Form, Structure, Grammar, and Syntax

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Adapted from Act 1, Scene 1, ln. 78-119 of The Tragical History of Dr. Faustus by Christopher Marlowe (1604) in Vol. XIX, Part 2 of The Harvard Classics (1909-1914)

FAUST: How am I glutted with conceit of this!

Shall I make spirits fetch me what I please,

Resolve me of all ambiguities,

Perform what desperate enterprise I will?

I’ll have them fly to India for gold,

Ransack the ocean for orient pearl,

And search all corners of the new-found world

For pleasant fruits and princely delicates;

I’ll have them read me strange philosophy

And tell the secrets of all foreign kings;

I’ll have them wall all Germany with brass,

And make swift Rhine circle fair Wittenberg;

I’ll have them fill the public schools with silk,

Wherewith the students shall be bravely clad;

I’ll levy soldiers with the coin they bring,

And chase the Prince of Parma from our land,

And reign sole king of all the provinces;

Yea, stranger engines for the brunt of war

Than was the fiery keel at Antwerp’s bridge,

I’ll make my servile spirits to invent.

\[Enter VALDES and CORNELIUS\]

Come, German Valdes and Cornelius,

And make me blest with your sage conference.

Valdes, sweet Valdes, and Cornelius,

Know that your words have won me at the last

To practice magic and concealed arts:

Yet not your words only, but mine own fantasy

That will receive no object, for my head

But ruminates on necromantic skill.

Philosophy is odious and obscure,

Both law and physic are for petty wits;

Divinity is basest of the three,

Unpleasant, harsh, contemptible, and vile:

’Tis magic, magic, that hath ravish’d me.

Then, gentle friends, aid me in this attempt;

And I that have with concise syllogisms

Gravell’d the pastors of the German church,

And made the flowering pride of Wittenberg

Swarm to my problems, as the infernal spirits

On sweet Musaeigus, when he came to hell,

Will be as cunning as Agrippa was,

Whose shadows made all Europe honor him.

The underlined section signals a shift in Faustus' .

mode of address, from soliloquy to direct address

tone, from angry to whimsical

mode of address, from direct address to soliloquy

subject matter, from the occult practices to practical travel plans

tone, from defiant to obsequious

Explanation

The highlighted lines signal a shift in Faustus' mode of address from soliloquy to direct address. At the beginning of the passage, Faustus remarks on his own emotional state ("How am I glutted with conceit") and proceeds to enumerate on his own fantasies to himself and the audience. When Valdes and Cornelius enter, Faustus shifts his mode of address to address them instead of himself.

The subject matter always remains at least somewhat focused on the occult. Faustus' tone is never particularly obsequious, and it starts out as whimsical rather than defiant or angry.

2

Adapted from Act 1, Scene 1, ln. 78-119 of The Tragical History of Dr. Faustus by Christopher Marlowe (1604) in Vol. XIX, Part 2 of The Harvard Classics (1909-1914)

FAUST: How am I glutted with conceit of this!

Shall I make spirits fetch me what I please,

Resolve me of all ambiguities,

Perform what desperate enterprise I will?

I’ll have them fly to India for gold,

Ransack the ocean for orient pearl,

And search all corners of the new-found world

For pleasant fruits and princely delicates;

I’ll have them read me strange philosophy

And tell the secrets of all foreign kings;

I’ll have them wall all Germany with brass,

And make swift Rhine circle fair Wittenberg;

I’ll have them fill the public schools with silk,

Wherewith the students shall be bravely clad;

I’ll levy soldiers with the coin they bring,

And chase the Prince of Parma from our land,

And reign sole king of all the provinces;

Yea, stranger engines for the brunt of war

Than was the fiery keel at Antwerp’s bridge,

I’ll make my servile spirits to invent.

\[Enter VALDES and CORNELIUS\]

Come, German Valdes and Cornelius,

And make me blest with your sage conference.

Valdes, sweet Valdes, and Cornelius,

Know that your words have won me at the last

To practice magic and concealed arts:

Yet not your words only, but mine own fantasy

That will receive no object, for my head

But ruminates on necromantic skill.

Philosophy is odious and obscure,

Both law and physic are for petty wits;

Divinity is basest of the three,

Unpleasant, harsh, contemptible, and vile:

’Tis magic, magic, that hath ravish’d me.

Then, gentle friends, aid me in this attempt;

And I that have with concise syllogisms

Gravell’d the pastors of the German church,

And made the flowering pride of Wittenberg

Swarm to my problems, as the infernal spirits

On sweet Musaeigus, when he came to hell,

Will be as cunning as Agrippa was,

Whose shadows made all Europe honor him.

