ENGLISH NOTES

© The Institute of Education 2016

SUBJECT: Leaving Cert English

LEVEL: Ordinary and Higher Level
TEACHER: Cian Hogan

Topics Covered:
King Lear - Essay Writing

About Cian:
Cian has been teaching English and French at The Institute of Education since 2001. He
is the author of Poems, a new anthology of Leaving Cert poetry, Rapid Revision French, a
10 week guide to preparing for the Leaving Cert, Accent Français, a new approach to the
Leaving Cert oral and aural exams and most recently, Hamlet an ebook written for iPad.
Essay Writing
Technique

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LEAR ESSAY WRITING
Understanding
the marking
scheme ensures
that your hard
work will be
rewarded. It is
vital that you
understand how
PCLM works.

the The following advice is based on the requirements of

State Examinations Commission’s the marking scheme.
‘purpose’ The views expressed here are not necessarily my

marks personal opinions, but are derived from discussions with

examiners and close reading of the Chief Examiner’s
control reports. It is very important that you take the time to

everything download and read the Chief Examiner’s reports which

can be found on www.examinations.ie.

๏ Starting Point

Your essay must always contain a beginning, a middle and

an end.
Essay
Writing
Technique

2
Wr iti ng An I n t ro | N o t e s

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THE CHIEF
EXAMINER’S Introductions
REPORT
Examiners reported that
Apart from the C marks, which are awarded for how your
candidates generally
essay is structured there are no marks per se in the
seemed well prepared for
marking scheme for the quality of your introduction. You
answering on Single Text
questions. Although most will not be rewarded in the marking scheme for proof in
answers displayed a your introduction that you have planned your essay.
close knowledge of the However, you must have an introduction and obviously it is
studied texts, unfocused best that your introduction looks planned. There are a
narrative remained a number of relatively easy tricks you can perform to lend
feature of the less
your intro the appearance of being highly structured. Try
successful attempts.
not to over-complicate your introduction or promise
Successful candidates
something that you cannot or do not fulfil in your essay;
avoided simple character
sketches and wrote because, if you do, you could damage your “C” marks.
cogently, using focused
narrative, on both Your introduction should be short and should emphasise
aspects of the question. the question asked. One of the best pieces of essay writing
Quotations were used technique that you can employ, is to ask yourself if
liberally, but not always
someone could tell what the question asked was by simply
accurately or judiciously.
reading my introduction. If the answer is no to this
Examiners noted that the
question, you need to start again. Generally speaking, it
best answers in the
Single Text Section were may be best to avoid mentioning a specific scene, act, or
anchored in a careful and character unless these are asked in the question. In order
assured examination of to avoid mentioning irrelevant material, you must make a
all aspects of the list of the key question words before you start to write your
question. While introduction. Bear in mind that it is entirely possible to
unfocused narrative
remains a minor problem,
most candidates
displayed an admirable
Students should be aware of the dangers
flexibility in adapting their
of unfocused narrative particularly in their
knowledge to the
demands of the
response to a Single Text question. It is Essay
question ...
important to move beyond mere Writing
description of content
Technique
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 EFFECTIVE PARAGRAPHS
prepare in advance the attributes of what an introduction to those Examiners noted
that the best
key areas of play might look like.
answers in the
Single Text Section
๏ Sentences were anchored in a
careful and assured
examination of all
aspects of the
The basic unit of any essay is the sentence. Remember to keep question. While
keep control over your sentences. When you first begin to write unfocused narrative
remains a minor
Leaving Certificate style essay you need to write in relatively short
problem, most
measured sentences. Only when you feel in control of your writing
candidates
should you attempt longer sentences. Some of the most basic displayed an
mistakes made by students include: admirable flexibility
in adapting their
knowledge to the
★ The unintentional repetition of words. Look at the following
demands of the
example where unintentional repetition has weakened the
question
sentence:

you must
ensure
that there
is a clear
and
obvious
focus to
your
paragraph
5
Eff e cti ve Para gra ph No t e s

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The compulsory single text question
The single text question is worth 60 marks. This question is compulsory.
You will be given a choice between two different questions on the day of the
examination. Generally, there tends to be a choice between a character
based question and a theme based one. However, this is not guaranteed
and questions that deal with the technical aspects of the play can and do
appear on the examination.

