This action might not be possible to undo. Are you sure you want to continue?
LITERATURE (ENGLISH) Paper 4 Additional Materials:
* 7 0 9 1 1 9 0 8 4 8 *
October/November 2010 2 hours 15 minutes
READ THESE INSTRUCTIONS FIRST If you have been given an Answer Booklet, follow the instructions on the front cover of the Booklet. Write your Centre number, candidate number and name on all the work you hand in. Write in dark blue or black pen. Do not use staples, paper clips, highlighters, glue or correction fluid. Answer three questions: one question from Section A, one question from Section B, and one question from Section C. Answer at least one passage-based question (marked *) and at least one essay/empathic question. At the end of the examination, fasten all your work securely together. All questions in this paper carry equal marks.
This document consists of 30 printed pages and 2 blank pages.
DC (CB) 35644/5 R © UCLES 2010
2 BLANK PAGE
© UCLES 2010
Section A: Drama
question numbers *1, 2, 3 *4, 5, 6 *7, 8, 9 *10, 11,12 *13, 14, 15 *16, 17, 18
page [s] pages 4–5 pages 6–7 pages 8–9 pages 10–11 pages 12–13 pages 14–15
Alan Ayckbourn: A Small Family Business Charlotte Keatley: My Mother Said I Never Should Arthur Miller: The Crucible William Shakespeare: Much Ado About Nothing William Shakespeare: Richard III R. C. Sherriff: Journey’s End
Section B: Poetry text question numbers *19, 20, 21 *22, 23, 24
page [s] page 16 page 17
Songs of Ourselves: from Part 3 John Keats: Poems
Section C: Prose text question numbers *25, 26, 27 *28, 29, 30 *31, 32, 33 *34, 35, 36 *37, 38, 39 *40, 41, 42 *43, 44, 45
page [s] pages 18–19 pages 20–21 pages 22–23 pages 24–25 pages 26–27 pages 28–29 pages 30–31
Jane Austen: Pride and Prejudice Ian Cross: The God Boy Anita Desai: Games at Twilight and Other Stories Thomas Hardy: Far from the Madding Crowd Bessie Head: When Rain Clouds Gather Edith Wharton: Ethan Frome from Stories Of Ourselves
© UCLES 2010
Where’s he gone? You know how Jack can … I think he’s on his way round to Des’s … You’d better phone Des. Anita (startled): Oh. Warn him Jack’s coming. A telephone bell rings as Cliff is connected and the lights come up on the kitchen. there’s someone at the front door. I’ll be back soon. Tonight? As soon as we can. Cliff stands a little bemused in the hall. I’d forgotten all about you. Anita 15 enters the near bedroom and goes to the cupboard to select herself something to wear. Anita comes out of the far bedroom. I’ll get dressed. the yapping of a small dog. Cliff goes to the sitting room phone and starts to dial.4 SECTION A: DRAMA ALAN AYCKBOURN: A Small Family Business Either *1 Read this extract. He’s on his way. I thought you might. Anita: Cliff: Anita: Cliff: Anita: Cliff: Anita: Cliff: Anita: What’s going on? I’m afraid I had to tell him. Des? It’s Cliff. From the 35 dining room. He answers the kitchen phone. And then phone round everyone else. She now has her nightdress on. He has been to empty the rubbish-bin. Right. a massive hammering is heard on the front door. Jack (from outside the front door): Desmond! Open this door! Desmond! Desmond: What on earth’s that? Harriet’s head appears through the hatchway. We’ll have to have a meeting. I’m just phoning to warn you. What? Who’s on his way? Who the hell do you think? Before he can speak further. (selecting a 20 dress) Later. together with Jack’s angry voice. Presto. eagerly): Presto! Presto! Anita (more interested in deciding what to wear with the dress): Yes … She absent-mindedly closes the cupboard door on him and moves off to the far bedroom. He is in his shirt-sleeves and is wearing his cook’s apron. Giorgio (kissing her hand. lover. Desmond: Cliff: Desmond: Cliff: Hallo. quietly. Peggy. Cliff (fearing he is disconnected): Hallo … hallo … 30 10 5 © UCLES 2010 0486/41/O/N/10 . slamming it behind him. Jack goes out of the front door. Harriet (alarmed): Desmond. Presto. hallo. Desmond 25 comes in through the back door. Desmond Ayres speaking. About Des – Yes. (to the 40 dog behind her) Quietly. and then answer the question that follows it. Giorgio’s startled face appears as she ruffles through her dresses.
Write your thoughts. Harriet. stop that. Sorry. The dog continues to yap. (dropping the phone) Harriet! Don’t open the – Harriet has opened the hall door. you’ll have to let them in. Jack does? It’s probably him at your door … Oh my God. Desmond steels himself. gently pushing the dog 50 back with her foot and closing the door. What were you saying? Harriet comes out of the dining room. Cliff listens alarmed 60 and the dog yaps on as: Blackout. 55 What do you think makes this such a dramatic and amusing end to the Act? Support your views with details from Ayckbourn’s writing. Jack stands in the doorway like an avenging angel. She prepares to open the front door. I’m on the telephone. shouting occasionally. Jack (with a terrible roar): Desmond! Harriet cringes. Jack continues to hammer on the door. He knows about you. Cliff. Cliff: Desmond: Cliff: Desmond: It’s Jack. (Disappears back through the 45 hatch. You are approaching Jack’s house with your information about the corruption in his firm. He knows everything. Harriet: I don’t know who it is. Let them in. someone was at the door. Or 3 You are Benedict Hough. Desmond returns to the phone. Oh. Desmond: Hallo. © UCLES 2010 0486/41/O/N/10 [Turn over . Or 2 What aspects of human behaviour do you think Ayckbourn most powerfully ridicules in this play? Support your ideas with details from the play.) Peggy.5 Desmond (petulantly): Well.
