So, in case I don't see you guys again in time for EOY exams, I'm uploading the suggested answers for key questions in Act 1.
Here goes!
Act One Scene 1
A)
i) impatient
ii) Notice the use of long, drawn-out vowel sounds in words such as O/how/slow/moon/wanes/lingers/desires/long/out
The comparison he uses is that of a widowed mother living off the inheritance of her son. ‘Long withering out’ gives the sense of the mother slowly sapping up the son’s wealth and therefore frustrating any chances he has of enjoying it for himself.
It seems to Theseus that the moon is like the widow, ‘dying too slowly’ and therefore delaying his satisfaction at being able to marry Hippolyta.
B) To a silver bow.
It is an appropriate comparison in terms of:
i) color (the moon is silver)
ii) shape (a new moon is a thin crescent like a bow)
It also connotes a sense of something being newly primed / ready for action / firing to launch / initiate the ceremony / festivities.
C) Egeus’ entrance and subsequent complaint introduces tension and conflict to a previously relaxed, harmonious and joyful scene. He himself is irate and his arrival is sudden / unexpected (and unwelcome) interruption.
The formally/ courtly (loving?) atmosphere is broken and replaced by a more agitated / personal confrontation
D) i) Words
Bewitched, feigning, stol’n, cunning, filched
He described Lysander’s courtship in these terms because he regards him as a young upstart who has cunningly captured his daughter’s heart. He is all the more angry because he has promised Hermia to Demetrius and she is disobeying him. Lysander has not only stolen Hermia’s affections but also supplanted his authority.
ii) Attitude /Tone
Egeues s respectful / deferential / courteous to Theseus whereas his attitude towards Lysander is scornful / derisory / accusatory.
Language and tone
To Theseus: My noble lord, my gracious Duke (x2), your Grace
To Lysander: This man, Thous (x5)- and presumably pointing an accusatory finger.
iii) agitated
E) Theseus feels a daughter should obey her father in all things; revere / respect him ‘as a god’ since he ‘created’ her and has complete power over her.
F) Although nuns are praised for their saintly devotion and chastity (‘Thrice blessed they … maiden pilgrimage / single blessedness’), words / phrases such as ‘endure’, ‘for aye’, ‘shady cloister mewed’, ‘barren’, ‘all your life’, ‘faint hymns’, ‘cold fruitless’ and ‘dies’ connote a sense of enforced and permanent penance / constraint / incarceration. The image of a ‘barren sister’ chanting to the ‘cold fruitless moon’ is later reinforced by the metaphor ‘withering on the virgin thorn’ to stress the sterility of such an existence. All this appears unnatural and unappealing for a vibrant, passionate and beautiful young woman. Marriage is presented in the counter-image of the ‘rose distilled’. The mere fact that this is a brief / less developed description precede by ‘But’ suggests that it is a less drastic alternative. However, Theseus does not say such a life is ‘happier’ but ‘earthlier happy’ (ie: happy in a more earthly way). In this way, whilst he avoids making invidious comparisons, there is a suggestion that marriage is a more natural / normal choice.
Hence, while Theseus obviously respects and admires the single-minded religious devotion, strict discipline and firm self control of nuns, he wants to stress the sacrifices that such a life entails and remind Hermia that not everyone is suited to holy orders.
With a specific regard to the rose metaphors in lines 76-78- once again, the image of a rose ‘withering on a virgin thorn’ is obviously less appealing that ‘the rose distilled’. The former connotes a combination of something fruitless / barren / dry / shriveled (withering) and simultaneously sharp / hurtful / forbidding / uninviting (thorn). The latter, with its associations of perfume and progeny, appears more attractive.
G) She is spirited / bold- maybe headstrong / impetous / emotional (‘So is Lysander’) suggests a rather impulsive outburst. Having curbed / mastered her initial impulse, she is more deferential / respectful to Theseus (‘I do entreat… to wed Demetrius’)
She is loyal and devoted to Lysander (‘So will I grow … sovereignty’) We get the impression that she is a courageous / determined / assertive character.
H) Sarcastically / defiantly / provocatively / in a goading manner / derisively
I) He seems to regard Hermia as his personal property to dispose of as he wishes. Note the emphatic repetition of ‘mie’: ‘As she is mine, I may dispose of her.’ ; ‘And what is mine…’, ‘And she is mine’. Notice also the image of bequeathing / assigning / leaving behind property: ‘…and all my right of her / I do estate unto Demetrius’.
