EXAMINATIONS AND ASSESSMENT CHIEF DIRECTORATE

Home of Examinations and Assessment, Zone 6, Zwelitsha, 5600

REPUBLIC OF SOUTH AFRICA, Website: www.ecdoe.gov.za

2022 NSC CHIEF MARKER’S REPORT

SUBJECT ENGLISH HL
PAPER 2
DURATION OF PAPER: 2½HRS
PROVINCE EASTERN CAPE
DATES OF MARKING 8 DECEMBER 2021 – 21 DECEMBER 2022

SECTION 1: (General overview of Learner Performance in the question paper as a

whole)

• The standard of the paper was very fair.

• The choice of prescribed poems saw most candidates opting to do
Question 4 which is more accessible and appeared in many past
papers. There is an increase in the number of candidates opting for
the poetry essay, perhaps realising that the rubric for this question
advantages the candidate. Most just offer a paraphrase of the poem
with a few relevant points which gets them a pass at the very least.
• A poorly answered question across all the genres were questions on
imagery. These still remain problematic for candidates and they need
more guidance answering such questions. Candidates also need to be
encouraged to focus their responses on specific line references, most
gave generalised responses that were not focused on the specific line
references. The tendency to award 2 or 3 marks for contextual
questions depending on the quality of the answers fortunately
continues and adds a handy dimension to the marking process.
• In Section B, more candidates chose the contextual questions rather
than the essay on The Picture of Dorian Gray than previous years.
Candidates who chose to do the contextual questions on The Picture
of Dorian Gray, generally produced better results as the questions were
much more straight-forward in comparison to that of Life of Pi which
was not just content-based.
• In Section C, the best overall results were for Othello and Hamlet. The
Othello contextual question (Q13) produced considerably better
results than the Hamlet contextual question (Q11). Candidates tend
to achieve better results for the essays on the Shakespearean plays
than the contextual questions, and this exam was no exception.
• The rubrics remained as they were last year, and all markers were
familiar with the format; no additional training was necessary. For
consideration is a revision of this rubric particularly including descriptors
which informs the marking of weaker/narrative essays.
• It is worth mentioning that many centres submit scripts where the
 question numbers are not entered on the front page. It adds
considerably to administrative time when question numbers must be
recorded on each script. This must be done before marking
commences in order to assign groups to each genre. Chief invigilators
should be informed at their training to insist that candidates do this. It
would certainly save considerable time at the marking venue.
• A summary of the 100-script analysis is attached.

SECTION 2: Comment on candidates’ performance in individual questions

(a) General comment on the performance of learners in the specific question.

Was the question well answered or poorly answered?
SECTION A: POETRY
QUESTION 1: ‘VULTURES’
An excellent choice for a poetry essay. Significantly more candidates opted to
do this question. The rubric certainly does favour this choice since a 0 can only
be awarded for an entirely creative essay. Weaker candidates still resort to
weak paraphrasing which still earns them marks in the lower category of the
rubric. This is a pity since the specific technical aspects of poetry like ‘diction,
imagery and tone’ remains unchanged from previous papers. Candidates
should be well prepared and encouraged to do the essay. This is clearly not the
case.

QUESTION 2: ‘somewhere I have never travelled, gladly beyond’

A difficult poem and candidates understandably did not fair well. It is not
accessible to most of our candidates who showed in their responses that they
could not identify and explain the imagery and message of the poem. Most
candidates personalised the poem. Responses were about love in general.

QUESTION 3: ‘FELIX RANDAL’

Very poor responses. The entry level question (3.1) was poorly answer as a result
of the candidates’ limited vocabulary. The marking guideline was very strict in
the expected response. Most candidates focused only on the ‘handsome’
aspect. Generally the marks for this poem prove that candidates did not
understand the vocabulary and central idea of this poem.

QUESTION 4: ‘FIRST DAY AFTER THE WAR’

By far the most popular choice by candidates. It was, however, very difficult to
mark since all the questions tended to overlap and candidates were repeating
their responses in each of the questions. The marking guideline to 4.3 was
prescriptive where the circle had to be unpacked. Probably a handful of
candidates did this and received full marks for this question. 4.4 should have
limited the focus of the lines. It encouraged candidates to just generally
paraphrase the lines.

QUESTION 5: ‘AFRICAN GRASS’

An improvement to see that candidates are reading instructions correctly and
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recognise this poem as compulsory and attempt it. It was, however, not well
received by the candidates. The entry level question was not well answered;
candidates did not know the meaning of ‘laden’ while others could ‘guess’
correctly from the context. This may not have been the best choice of poem.
Words like ‘caressing’ and ‘lovers’ possibly encouraged an incorrect
interpretation – that this poem was about love. The marking guideline to 5.3
was prescriptive in the expected response. The difference between using a
word like ‘short’ as opposed to ‘shorter’ determined the candidates’ mark. This
is unfortunate since this is an unseen poem which should be slightly more
accessible. Very few candidates could actually score full marks on 5.3
especially since an entire stanza (9 lines) had to be unpacked.

SECTION B: NOVEL
QUESTION 6: ESSAY: ‘THE PICTURE OF DORIAN GRAY’
Fewer candidates opted to do this essay question this year. The question was
quite broad in scope and candidates showed through their responses that they
understood the concept of ‘boundaries’ but did not provide evidence from the
text on this. The phrasing of the question (‘oneself and others’) encouraged
subjective and creative responses from weaker candidates. As with most of the
essays, candidates do not always link both parts of the question (boundaries to
the dangerous aspect).

QUESTION 7: CONTEXTUAL: ‘THE PICTURE OF DORIAN GRAY’

7.3 This question does not allow for enough commentary for the full 3 marks.
7.4 & 7.9 are potential essay questions so candidates could write extensively on
this and obtain full marks.
7.5 & 7.6 Responses here were confused since 7.5 links to the second extract
and 7.6 to the first. They are very similar so candidates got their answers
muddled.
7.8 This question proves again that candidates are falling short in answering
questions on an image.