Lear demands that a love test take place, because

Apt use of Lear wants to test his daughter’s love.

quotation ★ Starting two consecutive sentences with the same words.

is vital to
your ★ Using overused or misused adjectives such as good, nice,
bad, brilliant etc...
ability to ★ Failing to make the verb and the subject agree.
respond ★ Using unusual syntax that departs from normal word order.

to the
Most essay writing problems originate from poorly though out
question. sentences. Remember, effective sentences work to create
There is effective paragraphs that are focused on the question asked.

no How you organise your paragraphs is vital to the success of

your essay. The marking scheme is designed in such a manner
escaping as to reward students who arrange their answer to the question
this fact. in an ordered manner:

“The syllabus
requires that, all students will be expected to
be assiduous in their attention to
paragraphing, syntax, spelling and
punctuation. Candidates at both Higher and
Ordinary Levels benefited when they

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According to
the chief
examiner s
report 2008
Less successful responses to questions
on the Single Text occurred when
candidates (i) had some difficulty with
recall (ii) were unsure as to the precise
information asked for or (iii) wrote
extensive summaries of the plot ...
exhibited an ability to
structure their writing,
organise paragraphs,
spell accurately and
correctly employ
punctuation.”
A paragraph is a self-contained
unit of a thought in writing dealing with
a particular point or idea. There must be
a clear and discernible focus to your
paragraph. And that focus must be
question linked. If the essay were about
the Edmund, then one of your
paragraphs might have as its focus, the
way in which Edmund appears honest. A
paragraph must never have two
competing ideas. If you cannot say, what
aspect of the question your paragraph is
dealing with then your paragraph is not
focussed. Remember, paragraphs that
deal with more than one idea at one
time tend be confused and do not
exploit the marking scheme in the most
effective and time efficient fashion. For
the first three essays that you write, it is
a good idea to write the focus of the
paragraph down the side of the page.
This will help you to think about where
your essay is going. The best paragraphs
contain at least three obvious references
to the question asked. For example, if
the question were centred on the word
‘deceit’, then your paragraph should
8
use
the word deceit in an obvious way, but should also contain words and phrases like
‘appearance and reality’, ‘lies’, ‘indirections’ etc. Remember, that you should indent the
beginning of each paragraph and it is good practice to leave a few lines between each
paragraph.

“Quotations”
Every paragraph you write must contain STRONG quotations that make thematic, character
or technical points. Using strong quotation will allow you to avoid paraphrasing the text.
Paraphrase weakens your answer and is not rewarded in the marking scheme. Look at the
following example:

Provided that it doesn’t fragment your essay, block quotation can be a very useful tool in
strengthening your point. When using block quotations you should drop down a line and
move to the centre of the page. However, it is important to remember that quotation is only
useful in so far as it is supporting a point that is completely relevant to the question asked.

Remember the question is everything there is no such thing as

mark by impression in the English exam...

Take a look at the following example of how to use block quotation:

As we prepare ourselves for the play’s tragic ending, we are

forced to agree with Gloucester that in this cruel world, the
weak are:

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EFFECTIVE PARAGRAPHS
As flies to wanton boys, [...] to the Gods;
They kill us for their sport.

Although the block quotation stands on its own, it still follows the logic of
the previous sentence. When the paragraph resumes, the question focus
should still very clear. In fact, the next sentence should justifies the use of
the block quotation in relation to the question. You must avoid dropping
the quotation onto the page as if it arrived from nowhere. You will never
be rewarded simply for using quotation. Your use of quotation must be
justified by its connection to some aspect of the question. And that
connection should always be: thematic, character and or technical.

