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enslavement."},{"text":"Prospero.","correct":false,"explanation":"Prospero teaches and controls Caliban rather than complaining about being taught language. Caliban speaks the line to condemn the colonisers’ supposedly civilising education."},{"text":"Ariel.","correct":false,"explanation":"Ariel seeks freedom through obedient service and does not describe language as a colonial imposition. Caliban says this while expressing resentment towards Prospero and Miranda."},{"text":"Miranda.","correct":false,"explanation":"Miranda claims that she helped teach Caliban language, so she is the person being criticised rather than the speaker. Caliban delivers this bitter response."}]},{"id":"b9968c91-3ee2-4fcb-b222-eb0041948047","cardType":"cloze","points":null,"front":"Caliban says his only "profit" from learning language is knowing how to [ ].","back":"Caliban says his only "profit" from learning language is knowing how to curse.","mcqOptions":[{"text":"curse","correct":true,"explanation":"Caliban says language has enabled him to curse his colonisers. The verb reveals that their supposed gift of civilisation has instead given him a means of rebellion."},{"text":"obey","correct":false,"explanation":"Caliban is forced to obey Prospero, but he does not identify obedience as language’s profit. He says language has taught him how to curse his oppressors."},{"text":"read","correct":false,"explanation":"Learning to read might seem a likely benefit of education, but Caliban mentions no literacy. His bitter claim is that language taught him how to curse."},{"text":"reason","correct":false,"explanation":"Colonisers might claim language teaches rational thought, but Caliban rejects that civilising narrative. He says its only profit is knowing how to curse."}]},{"id":"6bf0d883-3e0c-4145-8dbf-cba5f306ae05","cardType":"basic","points":2,"front":"In Caliban's language quote, why is "profit" ironic?","back":"The colonisers' "civilising" gift becomes a weapon of rebellion.","mcqOptions":[{"text":"The colonisers' "civilising" gift becomes a weapon of rebellion.","correct":true,"explanation":"Language is presented as a beneficial civilising gift, yet Caliban uses it to curse those who taught him. Their instrument of control therefore enables his resistance."},{"text":"The colonisers' "civilising" gift becomes a sign of obedience.","correct":false,"explanation":"Caliban’s cursing expresses defiance rather than obedience. The irony is that the colonisers’ supposed gift becomes a weapon through which he rebels against them."},{"text":"The colonisers' "civilising" gift becomes a source of friendship.","correct":false,"explanation":"Language does not create friendship between Caliban and his colonisers; it voices his hostility. The supposed civilising gift ironically becomes a weapon of rebellion."},{"text":"The colonisers' "civilising" gift becomes a mark of gratitude.","correct":false,"explanation":"Caliban’s statement is bitter and ungrateful by design, not an expression of thanks. Language has become his weapon of rebellion against those claiming to civilise him."}]},{"id":"7fb8773c-3113-485a-a36f-7c97d387fa54","cardType":"basic","points":1,"front":"What sounds in "profit" and "curse" emphasise Caliban's bitterness?","back":"Plosive consonant sounds.","mcqOptions":[{"text":"Plosive consonant sounds.","correct":true,"explanation":"The forceful consonants in words such as "profit" and "curse" create a harsh, explosive quality that reinforces Caliban’s anger and bitterness."},{"text":"Long vowel sounds.","correct":false,"explanation":"Long vowels usually create a more drawn-out or flowing effect, which is not the main pattern here. Harsh plosive consonants emphasise Caliban’s bitterness."},{"text":"Sibilant consonant sounds.","correct":false,"explanation":"Sibilance relies on repeated hissing "s" or "sh" sounds, which are not dominant across these words. Their forceful plosive consonants convey bitterness."},{"text":"Rhyming vowel sounds.","correct":false,"explanation":"The words do not rhyme, so matching vowel sounds are not the significant effect. Shakespeare instead uses harsh plosive consonants to strengthen Caliban’s angry tone."}]},{"id":"fafc13ea-9abb-41a6-8075-270547a2de7a","cardType":"cloze","points":null,"front":"Caliban's language quote reflects early 17th-century European [ ], where colonisers claimed to [ ] indigenous peoples.","back":"Caliban's language quote reflects early 17th-century European exploration, where colonisers claimed to civilise indigenous peoples.","mcqOptions":[{"text":"Caliban's language quote reflects early 17th-century European exploration, where colonisers claimed to civilise indigenous peoples.","correct":true,"explanation":"European exploration led to colonisation justified through claims of civilising indigenous populations. Caliban’s forced education exposes the controlling and self-serving nature of that claim."