beings are thought to be about. Humans generally do not see very well in the dark, and that physical inability to see clearly is a parallel to the inability to understand when we are confused.
- While the fairy creatures feel comfortable and at home in the dark, the human characters do not; instead they become lost and confused.
- As Puck and Oberon manipulate events in the woods, the humans lose their true identities, attitudes and affections from scene to scene. The climax of complexity between stage illusion and reality comes in Act V.
- Shakespeare uses the contrast between daylight and darkness, and the importance of being able to see clearly and to believe what we see, to reflect the states of knowledge and ignorance through which the characters pass. For much of the play, the characters do not know or understand much of what is going on—they are ‘in the dark’.
- The characters’ misadventures take place in the woods at night; their reconciliation appears before the orderly court in the rational light of day.
- Thesesus and Hippolyta’s arrival in the wood at daybreak with a hunting party, apart from its dramatic convenience, is almost entirely symbolic. The order and harmony of the Athenian court now drive away the fears and errors of the forest ‘night-rule’, fled before the sweet thunder of the hunting dogs.
- With daylight comes the revelation of a kind of truth, an ability to see and an inclination to believe and put their trust in what they see. No longer are bushes seen as bears (quote).
- The night-time woods provide a strange and confusing environment for the four lovers and for the craftsmen, while being somewhere that the ethereal fairies can seem perfectly at home—a place of hidden events, strange happenings and mysterious (transformed) creatures. With the woods, Shakespeare creates an ideal setting for the strangeness and unreality that takes place in the play.
- The chaos of the night also helps to teach the lovers to value the order of the day.
- The ordered world is one in which all human faculties are in harmony, in which man and woman, nobility and craftsmen, form parts of one well-balanced world.
- Evil things lurk in the woods. The fairies mutter incantations to ward off witchcraft as Titania prepares to sleep for the night. Puck describes the ghosts and spirits that wander in the night. Oberon declares that ‘we are spirits of another sort’.
- Hermia and Helena fear the wild beasts that roam the woods.
- The woods as a place of fearful changes, of distorted vision, of illusion and even of dreams that threaten.
- Threat, fear and death are a necessary part of the allegory of the lovers lost in the wood of chaos and confusion, and of the conflict between the forces of light and those of darkness.
Purpose
- For many scenes, the darkness brought about by night is an essential ingredient. Night is when humans usually sleep and when magical beings are thought to be about. Humans generally do not see very well in the dark, and that physical inability to see clearly is a parallel to the inability to understand when we are confused.
- While the fairy creatures feel comfortable and at home in the dark, the human characters do not; instead they become lost and confused.
- As Puck and Oberon manipulate events in the woods, the humans lose their true identities, attitudes and affections from scene to scene. The climax of complexity between stage illusion and reality comes in Act V.
- Shakespeare uses the contrast between daylight and darkness, and the importance of being able to see clearly and to believe what we see, to reflect the states of knowledge and ignorance through which the characters pass. For much of the play, the characters do not know or understand much of what is going on—they are ‘in the dark’.
- The characters’ misadventures take place in the woods at night; their reconciliation appears before the orderly court in the rational light of day.
- Thesesus and Hippolyta’s arrival in the wood at daybreak with a hunting party, apart from its dramatic convenience, is almost entirely symbolic. The order and harmony of the Athenian court now drive away the fears and errors of the forest ‘night-rule’, fled before the sweet thunder of the hunting dogs.
- With daylight comes the revelation of a kind of truth, an ability to see and an inclination to believe and put their trust in what they see. No longer are bushes seen as bears (quote).
"... the city represents the real world of pragmatism, and the forest a dream world of escapism and transformation. What we see of Athens, the city, in the first scene is a pretty uncommunicative marriage, in which Theseus won Hippolyta with his sword, followed by the insistence on an extremely harsh law which prevents Hermia from following her heart and marrying Lysander, instead threatening her with death.
Then, once the play moves into the woods, we meet the fairies. Apart from adding a whole magical dimension to the play, the fairies also provide the possible link to the maelstrom of emotional chaos that is about to take place in the Athenian forest, foreshadowed by the argument between Oberon and Titania. The forest transforms people: it transforms, through the "love-in-idleness" juice, Lysander's affections for Hermia into love for Helena, and then Demetrius' love for Hermia into love for Helena as well. Moreover, Bottom is transformed into a half-donkey.
Translation and transformation are everywhere. When the mortals return to the city, they take back some of the goodwill and happiness they learnt in the forest. Theseus exempts Hermia from the law he insisted on in the first scene, the mechanicals perform their play, and the lovers get happily married..."