๏ The Length of Paragraphs

It is of course impossible to prescribe the length of paragraph that you

should write. However, in an examination situation most paragraphs will
consist of sixteen to eighteen lines of exam booklet or 14 to 18
sentences. Keeping this in mind, you should make sure that you practise
writing essays on examination style booklet. Well written essays tend to
contain paragraphs of even length. If you think about this for a moment, it
is entirely logical. If the question contains three parts, then, in order to
obtain full marks, you must deal with each of these three parts more or
less evenly. One paragraph containing four sentences and another
containing twenty-four sentences tends to indicate a poorly structured
essay. It is important that you get into the habit of approaching each
paragraph in a structured well thought out fashion. The best paragraphs
nearly always contain:

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 More than one clear reference to the question asked.

At least three quotations delivered in a developed PQE

(Point Quote Explain) sequence.

Apt use of technical vocabulary such as; atmosphere,

dramatic irony, motif of sight, soliloquy etc

Think Before You Write!

So before, during and after you put pen to paper you should ask yourself

the following questions:

Is the paragraph focused on one aspect of the question?

Does my paragraph have at least three strong quotations?

If the paragraph were taken out of the essay would one be

able to tell what the question asked was?

Are the paragraphs evenly distributed?

Have you written roughly four pages or between 1000 -

1400 words?

If the answer is no to any of these questions, the chances are that your essay is
flawed and needs to be reworked. From now on, please do not write
an essay without reading this handout through. Make sure you
follow the check-list above. Don t be afraid to ask tough questions of your own
writing. For further advice on the PCLM marking scheme why not click on our

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short explanatory video http://studyzone.ioe.ie/exam-times-supplement-3-
english/

Below, you will find two sample essays to past Leaving Certificate questions.
These may help you to place the advice given above and the information
contained in the online explanatory video into a clearer context.

L E AV I N G C E RT I F I C AT E 1 9 8 9

“Shakespeare’s vision of the world in Ki n g L e a r i s n o t e s s e n tially

pes s i mi sti c .”
D i s c u s s t h i s v i e w, s u p p o r t i n g yo u r a n s we r by r e fe r e n c e o r q u o t a t i o n
f r o m t h e p l ay.

I n t ro du ct i o n s
• Int r o d u c t i o n s s h o u l d a lwa y s b e s h o r t c l e a r a n d c o n c i s e . R e m e mber,
there are no mar ks per se in the ⓟ Ⓒ Ⓛ Ⓜ m a r k i n g s c h e m e for

the quality of your introduction. Given that an introduction will not

contain developed points it is ver y unlikely that it will be coded.

• Consequently, there is no need to over think your introduction.

• Th e l i t mus t est for a g o o d i n tro d u c ti o n i s : c o u l d s o m e o n e te l l wh a t

the question asked was from simply reading your introduction?

• If t h e a n s w e r i s n o t o t h i s q u e s t i o n , y o u n e e d t o r e t h i n k your
introduction.

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 In th e e s s a y be low, w h i c h i s c o lo u r c o d e d , re d i s u s e d f o r
a t o p i c se n t e n c e , g re e n for a qu e s t ion lin k a nd pin k for a
simple or complex continuity link.

D e s p i t e t h e p a i n a n d s u f fe r i n g t h a t d o m i n a t e s s o mu c h o f
“King Lear ” , S h a ke s p e a re ’s vi s i o n o f t h e wo r l d i n t h e p l ay i s not
es s enti al ly p es s im is tic . Th e p lay b a l a n c e s i t s u n d e n i a b ly d a rke r mo m e nt s

by ❶ demonstrating clearly that change and growth are possible , ❷ that

evil can be opposed and ❸ by e m p h a s i s i n g t h e re d e m p t i ve p owe r o f l ove .

