SAT II Literature : Characterization and Motivation
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Example Question #1 : Characterization And Motivation: Drama
Adapted from Titus Andronicus by William Shakespeare, III.i.1126-1185 (1623)
Enter Judges, Senators and Tribunes, with MARTIUS and QUINTUS, bound, passing on to the place of execution; TITUS going before, pleading
Titus Andronicus: Hear me, grave fathers! noble tribunes, stay!
For pity of mine age, whose youth was spent
In dangerous wars, whilst you securely slept;
For all my blood in Rome's great quarrel shed;
For all the frosty nights that I have watch'd;
And for these bitter tears, which now you see
Filling the aged wrinkles in my cheeks;
Be pitiful to my condemned sons,
Whose souls are not corrupted as 'tis thought.
For two and twenty sons I never wept,
Because they died in honor's lofty bed.
[Lieth down; the Judges, &c., pass by him, and Exeunt]
For these, these, tribunes, in the dust I write
My heart's deep languor and my soul's sad tears:
Let my tears stanch the earth's dry appetite;
My sons' sweet blood will make it shame and blush.
O earth, I will befriend thee more with rain,
That shall distill from these two ancient urns,
Than youthful April shall with all his showers:
In summer's drought I'll drop upon thee still;
In winter with warm tears I'll melt the snow
And keep eternal spring-time on thy face,
So thou refuse to drink my dear sons' blood.
[Enter LUCIUS, with his sword drawn]
O reverend tribunes! O gentle, aged men!
Unbind my sons, reverse the doom of death;
And let me say, that never wept before,
My tears are now prevailing orators.
Lucius: O noble father, you lament in vain:
The tribunes hear you not; no man is by;
And you recount your sorrows to a stone.
Titus Andronicus: Ah, Lucius, for thy brothers let me plead.
Grave tribunes, once more I entreat of you,—
Lucius: My gracious lord, no tribune hears you speak.
Titus Andronicus: Why, tis no matter, man; if they did hear,
They would not mark me, or if they did mark,
They would not pity me, yet plead I must;
And bootless unto them [—]
Therefore I tell my sorrows to the stones;
Who, though they cannot answer my distress,
Yet in some sort they are better than the tribunes,
For that they will not intercept my tale:
When I do weep, they humbly at my feet
Receive my tears and seem to weep with me;
And, were they but attired in grave weeds,
Rome could afford no tribune like to these.
A stone is soft as wax,—tribunes more hard than stones;
A stone is silent, and offendeth not,
And tribunes with their tongues doom men to death.
[Rises]
But wherefore stand'st thou with thy weapon drawn?
Lucius: To rescue my two brothers from their death:
For which attempt the judges have pronounced
My everlasting doom of banishment.
Titus Andronicus: O happy man! they have befriended thee.
Why, foolish Lucius, dost thou not perceive
That Rome is but a wilderness of tigers?
Tigers must prey, and Rome affords no prey
But me and mine: how happy art thou, then,
From these devourers to be banished!
Which of the following is NOT an aspect of Titus' personification of "the earth," underlined and bolded?
Able to feel shame
Extremely thirsty
Ancient
Bribable
Subject to the whims of the seasons
Ancient
The only answer listed that was NOT an aspect of Titus' characterization of the earth was "ancient." While he does refer to "two ancient urns," this is a reference to the possible death of his sons, not an aspect of the personified earth.
The earth that Titus personifies and addresses is said to be extremely thirsty ("dry appetite"), and able to "blush and [feel] shame" if it drinks innocent blood. In keeping with its extreme thirst, the earth is also bribable with tears ("I will befriend thee more with rain"), and subject to the whims of the seasons (dry summers and snowy winters).
Example Question #101 : Passage Content
Adapted from Titus Andronicus by William Shakespeare, III.i.1126-1185 (1623)
Enter Judges, Senators and Tribunes, with MARTIUS and QUINTUS, bound, passing on to the place of execution; TITUS going before, pleading
Titus Andronicus: Hear me, grave fathers! noble tribunes, stay!