QUESTION 8: ESSAY: ‘LIFE OF PI’

A popular choice but very poorly answered. The majority of the candidates
focussed only on experiences on the boat while failing to show how Pi’s
unpleasant experiences in India strengthened him to deal with his experiences
on the boat. Very few previous question papers contained questions on Pi’s
early years in India so this may have contributed to these incorrect responses.
Too much of the film version is still submitted in the essays and this is certainly to
the detriment of the candidates yet it still persists.
Many candidates confuse the ‘two stories’ with many inaccuracies

QUESTION 9: CONTEXTUAL: ‘LIFE OF PI’

9.1 An entry level question but few candidates could get the 3rd mark since their
responses relied on events in the film version.
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9.3 Many generic responses not anchored in facts.
9.7 A welcome ‘new’ question which was answered well for the most part.
9.8 The marking guideline is very limited. Even though it does make allowance
for valid alternatives, markers tend to look to the guideline for direction as to
what may be acceptable.

SECTION C: DRAMA
ESSAYS
Not a fair balance between the essay questions. The Shakespeare dramas
provided a focus for the candidates while ‘The Crucible’ essay was much
broader. Candidates grappled with which family relationships should be
included in their responses. The nature of the question as it relates to the
‘outcome of the play’ unfortunately led to narrative responses, concluding with
how ‘they all died’.
A persistent problem is the question on stage directions. Most candidates
accidentally stumble upon a ‘body language’ and ‘tone’ which is not very
convincing in context and they cannot be credited for it.
The contextual questions were content-based and were accessible to
candidates who prepared for this paper.

QUESTION 11:
CONTEXTUAL: HAMLET
11.9 had some interesting responses. The word ‘drawing’ in the question was
interpreted literally by a few candidates who actually did sketches of their
responses. Perhaps this type of question should be reviewed for the future.

QUESTION 12; OTHELLO

CONTEXTUAL
13.9 Candidates do not understand a question that invites the audience
response although it has appeared in previous papers. The other dramas did
not have a similar question.

QUESTION 14: THE CRUCIBLE

CONTEXTUAL
15.4 The marking guideline should consider the vocabulary of the candidates.
The marking guideline offers words like ‘paranoid’ and ‘insecure’. Markers are
unsure of what similes may be acceptable.

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(a) Provide suggestions for improvement in relation to Teaching and Learning
POETRY: Focus on teaching learners to identify and discuss tone, imagery and
the message of the poem and to look beyond a literal interpretation of the
poem. Candidates should be given more opportunities to practice answering
typical questions on unseen poems.

NOVEL: Needs to be READ and understood. Candidates should not rely on

film versions or summaries to get them through a Home Language paper.
When teaching ‘The Picture of Dorian Gray’ candidates must understand
Victorian society in order to understand how characters respond to their
context. In ‘Life of Pi’ both versions of the story must be clear to the
candidates.

DRAMA: Candidates must understand dramatic techniques and understand

how an audience is meant to respond to it. Understanding must move
beyond just knowing the narrative.

A literary essay is a higher-order writing skill that needs to be unpacked in a

systematic way to clarify how logic and format form the basis of this type of
writing. It needs to be taught and practiced using the PEEL or similar method.

A literary essay is not the platform to moralise or promote personal beliefs.

Candidates must be taught to avoid common errors like using the past tense,
using the first person, informal language and an inappropriate style.
Candidates should have access to the marking rubric so that they are aware
of how their essay will be assessed.

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(d) Describe any other specific observations relating to responses of learners
and comments that are useful to teachers, subject advisors, teacher
development etc.
Subject advisors should assist weaker centres by providing standard study
guides. Candidates rely on incorrect information from the internet that is not
what is expected at the level of this paper.
It becomes apparent to the marker when a candidate has not engaged with
the text when the names of the main characters are misspelled. Candidates
should be encouraged to read and not just rely on summaries of the plot.

Educators need to assist learners with understanding the language of the

question paper so that they understand what response is required especially
with questions that are scaffolded.

The dramas are often just understood by its plot and not by the dramatic
techniques that is essential to this genre.
Essential to preparing candidates for this paper is coming to grips with writing a
literature essay. Too many candidates rely on just re-telling the plot in a
disordered manner with very little discussion or development of responses
linked to the question.
Candidates must be reminded that adequate planning is essential to writing a
well-structured essay. Very few candidates did any planning in the form of a
mind-map, etc before attempting the essay question.

A suggestion from experienced markers is that the question should indicate a

marking directive so that candidates can prepare their responses accordingly.
They would know how the marks would be allocated, for example, for distinct
ideas or attitude (1)+ comment (2). This would assist candidates in structuring
their responses.

The most empowering suggestion to educators who hope to improve on

teaching and learning and personal development is to avail themselves for
marking this paper. The experience is invaluable, it is where educators can
hone their skills and prepare their learners to achieve excellence.

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 GRAAD 12

NATIONAL
SENIOR CERTIFICATE

GRADE 12

ENGLISH HOME LANGUAGE P2

NOVEMBER 2022

MARKS: 80

TIME: 2½ hours

This question paper consists of 27 pages.

*ENGHL2*

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INSTRUCTIONS AND INFORMATION

1. Read these instructions carefully before you begin to answer the questions.

2. Do NOT attempt to read the entire question paper. Consult the table of
contents on page 4 and mark the numbers of the questions set on texts you
have studied this year. Thereafter, read these questions and choose the ones
you wish to answer.

