O that tun was a lauerding,

Quen him was tald o this tithing,
He gadir[d] folk and duelled noght,
And to the temple he tham broght;
For to wreke tham was he bun,
That thus did cast thair goddes dun.
Quen he tham sagh in temple lij,
Hijs godds and his maumentri,
He com to Maria wit-vten harme,
Thar sco hir child bar in hir arme;
Honurand for-wit him he fell,
And til his folk thus he can tell.

(a) Turn into modern English.

(b) Point out the peculiar forms of Northern dialect in this extract.

(c) "Sco." Explain the origin of this form. Parse "man"-Derive "seleuth "-Explain the relation of the verb "grovel " to "grouelings"-Show the relation of "Lauerd" to its older and its more modern form-Parse "bun" and explain its relation to a modern word of similar meaning.

7. Write a note on the causes which have contributed to the loss or levelling of inflections in English.

8. Write an explanatory note on the origin of the double forms "older" and "elder," "brothers" and "brethren," and on the etymological doublets "feast and "fête," "capital" and "chapter."

9. What was the original grammatical function of the pronoun "who"? When did its more extended use become common? What was the effect of this extended use of "who" on the use of "which" as a relative pronoun ?

PASS.

Senior English.

SECOND PAPER.

1. But though all this gave me no pleasure, it had a very different effect upon Olivia, who mistook it for humor, though but a mere act of the memory. She thought him, therefore, a very fine gentleman; and such as consider what powerful ingredients a good figure, fine clothes, and fortune are in that character, will easily forgive her. Mr. Thornhill, notwithstanding his real ignorance, talked with ease, and could expatiate upon the common topics of conversation with fluency. It is not surprising then, that such talents should win the affections of a girl who by education was taught to value an appearance in herself, and consequently to set a value upon it in another.

He seldom struggled after supreme cxcellence, but snatched in haste what was within his reach; and when he could content others, was himself contented. He did not keep present to his mind an idea of pure perfection, nor compare his works, such as they were, with what they might be made. He knew to whom he should be opposed. He had more music than Waller, more vigour than Denham, and more nature than Cowley; and from his contemporaries he was in no danger. Standing, therefore, in the highest place, he had no care to rise by contending with himself; but while there was no name above his own, was willing to enjoy fame on the easiest terms.

He was no lover of labour. What he thought sufficient, he did not stop to make better; and allowed himself to leave many parts unfinished, in confidence that the good lines would overbalance the bad. What he had once written, he dismissed from his thoughts; and I believe there is no example to be found of any correction or improvement made by him after publication. The hastiness of his productions might be the effect of necessity; but his subsequent neglect could hardly have any other cause than impatience of study.

Dissolvents of the old European system of dominant ideas and facts we must all be, all of us who have any power of working; what we have to study is that we may not be acrid dissolvents of it. And how did Goethe, that grand dissolvent in an age when there were fewer of them than at present, proceed in his task of dissolution, of liberation of the modern European from the old routine? He shall tell us himself. "Through me the German poets have become aware that, as man must live from within

outwards, so the artist must work from within outwards, seeing that, make what contortions he will, he can only bring to light his own individuality. I can clearly mark where this influence of mine has made itself felt; there arises out of it a kind of poetry of Nature, and only in this way is it possible to be original."

2.

66

(a) From what works are the above extracts taken? Distinguish briefly the characteristics of style in each. (b) In connection with the second extract explain what Waller's position in literature is and what is meant by "having more music than Waller" and more nature than Cowley." In the third extract make clear by illustration what is meant by the metaphor may not be acrid dissolvents," and explain as well as you can the concluding words, there arises out of it a kind of poetry of Nature, and only in this way is it possible to be original."

Soft were my numbers; who could take offence
While pure Description held the place of sense?
Like gentle Fanny's was my flow'ry theme,

A painted mistress, or a purling stream.
Yet then did Gildon draw his venal quill;

I wish'd the man a dinner, and sate still.
Yet then did Dennis rave in furious fret;
I never answer'd, I was not in debt.

If want provok'd, or madness made them print,
I wag'd no war with Bedlam or the Mint.

Did some more sober critic come abroad;
If wrong, I smil'd; if right, I kiss'd the rod.
Pains, reading, study, are their just pretence,
And all they want is spirit, taste, and sense.
Commas and points they set exactly right,
And 'twere a sin to rob them of their mite.
Yet ne'er one sprig of laurel grac'd these ribalds,
From slashing Bentley down to pidling Tibalds.

(a) "While pure description, &c." To what does this refer? Explain the allusion, "Like gentle Fanny's." Write notes on Dennis, Bentley, Tibald, indicating their place in history and Pope's reason for satirizing them.

(b) Compare this management of the couplet first, with Dryden's, second with Goldsmith's.

(a) Name the principal poems of his early period. Describe the characteristics of the Miltonic sonnet in form and substance. What are the views expressed by Milton on verse in the prefatory note to Paradise Lost? What reference have they to the literary fashion of the time? Characterize the blank verse of Paradise Lost.

(b) What is the character of Beelzebub in Paradise Lost? What is the historical basis of Milton's conception here? Quote the description of Beelzebub in the Second Book. Quote as much as you can of Milton's description of the Ionian gods.

4. Gibbon.

Give an outline of the contents of chap. xxxv, illustrating from it the author's (1) art of arranging his materials, (2) his characteristic points of view, his sympathies or antipathies, (3) the qualities of his style.