For pity of mine age, whose youth was spent
In dangerous wars, whilst you securely slept;
For all my blood in Rome's great quarrel shed;
For all the frosty nights that I have watch'd;
And for these bitter tears, which now you see
Filling the aged wrinkles in my cheeks;
Be pitiful to my condemned sons,
Whose souls are not corrupted as 'tis thought.
For two and twenty sons I never wept,
Because they died in honor's lofty bed.
[Lieth down; the Judges, &c., pass by him, and Exeunt]
For these, these, tribunes, in the dust I write
My heart's deep languor and my soul's sad tears:
Let my tears stanch the earth's dry appetite;
My sons' sweet blood will make it shame and blush.
O earth, I will befriend thee more with rain,
That shall distill from these two ancient urns,
Than youthful April shall with all his showers:
In summer's drought I'll drop upon thee still;
In winter with warm tears I'll melt the snow
And keep eternal spring-time on thy face,
So thou refuse to drink my dear sons' blood.
[Enter LUCIUS, with his sword drawn]
O reverend tribunes! O gentle, aged men!
Unbind my sons, reverse the doom of death;
And let me say, that never wept before,
My tears are now prevailing orators.
Lucius: O noble father, you lament in vain:
The tribunes hear you not; no man is by;
And you recount your sorrows to a stone.
Titus Andronicus: Ah, Lucius, for thy brothers let me plead.
Grave tribunes, once more I entreat of you,—
Lucius: My gracious lord, no tribune hears you speak.
Titus Andronicus: Why, tis no matter, man; if they did hear,
They would not mark me, or if they did mark,
They would not pity me, yet plead I must;
And bootless unto them [—]
Therefore I tell my sorrows to the stones;
Who, though they cannot answer my distress,
Yet in some sort they are better than the tribunes,
For that they will not intercept my tale:
When I do weep, they humbly at my feet
Receive my tears and seem to weep with me;
And, were they but attired in grave weeds,
Rome could afford no tribune like to these.
A stone is soft as wax,—tribunes more hard than stones;
A stone is silent, and offendeth not,
And tribunes with their tongues doom men to death.
[Rises]
But wherefore stand'st thou with thy weapon drawn?
Lucius: To rescue my two brothers from their death:
For which attempt the judges have pronounced
My everlasting doom of banishment.
Titus Andronicus: O happy man! they have befriended thee.
Why, foolish Lucius, dost thou not perceive
That Rome is but a wilderness of tigers?
Tigers must prey, and Rome affords no prey
But me and mine: how happy art thou, then,
From these devourers to be banished!
Which of the following is NOT a claim Titus makes about the tribunes relative to rocks?
Rocks are more empathetic and caring than the tribunes.
Rocks are silent and inoffensive, while tribunes are able to speak and to doom men with their words.
Rocks would be prohibitively expensive, as compared to the tribunes, if they were dressed or decorated slightly more ornately.
Rocks do not interrupt him when he tries to tell them his story, as opposed to the tribunes.
Stones are softer than wax, and tribunes are harder, or less caring, than rocks.
Stones are softer than wax, and tribunes are harder, or less caring, than rocks.
All of the provided answers are claims Titus makes about rocks as compared to tribunes except the claim that rocks are softer than wax and tribunes are harder and less caring than rocks. While Titus does think that tribunes are harder and less caring than rocks, he says that "a stone is soft as wax," not softer.
Example Question #1 : Characterization And Motivation: Drama
NESTOR: Tell him of Nestor, one that was a man
When Hector's grandsire suck'd: he is old now;
But if there be not in our Grecian host
One noble man that hath one spark of fire,
To answer for his love, tell [them] from me (5)
I'll hide my silver beard in a gold beaver
And in my vantbrace put this wither'd brawn…
I'll prove this truth with my three drops of blood.
… ULYSSES: Give pardon to my speech:
Therefore 'tis meet Achilles meet not Hector. (10)
According to the passage, why does the speaker propose to hide his beard (line 6)?