Although many students acknowledge the importance of filial piety, most find Egeus’ attitude rather extreme and insensitive. This is a good opportunity to think about the nature and extent of parental authority. Should parental power be limited when children reach a certain age? Should it be confined to certain areas?
J) i) Dote: be silly or infatuated; be excessively fond of; to love blindly or excessively
Helena is infatuated with Demetrius. Despite the fact that he has rejected her, she continues to be obsessed with regaining his affection to the extent that she ‘betrays’ her best friend and tells Demetrius of Hermia and Lysander’s plan to elope.
K) i) He is well-born; nobly descended, His inheritance / property / possessions are in equal amount, He is just as rich (if not richer), He loves Hermia more, Hermia loves him.
Demetrius is being unfaithful to Helena whom he once courted and has now ‘jilted’.
ii) Indigantly? (although this indignation is probably tempered by a certain deference to Theseus). It is quite possible, however, for a student to choose and justify a combination of other alternatives: for instance, he could adopt a contemptuous tone when referring to Demetrius, he could nervous in front of Theseus…)
The importance here is the recognition of a sensitive appreciation of character in a dramatic context.
L) He could be doing it merely to diffuse the situation.
Or, Lysander has reminded him of Demetrius’ case and this has changed his perception on the matter.
Plus, he has already intended to counsel Demetrius (lines 11-12) and is now fulfilling his previously neglected duty.
He could now be intending either to admonish Demetrius or attempt to change Egeus’ mind, although his stern reminder to Helena (lines 117-120) might suggest other wise. However, even though Theseus tells Hermia to fit her fancies to her father’s will, and professes that he is powerless to change the law, this could be merely politic play-acting on his behalf in order to prompt Hermia to serious reflection and provide against the possibility that both Demetrius and Egeus remain unyielding / unbending / obdurate. (Hermia must think seriously of what might happen to her if both Demetrius and Egeus refuse to back down)
It should be remembered that, at this point, Theseus is faced with a more difficult problem than in Act 4. Here, Hermia is actually wanted by both young men (one being preferred by her, the other by her father). In Act 4, Demetrius renounces his claim and professes his love and devotion for Helena.
On a more practical note, Theseus also says that he wants the two men to help organize some aspect of his wedding in addition to speaking about another matter that closely concerns them both.
M) It suggests that she has been affected / upset by the proceedings. We must remember that, before the entrance of Egeus, Hippolyta and Theseus have been eagerly / joyfully anticipating their upcoming wedding- all the more so because they have previously been enemies and the marriage will symbolize their newfound ‘amity’ (compare with Titania and Oberon; Act 4 Sc 1 line 87). Now, their ‘sealing day’ has become, perhaps literally a ‘deadline’, for Hermia. Naturally, the prospect of her wedding day spoiling another couple’s love is not appealing.
N) It reminds us of the rose images used by Theseus in line 76-77. in particular, the fading roses on Hermia’s cheeks are an ominous echo of the rose ‘withering on the virgin thorn’ suggesting the possibility of Hermia’s love being similarly blighted.
O) i) Different in blood (social position), different in age, dependent on someone else’s choice, affected by war, death or sickness.
ii) The lovers speak alternate lines. Notice also the specific word patterns:
(Hermia: O cross! / Too high; O spite! / Too old; O hell! / To choose.
Lysander: Or else, Or else; Or, if.)
The effect is to create a sense of poetic intensity and intimacy between the two lovers. It also tends to emphasize their sense of frustration. Regardless of specific dramatic purpose, it could be said that Shakespeare’s verbal skill is in itself, poetically admirable and entertaining.
iii)
Temporary nature
Comparison
Momentary
As a sound
Swift
As a shadow
short
As any dream
Brief
As the lightning
Quick (if also understood as ‘quickly’
P) Student chart
Q) Initially, Lysander appears to be agreeing with Hermia’s conclusion that, since it appears that lovers have always been frustrated in their plans, they are no exception to the rule and must learn to bear their predicament with patience.
However, Lysander then proceeds to propose the contrary- that, rather than stoically accept their position, they should rebel against state and parental authority by eloping.