the potatoes boiled dry! 0486/41/O/N/10 © UCLES 2010 . – You in these flats … Jackie: Margaret: Jackie: Margaret: Jackie (calm): Mummy. goes to pick it up. it’s just – You think I don’t know? Rosie coos quietly. He visits. Jackie (goes also): You think so? Margaret: Margaret: Jackie: Margaret: Jackie: Margaret: You had curly eyelashes like that. I told you! Nothing. then a phone call. Margaret looks through the clothes in the 25 holdall. not a new baby. Margaret: Yes but you had no idea! I told you. Margaret (goes to the Moses basket. (Gives Margaret the holdall. like you said. Jackie (pleased): Did I? Hello Rosie … (Kisses her.) Don’t wake her! Of course not! I’m sorry. 10 15 Jackie (turns away): I’ve packed her things … here. Quite different from when you were a baby. there now. He should be here with you. 5 Say hello. Margaret (very tenderly): Ssh. (Sees another carrier. nothing. Jackie: Margaret: Jackie: Jackie: This is Rosie.) – Rosie’s father. Why did you have to try! All by yourself? Didn’t you believe me? I wanted to see if our theories worked … (Pause. Rosie murmurs. Margaret : I’ve been to Mothercare. Pause): Pretty. your – (Stuck for word. You’d 35 think I had VD. since the day she was born. (Pause. Margaret (long pause): Three months.) Lot of stairs. Mummy.6 CHARLOTTE KEATLEY: My Mother Said I Never Should Either *4 Read this extract. There’s a bit of 20 powdered milk left – Margaret: Jackie: Oh you really don’t need – Well what would I do with it? Awkward pause.) And her bottles are in this carrier.) Lift is out of order. and then answer the question that follows it. (Pause. out of the blue. I – came up the stairs. It was my 40 decision. I told you. and sends money. for nearly three months. … Please. Got some of those new disposable nappies.) But when I came back from hospital everyone had cleared out.) What about this bag – what a sweet – won’t she want this dress with the 30 rabbit on? Leave those! – Things she’s grown out of.
I won’t fail both things! Only think about her at night. darling.7 Jackie : Margaret: You knew I’d phone. soft and furry. After you phoned … after you asked us … Daddy went upstairs and got your old high chair down from the attic. (Pause. Jack. Or 6 You are Doris shortly after the death of your husband. doing so well – Jackie (angry): I’ll go back! Yes I will. Write your thoughts. like an apricot … Rosie makes a snuffling noise in her sleep. Support your ideas with details from the play.) Look at you now. I can’t! Margaret: Jackie: Margaret: Jackie: Jackie. A new little sister … (Bends 55 down to Rosie. with her not knowing. her cheek against mine. you were so 45 excited about the art school. you can tell her. new friends. he said. . How does Keatley vividly portray the differing feelings of Jackie and Margaret here? 60 Or 5 Explore the ways in which Keatley makes dramatic some of the changes in society over the years in which the play is set.) Like sisters. one day. . It’ll be too late! Silence. precious? 50 Jackie (panics): Mummy – she’s got to know – I can’t come and visit. (Slight pause. won’t she? . a year ago you had everything. © UCLES 2010 0486/41/O/N/10 [Turn over . we can’t go over this again – you know as well as I do it would be impossible – I don’t believe you! When she’s grown up.) Aren’t you. finish the degree. Jackie: Margaret: … She’ll be happy. when she’s sixteen.
but here’s calamity. and his 35 eyes widen in astonished fear. (To Hale. The court bid me search your house. Who charged her? Why. Proctor. Mr Cheever? Cheever (turning the poppet over in his hands): Why. this is Mary’s. bewildered): And what signifies a needle! Cheever (his hands shaking): Why. will you please to 25 come with me? She will not! (To Elizabeth.) You see it. this go hard with her. it is a needle! © UCLES 2010 0486/41/O/N/10 40 . Mister. this – I had my doubts. (Elizabeth goes 30 upstairs. I am forbid to leave her from my sight. Goody Proctor. they say it may signify that she – (He has lifted the poppet’s skirt. What signifies a poppet? Why a poppet – (he gingerly turns the poppet over) – a poppet may signify – Now.) Fetch Mary here. it is a needle! Herrick comes toward him. Cheever (shyly): Would you please to give it to me? Elizabeth (handing it to him. showing the needle. 15 Elizabeth: Oh! (Going for it. Proctor (angrily. but I like not to search a house. Proctor: Cheever (ineptly reaching toward Elizabeth): No. Herrick.) When were she charged? I am given sixteen warrant tonight. glancing toward the mantel where sits Mary Warren’s poppet): I spy a poppet. and she is one. nor this one either till tonight. Abigail Williams charge her. asks Hale): Has the court discovered a text in poppets now? Cheever (carefully holding the poppet): Do you keep any others in this 20 house? Proctor: Cheever: No. not since I were a girl. and then answer the question that follows it. I had my doubts. woman. Cheever: Hale: Cheever: Proctor: Cheever: Proctor: I have a warrant for your wife. On what proof. Cheever (embarrassed. sir.) Hale: What signifies a poppet.8 ARTHUR MILLER: The Crucible Either *7 Read this extract. this.) – it is a needle! Herrick. no. I know nothin’ of it.) Why. Proctor.) Why. So will you hand me any poppets that your wife may keep 10 here? Proctor: Elizabeth: Poppets? I never kept no poppets. what proof? 5 Proctor (to Hale): You said she were not charged! Cheever (looking about the room): Mr Proctor. Proctor (pushing his arm away): You’ll leave her out of sight and out of mind. (To Cheever. Elizabeth. sir. Fetch Mary. I have little time. this – Proctor (reaching for the poppet): What’s there? Cheever: Why – (He draws out a long needle from the poppet.
Write your thoughts. stuck 50 two inches in the flesh of her belly. trembling): The girl. Abigail Williams. I have found it. Cheever: ’Tis hard proof! (To Hale. for I – Enter Elizabeth with Mary Warren.9 Hale: Why? What meanin’ has it? 45 Cheever (wide-eyed. and. and screamed a scream that a bull would weep to hear. How do you think Miller makes this moment in the play both shocking and absurd? Support your ideas with details from the extract. You are taking Mary Warren to the Salem Courtroom. sir. Proctor. sir. and without word nor warnin’ she falls to the floor. Mister! Hale. And he goes to save her. I never 60 warranted to see such proof of Hell. Or 9 You are John Proctor. she done it herself! (To Hale. Like a struck beast. she – (to Proctor now) – testify it were your wife’s familiar spirit pushed it in. And in the belly of the poppet a needle’s stuck.) I find here a poppet Goody Proctor keeps. Proctor: Why. and I bid you obstruct me not. I tell you true.) I hope you’re not takin’ 55 this for proof. She sat to dinner in Reverend Parris’s house tonight. is silent. Or 8 Do you think Miller makes it possible to sympathise with Hale? Support your ideas with details from the play. he says. And demandin’ of her how she come to be so stabbed. he draw a needle out. the Williams girl. © UCLES 2010 0486/41/O/N/10 [Turn over . struck by the proof.