3. This question paper consists of THREE sections:

SECTION A: Poetry (30)

SECTION B: Novel (25)
SECTION C: Drama (25)

4. Answer FIVE questions in all: THREE in SECTION A, ONE in SECTION B

and ONE in SECTION C as follows:

SECTION A: POETRY
PRESCRIBED POETRY – Answer TWO questions.
UNSEEN POEM – COMPULSORY question

SECTION B: NOVEL
Answer ONE question.

SECTION C: DRAMA
Answer ONE question.

5. CHOICE OF ANSWERS FOR SECTIONS B (NOVEL) AND C (DRAMA):

x Answer questions ONLY on the novel and the drama you have studied.
x Answer ONE ESSAY QUESTION and ONE CONTEXTUAL QUESTION.
If you answer the essay question in SECTION B, you must answer the
contextual question in SECTION C.
If you answer the contextual question in SECTION B, you must answer
the essay question in SECTION C.
Use the checklist to assist you.

6. LENGTH OF ANSWERS:

x The essay question on Poetry should be answered in about 250–300

words.
x Essay questions on the Novel and Drama sections should be answered
in 400–450 words.
x The length of answers to contextual questions should be determined by
the mark allocation. Candidates should aim for conciseness and
relevance.

7. Follow the instructions at the beginning of each section carefully.

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8. Number your answers correctly according to the numbering system used in

this question paper.

9. Start EACH section on a NEW page.

10. Suggested time management:

SECTION A: approximately 40 minutes

SECTION B: approximately 55 minutes
SECTION C: approximately 55 minutes

11. Write neatly and legibly.

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TABLE OF CONTENTS

SECTION A: POETRY

Prescribed Poetry: Answer ANY TWO questions.

QUESTION NO. QUESTION MARKS PAGE NO.
1. 'Vultures' Essay question 10 6

2. 'somewhere i have never Contextual question 10 8

travelled,gladly beyond'

3. 'Felix Randal' Contextual question 10 9

4. 'First Day after the war' Contextual question 10 10

AND
Unseen Poetry: COMPULSORY question
5. 'African Grass' Contextual question 10 11

SECTION B: NOVEL

Answer ONE question.*

6. The Picture of Dorian Gray Essay question 25 12

7. The Picture of Dorian Gray Contextual question 25 12

8. Life of Pi Essay question 25 14

9. Life of Pi Contextual question 25 14

SECTION C: DRAMA

Answer ONE question.*

10. Hamlet Essay question 25 17

11. Hamlet Contextual question 25 17

12. Othello Essay question 25 21

13. Othello Contextual question 25 21

14. The Crucible Essay question 25 25

15. The Crucible Contextual question 25 25

NOTE: In SECTIONS B and C, answer ONE ESSAY and ONE CONTEXTUAL question.
You may NOT answer TWO essay questions or TWO contextual questions.

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CHECKLIST

Use this checklist to ensure that you have answered the correct number of questions.

NO. OF
QUESTION TICK
SECTION QUESTIONS
NUMBERS (9
9)
ANSWERED
A: Poetry
(Prescribed Poetry) 1–4 2
A: Poetry
(Unseen Poem) 5 1
B: Novel
(Essay OR Contextual) 6–9 1
C: Drama
(Essay OR Contextual) 10–15 1

NOTE: In SECTIONS B and C, ensure that you have answered ONE ESSAY and ONE
CONTEXTUAL question.
You may NOT answer TWO essay questions or TWO contextual questions.

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SECTION A: POETRY

PRESCRIBED POETRY

Answer any TWO of the following questions.

QUESTION 1: ESSAY QUESTION

Read the poem below and then answer the question that follows.

VULTURES – Chinua Achebe

1 In the greyness
2 and drizzle of one despondent
3 dawn unstirred by harbingers
4 of sunbreak a vulture
5 perching high on broken
6 bone of a dead tree
7 nestled close to his
8 mate his smooth
9 bashed-in head, a pebble
10 on a stem rooted in
11 a dump of gross
12 feathers, inclined affectionately
13 to hers. Yesterday they picked
14 the eyes of a swollen
15 corpse in a water-logged
16 trench and ate the
17 things in its bowel. Full
18 gorged they chose their roost
19 keeping the hollowed remnant
20 in easy range of cold
21 telescopic eyes …
22 Strange
23 indeed how love in other
24 ways so particular
25 will pick a corner
26 in that charnel-house
27 tidy it and coil up there, perhaps
28 even fall asleep – her face
29 turned to the wall!
30 … Thus the Commandant at Belsen
31 Camp going home for
32 the day with fumes of
33 human roast clinging
34 rebelliously to his hairy
35 nostrils will stop

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36 at the wayside sweet-shop

37 and pick up a chocolate
38 for his tender offspring
39 waiting at home for Daddy's
40 return …
41 Praise bounteous
42 providence if you will
43 that grants even an ogre
44 a tiny glow-worm
45 tenderness encapsulated
46 in icy caverns of a cruel
47 heart or else despair
48 for in the very germ
49 of that kindred love is
50 lodged the perpetuity
51 of evil.

Achebe's poem examines the contradictory nature of animals and people.

With close reference to diction, imagery and tone, critically discuss the validity of this
statement.