❶
❷ A t r i a d i c e x p r e s s i o n , o r a g r o u p i n g o f t h r e e c a n b e a g o o d w ay
o f o r g a n i s i n g yo u r t h o u g h t s i n a c l e a r a n d e f fi c i e n t m a n n e r

13
 Even in th e pla y ’s da rke s t m o m e n t s Sh a ke s p e a re ’s v i s i on
o f t h e wo rl d i s n o t e n t i re l y p e s s i m i s t i c . T h e bl i n d i n g o f
Gloucester is one of the most shocking scenes in all of
l i t e ra t u re . However, even here , in the midst of the most
d e p ra ve d c ru e l t y, S h a ke s p e a re g i ve s u s re a s o n s f o r h o p e . In
the face of Regan and Cornwall’s t h re a t s Gloucester’s
c o m m i t m e n t t o h i s p ri n c i p l e s i s u p l i f t i n g . He re m i n d s t h e m
t h a t t h e y a re h i s “guests ” , l e c t u re s t h e m a b o u t t h e w rong s
t h e y h a ve d o n e t h e i r f a t h e r a n d a s s u re s t h e m t h a t t h e re w i l l
be consequences for their actions:

[…] but I shall see

T h e w i n ge d v e n ge a n c e ov e r t a ke s u c h c h i l d re n .

S uch coura g e f ro m a n o l d , f r a i l m a n d e s e r ve s o u r a d m i r a t i o n a n d , i n the

proces s , ba la n c es th e u n d en ia b l e c ru e l t y o f t h i s s c e n e . We ri g h t ly fe e l
that the sav a g e r y t h a t E d mu n d , G o n e r i l , R e g a n a n d C o r n w a l l re p re sent
can and wi l l b e o p p o s e d . A n d S h a ke s p e a re c o n f i r m s t h i s w h e n a l owly
ser vant of Cornwall's inter venes:

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 H o l d y o u r h a n d , my l o rd :
I h a v e s e r v e d y o u ev e r s i n c e I wa s a c h i l d ;
B u t b e t t e r s e r v i c e h a v e I n ev e r d o n e y o u
T h a n n ow t o b i d y o u h o l d .

T h e a u d i e n c e i s u p l i f t e d t o l e a r n t h a t t h e re a re m e n i n t h e
world willing to risk their lives for what is right. Al t h oug h
when Glou c e s te r is e ve n t u a l l y fo rc e d t o “ s m e l l h i s w a y to
Dover,” we a re of course dee ply disturbed by his suf fering,
we a re also hea rtened to witness the kindness of two more
o f h i s s e r v a n t s . A t g re a t ri s k t o t h e i r p e rs o n a l s a f e t y, t hey
a pp l y “ fl a x a n d w h i t e s o f e g g s ” “t o h i s b l e e d i n g f a c e.” Their
g enui ne c o n c e r n c o u n te rs t h e c ru e l t y t h a t we h a ve just
wi t nessed a n d d o e s m u c h t o s how us t hat t h e play ’s o u t look ,
although deeply d e p re s s i n g in p l a c e s, is not essentially
pessimistic.

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 H o w e v e r, perhaps the most uplifting aspect of
Gloucester’s pa inf ul journey is the cha nge that ta kes place in
h i s c h a ra c t e r. H e d i s p l a y s e m p a t h y f o r t h o s e h e l p i n g h i m
a nd, for t h e f i rs t t i m e i n t h e p l a y, i s f u l l y a wa re o f j u s t how
f o o l i s h a n d bl i n d h e h a s b e e n :

[ … ] b r i n g s o m e c ov e r i n g fo r t h i s n a ke d s o u l , [ … ]
I h a v e n o wa y, a n d t h e re fo re wa n t n o e ye s ;
I stumbled when I saw:

F u r t h e r m o re , h e re a l i s e s t h a t h e h a s w ro n g e d h i s s o n a n d h e e x p re s s e s
sorrow for his behaviour,

O d e a r s o n E d g a r,
M i g h t I b u t l i v e t o s e e t h e e i n my t o u c h ,
I ' d s a y I h a d e ye s a g a i n !

F i n a l l y, G lo u c e s t e r e x p re s s e s t h e d e s i re t o re m e d y w h a t h e
n ow p e rc e i ve s a s i n e q u a l i t y i n s o c i e t y. For the first time in
t h e p l a y, S h a ke s p e a re o f f e rs u s a v i s i o n o f t h e wo rl d w h ere
t h o s e i n p owe r s e e k t o “u n d o exc e s s” .