(b) ‘When they next wake, all this derision / Shall seem a dream and fruitless vision’. Shakespeare seems more interested in the grey spaces between reality and dream than in their separate domains. Show how the boundary between reality and illusion is made indistinguishable in the play.
Imagination and illusion
- Every play depends upon creating an illusion with the help of the imagination of the audience. A well-worked illusion can seem real.
- In this play, there is confusion among the characters as to what is real and what is not.
- Every play depends upon creating an illusion with the help of the imagination of the audience. A well-worked illusion can seem real.
- In this play, there is confusion among the characters as to what is real and what is not.
Sleep or dream-like state
- Characters spend their time in a dream-like state where reason is clouded and they are no longer sure of themselves or of the reality they think they see.
- It is also interesting to note how often characters fall asleep in the play.
- When we sleep we are liable to experience dreams that seem so real that we often find ourselves waking up confused, disoriented or frightened.
- Similarly, Shakespeare uses sleep as a convenient way to enable Oberon to cast his spells and either to create or to sort out problems.
- Yet, when the characters awaken, their ideas of what is real are changed and they have a collective sense of confusion that we as individuals may experience through having a dream.
- The confusion is heightened because the reality that they are experiencing has also changed- they fall in and out of love.
- Characters spend their time in a dream-like state where reason is clouded and they are no longer sure of themselves or of the reality they think they see.
- It is also interesting to note how often characters fall asleep in the play.
- When we sleep we are liable to experience dreams that seem so real that we often find ourselves waking up confused, disoriented or frightened.
- Similarly, Shakespeare uses sleep as a convenient way to enable Oberon to cast his spells and either to create or to sort out problems.
- Yet, when the characters awaken, their ideas of what is real are changed and they have a collective sense of confusion that we as individuals may experience through having a dream.
- The confusion is heightened because the reality that they are experiencing has also changed- they fall in and out of love.
Manipulation of reality
- Oberon creates the illusion of love, and the belief that Lysander and Demetrius have in that illusory love causes chaos
- Puck disguises his voice etc to create the illusion that the craftsmen are being chased by wild creatures or that Lysander and Demetrius are chasing each other when in actuality they are only following Puck’s voice.
- The Elizabethan audience would be able to laugh at the illusion of the craftsmen’s attempts to re-structure the audience’s imagination in their staging of the play ‘Pyramus and Thisbe’.
- However, even we the modern audience are involved in the illusion that is theatre. While we watch the characters being tricked, we easily lose sight of the fact that those characters we see only live because we let them live in our imagination.
Range of illusions presented to us in the play
- Lysander, then Demetrius, is under the illusion that he loves Helena
- Titania’s love for Bottom is an illusion
- The lovers’ reactions to the night’s happenings are described (5,1, 186-199)
- Bottom’s reactions (4,1,186-199); the words ‘vision’, ‘dream’, ‘wonders’ and ‘images/imagination’ are recurrent here and at (5,1,1-127)
- Oberon creates the illusion of love, and the belief that Lysander and Demetrius have in that illusory love causes chaos
- Puck disguises his voice etc to create the illusion that the craftsmen are being chased by wild creatures or that Lysander and Demetrius are chasing each other when in actuality they are only following Puck’s voice.
- The Elizabethan audience would be able to laugh at the illusion of the craftsmen’s attempts to re-structure the audience’s imagination in their staging of the play ‘Pyramus and Thisbe’.
- However, even we the modern audience are involved in the illusion that is theatre. While we watch the characters being tricked, we easily lose sight of the fact that those characters we see only live because we let them live in our imagination.
Range of illusions presented to us in the play
- Lysander, then Demetrius, is under the illusion that he loves Helena
- Titania’s love for Bottom is an illusion
- The lovers’ reactions to the night’s happenings are described (5,1, 186-199)
- Bottom’s reactions (4,1,186-199); the words ‘vision’, ‘dream’, ‘wonders’ and ‘images/imagination’ are recurrent here and at (5,1,1-127)
(c) Read the following excerpt carefully and then answer the questions that follow it.
Enter Puck
OBERON:
OBERON:
[Advancing] Welcome, good Robin.
See'st thou this sweet sight?
Her dotage now I do begin to pity:
For, meeting her of late behind the wood,
Seeking sweet favours from this hateful fool,
I did upbraid her and fall out with her;
For she his hairy temples then had rounded
With a coronet of fresh and fragrant flowers;
And that same dew, which sometime on the buds
Was wont to swell like round and orient pearls,
Stood now within the pretty flowerets' eyes
Like tears that did their own disgrace bewail.