},{"text":"Caliban's language quote reflects early 17th-century European industrialisation, where colonisers claimed to employ indigenous peoples.","correct":false,"explanation":"Industrialisation belongs mainly to a much later historical period, and colonial control was not justified simply as employment. The context is exploration and claims of civilising indigenous peoples."},{"text":"Caliban's language quote reflects early 17th-century European reformation, where colonisers claimed to punish indigenous peoples.","correct":false,"explanation":"The Reformation concerns religious change within European Christianity, not the main colonial context of the quotation. It reflects exploration and colonisers’ claims that they would civilise indigenous peoples."},{"text":"Caliban's language quote reflects early 17th-century European exploration, where colonisers claimed to enslave indigenous peoples.","correct":false,"explanation":"Although colonisation often produced enslavement, colonisers generally justified their actions by claiming to civilise indigenous peoples. The distinction exposes the hypocrisy criticised through Caliban."}]},{"id":"5b43a574-a361-4ff0-a0c5-43271d19c546","cardType":"basic","points":1,"front":"Who says: "Be not afeard; the isle is full of noises"?","back":"Caliban.","mcqOptions":[{"text":"Caliban.","correct":true,"explanation":"Caliban reassures Stephano and Trinculo that the island’s mysterious sounds should not frighten them. His lyrical speech reveals his sensitivity and attachment to the island."},{"text":"Prospero.","correct":false,"explanation":"Prospero controls many of the island’s supernatural sounds, but he does not speak this reassuring line. Caliban describes the noises lovingly to Stephano and Trinculo."},{"text":"Ariel.","correct":false,"explanation":"Ariel creates enchanting music on Prospero’s orders, making this a tempting confusion. However, Caliban speaks the line and describes the island’s sounds with wonder."},{"text":"Stephano.","correct":false,"explanation":"Stephano is one of the frightened newcomers whom the speaker reassures, not the character delivering the description. Caliban tells him the island’s noises are harmless."}]},{"id":"c4d13735-e2a7-402e-bf54-f410b8c0e6f3","cardType":"cloze","points":null,"front":"In "sounds and sweet airs", Shakespeare uses [ ]; in "sounds and sweet", he uses [ ].","back":"In "sounds and sweet airs", Shakespeare uses sensory imagery; in "sounds and sweet", he uses sibilance.","mcqOptions":[{"text":"In "sounds and sweet airs", Shakespeare uses sensory imagery; in "sounds and sweet", he uses sibilance.","correct":true,"explanation":"The phrase appeals to hearing through descriptions of sounds and airs, creating sensory imagery. The repeated "s" sounds form sibilance, giving the line a soothing musical quality."},{"text":"In "sounds and sweet airs", Shakespeare uses visual imagery; in "sounds and sweet", he uses alliteration.","correct":false,"explanation":"The phrase appeals primarily to hearing, not sight. Although the repeated initial sound resembles alliteration, its specific hissing quality is more accurately identified as sibilance."},{"text":"In "sounds and sweet airs", Shakespeare uses sensory imagery; in "sounds and sweet", he uses assonance.","correct":false,"explanation":"Sensory imagery is correctly identified, but the repeated feature is the consonant "s", not a vowel sound. Shakespeare therefore uses sibilance rather than assonance."},{"text":"In "sounds and sweet airs", Shakespeare uses violent imagery; in "sounds and sweet", he uses plosives.","correct":false,"explanation":"The description is gentle and pleasurable rather than violent, and its repeated sounds are soft "s" consonants rather than explosive plosives. The techniques are sensory imagery and sibilance."}]},{"id":"4c0770cc-58eb-4157-8ce2-32b411b28120","cardType":"basic","points":2,"front":"How does Caliban's shift into blank verse present him?","back":"It shows his deep spiritual connection to the island.","mcqOptions":[{"text":"It shows his deep spiritual connection to the island.","correct":true,"explanation":"Caliban’s controlled blank verse and lyrical imagery reveal an unexpectedly sensitive character. His poetic response to the island suggests a profound spiritual bond with his home."