Your response should take the form of a well-constructed essay of 250–300 words
(about ONE page). [10]

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QUESTION 2: CONTEXTUAL QUESTION

Read the poem below and then answer the questions that follow.

somewhere i have never travelled,gladly beyond – ee cummings

1 somewhere i have never travelled,gladly beyond

2 any experience,your eyes have their silence:
3 in your most frail gesture are things which enclose me,
4 or which i cannot touch because they are too near

5 your slightest look easily will unclose me

6 though i have closed myself as fingers,
7 you open always petal by petal myself as Spring opens
8 (touching skilfully,mysteriously) her first rose

9 or if your wish be to close me,i and

10 my life will shut very beautifully,suddenly,
11 as when the heart of this flower imagines
12 the snow carefully everywhere descending;

13 nothing which we are to perceive in this world equals

14 the power of your intense fragility:whose texture
15 compels me with the colour of its countries,
16 rendering death and forever with each breathing

17 (i do not know what it is about you that closes

18 and opens;only something in me understands
19 the voice of your eyes is deeper than all roses)
20 nobody,not even the rain,has such small hands

2.1 What does the phrase, 'never travelled' (line 1) reveal about the speaker's
view of his relationship with his loved one? (2)

2.2 Explain why the speaker refers to himself using the lower case 'i' in the
context of the poem. (2)

2.3 Refer to lines 7–8: 'you open always … her first rose'.

Discuss the effectiveness of this image in the context of the poem. (3)

2.4 Critically discuss how the central message of the poem is conveyed in
stanzas 4 and 5 (lines 13–20) of the poem. (3)
[10]

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QUESTION 3: CONTEXTUAL QUESTION

Read the poem below and then answer the questions that follow.

FELIX RANDAL – Gerard Manley Hopkins

1 Felix Randal the farrier, O is he dead then? my duty all ended,

2 Who have watched his mould of man, big-boned and hardy-handsome
3 Pining, pining, till time when reason rambled in it and some
4 Fatal four disorders, fleshed there, all contended?

5 Sickness broke him. Impatient he cursed at first, but mended

6 Being anointed and all; though a heavenlier heart began some
7 Months earlier, since I had our sweet reprieve and ransom
8 Tendered to him. Ah well, God rest him all road ever he offended!

9 This seeing the sick endears them to us, us too it endears.

10 My tongue had taught thee comfort, touch had quenched thy tears,
11 Thy tears that touched my heart, child, Felix, poor Felix Randal;

12 How far from then forethought of, all thy more boisterous years,
13 When thou at the random grim forge, powerful amidst peers,
14 Didst fettle for the great grey drayhorse his bright and battering sandal!

3.1 What does the word, 'hardy-handsome' (line 2) convey about Felix Randal? (2)

3.2 Explain what 'reason rambled' (line 3) suggests about the effects of Felix's
illness on him. (2)

3.3 Refer to line 10: 'My tongue had … quenched thy tears'.

Discuss the effectiveness of this image in the context of the poem. (3)

3.4 Critically discuss the impression that is created of Felix Randal in the final
stanza (lines 12–14) of the poem. (3)
[10]

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QUESTION 4: CONTEXTUAL QUESTION

Read the poem below and then answer the questions that follow.

FIRST DAY AFTER THE WAR – Mazisi Kunene

1 We heard the songs of a wedding party.

2 We saw a soft light
3 Coiling round the young blades of grass
4 At first we hesitated, then we saw her footprints,
5 Her face emerged, then her eyes of freedom!
6 She woke us up with a smile saying,
7 'What day is this that comes suddenly?'
8 We said, 'It is the first day after the war'.
9 Then without waiting we ran to the open space
10 Ululating to the mountains and the pathways
11 Calling people from all the circles of the earth.
12 We shook up the old man demanding a festival
13 We asked for all the first fruits of the season.
14 We held hands with a stranger
15 We shouted across the waterfalls
16 People came from all lands
17 It was the first day of peace.
18 We saw our Ancestors travelling tall on the horizon.

4.1 What does the word, 'songs' (line 1) convey about the speaker's view of
events? (2)

4.2 Explain why the people would have 'hesitated' initially (line 4). (2)

4.3 Refer to line 11: 'Calling people from all the circles of the earth.'

Discuss the effectiveness of this image in the context of the poem. (3)

4.4 Critically discuss how the mood of the poem is created in lines 12–17 ('We
shook up ... day of peace'). (3)
[10]

AND

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UNSEEN POETRY (COMPULSORY)

QUESTION 5: CONTEXTUAL QUESTION
Read the poem below and then answer the questions that follow.

AFRICAN GRASS – Shimmer Chinodya

1 Grass grows here, enough
2 To thatch a thousand roofs.
3 Tall khaki African grass
4 Two heads taller than I, laden
5 With beads of dew
6 In the early morning. Shove armfuls aside
7 To pass.

8 Grass caressing my bare thighs

9 Sweeping past me, rustling softly
10 like lovers.
11 Adam and Eve once walked here
12 Naked and innocent in this wild savannah;
13 When the world was young
14 And there was no one else to watch.

15 It's hard to think that this tall crop

16 Coarse in its maturity
17 Burst out of October's black burnt plains
18 Green and succulent, and savouring the mellow sun
19 Green to this height.
20 But it's harder yet to think
21 That this crop will crumple
22 To veld fire ashes;
23 Fruitless growth!

24 This whispering
25 Shall be
26 Gone.

5.1 What does the word, 'laden' (line 4) suggest about the dew? (2)
5.2 Refer to lines 8–10: 'Grass caressing my … softly / like lovers.'

Explain what these lines convey about the speaker's attitude toward the
grass. (2)
5.3 Refer to lines 24–26: 'This whispering / Shall be / Gone.'

Discuss how the length of these lines reinforces the speaker's tone. (3)
5.4 With close reference to stanza 3 (lines 15–23), comment on the speaker's
observations about the cycle of nature. (3)
[10]
TOTAL SECTION A: 30

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SECTION B: NOVEL

Answer ONLY on the novel you have studied.

THE PICTURE OF DORIAN GRAY – Oscar Wilde

Answer EITHER QUESTION 6 (essay question) OR QUESTION 7 (contextual

question).

QUESTION 6: THE PICTURE OF DORIAN GRAY – ESSAY QUESTION

The Picture of Dorian Gray highlights that living without boundaries is dangerous to
oneself and others.

Critically discuss this statement with close reference to the novel.

Your response should take the form of a well-constructed essay of 400–450 words
(2–2½ pages). [25]

QUESTION 7: THE PICTURE OF DORIAN GRAY – CONTEXTUAL QUESTION

Read the extracts below and then answer the questions that follow.