The underlined section signals a shift in Faustus' .

mode of address, from soliloquy to direct address

tone, from angry to whimsical

mode of address, from direct address to soliloquy

subject matter, from the occult practices to practical travel plans

tone, from defiant to obsequious

Explanation

The highlighted lines signal a shift in Faustus' mode of address from soliloquy to direct address. At the beginning of the passage, Faustus remarks on his own emotional state ("How am I glutted with conceit") and proceeds to enumerate on his own fantasies to himself and the audience. When Valdes and Cornelius enter, Faustus shifts his mode of address to address them instead of himself.

The subject matter always remains at least somewhat focused on the occult. Faustus' tone is never particularly obsequious, and it starts out as whimsical rather than defiant or angry.

3

Adapted from Act 1, Scene 1, ln. 78-119 of The Tragical History of Dr. Faustus by Christopher Marlowe (1604) in Vol. XIX, Part 2 of The Harvard Classics (1909-1914)

FAUST: How am I glutted with conceit of this!

Shall I make spirits fetch me what I please,

Resolve me of all ambiguities,

Perform what desperate enterprise I will?

I’ll have them fly to India for gold,

Ransack the ocean for orient pearl,

And search all corners of the new-found world

For pleasant fruits and princely delicates;

I’ll have them read me strange philosophy

And tell the secrets of all foreign kings;

I’ll have them wall all Germany with brass,

And make swift Rhine circle fair Wittenberg;

I’ll have them fill the public schools with silk,

Wherewith the students shall be bravely clad;

I’ll levy soldiers with the coin they bring,

And chase the Prince of Parma from our land,

And reign sole king of all the provinces;

Yea, stranger engines for the brunt of war

Than was the fiery keel at Antwerp’s bridge,

I’ll make my servile spirits to invent.

\[Enter VALDES and CORNELIUS\]

Come, German Valdes and Cornelius,

And make me blest with your sage conference.

Valdes, sweet Valdes, and Cornelius,

Know that your words have won me at the last

To practice magic and concealed arts:

Yet not your words only, but mine own fantasy

That will receive no object, for my head

But ruminates on necromantic skill.

Philosophy is odious and obscure,

Both law and physic are for petty wits;

Divinity is basest of the three,

Unpleasant, harsh, contemptible, and vile:

’Tis magic, magic, that hath ravish’d me.

Then, gentle friends, aid me in this attempt;

And I that have with concise syllogisms

Gravell’d the pastors of the German church,

And made the flowering pride of Wittenberg

Swarm to my problems, as the infernal spirits

On sweet Musaeigus, when he came to hell,

Will be as cunning as Agrippa was,

Whose shadows made all Europe honor him.

The underlined section signals a shift in Faustus' .

mode of address, from soliloquy to direct address

tone, from angry to whimsical

mode of address, from direct address to soliloquy

subject matter, from the occult practices to practical travel plans

tone, from defiant to obsequious

Explanation

The highlighted lines signal a shift in Faustus' mode of address from soliloquy to direct address. At the beginning of the passage, Faustus remarks on his own emotional state ("How am I glutted with conceit") and proceeds to enumerate on his own fantasies to himself and the audience. When Valdes and Cornelius enter, Faustus shifts his mode of address to address them instead of himself.

The subject matter always remains at least somewhat focused on the occult. Faustus' tone is never particularly obsequious, and it starts out as whimsical rather than defiant or angry.

4

Adapted from Coriolanus by William Shakespeare (III.iii.152-167)

You common cry of curs! whose breath I hate

As reek o' the rotten fens, whose loves I prize

As the dead carcasses of unburied men

That do corrupt my air, I banish you;

And here remain with your uncertainty!

Let every feeble rumor shake your hearts!

Your enemies, with nodding of their plumes,

Fan you into despair! Have the power still

To banish your defenders; till at length

Your ignorance, which finds not till it feels,

Making not reservations of yourselves,

Still your own foes, deliver you as most

Abated captives to some nation

That won you without blows! Despising,

For you, the city, thus I turn my back:

There is a world elsewhere.

The syntax and punctuation of the highlighted lines .

emphasize the speaker's anger through the use directives and exclamation points

suggest that the listeners are confused about what to do with the speaker

emphasize the speaker's desperation to stay in the city through the use of exclamation points

imply that speaker is the one who is uncertain and fearful

suggest that the speaker is unreliable

Explanation

The highlighted lines emphasize the speaker's anger through the use of exclamation points (for emphasis) and mean-spirited directives to those listening to him. The use of these directives, combined with the exclamation points, gives the sense that the speaker is shouting angrily at his listeners.

