Good sir, no more; these are unsightly tricks. Return you to my sister.


[Rising] Never, Regan.

She hath abated me of half my train;

Look’d black upon me; struck me with her tongue,

Most serpent-like, upon the very heart.

All the stor’d vengeances of heaven fall

On her ingrateful top! Strike her young bones,

You taking airs, with lameness!


Fie sir, fie!


You nimble lightnings, dart your building flames
Into her scornful eyes! Infect her beauty,
You fen-suck’d fogs, drawn by the pow’rful sun,
To fall and blister her!


O the blest gods! so will you wish on me,
When the rash mood is on.


No, Regan, thou shalt never have my curse:
Thy tender-hefted nature shall not give
Thee o’er to harshness: her eyes are fierce, but thine
Do comfort and not burn. ’Tis not in thee
To grudge my pleasures, to cut off my train,
To bandy hasty words, to scant my sizes,

And, in conclusion to oppose the bolt

Against my coming in: thou better know’st

The offices of nature, bond of childhood,

Effects of courtesy, dues of gratitude;

Thy half o’th’kingdom hast thou not forgot,

Wherein I thee endow’d


Good sir, to th’purpose.


Who put my man I’th’socks?

Tucket within


What trumpet’s that?


I know’t, my sister’s: this approves her letter,

That she would soon be here.
Enter Oswald

Is your lady come?


This is a slave, whose easy-borrow’d pride

Dwells in the fickle grace of her he follows.

Out, varlet, from my sight!


What means your grace?


Thou didst not know on’t. Who comes here?


a) Place the extract in context.

b) Explain the themes depicted in the extract.

c) Describe the character of Lear and Regan as potrayed in the extract.

d) Show the significance of the passage to the development of the plot of the play.

2. WILLIAM SHAKESPEARE: Romeo and Juliet

Lady Capulet

Evermore weeping for your cousin’s death?
What, wilt thou wash him from his grave with tears?

And if thou couldst, thou couldst not make him live;

Therefore have done. Some grief shows much of love,

But much of grief shows still some want of wit.


Yet let me weep for such a feeling loss.

Lady Capulet

So shall you feel the loss, but not the friend

Which you weep for.


Feeling so the loss,

I cannot choose but ever weep the friend.

Lady Capulet

Well, girl, thou weep’st not so much for his death

As that the villain lives which slaughter’d him.


What villain, madam?

Lady Capulet

That same villain Romeo.


[Aside]Villain and he be many miles asunder. –

God pardon him, I do with all my heart:\And yet no man like he doth grieve my heart.

Lady Capulet

That is because the trailor murdererlives.


Ay, madam, from the reach of these may hands.

Would none but I might venge my cousin’s death!

Lady Capulet

We will have vengeance for it, fear thou not:

Then weep no more. I’ll send tone in Mantua,

Where that same banish’d runagate doth live,

Shall give him such an unaccustom’d dram

That he shall soon keep Tybalt company;

And then I hope thou wilt be satisfied.


Indeed I never shall be satisified

With Romeo, till I behold him – dead-

Is my poor heart, so for a kinsman vex’d

Madam, if you could find out but a man

To bear a poison, I would temper it,

That Romeo should upon receipt thereof

Soon sleep in quiet. O how my heart abhors

To hear him nam’d and cannot come to him,

To wreak the love I bore my cousin

Upon his body that hath slaughter’d him!

Lady Capulet

Find thou the means, and I’ll find such a man.

But now I’ll tell thee joyful tidings, girl.


And joy comes well in such a needy time.

What are they, beseech your ladyship?

Lady Capulet

Well, well, thou hast a careful father, child,

One who, to put thee from thy heaviness,

Hath sorted out   a sudden day of joy,

That thou expects not, not I look’d not for



a) Relate the events that precede this extract.

b) Describe the character of the following as portrayed in the extract:

i) Juliet

ii) Lady Capulet.

c) Comment on the dramatic techniques used in the passage.

d) How do the events that follow the passage support Lady Capulet’s statement, “Find thout the means, and I’ll find such a man”?



I doubt not of your wisdom.

Let each man render me his bloody hand.

First, Marcus Brutus, will I shake with you;

Next, Caius Cassius, do I take your hand;

Now, Decius Brutus, yours; now yours, Metellus;

Yours, Cinna; and, my valiant Casca, yours;

Though last, not least in love, yours, good Trebonius. Gentlemen all – alas, what shall I say?