EXTRACT A

'How long will you like me? Till I have my first wrinkle, I suppose. I know, now, that
when one loses one's good looks, whatever they may be, one loses everything. Your
picture taught me that. Lord Henry Wotton is perfectly right. Youth is the only thing
worth having. When I find that I am growing old, I shall kill myself.'

Hallward turned pale, and caught his hand. 'Dorian! Dorian!' he cried, 'don't talk like 5
that. I have never had such a friend as you, and I shall never have such another. You
are not jealous of material things, are you? – you who are finer than any of them!'

'I am jealous of everything whose beauty does not die. I am jealous of the portrait you
have painted of me. Why should it keep what I must lose? Every moment that passes
takes something from me, and gives something to it. Oh, if it were only the other way! 10
If the picture could change, and I could be always what I am now! Why did you paint it?
It will mock me some day – mock me horribly!' The hot tears welled into his eyes; he
tore his hand away and, flinging himself on the divan, he buried his face in the
cushions, as though he was praying.

'This is your doing, Harry,' said the painter bitterly. 15

Lord Henry shrugged his shoulders. 'It is the real Dorian Gray – that is all.'
[Chapter 2]

7.1 Place the above extract in context. (3)

7.2 Refer to lines 1–2: 'I know, now, … one loses everything.'

What does this comment tell the reader about Victorian society? (2)

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7.3 Refer to line 16: 'Lord Henry shrugged his shoulders.'

Explain what this gesture implies about Lord Henry. (3)

7.4 Refer to line 15: ' "This is your doing, Harry," said the painter bitterly.'

Based on your knowledge of the novel as a whole, critically discuss whether

Lord Henry is responsible for Dorian's lifestyle choices. (3)

AND

EXTRACT B

Yes: it had been merely fancy. Sibyl Vane's brother had not come back to kill him. He
had sailed away in his ship to founder in some winter sea. From him, at any rate, he
was safe. Why, the man did not know who he was, could not know who he was. The
mask of youth had saved him.

And yet if it had been merely an illusion, how terrible it was to think that conscience 5
could raise such fearful phantoms, and give them visible form, and make them move
before one! What sort of life would his be if, day and night, shadows of his crime were
to peer at him from silent corners, to mock him from secret places, to whisper in his ear
as he sat at the feast, to wake him with icy fingers as he lay asleep! As the thought
crept through his brain, he grew pale with terror, and the air seemed to him to have 10
become suddenly colder. Oh! in what a wild hour of madness he had killed his friend!
How ghastly the mere memory of the scene! He saw it all again. Each hideous detail
came back to him with added horror. Out of the black cave of Time, terrible and
swathed in scarlet, rose the image of his sin. When Lord Henry came in at six o'clock,
he found him crying as one whose heart would break. 15

It was not till the third day that he ventured to go out. There was something in the clear,
pine-scented air of that winter morning that seemed to bring him back his joyousness
and his ardour for life.
[Chapter 18]

7.5 Refer to line 1: 'it had been merely fancy.'

Briefly describe the events that led to Dorian having these thoughts. (3)

7.6 Explain how the 'mask of youth' (line 4) saved Dorian in this context. (3)

7.7 Refer to lines 14–15: 'When Lord Henry … heart would break.'

Discuss Dorian's state of mind at this point in the novel. (2)

7.8 Refer to lines 13–14: 'Out of the … of his sin.'

Comment on the significance of Time being dressed in scarlet in this context. (3)

7.9 Drawing on your knowledge of the novel as a whole, critically discuss the
impact that the principles of aestheticism have on Dorian. (3)
[25]

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LIFE OF PI – Yann Martel

Answer EITHER QUESTION 8 (essay question) OR QUESTION 9 (contextual

question).

QUESTION 8: LIFE OF PI – ESSAY QUESTION

The unpleasant experiences endured by Pi throughout his life are valuable to him.

Critically discuss the extent to which you agree with this statement.

Your response should take the form of a well-constructed essay of 400–450 words
(2–2½ pages). [25]

QUESTION 9: LIFE OF PI – CONTEXTUAL QUESTION

Read the extracts below and then answer the questions that follow.

EXTRACT C

I don't know if I saw blood before turning into Mother's arms or if I daubed it on later, in
my memory, with a big brush. But I heard. It was enough to scare the living vegetarian
daylights out of me. Mother bundled us out. We were in hysterics. She was incensed.

'How could you, Santosh? They're children! They'll be scarred for the rest of their lives.'

Her voice was hot and tremulous. I could see she had tears in her eyes. I felt better. 5

'Gita, my bird, it's for their sake. What if Piscine had stuck his hand through the bars of
the cage one day to touch the pretty orange fur? Better a goat than him, no?'

His voice was soft, nearly a whisper. He looked contrite. He never called her 'my bird'
in front of us.

We were huddled around her. He joined us. But the lesson was not over, though it was 10
gentler after that.

Father led us to the lions and the leopards.

The hyenas.

'The strongest jaws in nature. Don't think that they're cowardly or that they only eat
carrion. They're not and they don't! They'll start eating you while you're still alive.' 15

'Yes, Father.'

