5 - basic education (SZ. f iy Department: \ Basic Education ew REPUBLIC OF SOUTH AFRICA SENIOR CERTIFICATE EXAMINATION ENGLISH FIRST LANGUAGE P2 HIGHER GRADE 2013 MARKS: 100 TIME: 2% hours ENGLISH FIRST LANG HG: Paper 2 I NANA 12 This question paper consists of 18 pages. ill Copyright reserved TOMI NE OAE oryEnglish First Language/HG/P2 2 DBE/2013 SCE INSTRUCTIONS AND INFORMATION 1. Answer FIVE questions in all: THREE in SECTION A, ONE in SECTION B and ONE in SECTION C as follows: SECTION A: POETRY [40 MARKS] Answer THREE questions: Answer QUESTION 1 OR QUESTION 2 AND any TWO of QUESTIONS 3, 4, 5 and 6. SECTION B: DRAMA [30 MARKS] Answer ONE cuestion. SECTION C: NOVEL [30 MARKS] Answer ONE question Your answers to SECTION B (DRAMA) and SECTION C (NOVEL) MUST comprise ONE ESSAY and ONE CONTEXTUAL answer. Do NOT attempt to read through the entire paper. Refer to the TABLE OF CONTENTS on page 3 for a breakdown of the selection of setworks. Mark the numbers of the questions set on work you have studied during the year. Your literature essay should not exceed 500 words. In contextual questions, the number of marks allocated to each subsection should serve as a guide to the expected length of your answer. Number the answers correctly according to the numbering system used in this question paper. Write neatly and legibly. Cromemrnes ATT, PMEnglish First Language/HG/P2 3 DBE/2013 SCE TABLE OF CONTENTS ‘SECTION A: POETRY [40 MARKS] The unseen poetry is COMPULSORY. Answer QUESTION 1 OR QUESTION 2 AND any TWO of QUESTIONS 3, 4, 5 and 6, QUESTION PAGE NO. 7. Sometimes When it Rains —Gcina_| Contextual question 4 Mhlope OR 2._The dancer — Gcina Mhlope Mini-essay question | 5 AND ANY TWO OF: 3._Old Folks Laugh — Maya Angelou _| Contextual question 6 OR 4. Lake Moming in Autumn — Douglas | Contextual question 7 Livingstone OR 5._Onthe Move — Thom Gunn Contextual question 8 OR 6._When | Have Fears — John Keats | Minressay Question 9 SECTION B: DRAMA [30 MARKS] Answer ONE question. 7._ Othello — William Shakespeare Essay question 10 OR 8._ Othello — William Shakespeare Contextual question 10 OR 9._ The Crucible — Arthur Miller Essay question 2 OR 10. The Crucible — Arthur Miller Contextual question 3 SECTION C: NOVEL [30 MARKS] Answer ONE question. 11. Lord of the Flies — William Golding _| Essay question 5 OR 12._Lord of the Flies — Wiliam Golding | Contextual question 5 OR 13. Animal Farm — George Orwell Essay question 7 OR 14, Animal Farm — George Orwell Contextual question 17 NOTE: Your answers to SECTION B (DRAMA) and SECTION C (NOVEL) should comprise ONE ESSAY and ONE CONTEXTUAL answer. If you answer an essay question in SECTION B (DRAMA), you must answer a contextual question in SECTION C (NOVEL) and vice versa. crocs AHLEnglish First Language/HG/P2 4 SCE SECTION A: POETRY DBE/2013 Answer QUESTION 1 OR QUESTION 2 and any TWO of QUESTIONS 3, 4, 5 and 6. UNSEEN POETRY — POETRY FROM SOUTH AFRICA QUESTION 1: CONTEXTUAL QUESTION Read the poem carefully, and then answer the questions that follow. ‘SOMETIMES WHEN TT RAINS (an extract) - Gcina Mhlope Sometimes when it rains I smile to myself And think of times when as a child I'd sit by myself ‘And wonder why people need clothes 5 Sometimes when it rains rains for many hours without break I think of people who have nowhere to go no home of their own 10 and no food to eat only rain water to drink Sometimes when it rains rains for days without break I think of mothers 15 who give birth in squatter camps under plastic shelters at the mercy of cold angry winds Sometimes when it rains with hail stones biting the grass 20 can't help thinking they look like teeth many teeth of smiling friends then | wish that everyone else had something to smile about. 1.1 What made the child wonder why people need clothes? (line 5) 1.2 Referring to stanza 2, what kind of person is the speaker? Justify your answer. 1.3 Discuss the effectiveness of the personification in line 18 (‘cold angry winds’). 1.4 Describe the tone of the last two lines. Give a reason for your answer. 1.5 Why has the poet repeated the title at the beginning of every stanza? OR Conran reserved AONE A TA Please turn over (2) (2) (2) (2) (2) [0]English First Language/HG/P2 5 SCE QUESTION 2: MINI-ESSAY QUESTION DBE/2013 Read the poem carefully, and then answer the question that follows. THE DANCER (an extract) — Gcina Mhlope Mama, they tell me you were a dancer they tell me you had long beautiful legs to carry your graceful body they tell me you were a dancer Mama, they tell me you were always so gentle they talk of a willow tree swaying lovingly over clear running water Mama, they tell me you were a wedding dancer Mama, they tell me | am a dancer too but I don't know ... I don't know for sure what a wedding dancer is there are no more weddings but many, many funerals where we sing and dance running fast with the coffin of a would-be bride or a would-be groom strange smiles have replaced our tears our eyes are full of vengeance, Mama Dear, dear Mama, they tell me | am a funeral dancer 10 15 20 In a carefully-constructed essay of not more than 200 words, discuss how the poet uses repetition and contrast in order to convey her message. Pay special attention to the use of imagery