To intimidate the enemy
To remind the enemy of his host’s former grandeur
To hide his advanced age
To appear more regal
To appear more beautiful
To hide his advanced age
In line 6, Nestor vows, “I'll hide my silver beard in a gold beaver.” In the subsequent lines, he further describes himself getting dressed and going to war to prove himself. The implication, of course, is that he wants to hide his age in order to be seen as a worthy adversary.
Passage adapted from William Shakespeare’s Troilus and Cressida (1602).
Example Question #1 : Characterization And Motivation: Drama
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)
FAUSTUS: 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.
Which of the following most accurately reflects Faustus' characterization of his relationship with the occult?
Although he finds the occult inspiring, he is growing concerned that his study of the occult has led him to question his faith.
He finds the occult inspiring, and, with the help of Valdes and Cornelius, he plans to make it the subject of his next book.
The occult has captivated his imagination and made him both afraid and excited to pursue it at the expense of conventional disciplines.
Although he finds the occult inspiring, he is growing concerned that it has distracted him from serious academic study.
The occult has captivated his imagination and made all other forms of academic inquiry boring to him.
The occult has captivated his imagination and made all other forms of academic inquiry boring to him.
Faust most accurately characterizes the occult as having captivated his imagination and made all other forms of academic inquiry boring to him. His fascination is both directly stated ("how I am glutted . . .", "magic, magic hath ravaged me") and implied with his prolonged rumination on what he would do with magic powers. His dismissive treatment of all other disciplines during his explanation of his fascination with the occult suggests that this fascination has contributed to his disinclination towards more conventional disciplines.
He does not express any fear or trepidation in relation to the occult, nor does he mention writing a book. He expresses no concern about being distracted from academic study, nor questioning his faith; in fact he brags about questioning priests and confounding them.
Example Question #11 : Characterization And Motivation: Drama
Adapted from Richard III by William Shakespeare, I.i.1-42
Now is the winter of our discontent
Made glorious summer by this sun of York;
And all the clouds that lour'd upon our house
In the deep bosom of the ocean buried.
Now are our brows bound with victorious wreaths;
Our bruised arms hung up for monuments;
Our stern alarums changed to merry meetings,
Our dreadful marches to delightful measures.
Grim-visaged war hath smooth'd his wrinkled front;
And now, instead of mounting barded steeds
To fright the souls of fearful adversaries,
He capers nimbly in a lady's chamber
To the lascivious pleasing of a lute.
But I, that am not shaped for sportive tricks,
Nor made to court an amorous looking-glass;
I, that am rudely stamp'd, and want love's majesty
To strut before a wanton ambling nymph;
I, that am curtail'd of this fair proportion,
Cheated of feature by dissembling nature,
Deformed, unfinish'd, sent before my time
Into this breathing world, scarce half made up,
And that so lamely and unfashionable
That dogs bark at me as I halt by them;
Why, I, in this weak piping time of peace,
Have no delight to pass away the time,
Unless to spy my shadow in the sun
And descant on mine own deformity:
And therefore, since I cannot prove a lover,
To entertain these fair well-spoken days,
I am determined to prove a villain
And hate the idle pleasures of these days.
Plots have I laid, inductions dangerous,
By drunken prophecies, libels and dreams,
To set my brother Clarence and the king
In deadly hate the one against the other:
And if King Edward be as true and just
As I am subtle, false and treacherous,
This day should Clarence closely be mew'd up,
About a prophecy, which says that 'G'
Of Edward's heirs the murderer shall be.
Dive, thoughts, down to my soul: here
Clarence comes.
According to the passage, what motivates the narrator to “prove a villain”?
His desire for riches
His hatred of his brother
His inability to function in a society not at war
The audience is not made privy to the narrator’s motivations in this passage.
His desire to take the throne for himself
His inability to function in a society not at war
Considering the lines around the phrase “prove a villain” can be helpful in answering this question:
“And therefore, since I cannot prove a lover,
To entertain these fair well-spoken days,
I am determined to prove a villain
And hate the idle pleasures of these days.”
The speaker here gives as his reasoning that he has determined to become a villain since he “cannot prove a lover.” Combined with the information presented in the rest of the passage, we can tell that by this, he means that he is unable to function in a society not at war.