'There are animals we haven't stopped by. Don't think they're harmless. Life will defend
itself no matter how small it is. Every animal is ferocious and dangerous. It may not kill
you, but it will certainly injure you.'
[Chapter 8]

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9.1 Place the extract in context. (3)

9.2 Explain how the lesson in this extract proves to be beneficial to Pi later in the
novel. (2)
9.3 Refer to line 5: 'Her voice was … I felt better.'
Using this line as a starting point, discuss the relationship between Pi and his
mother. (3)
9.4 Refer to lines 13–15: 'The hyenas. … you're still alive.'
Discuss how this description of the hyena relates to its human counterpart in
the second story. (3)
9.5 Refer to lines 17–18: 'Life will defend itself'.
Comment on how Pi's actions on the lifeboat prove this statement to be true. (3)
AND
EXTRACT D

Everything suffered. Everything became sun-bleached and weatherbeaten. The

lifeboat, the raft until it was lost, the tarpaulin, the stills, the rain catchers, the plastic
bags, the lines, the blankets, the net – all became worn, stretched, slack, cracked,
dried, rotted, torn, discoloured. What was orange became whitish orange. What was
smooth became rough. What was rough became smooth. What was sharp became 5
blunt. What was whole became tattered.
….
We perished away. It happened slowly, so that I didn't notice it all the time. But
I noticed it regularly. We were two emaciated mammals, parched and starving. Richard
Parker's fur lost its lustre, and some of it even fell away from his shoulders and
haunches. He lost a lot of weight, became a skeleton in an oversized bag of faded fur. 10
I, too, withered away, the moistness sucked out of me, my bones showing plainly
through my thin flesh.
I began to imitate Richard Parker in sleeping an incredible number of hours. It wasn't
proper sleep, but a state of semi-consciousness in which daydreams and reality were
nearly indistinguishable. I made much use of my dream rag. 15
These are the last pages of my diary:
…
It's no use. Today I die.
I will die today.
I die.
This was my last entry. I went on from there, endured, but without noting it. Do you see 20
these invisible spirals on the margins of the page? I thought I would run out of paper. It
was the pens that ran out.
[Chapter 89]

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9.6 Refer to line 15: 'I made much use of my dream rag.'

Explain the importance of the dream rag to Pi. (2)

9.7 Refer to line 4: 'What was orange became whitish orange.'

Based on your knowledge of the novel as a whole, discuss the significance of

the orange having faded. (3)

9.8 Refer to line 20: 'I went on from there, endured'.

Comment on whether Pi overcomes the suffering he experiences on the

lifeboat. (3)

9.9 Refer to lines 7–12: 'We perished away. … my thin flesh.'

In your view, is Richard Parker essential for Pi's survival? Justify your
response by drawing on your knowledge of the novel as a whole. (3)
[25]

TOTAL SECTION B: 25

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SECTION C: DRAMA

Answer ONLY on the play you have studied.

HAMLET – William Shakespeare

Answer EITHER QUESTION 10 (essay question) OR QUESTION 11 (contextual

question).

QUESTION 10: HAMLET – ESSAY QUESTION

In Hamlet, the relationships between children and their parents influence the outcome
of the play.

Critically discuss the validity of the above statement.

Your response should take the form of a well-constructed essay of 400–450 words
(2–2½ pages). [25]

QUESTION 11: HAMLET – CONTEXTUAL QUESTION

Read the extracts below and then answer the questions that follow.

EXTRACT E

CLAUDIUS
Though yet of Hamlet our dear brother's death
The memory be green, and that it us befitted
To bear our hearts in grief, and our whole kingdom
To be contracted in one brow of woe,
Yet so far hath discretion fought with nature, 5
That we with wisest sorrow think on him,
Together with remembrance of ourselves.
Therefore our sometime sister, now our queen,
Th'imperial jointress to this warlike state,
Have we as 'twere with a defeated joy, 10
With an auspicious, and a dropping eye,
With mirth in funeral, and with dirge in marriage,
In equal scale weighing delight and dole,
Taken to wife. Nor have we herein barred
Your better wisdoms, which have freely gone 15
With this affair along. For all, our thanks.
Now follows that you know: young Fortinbras,
Holding a weak supposal of our worth,
Or thinking by our late dear brother's death
Our state to be disjoint and out of frame, 20
Colleaguéd with this dream of his advantage,
He hath not failed to pester us with message
Importing the surrender of those lands
Lost by his father, with all bonds of law,
To our most valiant brother. 25

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All but Hamlet off

HAMLET
O, that this too too sullied flesh would melt,
Thaw and resolve itself into a dew!
Or that the Everlasting had not fixed
His canon 'gainst self-slaughter! O God, God, 30
How weary, stale, flat, and unprofitable
Seem to me all the uses of this world!
Fie on't! ah fie! 'tis an unweeded garden
That grows to seed, things rank and gross in nature
Possess it merely. 35

[Act 1, Scene 2]

11.1 Place this extract in context. (3)

11.2 Refer to lines 1–4: 'Though yet of … brow of woe'.

Explain the irony of Claudius's words in these lines. (2)

11.3 Refer to lines 17–25: 'young Fortinbras, Holding … most valiant brother.'

Based on your knowledge of the play as a whole, discuss how Fortinbras and
Hamlet differ in their attitudes toward avenging their fathers' deaths. (3)

11.4 Refer to lines 27–32: 'O, that this … of this world!'

Discuss Hamlet's state of mind at this point in the play. (3)

11.5 Refer to lines 33–35: ' 'tis an unweeded … Possess it merely.'

Comment on the state of Denmark with reference to the above image. (3)

AND

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EXTRACT F

CLAUDIUS
I have sent to seek him, and to find the body.
How dangerous is it that this man goes loose!
Yet must not we put the strong law on him.
He's loved of the distracted multitude,
Who like not in their judgement but their eyes, 5
And where 'tis so, th'offender's scourge is weighed
But never the offence. To bear all smooth and even,
This sudden sending him away must seem
Deliberate pause. Diseases desperate grown
By desperate appliance are relieved, 10
Or not at all.
Enter Rosencrantz, Guildenstern and others
How now! What hath befallen?
ROSENCRANTZ
Where the dead body is bestowed, my lord,
We cannot get from him. 15
CLAUDIUS
But where is he?
ROSENCRANTZ
Without, my lord, guarded, to know your pleasure.
CLAUDIUS
Bring him before us.
ROSENCRANTZ
Ho Guildenstern! Bring in the lord.
Enter Hamlet and Guildenstern 20
CLAUDIUS
Now, Hamlet, where's Polonius?