},{"text":"It shows his growing political control of the island.","correct":false,"explanation":"Caliban remains under Prospero’s control, so the verse does not signal increasing political power. Instead, its lyrical quality reveals his deep spiritual connection to the island."},{"text":"It shows his complete loyalty to Prospero on the island.","correct":false,"explanation":"Caliban resents Prospero’s rule and repeatedly seeks freedom, so the passage cannot demonstrate loyalty. The elevated blank verse instead conveys his spiritual connection to the island."},{"text":"It shows his comic drunken confusion on the island.","correct":false,"explanation":"Caliban participates in drunken comedy elsewhere, but this lyrical speech is controlled and sincere. The shift into blank verse reveals his deep spiritual connection to the island."}]},{"id":"b634e0bf-9e31-41c6-9490-b82e4889c940","cardType":"basic","points":2,"front":"How does Caliban's beautiful poetry challenge the Great Chain of Being?","back":"It humanises him despite his low "monster" status.","mcqOptions":[{"text":"It humanises him despite his low "monster" status.","correct":true,"explanation":"Caliban’s sensitive, imaginative poetry reveals qualities associated with humanity and refinement, challenging the Great Chain of Being’s assumption that his low status makes him naturally inferior."},{"text":"It confirms him as naturally inferior because of his "monster" status.","correct":false,"explanation":"Treating the poetry as confirmation of Caliban’s inferiority ignores its beauty and sensitivity. It humanises him, challenging the hierarchy that categorises him simply as a low-status monster."},{"text":"It presents him as incapable of imagination because of his "monster" status.","correct":false,"explanation":"Caliban’s vivid description of the island demonstrates a powerful imagination rather than its absence. His poetic sensitivity humanises him despite the supposedly inferior status imposed upon him."},{"text":"It separates him from humanity by reinforcing his "monster" status.","correct":false,"explanation":"The poetry reduces rather than reinforces the distance between Caliban and humanity. Its beauty gives him emotional and imaginative depth, undermining the rigid hierarchy represented by the Great Chain of Being."}]},{"id":"acf17e8a-340a-4f3a-90bb-21990e75400e","cardType":"basic","points":1,"front":"Who says: "We are such stuff / As dreams are made on"?","back":"Prospero.","mcqOptions":[{"text":"Prospero.","correct":true,"explanation":"Prospero speaks these words after the masque disappears. He reflects on the insubstantial nature of performance and extends this idea into a meditation on human life."},{"text":"Caliban.","correct":false,"explanation":"Caliban delivers poetic lines about the island’s sounds, but he does not speak this quotation. Prospero says it while reflecting on the vanished masque and life’s transience."},{"text":"Ariel.","correct":false,"explanation":"Ariel performs and reports Prospero’s commands, but this philosophical reflection is not his. Prospero speaks the line after abruptly ending the masque for Ferdinand and Miranda."},{"text":"Gonzalo.","correct":false,"explanation":"Gonzalo offers idealistic speeches about government and society, but this line belongs to Prospero. Prospero uses it to compare human existence with an insubstantial dream."}]},{"id":"d93e72aa-15a5-459e-ba85-7058be7bc2e5","cardType":"cloze","points":null,"front":"Prospero compares human life to [ ] and says it is "rounded with a [ ]".","back":"Prospero compares human life to dreams and says it is "rounded with a sleep".","mcqOptions":[{"text":"Prospero compares human life to dreams and says it is "rounded with a sleep".","correct":true,"explanation":"Prospero describes people as the same insubstantial material as dreams and presents sleep as life’s boundary, emphasising the fleeting, fragile nature of human existence."},{"text":"Prospero compares human life to shadows and says it is "rounded with a sleep".","correct":false,"explanation":"Shadows are associated with insubstantiality elsewhere in literature, making this substitution tempting. However, Prospero specifically compares human life to dreams and says it is rounded with sleep."},{"text":"Prospero compares human life to dreams and says it is "rounded with a death".","correct":false,"explanation":"Death fits the speech’s concern with mortality, but it is not the quoted word. Prospero says human life resembles dreams and is rounded, or completed, with sleep."},{"text":"Prospero compares human life to stories and says it is "rounded with a night".","correct":false,"explanation":"Stories and night could suggest life’s brevity and ending, but they replace Shakespeare’s actual imagery. Prospero compares life to dreams and says it is rounded with sleep."