My credit now stands on such slippery ground

That one of two bad ways you must conceit me,

Either a coward, of a flatterer.

That I did love thee, Caesar, O, ‘tis true.

If then thy spirit look upon us now,

Shall it not grieve the dearer than thy death

To see thy Antony making his peace,

Shaking the bloody fingers of thy foes-

Most noble – in the presence of thy corse?

Had I as many eyes as thou hast wounds,

Weeping as fast as they stream forth thy blood,

It would become me better than to close

In terms of friendship with thine enemies.

Pardon me, Julius! Here wast thou bay’d, brave hart,

Here didst thou fall, and here thy hunters stand,

Sign’d in thy spoil and crimson’d in thy Lethe.

O world! Thou wast the forest to this hart,

And this indeed, O world, the heart of thee.

How like a deer stricken by many princes

Dost thou here lie!


Mark Antony-


Pardon me, Caius Cassius,

The enemies of Caesar shall say this;

Then, in a friend, it is cold modesty.


I blame you not for praising Caesar so,

But what compact mena you have with us?

Will you be prick’d in number of our friends,

Or shall we on and not depend on you?


Therefore I took your hands, but was indeed

Sway’d from the point by looking down on Caesar.

Friends am I with you all, and love you all,

Upon this hope, that you shall give me reasons

Why and wherein Caesar was dangerous.


Or else were this a savage spectacle.

Our reasons are so full of good regard

That were you, Antony the son of Caesar

You should be satisfied,


That’s all I seek,

And am, moreover, suitor that I may

Produce his body to the market-place,

And in the pulpit,as becomes a friend,

Speak in the order of his funeral.


You shall, Mark Antony.


Brutus, a word not what you.

[Aside to Brutus] You know not what you do.Do not consent

That Anthony speak in his funeral.

Know you how much the people may be mov’d

By that which he will utter?


[Aside to Cassius] Byyour pardon,

I will myself into the pulpit first

And show the reason for our Caesar’s death.

What Antony shall speak, I will protest

He speaks by leave and by permission,

And that we are contented Caesar shall

Have all true rites and lawful ceremonies.

It shall advantage more than do us wrong


[Aside to Brutus]I know not what may fall, I like it not.


Mark Antony, here take you Caesar’s body

You shall not in your funeral speech blame us,

But speak all good you can devise of Caesar

And say you do’t by our permission,

Else shall you not have any hand at all

About his funeral. And you shall speak

In the same pulpit where to I am going,

After my speech is ended.


Be it so,

I do desire no more.


Prepare the body then and follow us.


a) Place the passage in context.

b) What kind of man is Antony as revealed in this extract?

c) Briefly discuss the techniques used in the extract.

d) Briefly discuss the significance of this passage to later events in the play.



MOLIERE : The Imaginary Invalid

4. Describe two conflicts and show how they are later resolved in the play, The Imaginary Invalid.

5. Discuss the major themes depicted in the play, The Imaginary Invalid.


6. Discuss three major themes depicted in the play, A Doll’s House.

7. Closely referring to the character of Nora, show the plight of women as depicted in the play, A Doll’s House.


8. Discuss the theme of fate as presented in the play, Lwanda Magere.

9. What important lessons in life do you learn from reading the play, Lwanda Magere?


GERORGE BERNARD SHAW: The Devil’s Disciple.

10. Discuss Bernad Shaw’s use of dramatic reversal in the play, The Devils Disciple.

11.Show how Bernard Shaw uses contrast in the play, The Devil’s Disciple.

R.B SHERIDAN: The School for Scandal

12. Describe two scenes that you find humorous in the play, The School for Scandal.

13. Comment on the dramatic techniques used in The School for Scandal.

ROBERT BOLT: A Man for all Seasons

14. Coment on three dramatic techniques used in the play, A Man for all Seasons.

15. Discuss Bolt’s use of costume in A Man for all Seasons.



JOHN RUGANDA: Echoes of Silence

16. Compare the characters of Wairimu and Muthoni as potrayed in the play, Echoes of Silence.

17. Discuss the contributionWairimu and Okoth – Okach to the plot development of Echoes of Silence.

 DAVIV MULWA : Inheritance

18. Referring to the play, discuss Lacuna Kasoo’s character and show how he is responsible for his own downfall.

19. What role do the women characters play in the play, Inheritance?


20. Compare the characters of Rosina and Kezia as depicted in the play, Aminata. Which of the two do you prefer and why?

21. What role does Agege play in the play, Aminata?