FIRST PAPER.

I.

When Sunday the fourth of November dawned, the cliffs of the Isle of Wight were full in view of the Dutch armament. That day was the anniversary both of William's birth and of his marriage. Sail was slackened during part of the morning; and divine service was performed on board of the ships. In the afternoon and through the night the fleet held on its course. Torbay was the place where the Prince intended to land. But the morning of Monday the fifth of November was hazy. The pilot of the Brill could not discern the sea marks, and carried the fleet too far to the west. The danger was great. To return in the face of the wind was impossible. Plymouth was the next port. But at Plymouth a garrison had been posted under the command of the Earl of Bath. The landing might be opposed; and check might produce serious consequences. There could be little doubt, moreover, that by this time the royal fleet had got out of the Thames and was hastening full sail down the Channel. Russell saw the whole extent of the peril, and exclaimed to Burnet, "You may go to prayers, Doctor. All is over." At that moment the wind changed: a soft breeze sprung up from the south: the mist dispersed: the sun shone forth; and, under the mild light of an autumnal moon, the fleet turned back, passed round the lofty cape of Berry Head, and rode safe in the harbour of Torbay.

1. What is the rhetorical effect of the frequent use of the curt sentence in this passage?

2. Criticise its use here and point out the cases in which a union of the statements in one sentence would seem more natural.

3. Does Macaulay extend this use of the curt sentence to other than passages of narrative? Compare its use by Gibbon.

4. Explain the rhetorical effect in the concluding sentence, and show how it is obtained.

use?

5. What other structural types does Macaulay chiefly Show the relation of his style to that of Johnson and Burke in the development of prose.

6. Give a general estimate of the qualities of his style as regards sentence-structure. What are its merits, and in what respects is it most open to criticism?

Nature had given him a high, keen-visioned, almost poetic soul; yet withal imprisoned it in an inert, unsightly body; he that could never rest had not limbs that would move with him, but only roll and waddle: the inward eye, all penetrating, all embracing, must look through bodily windows that were dim, halfblinded; he so loved men, and never once saw the human face divine!' Not less did he prize the love of men; he was eminently social; the approbation of his fellows was dear to him, 'valuable,' as he owned, if from the meanest of human beings:' yet the first impression he produced on every man was to be one of aversion, almost of disgust. By Nature it was farther ordered that the imperious Johnson should be born poor: the ruler-soul, strong in its native royalty, generous, uncontrollable, like the lion of the woods, was to be housed, then, in such a dwellingplace of Disfigurement, Disease, and lastly of a Poverty which itself made him the servant of servants. Thus was the born king likewise a born slave: the divine spirit of Music must awake imprisoned amid dull-croaking universal Discords; the Ariel finds himself encased in the coarse hulls of a Caliban.

1. Describe the general character of the phraseology here. Compare it with that of the passage from Macaulay.

2. Show how this difference in the character of the phraseology reflects the different individuality and thought of the two writers.

3. Point out the phrases in the extract from Carlyle which are so peculiar as to seem unsuitable for general use, and discuss their value.

II.

Explain the meaning of the following passages in Carlyle's essays, and show their application to the life of Johnson :

(a) To none of the world's few Incorporated Guilds could he have adjusted himself without difficulty, without distortion.

(b) It was a wholly divided age, that of Johnson; Unity existed nowhere, in its Heaven, or in its Earth.

(c) Remark, moreover, how this second sort of mecaenasship, after carrying us through a century of Literary Time, appears now to have wellnigh discharged its function also.

O hard condition,

Twin-born with greatness, subject to the breath
Of every fool, whose sense no more can feel
But his own wringing! What infinite heart's-ease
Must kings neglect, that private men enjoy!
And what have kings, that privates have not too,
Save ceremony, save general ceremony?
And what art thou, thou idol ceremony?
What kind of god art thou, that suffer'st more
Of mortal griefs than do thy worshippers?
What are thy rents? what are thy comings in?
O ceremony, show me but thy worth!

What is thy soul, O adoration?

Art thou aught else but place, degree and form,
Creating awe and fear in other men?

Wherein thou art less happy, being fear'd,
Than they in fearing.

(a) Explain precisely what is meant by "subject to the breath," 99.66 no more can feel but his own wringing,' save general ceremony," "that suffer'st more "that suffer'st more ..... than do thy worshippers," "what are thy comings in."

(b) Write a critical note on the range and character of Shakespeare's vocabulary, and give illustrations from the above passage.

(e) What are the characteristics of the rhythm in this pa-sage? What are the general differences between epic and dramatic blank verse?

(d) Scan the following lines:

But his own wringing! What infinite heart's ease.

Save ceremony, save general ceremony.

What is thy soul, O adoration.

Can we consider Henry V a truly heroic type? What is the fundamental strength of his character, and what are its limitations ?

Make notes on the character of the Archbishop and of Fluellen.