}]},{"id":"9666a776-0635-4d5c-b4b7-30a6e757e93f","cardType":"basic","points":1,"front":"What method compares human existence to a fleeting dream in Prospero's speech?","back":"Metaphor.","mcqOptions":[{"text":"Metaphor.","correct":true,"explanation":"Prospero directly identifies human beings with the substance of dreams rather than using "like" or "as". This metaphor presents existence as temporary and insubstantial."},{"text":"Simile.","correct":false,"explanation":"A simile makes an explicit comparison using terms such as "like" or "as". Prospero directly equates human existence with dream material, so the method is metaphor."},{"text":"Personification.","correct":false,"explanation":"Personification gives human characteristics to something non-human, which is not the main method here. Prospero instead uses a metaphor that equates human existence with a fleeting dream."},{"text":"Hyperbole.","correct":false,"explanation":"Hyperbole relies on deliberate exaggeration, whereas Prospero’s statement creates a direct symbolic comparison. The method is metaphor because human existence is presented as the substance of dreams."}]},{"id":"c8487db3-62e4-4738-87f7-8fa0c3db73be","cardType":"basic","points":1,"front":"Which device is shown when Prospero's speech reflects theatrical artifice?","back":"Metatheatre.","mcqOptions":[{"text":"Metatheatre.","correct":true,"explanation":"The speech draws attention to performance, actors and the disappearance of the masque. By reflecting on theatre within a play, Shakespeare uses the device of metatheatre."},{"text":"Dramatic irony.","correct":false,"explanation":"Dramatic irony occurs when the audience knows more than a character, which is not the central effect here. Reflection on theatrical performance within the play makes this metatheatre."},{"text":"Foreshadowing.","correct":false,"explanation":"The speech may anticipate endings, but its defining device is not a hint about a later event. Its self-conscious reflection on performance and theatrical illusion is metatheatre."},{"text":"Soliloquy.","correct":false,"explanation":"A soliloquy reveals a character’s thoughts while speaking alone, but Prospero addresses Ferdinand and Miranda here. The speech’s reflection on theatrical artifice is an example of metatheatre."}]},{"id":"3cd185d5-926f-4832-8aff-268700fb2923","cardType":"basic","points":2,"front":"What career-related interpretation is linked to Prospero's "dreams" speech?","back":"It suggests Shakespeare's farewell to the stage.","mcqOptions":[{"text":"It suggests Shakespeare's farewell to the stage.","correct":true,"explanation":"Prospero’s reflections on performances dissolving have often been interpreted as Shakespeare contemplating the end of his own theatrical career and bidding farewell to the stage."},{"text":"It suggests Shakespeare's ambition to become an actor.","correct":false,"explanation":"The speech looks backwards towards endings rather than forwards to a new acting career. It is commonly interpreted as Shakespeare’s farewell to the stage and theatrical life."},{"text":"It suggests Shakespeare's return to writing history plays.","correct":false,"explanation":"Nothing in the speech indicates a return to the history genre. Its imagery of a performance fading away instead supports the interpretation that Shakespeare is saying farewell to the stage."},{"text":"It suggests Shakespeare's criticism of London audiences.","correct":false,"explanation":"The speech reflects on the temporary nature of performance and existence rather than attacking audiences. It is often interpreted as Shakespeare’s personal farewell to the stage."}]},{"id":"3c43c31e-6960-4bee-b142-ec59e138a8d9","cardType":"basic","points":1,"front":"Who says: "The rarer action is / In virtue than in vengeance"?","back":"Prospero.","mcqOptions":[{"text":"Prospero.","correct":true,"explanation":"Prospero says this after Ariel awakens his compassion for the shipwrecked nobles. The line marks his decision to pursue virtue and forgiveness instead of revenge."},{"text":"Ariel.","correct":false,"explanation":"Ariel prompts Prospero’s compassion by describing the prisoners’ suffering, but he does not speak this line. Prospero says it as he resolves to abandon vengeance."},{"text":"Antonio.","correct":false,"explanation":"Antonio remains largely unrepentant and does not choose virtue over revenge. Prospero speaks the line when deciding that forgiveness is morally superior to vengeance."},{"text":"Alonso.","correct":false,"explanation":"Alonso expresses grief and later remorse, but this declaration does not belong to him. Prospero says it while choosing the rarer and more difficult path of forgiveness."