Attendants off
CLAUDIUS
Hamlet, this deed, for thine especial safety,
Which we do tender, as we dearly grieve
For that which thou hast done, must send thee hence 25
With fiery quickness. Therefore prepare thyself.
The bark is ready, and the wind at help,
Th'associates tend, and every thing is bent
For England.
HAMLET
For England. 30
CLAUDIUS
Ay, Hamlet.
HAMLET
Good.

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CLAUDIUS
So is it if thou knew'st our purposes.
HAMLET
I see a cherub that sees them. But, come, for England! (He bows)
Farewell, dear mother. 35
CLAUDIUS
Thy loving father, Hamlet.
HAMLET
My mother–father and mother is man and wife, man and wife is one flesh, and so my
mother. (He turns to his guard) Come, for England!

[Act 4, Scene 3]

11.6 Refer to lines 9–11: 'Diseases desperate grown … not at all.'

What do these lines reveal about Claudius's attitude toward Hamlet? (2)

11.7 Refer to lines 14–17: 'Where the dead … know your pleasure.'

Using these lines as a starting point, comment on the nature of Rosencrantz

and Guildenstern's friendship with Hamlet. (3)

11.8 Refer to lines 37–38: 'My mother–father … so my mother.'

If you were the director of a production of Hamlet, how would you instruct the
actor to deliver these lines? Pay specific attention to body language and tone.
Motivate your instructions. (3)

11.9 Refer to line 2: 'How dangerous is it that this man goes loose!'

Is Claudius's assessment of Hamlet accurate? Justify your response by

drawing on your knowledge of the play as a whole. (3)
[25]

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OTHELLO – William Shakespeare

Answer EITHER QUESTION 12 (essay question) OR QUESTION 13 (contextual

question).

QUESTION 12: OTHELLO – ESSAY QUESTION

In Othello, the relationships between husbands and their wives influence the outcome
of the play.

Critically discuss the validity of the above statement.

Your response should take the form of a well-constructed essay of 400–450 words
(2–2½ pages). [25]

QUESTION 13: OTHELLO – CONTEXTUAL QUESTION

Read the extracts below and then answer the questions that follow.

EXTRACT G

OTHELLO
Most potent, grave and reverend signiors,
My very noble and approved good masters,
That I have ta'en away this old man's daughter,
It is most true; true, I have married her.
The very head and front of my offending 5
Hath this extent, no more. Rude am I in my speech
And little blessed with the set phrase of peace,
For since these arms of mine had seven years' pith
Till now some nine moons wasted, they have used
Their dearest action in the tented field, 10
And little of this great world can I speak
More than pertains to feats of broil and battle;
And therefore little shall I grace my cause
In speaking for myself. Yet, by your gracious patience,
I will a round unvarnished tale deliver 15
Of my whole course of love–what drugs, what charms,
What conjuration and what mighty magic
(For such proceedings am I charged withal)
I won his daughter.

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BRABANTIO
A maiden never bold of spirit, 20
So still and quiet, that her motion
Blushed at herself–and she, in spite of nature,
Of years, of country, credit, everything,
To fall in love with what she feared to look on?
It is a judgement maimed and most imperfect 25
That will confess perfection so could err
Against all rules of nature, and must be driven
To find out practices of cunning hell
Why this should be. I therefore vouch again
That with some mixtures powerful o'er the blood, 30
Or with some dram conjured to this effect,
He wrought upon her.
DUKE
To vouch this is no proof
Without more wider and more overt test
Than these thin habits and poor likelihoods 35
Of modern seeming do prefer against him.

[Act 1, Scene 3]

13.1 Briefly describe the circumstances that have led to this confrontation between
Othello and Brabantio. (2)

13.2 Refer to lines 25–32: 'It is a judgement … wrought upon her.'

Discuss Brabantio's prejudice with reference to the diction in these lines. (3)

13.3 Refer to lines 20–24: 'A maiden never … to look on?'

Is the portrayal of Desdemona in these lines consistent with how she presents
herself before the Duke? Justify your response. (3)

13.4 Refer to lines 33–36: 'To vouch this … prefer against him.'

Comment on what the Duke's words convey about the law in Venice. (3)

AND

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EXTRACT H

OTHELLO
Look here, Iago–
All my fond love thus do I blow to heaven …
'Tis gone.
Arise, black vengeance, from thy hollow cell!
Yield up, O love, thy crown and hearted throne 5
To tyrannous hate! Swell, bosom, with thy fraught,
For 'tis of aspics' tongues!
IAGO
Pray be content.
OTHELLO
O, blood, Iago, blood!
IAGO
Patience, I say. Your mind perhaps may change. 10
OTHELLO
Never, Iago. Like to the Pontic sea,
Whose icy current and compulsive course
Ne'er feels retiring ebb, but keeps due on
To the Propontic and the Hellespont,
Even so my bloody thoughts with violent pace 15
Shall ne'er look back, ne'er ebb to humble love,
Till that a capable and wide revenge
Swallow them up. (He kneels) Now, by yond marble heaven,
In the due reverence of a sacred vow
I here engage my words. 20
IAGO
Do not rise yet. (He kneels)
Witness you ever-burning lights above,
You elements that clip us round about,
Witness that here Iago doth give up
The excellency of his wit, hands, heart, 25
To wronged Othello's service. Let him command,
And to obey shall be in me remorse,
What bloody work so ever.
They rise
OTHELLO
I greet thy love, 30
Not with vain thanks, but with acceptance bounteous,
And will upon the instant put thee to't.
Within these three days let me hear thee say
That Cassio's not alive.
IAGO
My friend is dead; 35
'Tis done as you request. But let her live.
[Act 3, Scene 3]

13.5 Refer to lines 1–3: 'Look here, Iago … 'Tis gone.'

Explain how Iago has convinced Othello of Desdemona's unfaithfulness. (3)

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13.6 Refer to line 36: 'But let her live.'