Perhaps Lysander is merely being polite when he replies to Hermia, ‘A good persuasion’. It is, after all, polite / conventional response. Once said, Lysander seems more keen to impart his own scheme which is obviously premeditated and preferred.
Or perhaps Shakespeare is making an ironic comment on the impulsiveness / heedlessness of young lovers. Whilst Lysander pays lip service to Hermia’s ‘rational’ approach, his emotions lead him in the opposite direction! He could be so ‘carried away’ that he himself is oblivious of the glaring contradiction between thought and deed thus adding to the audience’s amusement.
R) i) Playfully
ii) Although Hermia is playfully teasing Lysander about the unfaithful-ness of men, he ironically proves her observation correct later in the play when he deserts her for Helena!
S) wistful
T) i) Refer back to answer (O) (ii). Shakespeare is using the same device of alternating lines here with similar verbal repetition and parallel sentence structure.
Eg: I frown…yet & I give…yet, O that your frowns & O that my prayers, The more I hate, the more & The more I love, the more, fault of mine & fault were mine.
Notice also the use of rhyming couplets which serves to further ‘yoke’ the two speakers’ sentiments.
The overall effect is to emphasize the close the relationship the two women share and underline Hermia’s sympathetic attitude. It also serves to illustrate their mutual frustration- no matter what Hermia does, she cannot get rid of Demetrius, no matter what Helena does, she cannot win him back!
U) Excited. There is a certain breathlessness enthusiasm about their delivery. The lovers seem to ‘fall over each other’ in their eagerness to tell Helena their plan. This sense of happy, headlong rush is further conveyed in their equally swift and excited exit.
V) Later in the play, Demetrius does not on Helena owing to the effects of Puck’s love potion.
W) She is despondent / miserable / dejected. Her sad soliloquy is a stark contrast to the mutual happiness and eager anticipation of Lysander and Hermia. They love each other and are about to romantically elope whereas she is spurned by Demetrius and left forlorn and helpless on stage to bemoan her plight.
X) i) Love distorts our view so that vile /base things appear valuable / desirable.
It is the lover’s imagination / mind which is responsible for deceiving his / her senses in this way. People in love cannot judge reasonably. They are rash and impulsive. They choose foolishly. They break their promises / are inconstant. Generally, they behave childishly.
ii) Cupid is a child (lovers are childish / immature / easily deceived / inconstant / fickle)
He is blind (lacks judgment / reason / discrimination)
He is winged (combined with his blindness , this makes him ‘hasty’ in the sense of careless / impulsive / rash)
Y) i) She wants an excuse to see him again to gain his favor / thanks / gratitude.
It really does not make sense because it is to her advantage if her rival gets married ad has to remain in exile! Demetrius might prevent this. Telling him of the plan, therefore, is a foolish wish for immediate gratification which reflects Helena’s infatuated state of mind. It is however, required by the exigencies of the plot!
ii) Helena’s ‘betrayal’ must be viewed in the light of her own irrational infatuation and in the context of the play as a Romantic Comedy. Issues that you may want to think of include: The conflicting demands of love and duty. Is all fair in love and war?
Act 1 Scene 2
A)
Contrasts
Court à
craftsmen
Formal elaborate ways à
Informal down-to-earth prose
Romance / conflict à
Comedy / light relief
B) ‘Lamentable Comedy’ is a humorous contradiction in terms.
C) He is rather ‘bossy’ / domineering and seems to think that he knows best. Although Quince is ‘the director’, he keeps telling him how to organize things. He also pretends to be familiar with the play (‘A very good piece of work, I assure you, and a merry’) when it later is revealed that he is ignorant of the plot. However, this potentially unfavorable impression of Bottom as a smug, ‘bossy’, ‘know-it-all’ is modified by an overall sense of his amiable / good-natured, / harmless, heartiness.
D) No. The verse is mere poetry. The speech is bombastic / melodramatic / pedestrian (rhyme and alliteration) and made to sound even more ridiculous by Bottom’s ranting / declamatory / overblown rendition.
E) i) Posisbly proudly (Any alternatives is possible provided choice is justified).
ii) High-pitched (because of his name which suggests a ‘piping voice’ and his assigned role in the play).
F) Flattery! We see that Quince is fairly shrewd and tactful enough to get his own way.
G) assertive, self-possessed, conceited, ignorant, exuberant, affable.