}]},{"id":"28bd6f91-25a0-48e0-8bde-dd3d04f5fbf6","cardType":"cloze","points":null,"front":"Prospero chooses [ ] over [ ].","back":"Prospero chooses virtue over vengeance.","mcqOptions":[{"text":"Prospero chooses virtue over vengeance.","correct":true,"explanation":"Prospero recognises that morally virtuous forgiveness is rarer and nobler than revenge. This choice drives the play’s movement towards reconciliation rather than further conflict."},{"text":"Prospero chooses vengeance over virtue.","correct":false,"explanation":"This reverses Prospero’s stated moral decision. Although he has the power to punish his enemies, he chooses virtue over vengeance and moves towards forgiveness."},{"text":"Prospero chooses power over freedom.","correct":false,"explanation":"Prospero ultimately gives up magical power and grants Ariel freedom, so this does not describe his choice. In the quoted line, he chooses virtue over vengeance."},{"text":"Prospero chooses punishment over reconciliation.","correct":false,"explanation":"Prospero initially threatens punishment, but his final decision leads towards reconciliation with his enemies. The line specifically presents his choice of virtue over vengeance."}]},{"id":"ca321355-e286-4aa8-98cf-309314bc9d15","cardType":"basic","points":2,"front":"What does the adjective "rarer" emphasise in Prospero's forgiveness quote?","back":"Choosing mercy is difficult and noble.","mcqOptions":[{"text":"Choosing mercy is difficult and noble.","correct":true,"explanation":"The comparative adjective "rarer" presents mercy as the less common and more morally demanding response, showing Prospero's forgiveness to be a difficult act of virtue."},{"text":"Choosing vengeance is difficult and noble.","correct":false,"explanation":"This reverses Prospero's contrast between virtue and vengeance. He presents mercy as the rarer, nobler choice, while revenge is the more ordinary and morally inferior response."},{"text":"Choosing mercy is natural and effortless.","correct":false,"explanation":"Treating forgiveness as effortless overlooks the significance of "rarer". The adjective stresses that choosing mercy over justified revenge requires unusual moral strength and self-control."},{"text":"Choosing vengeance is admirable and heroic.","correct":false,"explanation":"This mistakes revenge for the virtue celebrated in the quotation. Prospero rejects vengeance and recognises that showing mercy is the more difficult and noble course of action."}]},{"id":"f24888b9-ef4c-4c9b-aa9b-7b6dba7fbb38","cardType":"basic","points":1,"front":"Which Renaissance philosophy aligns with Prospero choosing virtue over vengeance?","back":"Christian humanism.","mcqOptions":[{"text":"Christian humanism.","correct":true,"explanation":"This Renaissance philosophy combines Christian ideals of mercy and forgiveness with humanist confidence in moral reason, fitting Prospero's decision to master his anger and choose virtue."},{"text":"Machiavellianism.","correct":false,"explanation":"Machiavellian thought is associated with maintaining power through strategic or ruthless action. Prospero's rejection of vengeance instead reflects Christian humanism's emphasis on mercy and moral improvement."},{"text":"Calvinist predestination.","correct":false,"explanation":"Predestination concerns God's prior determination of salvation, not an individual's reasoned choice to forgive. Prospero's moral self-mastery aligns more closely with Christian humanism."},{"text":"Medieval chivalry.","correct":false,"explanation":"Chivalry is a code of aristocratic conduct rather than the relevant Renaissance philosophy. Prospero's union of reason, virtue and Christian forgiveness specifically reflects Christian humanism."}]},{"id":"a659cdba-a37e-4204-a472-6178a360419c","cardType":"basic","points":1,"front":"Who says: "O brave new world, / That has such people in't"?","back":"Miranda.","mcqOptions":[{"text":"Miranda.","correct":true,"explanation":"Miranda speaks these words when she first sees the assembled courtiers. Her sheltered upbringing makes her respond with innocent wonder to people whom the audience knows are morally flawed."},{"text":"Prospero.","correct":false,"explanation":"Prospero cannot express this innocent admiration because he already knows the courtiers' corruption and past betrayal. Miranda speaks the line when she sees the group for the first time."},{"text":"Ariel.","correct":false,"explanation":"Ariel helps bring the courtiers together but does not greet them with naive human wonder. The line belongs to Miranda, whose isolation explains her amazement at seeing them."