You come hither. 15 not knowing what they do! How now! Interjections? Why. then. he! Stand thee by. Dear. ha. some be of laughing. and you shall recount their particular duties afterwards. Leonato. O. take her back again.10 WILLIAM SHAKESPEARE: Much Ado About Nothing Either *10 Read this extract. To be married to her. as God did give her me. you learn me noble thankfulness. Her blush is guiltiness. Not to knit my soul to an approved wanton. ah. what men dare do! What men may do! What men daily do. None. unless you render her again. my lord? Not to be married. Leonato: Come. She’s but the sign and semblance of her honour. Claudio: 30 35 Leonato: Claudio: Leonato: © UCLES 20010 0486/41/O/N/10 . son. what authority and show of truth Can cunning sin cover itself withal! Comes not that blood as modest evidence To witness simple virtue? Would you not swear. O. There. and then answer the question that follows it. Hero? None. Give not this rotten orange to your friend. that she were a maid By these exterior shows? But she is none: She knows the heat of a luxurious bed. in your own proof. 10 Know you any. friar. to marry this lady? No. If either of you know any inward impediment why you should not be conjoined. not modesty. Behold how like a maid she blushes here. my lord. I charge you. What do you mean. as. Lady. Know you any. Count? I dare make his answer. Father. Have vanquish’d the resistance of her youth. my lord. And what have I to give you back whose worth May counterpoise this rich and precious gift? 25 Sweet Prince. And made defeat of her virginity – 40 20 5 Friar: Claudio: Leonato: Friar: Hero: Friar: Claudio: Hero: Friar: Leonato: Claudio: Benedick: Claudio: Leonato: Claudio: Don Pedro: Nothing. your daughter? As freely. friar! You come to marry her. my lord. on your souls. to utter it. if you. you come hither to be married to this count? I do. by your leave: Will you with free and unconstrained soul Give me this maid. only to the plain form of marriage. All you that see her. be brief. Friar Francis.
You seem to me as Dian in her orb. You will say she did embrace me as a husband. and these things are true. No. as a brother to his sister. But you are more intemperate in your blood Than Venus. Don John. or those pamp’red animals That rage in savage sensuality. Write your thoughts. is responsible for Hero’s disgrace. © UCLES 2010 0486/41/O/N/10 [Turn over . or do I but dream? Sir.11 Claudio: I know what you would say. If I have known her. why speak not you? What should I speak? I stand dishonour’d that have gone about To link my dear friend to a common stale. Or 12 You are Don Pedro. they are spoken. This looks not like a nuptial. And seem’d I ever otherwise to you? Out on thee! Seeming! I will write against it. that he doth speak so wide? Sweet Prince. Leonato. You have just discovered that your half-brother. Is my lord well. show’d Bashful sincerity and comely love. I never tempted her with word too large But. Are these things spoken. And so extenuate the ’forehand sin. 65 60 45 50 Hero: Claudio: 55 Hero: Leonato: Don Pedro: Leonato: Don John: Benedick: How does Shakespeare make this such a dramatic moment in the play? Or 11 How does Shakespeare make the relationship between Beatrice and Hero so memorable a part of the play? Support your answer with details from the play. As chaste as is the bud ere it be blown.
my gracious lords. do not hear him plead. Dorset. Now they believe it. Tell them that God bids us do good for evil. Namely. here come my executioners. be sudden in the execution. as for Clarence. How now. That we may be admitted where he is. and you. by God’s holy Mother. 0486/41/O/N/10 Queen Elizabeth: Gloucester: 5 10 Rivers: Gloucester: 15 20 25 30 35 40 45 © UCLES 2010 . if you mark him.12 WILLIAM SHAKESPEARE: Richard III Either *13 Read this extract. To pray for them that have done scathe to us! So do I ever – [Aside] being well advis’d. sirs. I do the wrong. Catesby: Queen Elizabeth: Rivers: Gloucester: Madam. Clarence. I have it here about me. And thus I clothe my naked villainy With odd old ends stol’n forth of holy writ. The secret mischiefs that I set abroach I lay unto the grievous charge of others. Enter Catesby. and then answer the question that follows it. my lord. will you go with me? We wait upon your Grace. But then I sigh and. [Exeunt all but Gloucester. and I repent My part thereof that I have done to her. Grey. Enter two Murderers. Well thought upon. For Clarence is well-spoken. And seem a saint when most I play the devil. God pardon them that are the cause thereof! A virtuous and a Christian-like conclusion. Gloucester: I cannot blame her. Yet you have all the vantage of her wrong. I do beweep to many simple gulls. I never did her any to my knowledge. Buckingham. But.] When you have done. Catesby. For had I curs’d now. [Gives the warrant. She hath had too much wrong. and first begin to brawl. But. Lords. his Majesty doth call for you. my hardy stout resolved mates! Are you now going to dispatch this thing? 1 Murderer: Gloucester: We are. to Derby. repair to Crosby Place. who I indeed have cast in darkness. soft. I had curs’d myself. and come to have the warrant. Withal obdurate. And tell them ’tis the Queen and her allies That stir the King against the Duke my brother. I come. He is frank’d up to fatting for his pains. And for your Grace. I was too hot to do somebody good That is too cold in thinking of it now. and withal whet me To be reveng’d on Rivers. and perhaps May move your hearts to pity. Hastings. with a piece of Scripture. Marry. he is well repaid.
Be assur’d We go to use our hands and not our tongues. Write your thoughts. Or 14 How do you think Shakespeare makes Richard’s climb to the throne so dramatically compelling? Support your ideas with details from the play. dispatch. tut. 55 50 Gloucester: 1 Murderer: How do you think Shakespeare makes Richard such an entertaining and dramatic figure here? Support your ideas with details from the extract. We will. we will not stand to prate. Talkers are no good doers. I like you.13 1 Murderer: Tut. Your eyes drop millstones when fools’ eyes fall tears. my noble lord. Or 15 You are Lord Hastings. lads. © UCLES 2010 0486/41/O/N/10 [Turn over . my lord. Go go. You are on your way with Buckingham to the Tower for the meeting of the Council. about your business straight.