When I had at my pleasure taunted her
And she in mild terms begg'd my patience,
I then did ask of her her changeling child;
Which straight she gave me, and her fairy sent
To bear him to my bower in fairy land.
And now I have the boy, I will undo
This hateful imperfection of her eyes:
And, gentle Puck, take this transformed scalp
From off the head of this Athenian swain;
That, he awaking when the other do,
May all to Athens back again repair
And think no more of this night's accidents
But as the fierce vexation of a dream.
But first I will release the fairy queen.
Be as thou wast wont to be;
See as thou wast wont to see:
Dian's bud o'er Cupid's flower
Hath such force and blessed power.
Now, my Titania; wake you, my sweet queen.
See'st thou this sweet sight?
Her dotage now I do begin to pity:
For, meeting her of late behind the wood,
Seeking sweet favours from this hateful fool,
I did upbraid her and fall out with her;
For she his hairy temples then had rounded
With a coronet of fresh and fragrant flowers;
And that same dew, which sometime on the buds
Was wont to swell like round and orient pearls,
Stood now within the pretty flowerets' eyes
Like tears that did their own disgrace bewail.
When I had at my pleasure taunted her
And she in mild terms begg'd my patience,
I then did ask of her her changeling child;
Which straight she gave me, and her fairy sent
To bear him to my bower in fairy land.
And now I have the boy, I will undo
This hateful imperfection of her eyes:
And, gentle Puck, take this transformed scalp
From off the head of this Athenian swain;
That, he awaking when the other do,
May all to Athens back again repair
And think no more of this night's accidents
But as the fierce vexation of a dream.
But first I will release the fairy queen.
Be as thou wast wont to be;
See as thou wast wont to see:
Dian's bud o'er Cupid's flower
Hath such force and blessed power.
Now, my Titania; wake you, my sweet queen.
(i) What does this passage reveal about the personality and qualities of Oberon? Are you more disdainful or admiring of Oberon’s character up to this point in the play?
(Personal response) As a general guide, most responded that Oberon is foremostly spiteful and manipulative in his dealings with Titiania, tricking her into giving him the changeling, making it clear that he will accept nothing less than the boy. Titania refuses to let him have the boy and therefore, Oberon decides to humiliate her when he applies the magic potion to Titania's eyelids and casts the spell so that when she awakes, she will fall in love with the most hideous creature she first sees. His treatment of Titania shows to the audience how he is willing to humiliate his queen to achieve what he wants, thus potraying himself to be unscrupulous, sly/sneaky/lacking in chivalry and does not possess a sense of fair play. In contrast, many also bring up the point that Oberon eventually releases Titania from the spell, thus showing that he is able to forgive and forget and is therefore worthy of our admiration and that we must judge him more kindly.
A basic argument must be discernible in your response. If you admire Oberon for his single act of releasing Titania from the love spell or if you find him worthy of contempt for even using the love spell in the first place, you must provide evidence to substantiate your claim and then elaborate with examples etc. The best answers manage to do this well, in terms of showing what they admire or dislike about Oberon and substantiating with evidence from the text as well as including a personal opinion about Oberon's actions.
(ii) With close reference to events throughout the play, discuss whether Oberon or Theseus better represents the portrait of an ideal ruler.
To what extent is each character presented as a good ruler?
- Consider what might be regarded as desirable qualities in a ruler?
- Does either character demonstrate these qualities?
- The role of each character within the context of the play.His behavior in contrast to the behavior of the other characters.
- Consider what might be regarded as desirable qualities in a ruler?
- Does either character demonstrate these qualities?
- The role of each character within the context of the play.His behavior in contrast to the behavior of the other characters.
Introduction
- Clearly outline how you are going to deal with the question. Include a brief idea of what you define to be a ‘good ruler’. This is important as the qualities of a 'good ruler' can be very subjective. As it stands, some essays mention qualities such as 'resourcefulness' and 'the ability to think out of the box' while others emphatically insist that a good ruler is one who 'follows the rules' and 'does not consider himself above the law'.
- Clearly outline how you are going to deal with the question. Include a brief idea of what you define to be a ‘good ruler’. This is important as the qualities of a 'good ruler' can be very subjective. As it stands, some essays mention qualities such as 'resourcefulness' and 'the ability to think out of the box' while others emphatically insist that a good ruler is one who 'follows the rules' and 'does not consider himself above the law'.
- A clear definition of a 'good ruler' will give your essay focus and direct your thoughts and arguments better.
