1961-06-15 — Page 28

![第七第

3三初月五年丑辛靥夏

WAH KIU YAT PO

報 日

四期星

日亚十月六贺一六九一签公三十五國乙虀中

****

十五國民中

補助專上校統一文憑考試 修辭學試題

補助專上校統一文憑考試

物理科試卷一試題

F

及工作程序 - 李杰明險,致有事须向機關接洽時,常因不明宇禎、方蘇、順部樹、麥鐵類、港、 五月花

公下月

pst-Secondary Grant Colleges Joint Diploma Examination, 1961

八豣斲灶、遢去香染一般皆通市民 - 對港府行政機關事宜, 溫、游嘉祥、盧劃、固原竹、明

ON-ERVEKEK

̇月花酀白劑,質優良,一

水光凑康行所代理之五

電報待領

據:香港公鼎諮詢指導,、種菜、醬、牡丹| 威鳳、張愽期、霍寶 XE TEKERHATERS 而引致和延,甚豉耗費不需壓之 綠森、何日、李開、 少明、吳融鐔、張蝶 漂白劑假裝粉,經施用秘,立易館報,而向予諾道中三李錦琪之令尊翁 馬泉泰、馬獾、陳丕酒、祁樹源、何锻、白光亮,餓呀媽然,用法簡易,價紹濟 號雅大庭大京電報 局派潑部領取。收報

下列無泆 送電

▲六燈號成姓名住址:

李竹淇今家奠

TE

全民國

涂公園。中點五天气

奇[巨倫感奇

發情片話理入骨

̇ 孤養賣

13, Tuesday.

English

-

Rnetorio

.m. to 1.00 p.m.

Attempt all three questions

Write an essay on one of these topics:

a) Bars

(b, Censorship

(c) Political Asylum,

(d) Safety First'

(e) Hongkong's Roads\

(f) Must history be rewritten in "every age?.

[h)

吳芬芳 主演

Paper I

I call therefore a complete and generous education that which fits a man to perform justly, skilfully, and magnanimously all the offices both private and public of peace and war.'

Make a precis of the following passage in about 350 words. Give a;

uitable title.

·楚滨劍· 海瓯

天明 塲餘公天明 刮除

蜜玻驚鳥

辻 佈景靚。塲面大。劇本好

精窋

The dramatist has no rational course open to him but to assume omplete ignorance about his play in his audience; but we have also een that, as a matter of fact, only one audience will be entirely in his condition (the first), and that, the more successful the play fs, the more widely will subsequent audiences depart from it. Does it no jollow that interest of plot, interest of curiosity as to coming events,

a at best an evanescent factor in a play's attractiveness of a ertain importance, no doubt, on the first night, but less am less ffective the longer the play holds the stage?.

In a sense, this is undoubtedly true, we see every day that a mere tory-play

- a play which appeals to us solely by reason of the

droit stimulation and satisfaction of curiosity – very rapidly haust its success. No one dares to see it a second time; and pectators who happen to have read the plot in advance, find its' ttraction discounted even on a first hearing. But if we jump to the onclusion that the skilful marshalling and development of the story s an unimportant detail, which matters little when once the first- ight ordeal is past, we shall go very far astray. Experience shows us hat dramatic interest is entirely distinct from mere curiosity, and urvives when curiosity is dead. Though a skilfully-told story is pot

itself enough to secure long life for a play, it materially and ermanently enhances the attractions of a play which has other and

gher claims to longevity. Character, poetry, philosophy, atmosphere, Fe all very good in their way; but they all show to greater advantage

aid of a well-ordered plot. In a picture, I take it, drawing is t everything: but drawing, will always count for much.

This separation or interest Irom curiosity is partly to be explaine one very simple reflection. However well we may know a play before- ind, we seldom know it by heart or nearly by heart; so that, though.

may anticipate a development in general outline, we do not clearly resee the ordering of its details; it, therefore, may give us almos> e same sort of pleasure that it gave us when the story was new to us. st playgoers will, I think, agree that we constantly find a great jene or act to be in reality richer in invention and more ingenious.

arrangement than we remembered it to be..

we come, now, to another point that must not be overlooked. it needs subtle introspection to assure us that we, the audience, do our own

ttle bit of acting, and instinctively place ourselves at the point

view of a spectator before whose eyes the drama is unrolling itself

the first time. If the play has any richness of texture, we have hy sensations that he cannot have. We are conscious of ironies and btleties which necessarily escape him, or which he can but. dimlj derstand. But in regard to the agtual development of the story; we @gine ourselves back into his condition of ignorance, with this fference, that we can more fully appreciate the dramatist's skill,

more clearly resent his clumsiness or slovenliness. Our sensations, short, are not simply conditioned by our knowledge or ignorance of it is to come. The mood of dramatic receptivity is a complex one.

instinctively and without any effort remember that the dramatist is

und by the rules of the game, or, in other words, by the inherent

ditions of his craft, to unfold his tule before an audience to

English - Rhetoric