C. after me. Then Osborne looks at Raleigh and 40 laughs. I better go and relieve Stanhope. We were scared to hell of it. I used to cycle out to the woods and get primroses and things like that.) Cheero! Cheero! Cheero! Will he? About what time? Well. and sends over a few whizz-bangs and rifle grenades to show ’e ain’t forgotten 30 us. a blinkin’ may-tree! All out in bloom. (He gets up. Still. He’ll curse like hell if I don’t. I relieve you at eleven.) I feel I’ve been here ages.) Lord! I must get my fat down. I bet he’s got a red-hot liver this 25 morning. All of a sudden we smelt that funny sweet smell. (He puts on his helmet and gas mask satchel and goes up the steps.) Well. and then answer the question that follows it. I don’t like this time of day in the line. (He laughs.14 R. I remember one morning last spring – 10 we was coming out of the salient. and try and get ’em to grow in my garden. © UCLES 2010 0486/41/O/N/10 . growing beside 20 the path! We did feel a lot of silly poops – putting on gas masks because of a damn may-tree! (He stretches himself and tries to button his tunic. From about two till four. Just when it was getting light in the morning – it was at the time when the Boche was sending over a lot of that gas that smells like peardrops. 35 15 5 Trotter: Osborne: Trotter: Osborne: Trotter: Osborne: Trotter: Osborne: Trotter: Osborne: Trotter: Osborne: Raleigh: Raleigh: Osborne: Raleigh: Osborne (to Raleigh): I expect Stanhope’ll let you go on duty alone now. (There is a pause. and then I spotted what it was. What was it? Why. all right. thanks. That’s it. That’s right. and a fellow shouted ‘Gas!’ – and we put on our masks. Phosgene. eh? (He laughs. I don’t suppose they would! They would if you pressed a bit of moss round them – – to make ’em feel at ’ome. I see. you know? I know.) They’ll be coming out again soon if they’ve got this sun at home. SHERRIFF: Journey’s End Either *16 Read this extract. I expect. I reckon they will. I made a rockery when I was home on leave.) Osborne: Raleigh: What do you think about it all? Oh. Trotter: Osborne: You keen on gardening? Yes. A bit. I’d rather ’ave a bang or two than this damn quiet. The old Boche ’as just ’ad ’is breakfast.
though. How did you feel – in the front line? Oh. and have a good hot bath. 50 Raleigh: 55 Osborne: Raleigh: 60 Osborne: Raleigh: Osborne: Explore how Sherriff vividly conveys in this very ordinary conversation the pressures under which the three men are living. It’s funny to think of it like that. and sit and read under trees. I can’t imagine – the end of six days here – Osborne: Anyhow. Or 18 You are Raleigh. I suppose you’ve got to talk quietly when you’re so near the German front line – only about seventy yards. doesn’t it? 45 Raleigh (laughing shortly): It does rather. About the breadth of a Rugger field. I feel I haven’t seen a tree for ages – not a real tree. Seems a long time. Write your thoughts. Good Lord. Raleigh: Osborne: Are we here for six days? Yes. I always measure distances like that out here. It seemed so frightfully quiet and uncanny – everybody creeping about and talking in low voices. Keeps them in proportion. with leaves and branches – and yet I’ve only been here twelve hours. isn’t it? Yes. all right. The time passes. You are on your way to the front line to join Stanhope’s Company. Or 17 What do you think makes Osborne such a dramatic character in the play? Support your ideas with details from the play.15 Osborne (filling his pipe): I expect you do. we’ve done twelve hours already. © UCLES 2010 0486/41/O/N/10 [Turn over . It’s fine when you are relieved and go down the line to billets.
This have I known always: Love is no more Than the wide blossom which the wind assails. And you no longer look with love on me. and then answer the question that follows it. Or 21 Sounds of words can contribute powerfully to a poem’s effect and meaning. © UCLES 2010 0486/41/O/N/10 . Strewing fresh wreckage gathered in the gales: Pity me that the heart is slow to learn When the swift mind beholds at every turn. Sonnet 29 Pity me not because the light of day At close of day no longer walks the sky. Explore some examples of this from at least two poems that you have studied from this section of Songs of Ourselves. 5 10 Or 20 In either Marrysong (by Dennis Scott) or First Love (by John Clare) explore how the poet’s words vividly portray being in love. (by Edna St Vincent Millay) What do you think makes this sonnet so sad? Support your ideas with details from the poet’s words. Pity me not the waning of the moon. Than the great tide that treads the shifting shore. Pity me not for beauties passed away From field to thicket as the year goes by. Nor that a man’s desire is hushed so soon.16 SECTION B: POETRY SONGS OF OURSELVES: from Part 3 Either *19 Read this poem. Nor that the ebbing tide goes out to sea.
They cried ‘La belle dame sans merci Thee hath in thrall. Pale warriors. 5 10 15 20 Explore the ways in which Keats emphasises the knight’s feelings of hopelessness here. Or 24 Explore how Keats vividly conveys his thoughts and feelings in Ode on Indolence. Or 23 What do you find memorable about the ways in which Keats portrays the figures on the Grecian Urn? Support your ideas with details from Ode on a Grecian Urn. Refer closely to the poem to support your ideas. and then answer the question that follows them. And sure in language strange she said I love thee true – She took me to her elfin grot And there she wept and sigh’d full sore. And there I shut her wild wild eyes With kisses four. I saw pale kings and Princes too. Though the sedge is wither’d from the Lake And no birds sing. And this is why I sojourn here Alone and palely loitering. She found me roots of relish sweet And honey wild and manna dew. And there she lulled me asleep And there I dream’d Ah Woe betide! The latest dream I ever dreamt On the cold hill side.17 JOHN KEATS: Poems Either *22 Read these last six stanzas from La Belle Dame Sans Merci. death pale were they all. And I awoke and found me here On the cold hill’s side.’ I saw their starv’d lips in the gloam With horrid warning gaped wide. © UCLES 2010 0486/41/O/N/10 [Turn over .