},{"text":"Alonso.","correct":false,"explanation":"Alonso is one of the people being observed rather than the speaker of the exclamation. Miranda says the line in response to seeing the courtiers assembled."}]},{"id":"0277c7f9-2d5e-44b6-b4be-1df26bee153c","cardType":"cloze","points":null,"front":"Miranda's "O brave new world" uses [ ] because the "goodly creatures" are actually [ ].","back":"Miranda's "O brave new world" uses dramatic irony because the "goodly creatures" are actually corrupt conspirators.","mcqOptions":[{"text":"Miranda's "O brave new world" uses dramatic irony because the "goodly creatures" are actually corrupt conspirators.","correct":true,"explanation":"The audience knows about the courtiers' betrayals and plots, while the inexperienced Miranda admires them sincerely. This gap between her understanding and the audience's knowledge creates dramatic irony."},{"text":"Miranda's "O brave new world" uses metaphor because the "goodly creatures" are actually corrupt conspirators.","correct":false,"explanation":"The important effect comes from the audience knowing more than Miranda, not from one thing being described as another. That difference in knowledge creates dramatic irony."},{"text":"Miranda's "O brave new world" uses dramatic irony because the "goodly creatures" are actually virtuous humanists.","correct":false,"explanation":"The technique is identified correctly, but its basis is misrepresented. The audience recognises several of these apparently admirable people as corrupt conspirators involved in betrayal and attempted murder."},{"text":"Miranda's "O brave new world" uses romantic imagery because the "goodly creatures" are actually innocent island spirits.","correct":false,"explanation":"Miranda is looking at human courtiers, not innocent spirits, and the central effect is not romantic description. Their known corruption makes her admiration dramatically ironic."}]},{"id":"5e4082f1-a6e0-4ad6-b4e3-de9e8372370b","cardType":"basic","points":1,"front":"What does repetition of the vocative "O" capture in Miranda's speech?","back":"Her overwhelming awe.","mcqOptions":[{"text":"Her overwhelming awe.","correct":true,"explanation":"Repeating the exclamatory vocative "O" conveys Miranda's spontaneous wonder and emotional intensity as she encounters a large group of unfamiliar people for the first time."},{"text":"Her anxious confusion.","correct":false,"explanation":"Miranda's language is admiring and exclamatory rather than uncertain or frightened. The repeated "O" captures the overwhelming awe produced by her first sight of these people."},{"text":"Her bitter resentment.","correct":false,"explanation":"Nothing in Miranda's praise suggests hostility or bitterness. The repetition expresses overwhelming awe, reflecting her sheltered innocence and delighted response to the people before her."},{"text":"Her calculated sarcasm.","correct":false,"explanation":"Miranda sincerely believes the courtiers are wonderful, so she is not mocking them deliberately. The repeated "O" instead communicates her immediate and overwhelming awe."}]},{"id":"a67e989f-5216-4646-bfc9-d03fb0d53d59","cardType":"basic","points":2,"front":"What does Miranda's "new world" represent contextually?","back":"Idealistic hope, untouched by Old World corruption.","mcqOptions":[{"text":"Idealistic hope, untouched by Old World corruption.","correct":true,"explanation":"Miranda imagines the newly encountered society as full of possibility because she does not know its history of betrayal. Her innocence allows the new world to symbolise unspoilt hope."},{"text":"Nostalgic longing, restoring the values of the Old World.","correct":false,"explanation":"Miranda is looking forward with excitement rather than longing for an earlier society she barely knows. The new world represents idealistic hope apparently untouched by older corruption."},{"text":"Fearful isolation, rejecting contact with the wider world.","correct":false,"explanation":"Miranda welcomes the sight of new people enthusiastically rather than withdrawing from them. Her phrase expresses idealistic hope in a society seemingly free from Old World corruption."},{"text":"Cynical resignation, accepting Old World corruption as inevitable.","correct":false,"explanation":"Cynicism belongs more to the informed audience than to Miranda, who remains innocent of the courtiers' crimes. Her new world therefore represents idealistic, uncorrupted hope."}]}]}],"examCountdown":{"examDate":"2027-05-12","paperLabel":"Paper 1"},"heading":"Key Quotes","title":"Key Quotes Flashcards","topbar":{"backHref":"/gcse/english-literature/aqa/flashcards"},"topicSidebar":"$L36"}]}],"topicId":"802c8957-491f-5df4-bf4f-debb501a4b8c","walled":"$L37"}],"$L38","$L39"]