Drama and Poetry Pre 1900 Section 1 and 2

Qualification
Accredited
A LEVEL
Exemplar Candidate Work
ENGLISH
LITERATURE
H472/01
For first teaching in 2015
Drama and Poetry

pre-1900
Version 1
www.ocr.org.uk/english
A Level English Literature Exemplar Candidate Work
Contents
Section 1 Shakespeare
Hamlet 3
Script 1: Level 6 3
Script 2: Level 6 9
Script 3: Level 5 13
Script 5: Level 5 borderline 24
Script 8: Level 3 borderline 38
Section 2 Drama and Poetry pre-1900

Question 7 responses 41
Script 9: Ibsen and Rossetti - Level 5 41
Script 10: Webster and Tennyson - Level 5 46
Script 11: Ibsen and Rossetti – Level 6 50
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SECTION 1 SHAKESPEARE
HAMLET
(a) Discuss the passage from Act 3 Scene 4, exploring Shakespeare’s use of language and its dramatic
effects. [15]
(b) ‘Hamlet is destroyed by his impulsiveness, not his uncertainty.’
Using your knowledge of the play as a whole, show how far you agree with this view of the
character Hamlet. Remember to support your answer with reference to different interpretations. [15]
Script 1: Level 6
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EXAMINER COMMENTARY
This very good pair of answers contains some undoubtedly ‘excellent’ elements. The candidate presents sophisticated and erudite
ideas with fluency and – at times – a degree of originality. The answers are not without some faults and this means that the
overall mark for the Section does not move towards the very top of the range for Level 6. With the exception of a contextualising
opening paragraph, the content of part (a) is admirably focused on the dominant Assessment Objectives – with linguistic analysis
presented via well-developed and consistently detailed discussion (including consideration of rhetorical techniques, emphasis and
personification). Part (b) is admirably focused on different interpretations: these ‘consistently inform’ the answer (with mention of
specific named critics as well as allusions to broader approaches).
This is an excellent pair of responses deserving recognition comfortably into the Level 6 range: 27.
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effects. [15]
Script 2: Level 6
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EXAMINER COMMENTARY
This pair of very good answers contains some hints of overall excellence in approaching the play, the respective questions, and
the requirements of the relevant Assessment Objectives for each part. The context question is – at times – erudite and frequently
focuses on linguistic techniques in the passage (as required). There is a particularly strong emphasis on the dramatic implications of
Shakespeare’s linguistic techniques. Part (b) again approaches the play from a perspective of dramatic practicality. Critical views of
the play are explored (with some hints of excellence) with implicit – if not always explicit - engagement.
This clear, very good set of responses demonstrates some signs of excellence: Level : 26
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effects. [15]
Script 3: Level 5
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EXAMINER COMMENTARY
This pair of very good answers contains some hints of overall excellence in approaching the play, the respective questions, and
the requirements of the relevant Assessment Objectives for each part. The context question is – at times – erudite and frequently
focuses on linguistic techniques in the passage (as required). There is a particularly strong emphasis on the dramatic implications of
Shakespeare’s linguistic techniques. Part (b) again approaches the play from a perspective of dramatic practicality. Critical views of
the play are explored (with some hints of excellence) with implicit – if not always explicit - engagement.
This clear, very good set of responses demonstrates some signs of excellence: Level : 26
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EXAMINER COMMENTARY
There are some signs of ‘excellence’ in this pair of responses – most notably in the part (a) answer. The script suggests that the
candidate has engaged with the play on a profound level – and there are striking signs of a strong personal response in both
answers. The response to the context question is carefully focused on the requirements of the question and the demands of the
Assessment Objectives. Linguistic analysis is – at times – well-developed and consistently detailed. The response to the essay
question (by contrast) fails to meet Level 6 criteria: a somewhat colloquial and discursive tone is symptomatic of this.
Overall this is a ‘good, clear’ pair of responses – Level 5: 24.
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effects. [15]