he must be a simpleton indeed not to discover it too. as much as her nature will allow. If I can perceive her regard for him.’ ‘Remember. and has since dined in company with him four times. ‘where nothing is in question but the desire of being well married. It was generally evident whenever they met. but it is sometimes a disadvantage to be so very guarded. there will be leisure for falling in love as much as she chuses. but she considered with pleasure that it was not likely to be discovered by the world in general. and then answer the question that follows it. a composure of temper and a uniform cheerfulness of manner. but he may never do more than like her. She mentioned this to her friend Miss Lucas.’ ‘Your plan is a good one. she saw him one morning at his own house. if he sees enough of her. since Jane united with great strength of feeling. nor of its reasonableness. Jane should therefore make the most of every half hour in which she can command his attention. ‘to be able to impose on the public in such a case. But these are not Jane’s feelings. that it is not safe to leave any to itself. As yet. I dare say I should adopt it. We can all begin freely – a slight preference is natural enough. But though Bingley and Jane meet tolerably often.’ replied Charlotte. This is not quite enough to make her understand his character. she is not acting by design. ‘It may perhaps be pleasant.’ replied Elizabeth. Had she merely dined with him. and does not endeavour to conceal it. she might only have discovered whether he had a good appetite. but there are very few of us who have heart enough to be really in love without encouragement. If a woman conceals her affection with the same skill from the object of it.’ ‘Perhaps he must.’ ‘But she does help him on. Eliza. There is so much of gratitude or vanity in almost every attachment. she may lose the opportunity of fixing him.18 SECTION C: PROSE JANE AUSTEN: Pride and Prejudice Either *25 Read this extract. he must find it out.’ ‘Yes. it is never for many hours together. that he did admire her. these four evenings have enabled them to ascertain that they both like Vingt-un better than Commerce. a woman had better shew more affection than she feels. or any husband. and to her it was equally evident that Jane was yielding to the preference which she had begun to entertain for him from the first. if she does not help him on.’ ‘Not as you represent it. and if I were determined to get a rich husband. and it will then be but poor consolation to believe the world equally in the dark. In nine cases out of ten. which would guard her from the suspicions of the impertinent. Bingley likes your sister undoubtedly. that he does not know Jane’s disposition as you do. and as they always see each other in large mixed parties. and was in a way to be very much in love. it is impossible that every moment should be employed in conversing together. When she is secure of him. she cannot even be certain of the degree of her own regard. She danced four dances with him at Meryton. but you must remember that four evenings have been also spent together – and four evenings may do a great deal. but with respect to any other © UCLES 2010 0486/41/O/N/10 5 10 15 20 25 30 35 40 45 50 . She has known him only a fortnight.’ ‘But if a woman is partial to a man.
I do not imagine that much has been unfolded. as if she were to be studying his character for a twelve-month.’ said Charlotte. Happiness in marriage is entirely a matter of chance.’ ‘Well. I should think she had as good a chance of happiness. Or 27 You are Wickham. You have just heard that Elizabeth is to marry Darcy.19 leading characteristic. and if she were married to him tomorrow. ‘I wish Jane success with all my heart.’ 55 How does Austen in this conversation reveal Elizabeth’s and Charlotte’s very different personalities? Or 26 Explore some of the ways in which Austen memorably ridicules prejudice about social class. Support your ideas with details from the writing. © UCLES 2010 0486/41/O/N/10 [Turn over . Write your thoughts.
‘Do you carry towels around in your case because you sweat easy?’ I asked. ‘No.’ she whistled. And the lions and the tigers and the elephants. She came back down the stairs puffing. you little brute. I bet you are hard on your shoes. as I had been all set to have a good time with the woman. so I ran back home. like I am. Even harder. so I breezed away. as though I was worse than a burglar. and what she might tell my mother even though I hadn’t put a foot wrong. Jimmy. her big fat face was red.’ Then a door banged. ‘Don’t you come upstairs.’ ‘Have you ever had a whipping?’ she said. and the house was so quiet I could hear my breathing. I’m glad. ‘Nothing for nasty little boys.’ she shouted. All that weight pushing out all the time. ‘I’m pretty good. don’t you come upstairs. ‘You ought to think of it. Don’t you come upstairs. ‘And when I meet nasty little boys I’m glad I do. and you know.’ I said. quite down in the mouth. ‘Who’s that?’ You would think I was a burglar. for instance. I messed around there for a while. I felt like crying because I knew she wasn’t going to come across. Then I thought of the bad impression I had made on her. honestly. and she had black hairs on her cheeks and under her nose. ‘So be careful what you say.’ ‘You only get whippings when you say nasty things to people. And your shoes.20 IAN CROSS: The God Boy Either *28 Read this extract. When I raced in the back door my mother called from upstairs. really.’ she squeaked. When we reached the intersection. She took another big breath and said.’ I said. You go back to school or play.’ I called. squeaking so much that. You are not too old for a circus are you?’ She didn’t say a word. little brat. ‘No. and the way she was puffing I guessed she was running out of wind. ‘Go away. You naughty nasty little brute. ‘You go back to school. ‘You have the build. and I suppose you would be. and asked her how she managed swimming – I was interested in whether she could float. You go back to school and play. ‘I’ve had the strap a few times. ‘Have you ever been in a circus?’ I asked. the rip in the side of which looked bigger than ever. she sounded that frightened.’ she said. ‘It’s me. ‘Mum always says I’m hard on my clothes. too.’ she said.’ It wasn’t very hot.’ I said.’ ‘What about my sixpence?’ I said. and I could see little wet drops clinging to them. ‘You’re a very nasty little boy. she looked hot and bothered. though.’ I said. will you? Go away. and then answer the question that follows it. and really. ‘I carry lots of things in this case. and we set off to Raggleton. too. There were great patches of sweat down each side of her dress. and the hand with which she held her suitcase looked as though it was swelling.’ she said in that high voice.’ ‘You don’t have to worry about me being a nasty little boy. she was like a queer kind of whistle blowing. yet she was starting to sweat as she walked. © UCLES 2010 0486/41/O/N/10 5 10 15 20 25 30 35 40 45 50 .’ Still she didn’t talk. she stopped. ‘I suppose you would be hard on your clothes. and think of all the wonderful people in a circus and travelling around from town to town. and turned her huge big back on me and heaved off.