16
 Of course, Gloucester’s painful journey t owa rd s
re d e m p t i o n i s m a t c h e d by t h e p ro f o u n d c h a n g e s t h a t t a ke
p l a c e i n L e a r ’s c h a ra c t e r. A n d w h i l e t h e re i s n o d e n y i n g that
Lea r’s suf fering is every bit as shocking as Gloucester’s, his
j o u r n e y t owa rd s e n l i g h t e n m e n t i s e q u a l l y u p l i f t i n g; b e c a u s e ,
h e a l s o d e m o n s t ra t e s t h a t re a l c h a n g e f o r t h e b e t t e r i s
p o s s i bl e . When G o n e ri l attempts to emasculate him by
t a k i n g a wa y h i s k n i g h t s, L e a r c o u n t e rs w i t h a p ro f o u n d a n d
thoughtful assessment of the human condition:

O, re a s o n n o t th e n e e d : o u r b a s e s t b e gga r s
A re i n th e p o o re s t th i n g s u p e r f l u o u s :
A l l ow n o t n a tu re m o re th a n n a tu re n e e d s ,
M a n ' s l i fe ' s a s c h e a p a s b e a s t’s [ … ]

17
Fo r t h e f i r s t t i m e i n t h e p l ay, L e a r s p e a k s w i s e ly. A n d a s h e ru s h e s i nt o
the storm we a re r i g h t i n fe e l i n g t h a t h e i s re a d y t o a c c e p t w h a t ever
l e s s o n s a re t o b e l e a r n t f ro m t h i s p a i n f u l e x p e r i e n c e .

There i s n o d e n y i n g t h e s u f f e ri n g t h a t L e a r e x p e ri e n c e s
o n c e e x p o s e d t o f o rc e o f t h e s t o r m . A l t h o u g h h e re ve l s i n
t h e s a v a g e r y o f t h e n a t u ra l f o rc e s t h a t h e h i m s e l f h a s s e t
i n t o m o t i o n , i t i s p re c i s e l y i n t h i s a b j e c t a n d u n s h e l t e re d
state that his spiritual blindness is lifted. T h e c h a n g e s i n
Lea r’s cha racter counter much of the undenia ble pessimism
c a u s e d by h i s s u f f e ri n g ; b e c a u s e , w h a t t ra n s f o r m s L e a r a f t e r
h i s p a i n f u l e x p e ri e n c e o n t h e h e a t h i s h i s a c c e p t a n c e o f h i s
own nat u ral limitations, o f h i s p l a c e w i t h i n , a n d n o t a b ove ,
t h e n a t u ra l wo rl d . M u c h l i ke G lo u c e s t e r, L e a r l e a r n s t o p l a c e
others a h e a d o f h i s ow n n e e d s . A n d f o r w h a t we ri g htly
suspect is the first time in his life he shows concern a nd
e m p a t h y f o r t h e s u f f e ri n g o f o t h e rs :

18
 Pr ithee , go in thyself: seek thine own ease:

As Lear be g i n s t o f e e l t h e s u f f e r i n g o f t h o s e a ro u n d h i m , h e s u d d enly
appreciates there are many “Poor naked wretches” in the world that:

[…] bide the pelting of this pitiless storm,

He worr i es fo r th e ir s a fe ty a n d i s c o n c e rn e d t h a t t h e i r :
“h o u seless h ea d s a n d u n fed sid es ,”

will cause unnecessary hardship. I m p o r t a n t l y, he

acknowledges his culpa bility in having “ t a ke n t o o l i t t l e c a re
of this ” w h e n h e was i n a p o s i t i o n t o d o s o . T h e t e n d e r n e s s
of Lear’s concern for the Fool and Ke n t , his g ro w i n g
u n d e rs t a n d i n g o f t h e b o n d o f e m p a t h y t h a t j o i n s h i m t o h i s
f e l low h u m a n b e i n g s a n d h i s a c c e p t a n c e o f h ow h e h a s
n e g l e c t e d h i s d u t y t o t h o s e wo rs e o f f t h a n h i m d o e s m u c h t o
balance the pessimism of this scene.