Script 4: Level 5
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EXAMINER COMMENTARY
Both parts of this answer approach the text, the questions, and the requirements of the respective relevant Assessment Objectives
in a ‘good’ and clear way. The context response (a) begins with some generalised contextual information about the place of
Shakespeare’s work in literary history but soon moves on to some developed and detailed discussion of aspects of language, form
and structure. The answer also makes a concerted effort to address the dramatic implications of these linguistic techniques. In part
(b) the candidate constructs a well-structured argument with a clear line of development. There is also some good recognition and
exploration of different interpretations apparent. Both answers are some distance away from Level 6 ‘excellence’.
This section deserves recognition at a solid point in Level 5: 23.
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effects. [15]
Script 5: Level 5 borderline
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EXAMINER COMMENTARY
In this pair of responses the essay question is slightly more successful than the attempt at the context passage. In the latter there
is a tendency to rely on plot narration and the standard of linguistic analysis fails to meet the criteria of AO2 in Level 5 (note the
concentration on discussion of punctuation, for example). Part (b) does satisfy some of the Level 5 criteria: at times ‘good and secure’
points are made. Connective phrases such as “on the other hand” suggest that the candidate is making a real attempt to construct a
structured argument (which is, nevertheless, clearly not an ‘excellent’ one).
Overall, therefore, the responses in this pair of answers satisfy some of the criteria of Level 5 but only at a ‘borderline’ level: 21.
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effects. [15]
Script 6: Level 4
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EXAMINER COMMENTARY
Overall this pair of answers conveys a sense of competence in response to the tasks set – although it is clear that there is no scope
for the mark for this Section to move into a higher mark Level. Some lapses of expression affect both parts of the task (“Shakespeare
uses similies within the scene in order to emphasise Gertrudes wrong doing”) and the extent of the part (b) answer is restrained by
its rather succinct approach. The latter response is moderately successful though in its citing of specific critical views (“Van Goethe”
and “James L. Calderwood”).
These are competent (rather than clear, good) responses: Level 4: 18.
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effects. [15]
Script 7: Level 4
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EXAMINER COMMENTARY
There are signs of some competence in this pair of responses to Hamlet. The essay (b) answer is more successful than the context
(a) response. The response to the set passage makes some attempt to use analytical methods and effects of language, form and
structure are addressed. This is achieved without a sense of overall competence though (for example in the discussion of the
relationship between the use of iambic pentameter and dramatic effect). There are lapses in the quality of written communication
apparent in this answer. In the essay question there is some competent sense of an argument developing and interpretative views
do emerge (eg. in the context of “the Jacobean era”) although the overall effect is not ‘good’.
The ‘borderline’ mark is appropriate for this answer: Level 4: 16.
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effects. [15]
Script 8: Level 3 borderline
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EXAMINER COMMENTARY
These responses are rather brief (very short in the case of part (b)) and not always ‘competent’ in their attempts to address the play,
the questions and the requirements of the relevant Assessment Objectives. The tone throughout the responses in this Section is
often informal or colloquial and – on occasion – is inappropriate to enable the candidate to express sophisticated ideas about a
complex text: “Queen Gertrude doesn’t seem hugely bothered”; “Hamlet … has dived straight in”; “…he can’t even think straight”.
Although discussion is ‘limited’ at times (in both parts of the Section) there is evidence that ‘some attempt’ has been made by the
candidate to address the questions and the AOs.
The ‘borderline’ mark at the bottom of Level 3 indicates that some attempt is being made here but that aspects of the answers are
‘limited’: 11.
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SECTION 2 DRAMA AND POETRY PRE-1900