21 How do you think Cross makes Jimmy’s response to the adult world both amusing and sad in this episode? Or 29 Do you think Cross makes it possible to sympathise with Mr Sullivan in any way or is he simply vile and hateful? Support your ideas with details from the writing. © UCLES 2010 0486/41/O/N/10 [Turn over . Write your thoughts. Or 30 You are Mrs Sullivan on the morning after you have murdered your husband. You have just said goodbye to Jimmy and you are walking into town.
gave a start at the very sound. weak and feeble after a day’s illness. that the old man. It made no difference to him that his father made no response apart from spitting. having ordered his daughter-in-law to make him a dish of soojie halwa and eaten it with a saucerful of cream. nothing rich. What was not so gratifying was that he even undertook to supervise his father’s diet. not in one of the china cups from which the rest of the family drank. allowing the whole family to fly around him in a flap. He sat huddled on his string bed most of the day and developed an exasperating habit of stretching out suddenly and lying absolutely still. and spitting out a big gob of betel juice as if to mock their behaviour. If you must have something sweet. and then answer the question that follows it. But nothing fried. not with his usual respectful step but with the confident and rather contemptuous stride of the famous doctor. as bare and desolate as a cell. beautifully arranging the pillows and bolsters on the divan in the corner of the open veranda. or thought she discovered. soothing him and settling him down for a night under the stars. On summer nights he saw to it that the servants carried out the old man’s bed onto the lawn and himself helped his father down the steps and onto the bed. too. who. stretched out from end to end of his string bed. they fell open with shock – and he stared at his son with disbelief that darkened quickly to reproach. and take the evening air out in the garden. stiff and gaunt. read out the morning news to his father. Veena will cook you a little kheer. ‘No more halwa for you. Except. at your age. a birthday party for the youngest son. A son who actually refused his father the food he craved? No. when the old man sat up and the distraught daughter-in-law received a gob of red spittle right on the hem of her new organza sari. He did this once too often: there had been a big party in the house. even turned into a band of mourners. All this was very gratifying for the old man. or lay down flat and turned grey as a corpse. and sat at the edge of his bed. had lost his pulse. He developed so many complaints and fell ill so frequently and with such mysterious diseases that even his son could no longer make out when it was something of significance and when it was merely a peevish whim. One day when the father was really sick. dissolved. it was unheard of. and the celebrations had to be suddenly hushed. It was Rakesh.’ The old man who had been lying stretched out on his bed. hawking and spitting.22 ANITA DESAI: Games at Twilight and Other Stories Either *31 Read this extract from A Devoted Son. But Rakesh had turned his back to him and was cleaning up the litter of bottles and packets on the medicine shelf and did not notice while Veena slipped silently out of the room with a little smirk that only the old man saw. it was incredible. Papa. and hated. and declared. the tone of these words. and discussed or. his son Rakesh. that’s light. on returning from the clinic in the evening. rather. just a little rice and milk. covered up and hustled out of the way when the daughter-in-law discovered. of course. He opened his eyes – rather. the party broke up. persuaded the old man to come out of his room. © UCLES 2010 0486/41/O/N/10 5 10 15 20 25 30 35 40 45 50 . We must be sensible. It was Rakesh who brought him his morning tea. wailing and weeping. and then suddenly sitting up. but in the old man’s favourite brass tumbler. After that no one much cared if he sat up cross-legged on his bed. comfortable and relaxed with the string of his pyjamas dangling out from under his fine lawn night-shirt. Rakesh marched into the room. for that pearl amongst pearls. We can’t have this happening again.
You are on your way home to your parents. Or 32 What for you are the features of life in India which Desai brings most vividly and memorably to life in these short stories? Support your views with details from Desai’s writing in at least two stories.23 To what extent does Desai make you sympathise with the old man here? Support your views with details from the writing. Write your thoughts. © UCLES 2010 0486/41/O/N/10 [Turn over . Or 33 You are Sheila in Surface Textures.
But I thank you.’ ‘Well.’ ‘I should think you might soon get a new one. I know your aunt’s. or anything!’ he said.’ ‘Mercy! – how many opinions you keep about you concerning other people. ‘but I will –’ ‘That you won’t!’ She snatched back her hand. 5 10 15 20 25 30 35 40 How does Hardy vividly convey the developing attraction between Gabriel and Bathsheba here? © UCLES 2010 0486/41/O/N/10 . ‘I am sorry.’ ‘I would just as soon not tell it – rather not.24 THOMAS HARDY: Far from the Madding Crowd Either *34 Read this extract. compressing her lips to a demure impassivity.’ ‘And mine isn’t. touching her fingers with the lightness of a small-hearted person.’ ‘I always think mine sounds odd and disagreeable. ‘How soft it is – being winter time.’ ‘Still I should like to know. You seem fond of yours in speaking it so decisively.’ he said the instant after.’ ‘You can inquire at my aunt’s – she will tell you. too – not chapped or rough. to have saved a man from death involved talk that should harmonize with the dignity of such a deed – and she shunned it. there it is.’ said Gabriel simply. in mapping out my mind upon my tongue.’ she said. ‘There – that’s long enough. Gabriel felt himself guilty of another want of tact. Gabriel Oak. ‘What for?’ ‘Letting your hand go so quick. swerved to the opposite extreme. He held it but an instant. but not yours. as you probably will never have much to do with me. it is the only one I shall ever have.’ she said teasingly.’ She gave him her hand again. and withdrew.’ ‘You may have it again if you like. Miss – excuse the words – I thought you would like them. though without pulling it away.’ said she. and then answer the question that follows it. ‘Very well. ‘I believe you saved my life. I know. give me your hand!’ She hesitated. ‘Now find out my name. Oak held it longer this time – indeed. and I must make the most of it. But I can’t match you. curiously long.’ ‘I wasn’t thinking of any such thing. I never was very clever in my inside. and in his fear of being too demonstrative. ‘But I suppose you are thinking you would like to kiss it? You may if you want to. Come. Miss – I don’t know your name. and gave him her hand. somewhat disconcerted at Oak’s old-fashioned earnest conclusion to a dialogue lightly carried on. Gabriel Oak. She seemed to prefer a less tragic probability.’ ‘You see.’ ‘My name is Gabriel Oak. ‘O no!’ the girl replied. There is no reason either why I should.