However, while the profound cha nges that ta ke place

i n L e a r ’s c h a ra c t e r a re g e n u i n e l y u p l i f t i n g, i t i s t h e m a n n e r
i n w h i c h h e i s re d e e m e d d u ri n g h i s lov i n g re c o n c i l i a t i o n w i t h
C o rd e l i a t h a t i s m o s t h e a rt wa r m i n g . When he meets her
again, we a re p re s e n t e d with a man who is no lo n g e r
d e m a n d i n g a n d a r ro g a n t . H e a c c e p t s t h a t h e i s ‘a ve r y f o olish

@cianhogan2 ioedublin www.hogannotes.com student cianhogan@gmail.com

19
fond old man’ a n d re a l i s e s t h a t h e i s ‘n o t o f p e r fe c t m i nd’.
When he g re e t s C o rd e l i a , h e d o e s s o w i t h e x t ra o rd i na ry
simplicity a nd modesty:

Do not laugh at me ,
For, as I am a man, I think this lady
To be my c hild Cordelia.

A s h e k neels before her an d ex p l a i n s t h at h e i s “a v e r y o l d f o olish

fond ol d m a n .” a n d t h at h e “ f ea r [s h e is ] n o t in h is p er f ec t mind .”

The act of k n e e l i n g d o w n i s o n e o f rea l e n l i g h t e n m e n t , i n d i c ating

the extent t o w h i c h h e h a s c h a n g e d a n d h i s d e e p n e e d t o be

forgiven b y h i s d a u g h t e r. Fo r h e r p a rt , Co rd e l i a i s s e n s i t i v e t o his

v ulnerab il i ty. S he as ks for h i m “ t o h o l d y o u r h a n d i n b e n e d i c t i o n o’er

m e ”, sh e den i es that s he has c a u s e t o s i t i n j u d g e m e n t o n h i m – “n o

cause , no cause , and will not let him humble himself before her, you must not
k n eel.” She re f e r s t o h i m w i t h re s p e c t a n d s e t s a b o u t re s t o r i n g his

dig nit y an d hi s s elf- es teem . S h e c a l l s h i m “y o u r M a j e s ty ” and “ my

Lord ”, attrib u t i n g t o h i m t h e t i t l e a n d t h e re s p e c t t h at o t h e r s have

denied him . S h e re - e s t a b l i sh e s h i s s t at u s a s k i n g a n d h i s s e n s e of

self-worth a s a m a n . A s h e ex i t s , h i s p a rt i n g h a v e a s p i r i t u a l q u ality

to them th at w o u l d h a v e b e e n u n t h i n ka b l e at t h e b e g i n n i n g o f the

play : ‘ You m u s t b ea r w i t h m e . Pra y y o u n o w, f o rg e t a n d f o rg i ve. I

am ol d a n d f ool i s h ’. Th i s i s s o u tt e r l y d i ff e re n t f ro m a n y t h i n g in

the first s c e n e o f t h e p l a y t h at i t v a l i d at e s Lea r ’s s u ff e r i n g and

c o un ter s so m any of th e f ee li n g s o f p e ssi m i sm c a use d b y i t .

20
 There c a n b e n o d e ny in g t h a t “Ki n g L e a r ” p re s e n t s t h e re a d e r with
scenes of u n i m a g i n a b l e s u f fe r i n g . H oweve r, D e s p i t e t h e u n d e n i a b l e pain
and darkness that dominates so much of the play , S h a ke s p e a re ’s v i s i on of
th e worl d i n “ K i ng L e ar ” i s n o t e s s e n t i a l ly p e s s i m i s t i c , b e c a u s e i n t h e play
he demonst r a t e s t h e re d e m p t ive p owe r o f l ove , h e s h ow s u s t h a t c h ange
and growth are possible and of course that evil can be opposed.

21
King Lear Past Leaving Cert Questions

2 01 0
I. “In King Lear honour and loyalty tr iumph over br utality and
viciousness.”

Wr ite your response to this statement suppor ting your answer

wi th suitable reference t o t he t e x t .