QUESTION 7
‘Love is invariably possessive.’ [30]
Script 9: Ibsen and Rossetti - Level 5
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EXAMINER COMMENTARY
This is an answer dominated by the virtues of approaching the terms of the question directly and of focusing effectively on the
dominant Assessment Objectives. There are no clear signs of ‘excellence’ in the response but – throughout the answer – the
candidate has made a ‘good’ and ‘clear’ attempt to consider the issues raised in the essay’s title in terms of contextual issues (AO3
– dominant): “…so embedded in 1800’s society…”; “…during the 1800s it was a traditional expectation…”; “…if a woman failed to
marry by the time she was 30…”. Some minor lapses in the quality of written expression do not hold back the effect of the essay
significantly.
This good, clear answer meets all the requirements of Level 5 in the middle of the range: 23.
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‘Love is invariably possessive.’ [30]
Script 10: Webster and Tennyson - Level 5
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EXAMINER COMMENTARY
This highly competent answer is preceded by a lengthy plan. Aspects of the answer suggest a ‘good’ response to the question, the
set texts, and the requirements of the relevant Assessment Objectives. There are contextual references in the answer to both Twelfth
Night and Paradise Lost. A tendency to narrate (at times) rather than analyse is one of the factors preventing the answer from
moving more comfortably into the Level 5 mark range. Both the expression of ideas and employment of contextual material are – at
times – less than precise: “This idea of solopsism is a key idea in the romantic and Victorian era”.
Ultimately this response meets some Level 5 criteria but the appropriate mark is that on the ‘borderline’ with the level below: 21.
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QUESTION 9
‘Men may seem to be more powerful than women, but the reality is very different.’ [30]
Script 11: Ibsen and Rossetti – Level 6
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EXAMINER COMMENTARY
This essay is preceded by a substantial plan. After a straightforward introduction to the topic, the candidate soon launches into an
effectively structured response in which consideration of contextual matters is always present (at least implicitly – “It would have
been unheard of for a woman…”). Once again the candidate displays a lively, personal response to the set texts and to the terms of
the question. Comparison of the respective texts is often sustained at an excellent level throughout the response (“Unlike in…”; “Both
Rossetti and Ibsen…”).
Although not without some faults, this is an ‘excellent’ answer overall: Level 6: 27.
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EXAMINER COMMENTARY
This is a perceptive, subtle and wide-ranging response to the question. There is clear sophistication in evidence here and some of
the points made are indeed excellent. The candidate has focused impressively on the relevant Assessment Objectives throughout
and the answer has been constructed in such a way that it presents a coherent and detailed argument. There is – inevitably – room
for further improvement and so the answer ultimately gains a mark comfortably into (but not at the top of ) the Level 6 range. It
is notable that the response synthesises comparison, context and critical awareness into an impressive whole. The answer is not
without errors of expression.
This is an answer of clear ‘excellence’: Level 6: 27.
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EXAMINER COMMENTARY
This answer makes even more ‘good’ points than its Section 1 equivalents. Clarity is achieved to a substantial degree on occasion.
There is a notable element of positive individual engagement with the chosen texts and their critical issues, and the candidate’s
tone is often lively and engaged. Structure is perhaps the least successful aspect of the response even if – for the most part – the
answer is adequately well-structured and shows a clear line of development. The candidate recognises the importance of context
in this part of the paper (here it is the dominant Assessment Objective) and frequent interesting observations (“…the Norwegian
perceptions in his time, similar to Victorian England perception…”) contribute to some success in this area.
Substantial good, clear points are made throughout this answer: Level 5: 24.
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EXAMINER COMMENTARY
This is a response of mixed success which demonstrates clear personal engagement with the set texts and – at times – a lively
critical approach to the topic. It is not without fault though – both on specific matters (Freudian criticism is placed in the eighteenth
century; Augustan in the seventeenth) and also in its broader tendency to approach the subject from a critical perspective (AO5)
rather than from the contextual direction (AO3) which should be dominant in this section of the paper. There are also some minor
errors in expression apparent throughout the answer. Some significant lapses in the approach and detail of this answer prevent it
from gaining a final mark in the Level 5 (‘good’) category.
This is an answer of clear competence – in the middle of the Level 4 range: 19.
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EXAMINER COMMENTARY
Some competent points are made in this substantial answer. It is not, however, obviously ‘good’ or ‘clear’ in its approach. Some
attempt is made to approach contextual issues but this tends to be done in general terms: “In the victorian era, women had very
little power.” At times the answer is unfortunately dominated by minor lapses of expression. The approach to comparison in the
answer tends not to be one of attempted synthesis but instead the candidate generally approaches first one text and then the other
in order to attempt to make comparative points. This is a straightforward and competent answer.
Signs of some competence in the answer mean that a mark in Level 4 is appropriate: 17.
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QUESTION 12
‘Rank and social status are enemies of happiness.’ [30]
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EXAMINER COMMENTARY
There is a very strong focus on the requirements of the question and of the relevant Assessment Objectives. The candidate
constructs an impressive answer which engages with context (AO3 – dominant) right from the start: “Contextually, throughout
the late 1800s – 1900s, the impact of patriarchal society…”. This approach is maintained throughout and the level of comparative
analysis is always sustained, good and clear. The answer is marred at times by slips in expression (“idealogy”). These need to be taken
into account although they do not significantly diminish the overall effect of the answer.
This answer is often very good and clear in its approach and effect: Level 5: 24.
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‘Rank and social status are enemies of happiness.’ [30]
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EXAMINER COMMENTARY
This is a good, clear response to the question. Although there is a tendency in the answer (at times) to narrate plot elements, there is
also a clear intention to address the terms of the question and to meet the requirements of all the relevant Assessment Objectives.
Clarity is in evidence throughout the answer (with ‘clear’ being a key term in the Level 5 marking guidelines). The expression of ideas
is accurate and clear without being faultless. If contextual, comparative and critical ideas are at times lacking in penetrating subtlety
then they are at least always clear and secure. The comparative statement “In both the Jacobean and Victorian eras…” is perhaps
typical of the approach evident in this answer.
The answer deserves a mark solidly in the centre of the Level 5 range: 23.
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Qualification

Drama and Poetry

Section 2 Drama and Poetry pre-1900

Overall this is a ‘good, clear’ pair of responses – Level 5: 24.

This section deserves recognition at a solid point in Level 5: 23.

Script 5: Level 5 borderline

The ‘borderline’ mark is appropriate for this answer: Level 4: 16.

Script 8: Level 3 borderline

SECTION 2 DRAMA AND POETRY PRE-1900

Script 9: Ibsen and Rossetti - Level 5

‘Love is invariably possessive.’ [30]

Script 10: Webster and Tennyson - Level 5

Script 11: Ibsen and Rossetti – Level 6

Script 12: Webster and Tennyson - Level 6

Script 13: Ibsen and Rossetti – Level 5

Script 14: Webster and Tennyson - Level 4

Script 15: Ibsen and Rossetti – Level 4

Script 16: Ibsen and Rossetti – Level 5

‘Rank and social status are enemies of happiness.’ [30]

Script 17: Webster and Tennyson - Level 5

OCR Resources: the small print

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OCR acknowledges the use of the following content:

Please get in touch if you want to discuss the accessibility of

Looking for a resource?

© OCR 2017 Oxford Cambridge and RSA Examinations is a Company

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