© UCLES 2010 0486/41/O/N/10 [Turn over .25 Or 35 Attractive and exciting Selfish and cruel Which of these two descriptions is nearer to your view of Sergeant Troy? Support your ideas with details from the novel. Write your thoughts. Or 36 You are Boldwood on receiving the Valentine card from Bathsheba.
without which I cannot live. snapping jaws of the inmates of this inferno until you were forced to build a thick wall of silence between yourself and the snapping jaws. and as such I am tossed about by life. He scarcely glanced at the words. am I good. quietly. no. They don’t want him to. Mama?’ he asked lightly.’ he said.’ she said. that it was an abysmal betrayal. ‘I have never seen such a handsome man as you in my life before.’ Makhaya kept quiet because he did not immediately grasp the meaning of this. ‘What is faith. The familiar pained expression crept over his face as he looked at the old woman. Makhaya laughed his bitter. I can right away say no. ‘Are you religious. uncertain if there was anything in her own life with which to counter this hatred. because they’ve grown too used to his circus and his antics.’ He might have said it was much more than torture and torment. ‘You are not a Black Dog. I don’t know these people but my search for a faith has taught me that life is a fire in which each burns until it is time to close the shop. ‘What is a Black Dog?’ she asked abruptly. sarcastic laugh. Mma-Millipede looked at him with an alert glance. and she was swept out of her depth. He is a child they scold in a shrill voice because they think he will never grow up.’ She looked up at Makhaya and he stared back at her aloofly. ‘Do you know who I am? I am Makhaya. With that aloof stare he was trying to force something out of the old woman as he began to feel the real hard depth at the centre of her life. ‘It is an understanding of life. my own sweetheart. ‘Do you mean this too?’ he asked. Mma© UCLES 2010 0486/41/O/N/10 5 10 15 20 25 30 35 40 45 50 . If Black Dog becomes human they won’t have anyone to entertain them any more. and she was pitch black too. Life is only torture and torment to me and not something I care to understand. Mama?’ he asked curiously. and this makes them laugh louder then ever. ‘If you mean.26 BESSIE HEAD: When Rain Clouds Gather Either *37 Read this extract. Instead of becoming human. either. And the old woman knew this. but she had lived all her life inside this black skin with a quiet and unruffled dignity. no. and they liked the way he sat on the chair and shivered in fear while they lashed out with the whip. Yet all the while they shrieked with laughter over his head. The pitch black arm still lay across the table. Makhaya sat down opposite her and pulled the Tswana version of the Bible towards him as she poured the tea. I am searching for a faith.’ she said in despair. ‘He is a sensation. like a question mark. He looked at her for a moment and then placed one long black arm on the table and pulled up the sweater sleeve which was the same pitch black colouring as the skin on his arm.’ she said gently. The quietly spoken words carried in them a violent torrent of hatred.’ Mma-Millipede looked down. he has only become a mad dog. You must not be fooled by those who think they are laughing. he slowly became a mad dog. the Black Dog. ‘Goodness is impossible to achieve. a howling inferno where every gesture of love and respect was repaid with the vicious. ‘He awakens only thrills in the rest of mankind. and then answer the question that follows it. But he would throttle himself to death behind this wall because love was really a warm outflowing stream which could not be dammed up.
She had wanted to chat with him about little things. Write your thoughts. 55 How does Head make this conversation between Makhaya and Mma-Millipede such a powerful and significant moment in the novel? Or 38 What vivid impressions of women’s lives in Golema Mmidi does Head create for you in the novel? Support your answer by close reference. He smiled suddenly. But now all her feelers had to concentrate themselves on this frightening depth of hatred he had revealed in himself. © UCLES 2010 0486/41/O/N/10 [Turn over . Or 39 You are George Appleby-Smith. You have just been informed of the suicide of Chief Matenge. how he liked his work and whether he wanted a woman.27 Millipede wavered. quite clearly observing the uncertainty on her face.
or Aunt Martha Pierce come over from Bettsbridge –’ Zeena paused with a gasp. ‘Chasin’ mice. and in her hands she carried the fragments of the red glass pickle-dish. ‘It takes the step-ladder to get at the top shelf. ‘It wasn’t Ethan’s fault. and then I always lifted it with my own hands.’ she said in a high voice.’ Ethan rejoined. not even when the minister come to dinner. and she continued in a trembling voice: ‘I went to get those powders I’d put away in father’s old spectacle-case. and then turned her eyes to Mattie. ‘I’d like to know who done this. and I was warned of it when I took you. ‘There was a mouse round the kitchen all last evening. As he reached the door he met Zeena coming back into the room.’ she said. and gathering up the bits of broken glass she went out of the room as if she carried a dead body … © UCLES 2010 0486/41/O/N/10 5 10 15 20 25 30 35 40 45 50 . where I keep the things I set store by. then she emitted her small strange laugh.’ she said. ‘You’re a bad girl. and I put Aunt Philura Maple’s pickle-dish up there o’ purpose when we was married.’ ‘The cat ?’ ‘That’s what I said.’ Zeena stood beside the ruin of her treasure.’ she quavered. you’d ’a’ gone before now. ‘If I’d ’a’ listened to folks. and it’s never been down since. and then answer the question that follows it.’ Mattie suddenly drew her arms out of the steaming water. top of the china-closet. ‘I can tell you. The cat done it. and I’m the one to blame for its getting broken. It’s the way your father begun. and wouldn’t never use it. ‘You wanted to make the supper-table pretty. a flush of excitement on her sallow face.’ She laid the fragments reverently on the table. so’s folks shan’t meddle with them –’ Her voice broke. ‘but I didn’t know he was smart enough to pick up the pieces of my pickle-dish and lay ’em edge to edge on the very shelf he knocked ’em off of. stiffening into a stony image of resentment. I guess.’ she said. There was no answer. and I always known it.’ She looked at him hard. ‘I want to know who done this. ‘I knew the cat was a smart cat. ‘I wanted to make the suppertable pretty. who was carrying the dish-pan to the table. her lips twitching with anger. but I got it down from the china-closet. and you waited till my back was turned. Zeena! The cat did break the dish. then. looking sternly from Ethan to Mattie. and this wouldn’t ’a’ happened. ‘I’d like to know how the cat got into my china-closet. ’cept for the spring cleaning. and two small tears hung on her lashless lids and ran slowly down her cheeks.’ Zeena continued to look from one to the other. At the challenge Ethan turned back into the room and faced her. and I tried to keep my things where you couldn’t get at ’em – and now you’ve took from me the one I cared for most of all –’ She broke off in a short spasm of sobs that passed and left her more than ever like a shape of stone.28 EDITH WHARTON: Ethan Frome Either *40 Read this extract. Mattie Silver. and took the thing I set most store by of anything I’ve got. ‘You got down my pickle-dish – what for?’ A bright flush flew to Mattie’s cheeks.’ she said. so’s ’t shouldn’t get broke. as if terrified by her own evocation of the sacrilege. The shawl had slipped from her shoulders and was dragging at her down-trodden heels.