He does not seem uncertain, nor does he seem desperate to stay, as he is wishing ill on those who will. There is nothing in the highlighted lines to directly suggest that he is unreliable or that he is the one who is uncertain and fearful.

5

Adapted from Coriolanus by William Shakespeare (III.iii.152-167)

You common cry of curs! whose breath I hate

As reek o' the rotten fens, whose loves I prize

As the dead carcasses of unburied men

That do corrupt my air, I banish you;

And here remain with your uncertainty!

Let every feeble rumor shake your hearts!

Your enemies, with nodding of their plumes,

Fan you into despair! Have the power still

To banish your defenders; till at length

Your ignorance, which finds not till it feels,

Making not reservations of yourselves,

Still your own foes, deliver you as most

Abated captives to some nation

That won you without blows! Despising,

For you, the city, thus I turn my back:

There is a world elsewhere.

The syntax and punctuation of the highlighted lines .

emphasize the speaker's anger through the use directives and exclamation points

suggest that the listeners are confused about what to do with the speaker

emphasize the speaker's desperation to stay in the city through the use of exclamation points

imply that speaker is the one who is uncertain and fearful

suggest that the speaker is unreliable

Explanation

The highlighted lines emphasize the speaker's anger through the use of exclamation points (for emphasis) and mean-spirited directives to those listening to him. The use of these directives, combined with the exclamation points, gives the sense that the speaker is shouting angrily at his listeners.

He does not seem uncertain, nor does he seem desperate to stay, as he is wishing ill on those who will. There is nothing in the highlighted lines to directly suggest that he is unreliable or that he is the one who is uncertain and fearful.

6

Adapted from "The Mouse’s Petition" in Poems by Anna Letitia Barbauld (1773)

Found in the trap where he had been confined all night by Dr. Priestley, for the sake of making experiments with different kinds of air

“To spare the humbled, and to tame in war the proud.” - Virgil

OH! hear a pensive captive's prayer,
For liberty that sighs;
And never let thine heart be shut
Against the prisoner's cries.

For here forlorn and sad I sit,
Within the wiry grate;
And tremble at th' approaching morn,
Which brings impending fate.

If e'er thy breast with freedom glow'd,
And spurn'd a tyrant's chain,
Let not thy strong oppressive force
A free-born mouse detain.

Oh! do not stain with guiltless blood
Thy hospitable hearth;
Nor triumph that thy wiles betray'd
A prize so little worth.

The scatter'd gleanings of a feast
My scanty meals supply;
But if thine unrelenting heart
That slender boon deny,

The cheerful light, the vital air,
Are blessings widely given;
Let nature's commoners enjoy
The common gifts of heaven.

The well-taught philosophic mind
To all compassion gives;
Casts round the world an equal eye,
And feels for all that lives.

If mind, as ancient sages taught,
A never dying flame,
Still shifts thro' matter's varying forms,
In every form the same,

Beware, lest in the worm you crush
A brother's soul you find;
And tremble lest thy luckless hand
Dislodge a kindred mind.

Or, if this transient gleam of day
Be all of life we share,
Let pity plead within thy breast,
That little all to spare.

So may thy hospitable board
With health and peace be crown'd;
And every charm of heartfelt ease
Beneath thy roof be found.

So when unseen destruction lurks,
Which men like mice may share,
May some kind angel clear thy path,
And break the hidden snare.

In context, the use of the bolded and underlined word "trembled" serves what purpose?

To illustrate the unease and sadness the speaker feels in captivity with a physical manifestation of that mental state

To illustrate the physically uncomfortable circumstances of the speaker's captivity

To illustrate the speaker's fear of his captor's wrath

To illustrate the moral and religious confusion the speaker feels in a changing and dangerous world with a physical manifestation of that mental state

To illustrate the excitement the speaker feels at being released from his captivity with a physical manifestation of that mental state

Explanation

In this context, the word "trembled" was chosen to illustrate the unease and sadness that captivity has engendered in the speaker with a physical manifestation of that mental state. The earlier reference to the speaker's sitting "forlorn and sad" in captivity ties directly with the statement that he "tremble\[s\] at th' approaching morn."

There is no indication given that the speaker is physically afraid of his captor (indeed, his petition is quite candid to this captor). The poem consists of the speaker petitioning for his release, so it stands to reason that this release has not yet been agreed to. The speaker does not seem morally or theologically confused, but is rather presenting a fairly cohesive moral viewpoint. While the speaker's physical circumstances in captivity are said to be uncomfortable, in this case the "trembl\[ing\] is attributed to mental states, rather than physical coldness or discomfort.

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