OR

II. “In King Lear the villainous char acter s hold more fascination for
the audience than the vir tuous ones.”

D i s c u s s t h i s s t a t e m e n t w i t h r e fe r e n c e t o a t l e a s t o n e v i l l a i n o u s
and one vir tuous char acter. Suppor t your answer with suitable
r e ference to the text.

2 00 6

22
 I. “In the p lay, King Lear, t h e s t o r i e s o f L e a r a n d G l o u c e s t e r m ir r o r
o ne another in interes t ing w ays .”

W r ite a response to t h i s v i e w o f t h e p l ay, s u p p o r t i n g yo u r

answer by reference to the text.

OR

II. “Read ing or seeing Ki n g Le a r is a hor r ifying as well as an

u p l i f t i n g e x p e r i e n c e .”

Wr ite a response to t h i s v i e w, s u p p o r t i n g t h e p o i n t s yo u m a ke
by referen ce to th e text.

2 00 1

I. What, in your view, a r e t h e m o s t i m p o r t a n t c h a n g e s t h a t t a ke

place in the char acter of Lear dur ing the play, Ki n g L e a r ?
S u p p o r t yo u r p o i n t s by r e fe r e n c e t o t h e p l ay.

OR

II. “Scenes of great suffe r i n g a n d o f g r e a t t e n d e r n e s s h e l p t o m a ke

Ki ng Lear a ver y memor able play.”
Discuss this statemen t , s u p p o r t i n g yo u r a n s we r by r e fe r e n c e t o
the play, King Lear.

23
1 99 7

I. “Our initial d isapp rov a l of L e a r in S ha ke s p e a r e ’s Ki n g L e a r

develops ultimately into a profound sympathy for him.”

D i s c u s s t h i s s t a t e m e n t , s u p p o r t i n g yo u r a n s we r by q u o t a t i o n
f r o m o r r e fe r e n c e t o t h e p l ay.

OR

II. “ The tendency to take p l e a s u r e i n t o r t u r e , i n d e c e i t a n d i n t h e

abuse of power is vividly dr amatised in the play Ki n g Le a r.”

D i s c u s s t h i s s t a t e m e n t , s u p p o r t i n g yo u r a n s we r by q u o t a t i o n
f r o m o r r e fe r e n c e t o t h e p l ay.

1 99 3

I. “The impor tance of s e l f - k n ow l e d g e a n d fo r g i ve n e s s i s s t r i k i n g ly

e v id ent in the p lay Kin g Le a r.”

Discuss this view, su p p o r t i n g yo u r a n s we r by r e fe r e n c e o r

quotation from the play.
O R

II. “E vil is vivid ly and fr ig ht e ning ly d e p ict e d in t he p lay Ki n g Le ar .”

Di scuss this view, su p p o r t i n g yo u r a n s we r by r e fe r e n c e o r

quotation from the play.

24
1 98 9

I. “Shakespeare’s vision of t he wor ld in Ki n g Le a r i s n o t e s s e n t i a l ly

p e s s i m i s t i c .” D i s c u s s t h i s v i e w, s u p p o r t i n g yo u r a n s we r by
re ference or q uotation fr om t he p lay.

Or

II.
“In the cour se of the p l ay L e a r e m b a r k s o n a h a r r ow i n g j o u r n e y
through suffer ing to s e l f k n ow l e d g e . A t t h e e n d h e i s a b e t t e r
and wiser man.” Discu s s t h i s v i e w, s u p p o r t i n g yo u r a n s we r by
r e ference or q uotation fr om t he p lay.

1 98 5

I. ‘Love as a redemptive force is a major theme in Ki n g L e a r ’

Discuss this view, su p p o r t i n g yo u r a n s we r by r e fe r e n c e o r
quotation from the play.

Or
II. ‘Images of animals, of the tor tured human body, and of clothing/
n a ke d n e s s , a r e c o m m o n i n Ki n g Le a r .’ D i s c u s s t h e p a r t p l aye d by
s u c h i m a g e r y i n t h e p l a y, s u p p o r t i n g y o u r a n s w e r w i t h
appropr iate quotation or reference .

25