Or 42 You are Mattie. Or 41 How does Wharton make Ethan Frome such a compelling character? Support your ideas with details from the writing.29 What does Wharton make you feel about Zeena here? Support your views with details from the writing. Write your thoughts. You are walking home from the dance after you have escaped Denis Eady’s attentions and before Ethan catches up with you. © UCLES 2010 0486/41/O/N/10 [Turn over .
and the right arm is waved – violently waved. and had my hand stretched out to pull the sleeve away when it was gone. But he would beg to remark that he had not finished.’ ‘Into the tunnel?’ said I. and he ought to know something of the wind and the wires – he who so often passed long winter nights there. and then answer the question that follows it. sir. and I went up the iron ladder to the gallery atop of it. I telegraphed both ways.’ said the man. and held my lamp above my head. I never saw the face.’ I followed his action with my eyes. and it cried. The voice seemed hoarse with shouting. ‘that you shall not have to ask me twice what troubles me.’ ‘That mistake?’ ‘No. both ways. five hundred yards. clear the way!’ ‘One moonlight night. were known to have often troubled patients. That troubles me. and ran towards the figure.30 from STORIES OF OURSELVES Either *43 Read this extract from The Signalman. I showed him how that this figure must be a deception of his sense of sight. This way.’ ‘Like me?’ ‘I don’t know. I asked his pardon. after we had sat listening for a while. looked from that door. he returned. I ran right up at it.’ said I. and he slowly added these words. “Halloa! Below there! Look out!” I caught up my lamp. The left arm is across the face. and speaking in a tone but a little above a whisper. touching my arm: ‘Within six hours after the Appearance. and I came down again. and to the wild harp it makes of the telegraph wires. I ran on into the tunnel. I stopped. ‘I was sitting here. alone and watching. I advanced so close upon it that I wondered at its keeping the sleeve across its eyes. “Look out! Look out!” And then again. and it was the action of an arm gesticulating. “What’s wrong? What has happened? Where?” It stood just outside the blackness of the tunnel. I ran out again faster than I had run in (for I had a mortal abhorrence of the place upon me). and within ten hours the dead and wounded were © UCLES 2010 0486/41/O/N/10 5 10 15 20 25 30 35 40 45 50 . originating in disease of the delicate nerves that minister to the functions of the eye. waving as I just now showed you. with the utmost passion and vehemence. and saw this someone else standing by the red light near the tunnel. and had even proved it by experiments upon themselves. That someone else. when I heard a voice cry. and saw the figures of the measured distance. ‘do but listen for a moment to the wind in this unnatural valley while we speak so low. “An alarm has been given. ‘For God’s sake. ‘As to an imaginary cry. Is anything wrong?” The answer came back. bending forward as soon as we were seated.’ he began. and how that figures.’ That was all very well. calling. the memorable accident on this line happened. and saw the wet stains stealing down the walls and trickling through the arch. some of whom had become conscious of the nature of their affliction.’ ‘Who is it?’ ‘I don’t know. turned it on red.” ’ Resisting the slow touch of a frozen finger tracing out my spine. “Halloa! Below there!” I started up. I took you for someone else yesterday evening. ‘I have made up my mind. and ran back here. and I looked all round the red light with my own red light. ‘No. “All well.
Like this.31 brought along through the tunnel over the spot where the figure had stood. with a fixed look at me. looked towards the red light.’ ‘Did it wave its arm?’ ‘No. ‘This.’ he said. It leaned against the shaft of the light with both hands before the face. and they must be taken into account in dealing with such a subject. that this was a remarkable coincidence. I again begged his pardon for being betrayed into interruptions. I. 55 60 65 70 75 How does Dickens build up a sense of mystery in this extract? Or 44 How do you think the writers make the endings of two of the following stories so effective? How It Happened (by Arthur Conan Doyle) Meteor (by John Wyndham) On Her Knees (by Tim Winton) Or 45 You are Mala in The Third and Final Continent (by Jhumpa Lahiri). I have seen such an attitude on stone figures on tombs. men of common sense did not allow much for coincidences in making the ordinary calculations of life. I rejoined. Write your thoughts. and saw the spectre again. You have just arrived in Boston and your husband has taken you to your new home. © UCLES 2010 0486/41/O/N/10 .’ He stopped. He again begged to remark that he had not finished. I added (for I thought I saw that he was going to bring the objection to bear upon me). ‘Did it cry out?’ ‘No. Though to be sure I must admit. standing at the door.’ Once more I followed his actions with my eyes. It was silent. Six or seven months passed. again laying his hand upon my arm. as the day was breaking. It was not to be denied.’ A disagreeable shudder crept over me. and glancing over his shoulder with hollow eyes. It was an action of mourning. when one morning. But it was unquestionable that remarkable coincidences did continually occur. calculated deeply to impress his mind. and I had recovered from the surprise and shock. ‘was just a year ago. but I did my best against it.
The Crucible. Casarotto Ramsey & Associates Ltd. © The Wylie Agency. © Anita Desai. Methuen. © UCLES 2010 0486/41/O/N/10 . My Mother Said I Never Should. When Rain Clouds Gather. Penguin New Zealand. which is itself a department of the University of Cambridge. the publisher will be pleased to make amends at the earliest possible opportunity. but if any items requiring clearance have unwittingly been included. Arthur Miller. Vintage. © Bessie Head. A Small Family Business. University of Cambridge International Examinations is part of the Cambridge Assessment Group.32 BLANK PAGE Copyright Acknowledgements: Question 1 Question 4 Question 7 Question 16 Question 28 Question 31 Question 37 © Alan Ayckbourn. Every reasonable effort has been made by the publisher (UCLES) to trace copyright holders. Games at Twilight. The God Boy. Permission to reproduce items where third-party owned material protected by copyright is included has been sought and cleared where possible. Cambridge Assessment is the brand name of University of Cambridge Local Examinations Syndicate (UCLES). © Charlotte Keatley. Windmill Series. © Ian Cross. © R C Sherriff. Journey’s End. Penguin. Heinemann.
This action might not be possible to undo. Are you sure you want to continue?
We've moved you to where you read on your other device.
Get the full title to continue listening from where you left off, or restart the preview.