1st impressions of each character
- He opens the play; giving him a dominant position from the start.His love for Hippolyta gives him humanity (Theseus)
- He opens the play; giving him a dominant position from the start.His love for Hippolyta gives him humanity (Theseus)
vs
- ‘jealous Oberon’ according to Puck (2,1,24)
- His anger and brashness revealed ‘Ill met by moonlight, proud Titania!’ (2,1, 60)
- Commanding obedience, even from Titania; ‘Am I not thy lord?’ (2,1,64)
- His anger and brashness revealed ‘Ill met by moonlight, proud Titania!’ (2,1, 60)
- Commanding obedience, even from Titania; ‘Am I not thy lord?’ (2,1,64)
How do you feel about each character as a leader? (Suggestions)
Theseus as Duke of Athens
- His support for Egeus shows his deference to Athenian law.
- Law shown as being of primary importance in his decision-making.
- Appears to be harsh (but is he really?)
- Offer of an alternative penalty to death suggests that he can be fair-minded.
- Approach to problem – calm, rational, judicious.
- Language is measure and thoughtful.
- Offers Hermia time to decide- reasonable.
- At the end of the play, he overrules Egeus and allows the four lovers to marry for love
- He comes across as approachable- even Bottom feels that he may talk to Theseus directly.
- As a patron of the arts, encouraging his subjects to perform their play
- Has a sense of humor, making witty remarks during the play.
- Appreciates honest effort of the craftsmen and does not belittle their play.
- His support for Egeus shows his deference to Athenian law.
- Law shown as being of primary importance in his decision-making.
- Appears to be harsh (but is he really?)
- Offer of an alternative penalty to death suggests that he can be fair-minded.
- Approach to problem – calm, rational, judicious.
- Language is measure and thoughtful.
- Offers Hermia time to decide- reasonable.
- At the end of the play, he overrules Egeus and allows the four lovers to marry for love
- He comes across as approachable- even Bottom feels that he may talk to Theseus directly.
- As a patron of the arts, encouraging his subjects to perform their play
- Has a sense of humor, making witty remarks during the play.
- Appreciates honest effort of the craftsmen and does not belittle their play.
Oberon as King of the fairies
- Consider his attitude towards Titania's refusal to give him the changeling and what he does
as a result of her 'disobedience'. Are his actions justified, considering that he is a ruler
amongst the fairies? Why or why not?
- Consider his attitude towards the young lovers and the mechanicals- is there any evidence
in his dealings with them that reveal him to be a magnanimous ruler?
- How would you reconcile his attempts to help the four young lovers with his standing as
the King of Fairies? Are his actions to be expected of a ruler? Why or why not?
- Think about his relationship with Puck (Does Puck obey him readily? Is Oberon forgiving
of Puck's mistakes etc.) and decide what his interactions with Puck reveal about his
character and personality as a ruler.
Conclusion
- Draw together everything you have mentioned in the main body of the essay, but do not
- Draw together everything you have mentioned in the main body of the essay, but do not
simply rewrite everything you have written.
- Show whether Theseus or Oberon matches up better to the qualities you mentioned in
- Show whether Theseus or Oberon matches up better to the qualities you mentioned in
your introduction.
Just FYI
BAND DESCRIPTORS FOR SET TEXT QUESTIONS
21 – 25 (Distinction Grade)
21 – 25 (Distinction Grade)
• Discriminating selection of textual detail with close attention to the terms of the question. Top answers take advantage of the opportunities offered by the question.
• Conscientious answers that demonstrate good understanding of the text and question. Better answers reveal some insights into the text’s main concerns and the effects achieved by the author.
• Response demonstrates a consistent viewpoint with appropriate substantiation.
• Clear, organised and coherent work.
Tuesday, June 9, 2009
JUNE HOLIDAYS 2009
Hi everyone!
Thank you too for being patient with my absence on the blog, although there are many things to be uploaded and things for you guys to do even as Mr. Ahmad takes over MSND lessons in Term 2.
Things have been very hectic at home, with my 3 week old daughter constantly demanding to be fed and my 2 year old daughter constantly demanding that I play with her :)
In any case, will try to find time to upload:
1. The MYE suggested answer scheme as soon as I can
2. Critical essays that I would like for you to read
as well as
3. The work that I would like for you to attempt even as you guys enjoy the respite from lessons and school during the June hols :)
Post again soon! :)
Ms. Nsa
Just a short post to say thank you for all the lovely messages I received after I gave birth.
I'm extremely touched by all your warm wishes. Thanks again!
Thank you too for being patient with my absence on the blog, although there are many things to be uploaded and things for you guys to do even as Mr. Ahmad takes over MSND lessons in Term 2.