Explain the irony of Iago's words in this line. (2)

13.7 Refer to lines 30–34: 'I greet thy … Cassio's not alive.'

Comment on Othello's state of mind at this point in the play. (3)

13.8 Refer to line 9: 'O, blood, Iago, blood!'

If you were the director of a production of Othello, how would you instruct the
actor to deliver these lines? Pay specific attention to body language and tone.
Motivate your instructions. (3)

13.9 Refer to lines 15–20: 'Even so my … engage my words.'

Critically discuss how these lines influence your assessment of Othello. (3)
[25]

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THE CRUCIBLE – Arthur Miller

Answer EITHER QUESTION 14 (essay question) OR QUESTION 15 (contextual

question).

QUESTION 14: THE CRUCIBLE – ESSAY QUESTION

In The Crucible, the relationships between family members influence the outcome of
the play.

Critically discuss the extent to which you agree with this statement.

Your response should take the form of a well-constructed essay of 400–450 words
(2–2½ pages). [25]

QUESTION 15: THE CRUCIBLE – CONTEXTUAL QUESTION

Read the extracts below and then answer the questions that follow.

EXTRACT I

PARRIS (pressed, turns on her): And what shall I say to them? That my daughter
and my niece I discovered dancing like heathen in the forest?
ABIGAIL Uncle, we did dance; let you tell them I confessed it – and I'll be whipped
if I must be. But they're speakin' of witchcraft. Betty's not witched.
PARRIS Abigail, I cannot go before the congregation when I know you have not 5
opened with me. What did you do with her in the forest?
ABIGAIL We did dance, uncle, and when you leaped out of the bush so suddenly,
Betty was frightened and then she fainted. And there's the whole of it.
PARRIS Child. Sit you down.
ABIGAIL (quavering, as she sits): I would never hurt Betty. I love her dearly. 10
PARRIS Now look you, child, your punishment will come in its time. But if you
trafficked with spirits in the forest I must know it now, for surely my
enemies will, and they will ruin me with it.
ABIGAIL But we never conjured spirits.
PARRIS Then why can she not move herself since midnight? This child is 15
desperate! (ABIGAIL lowers her eyes) It must come out – my enemies will
bring it out. Let me know what you done there. Abigail, do you understand
that I have many enemies?
ABIGAIL I have heard of it, uncle.
PARRIS There is a faction that is sworn to drive me from my pulpit. 20
[Act 1]

15.1 Refer to line 14: 'But we never conjured spirits.'

Why have Abigail and the girls 'conjured spirits' in the forest? (2)

15.2 Refer to lines 3–4: 'Uncle, we did … I must be.'

Explain what these lines suggest about Salem society. (3)

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15.3 Refer to line 10: 'I would never hurt Betty. I love her dearly.'

Based on your knowledge of the play as a whole, discuss whether Abigail is

sincere in her love for Betty. (3)

15.4 Refer to lines 16–20: 'It must come … from my pulpit.'

Comment on Parris's state of mind in these lines. (3)

AND

EXTRACT J

PARRIS He's come to overthrow this court, Your Honour!

PROCTOR These are my friends. Their wives are also accused –
DANFORTH (with a sudden briskness of manner): I judge you not, sir. I am ready to
hear your evidence.
PROCTOR I come not to hurt the court; I only – 5
DANFORTH (cutting him off): Marshal, go into the court and bid Judge Stoughton
and Judge Sewall declare recess for one hour. And let them go to the
tavern, if they will. All witnesses and prisoners are to be kept in the
building.
HERRICK Aye, sir. (Very deferentially) If I may say it, sir, I know this man all my 10
life. It is a good man, sir.
DANFORTH (it is the reflection on himself he resents): I am sure of it, Marshal.
(HERRICK nods, then goes out.) Now, what deposition do you have for
us, Mr Proctor? And I beg you be clear, open as the sky, and honest.
PROCTOR (as he takes out several papers): I am no lawyer, so I'll – 15
DANFORTH The pure in heart need no lawyers. Proceed as you will.
PROCTOR (handing Danforth a paper): Will you read this first, sir? It's a sort of
testament. The people signing it declare their good opinion of Rebecca,
and my wife, and Martha Corey. (DANFORTH looks down at the
paper.) 20
PARRIS (to enlist Danforth's sarcasm): Their good opinion! (But DANFORTH
goes on reading and PROCTOR is heartened.)
PROCTOR These are all landholding farmers, members of the church. (Delicately,
trying to point out a paragraph.) If you'll notice, sir – they've known the
women many years and never saw no sign they had dealings with the 25
Devil.
PARRIS nervously moves over and reads over Danforth's shoulder.

[Act 3]

15.5 In line 2, Proctor refers to his wife's having been accused of witchcraft.

Explain the circumstances that have led to Elizabeth's arrest. (3)

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15.6 Refer to line 16: 'The pure in heart need no lawyers.'

Explain why Danforth's words are ironic in the context of the play. (2)

15.7 Refer to line 1: 'He's come to overthrow this court, Your Honour!'

Comment on Parris's attitude toward Proctor at this point in the play. (3)

15.8 Refer to line 5: 'I come not to hurt the court; I only – '.

If you were the director of a production of The Crucible, how would you
instruct the actor to deliver these lines? Pay specific attention to body
language and tone. Motivate your instructions. (3)

15.9 Refer to lines 10–11: 'If I may … good man, sir.'

Is Herrick's assessment of Proctor accurate? Justify your response by

drawing on your knowledge of the play as a whole. (3)
[25]

TOTAL SECTION C: 25
GRAND TOTAL: 80

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