Example Question #12 : Characterization And Motivation: Drama
Caliban: This island's mine, by Sycorax my mother,
Which thou takest from me. When thou camest first,
Thou strokedst me and madest much of me, wouldst give me
Water with berries in't, and teach me how
To name the bigger light, and how the less,
That burn by day and night: and then I loved thee
And show'd thee all the qualities o' the isle,
The fresh springs, brine-pits, barren place and fertile:
Cursed be I that did so! All the charms
Of Sycorax, toads, beetles, bats, light on you!
For I am all the subjects that you have,
Which first was mine own king: and here you sty me
In this hard rock, whiles you do keep from me
The rest o' the island.
The primary purpose of Caliban's monologue is to describe ______________________.
a betrayal
the landscape of the island
the death of a loved one
a battle
a romance
a betrayal
The primary purpose of Caliban's monologue is to describe a betrayal. Caliban's feelings of disappointment and betrayal are directly stated several times in the text:
"This island's mine...Which though takest from me"
"When thou camest first, thou strokedst me and madest much of me..."
"and then I loved thee...Cursed be I that did so!"
"and here you sty me...whiles you do keep from me the rest o' the island"
Caliban does describe the landscape of the island, but that is clearly not the primary purpose of the monologue. There is no evidence that Caliban is describing a romance, a battle, or the death of a loved one.
Passage adapted from William Shakespeare's The Tempest (1611).
Example Question #13 : Characterization And Motivation: Drama
A bell rings in the hall; shortly afterwards the door is heard to open.
Enter NORA, humming a tune and in high spirits. She is in out-door dress and carries a number of parcels; these she lays on the table to the right. She leaves the outer door open after her, and through it is seen a PORTER who is carrying a Christmas Tree and a basket, which he gives to the MAID who has opened the door.)
Nora: Hide the Christmas Tree carefully, Helen. Be sure the children do not see it till this evening, when it is dressed. (To the PORTER, taking out her purse.) How much?
Porter: Sixpence.
Nora: There is a shilling. No, keep the change. (The PORTER thanks her, and goes out. NORA shuts the door. She is laughing to herself, as she takes off her hat and coat. She takes a packet of macaroons from her pocket and eats one or two; then goes cautiously to her husband's door and listens.) Yes, he is in. (Still humming, she goes to the table on the right.)
Helmer: (calls out from his room). Is that my little lark twittering out there?
Nora (busy opening some of the parcels): Yes, it is!
Helmer: Is it my little squirrel bustling about?
Nora: Yes!
Helmer: When did my squirrel come home?
Nora: Just now. (Puts the bag of macaroons into her pocket and wipes her mouth.) Come in here, Torvald, and see what I have bought.
Helmer: Don't disturb me. (A little later, he opens the door and looks into the room, pen in hand.) Bought, did you say? All these things? Has my little spendthrift been wasting money again?
Nora: Yes, but, Torvald, this year we really can let ourselves go a little. This is the first Christmas that we have not needed to economize.
Helmer: Still, you know, we can't spend money recklessly.
Nora: Yes, Torvald, we may be a wee bit more reckless now, mayn't we? Just a tiny wee bit! You are going to have a big salary and earn lots and lots of money.
Helmer: Yes, after the New Year; but then it will be a whole quarter before the salary is due.
Nora: Pooh! we can borrow till then.
(1879)
Which is the most significant difference in how Nora and Helmer speak to each other?
He speaks humorously and she speaks seriously
She calls him by his first name and he does not use her name at all
She is patient and loving and he is quick-tempered and cruel
He is domineering and she is submissive
He sounds erudite and she sounds uneducated
She calls him by his first name and he does not use her name at all
The most significant difference in how these two characters speak to each other is that she consistently calls him by his first name (Torvald) and he refers to her only as "my little squirrel" or, later, "my little spend thrift. Their dialogue does not suggest any significant difference in level of education or humorousness. Nora is not submissive to Helmer. In fact, she argues with him. And he is critical of her, but not necessarily quick-tempered or cruel.
Passage adapted from Henrik Ibsen's A Doll's House (1879)
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