Things have been very hectic at home, with my 3 week old daughter constantly demanding to be fed and my 2 year old daughter constantly demanding that I play with her :)
In any case, will try to find time to upload:
1. The MYE suggested answer scheme as soon as I can
2. Critical essays that I would like for you to read
as well as
3. The work that I would like for you to attempt even as you guys enjoy the respite from lessons and school during the June hols :)
Post again soon! :)
Ms. Nsa
Friday, May 15, 2009
MISSING CA1 COMPONENTS
Hi all
This post is meant as a reminder to all parties who owe me pieces of work for CA1. I need 2 different sets of marks to key into Cockpit for CA1 but unfortunately some people have not handed in a single piece of work.
The guilty parties have forced my hand as I believe that I have been very lenient as far as late submissions are concerned. Thus, I am now issuing this
This post is meant as a reminder to all parties who owe me pieces of work for CA1. I need 2 different sets of marks to key into Cockpit for CA1 but unfortunately some people have not handed in a single piece of work.
The guilty parties have forced my hand as I believe that I have been very lenient as far as late submissions are concerned. Thus, I am now issuing this
ULTIMATUM:
Hand in the missing pieces by
12 midnight TOMORROW
(Sunday, 17 May)
or I WILL key in ZERO marks for your CA1 components and your SA1 marks will suffer terribly as a result.
Please be reminded that after this Sunday's deadline, I will no longer entertain any other submission.
I must state for the record that I am thoroughly disappointed with those who have nonchalantly ignored my sms reminders and also particularly annoyed that I have to spend my pre-natal leave chasing after you for your work.
The following students are responsible for their own CA1 component marks which currently stand at ZERO:
4BN
1. Ang Shi Chun Jennifer
2. Eng Sing Joo Laura
3. Kelly Chong Wen Ting (1 set of marks from Essay 1)
4. Chua Eng Loo Marc (1 set of marks from Essay 1)
4GR
1. Clara Poon Jiaqi (1 set of marks from Essay 1)
2. Ko Yi Fan (1 set of marks from Essay 1)
3. Maryann Chua Pei Wen (1 set of marks from Essay 1)
4. Seng Xin Yi Samantha (1 set of marks from Essay 1)
5. Sherri Lee Singh
6. Sim Si Yi Jacqueline (1 set of marks from Essay 1, Essay 4 to be re-done)
7. Su Yanyun
8. Tan Honghui Ann (1 set of marks from Essay 3)
9. Tay Xue Yi (1 set of marks from Essay 1)
10. Teo Qiu Han Chrystal (1 set of marks from Essay 1)
11. Toh Ann Gie (I only have one set of marks from Essay 1)
12. Wee Kim Mui Alicia (1 set of marks from Essay 1)
13. Yang Zhenting Kristal (1 set of marks from Essay 1)
14. Cheng Jun Ryan
15. Colin Kong Xiang Xi
16. Tan Jie Sheng Marcus
17. Teo Qi Xian
18. Yap Jia Hao Charles
4MD
1. Ang Kai Zhen Teresa (1 set of marks from Essay 1)
2. Chew Jialing Karyn
3. Fiona Teh Yong Wei (1 set of marks from Essay 1)
4. Tan Si Ying Dawn
5. Wong Yu Wen Christina (1 set of marks from Essay 1)
6. Wu Yi (1 set of marks from Essay 1)
7. Yang Rong (1 set of marks from Essay 1)
4RP
1. Allan Lim Tung Loong (1 set of marks from Essay 1)
2. Chua Boon Hee (1 set of marks from Essay 1)
3. Lian Jia Jing (1 set of marks from Essay 1)
For the lost and confused, ONLY the following are the essay questions that can be used to compute the CA1 components.
Any other pieces of work that you have done is solely for practice and will not be used for computation of CA1 marks (Thanks Charles, for clarifying!)
I will only need 2 components for MSND.
If you have handed in one, you owe me another.
For those whose names appear in RED, you urgently owe me two pieces, for now.
Essay 1: “The course of true love never did run smooth”. Show how this is true for all the lovers in the play.
Essay 2: Select either Hermia or Helena and show how far you feel sympathy for her regarding the problems she faces during the entire course of the play.
Essay 3: "A play that is all about fairies". Refer closely to the text to indicate how far it is true that the play is 'all about fairies' and what you have learnt from the play about human nature.
Essay 4: "Shakespeare wants us to smile kindly at the craftsmen, and not scorn them." Do you agree?
COMPLETE YOUR WORK AND HAND IT IN
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