and how the writer manages to convey mood. Do NOT count your words. AND [10] Sonrt snes 0 Pree tmEnglish First Language/HG/P2 6 DBE/2013 SCE PRESCRIBED POETRY ‘Answer any TWO of QUESTIONS 3, 4, 5 and 6. QUESTION 3: CONTEXTUAL QUESTION Read the poem carefully, and then answer the questions that follow. ‘OLD FOLKS LAUGH - Maya Angelou They have spent their content of simpering, holding their lips this and that way, winding the lines between their brows. Old folks allow their bellies to jiggle like slow tambourines. The hollers rise up and spill over any way they want. When old folks laugh, they free the world. They turn slowly, slyly knowing the best and the worst of remembering. Saliva glistens in the corners of their mouths, their heads wobble on brittle necks, but their laps are filled with memories. ‘When old folks laugh, they consider the promise of dear painless death, and generously forgive life for happening to them. 3.1. Contrast how the old folks smiled in the past with how they smile now. 8) 3.2 Discuss the effectiveness of the simile in line 6-8 8) 3.3 What does the word ‘spill (line 10) imply? 2) 3.4 Discuss the use of the word ‘slyly’ (line 13). @) 3.5 Why has Angelou chosen to include the image of the saliva? (lines 16-17) ) 3.6 Whatis the tone of the final line? Justify your answer. 2) 15] OR ceoroweoes NL)English First Language/HG/P2 7 DBE/2013 SCE QUESTION 4: CONTEXTUAL QUESTION Read the poem carefully, and then answer the questions that follow. LAKE MORNING IN AUTUMN — Douglas Livingstone Before sunrise the stork was there resting the pillow of his body on stick legs growing from the water. A flickering gust of pencil-slanted rain swept over the chill autumn morning; 5 and he, too tired to arrange his wind-buffeted plumage, perched swaying a litle, neck flattened, ruminative, beak on chest, contemplative eye 10 filmy with star vistas and hollow black migratory leagues, strangely, ponderously alone and some weeks early. The dawn struck and everything, sky, water, bird, reeds 15 was blood and gold. He sighed. Stretching his wings he clubbed the air; slowly, regally, so very tired, aiming his beak he carefully climbed inclining to his invisible tunnel of sky, 20 his feet trailing a long, long time. 4.1 Whatis unusual about the stork’'s being at the lake? (2) 4.2. What does the word ‘growing’ (line 3) suggest? (2) 4.3 Discuss the effectiveness of the metaphor in line 4. 8) 4.4 What does the stork's response to the rain suggest about his nature? 2) 4.5 Discuss the significance of lines 10-12 (‘contemplative eye ... leagues’) @) 4.6 How does the word 'regally’ (line 18) contrast with the image presented in the final line? ) 15] OR Com saad tN Pose um veEnglish First Lanquage/HG/P2 8 DBE/2013 SCE QUESTION 5: CONTEXTUAL QUESTION Read the poem carefully, and then answer the questions that follow. ON THE MOVE - Thom Gunn ‘Man, You Gotta Go.' The blue jay scuffling in the bushes follows ‘Some hidden purpose, and the gust of birds That spurts across the field, the wheeling swallows, Have nested in the trees and undergrowth, Seeking their instinct, or their pose, or both, 5 One moves with an uncertain violence Under the dust thrown by a baffled sense Or the dull thunder of approximate words. On motorcycles, up the road, they come: ‘Small, black, as flies hanging in heat, the Boys, 10 Until the distance throws them forth, their hum Bulges to thunder held by calf and thigh. In goggles, donned impersonality, In gleaming jackets trophied with the dust, They strap in doubt — by hiding it, robust — 15 ‘And almost hear a meaning in their noise. Exact conclusion of their hardiness Has no shape yet, but from known whereabouts They ride, directions where the tires press. They scare a flight of birds across the field: 20 Much that is natural, to the will must yield. Men manufacture both machine and soul, ‘And use what they imperfectly control To dare a future from the taken routes. Itis part solution, after all. 25 One is not necessarily discord On Earth; or damned because, half animal, One lacks direct instinct, because one wakes Afloat on movement that divides and breaks. One joins the movement in a valueless world, 30 Choosing it, til, both hurler and the hurled, One moves as well, always toward, toward. A minute holds them, who have come to go: The seff-defined, astride the created will They burst away; the towns they travel through 35 Are home for neither birds nor holiness, For birds and saints complete their purposes At worse, one is in motion; and at best, Reaching no absolute, in which to rest, One is always nearer by not keeping stil 40 Coretta AAEnglish First Language/HG/P2 9 DBE/2013 SCE 5.1 What does the diction used to describe the birds’ movements suggest? (lines 1-3) (2) 5.2 What does the phrase ‘uncertain violence’ (line 6) suggest? (2) 5.3 Explain and discuss the effectiveness of the simile in line 10 (3) 5.4 5.4.1 Whyare the jackets ‘trophied’ with dust? (line 14) (1) 5.4.2 What does 'trophied’ suggest about the nature of the boys? @) 5.5 Discuss the significance of line 16. (2) 5.6 Outline the theme of this poem. CO) [15] OR QUESTION 6: MINI-ESSAY QUESTION Read the poem carefully, and then answer the question that follows WHEN T HAVE FEARS — John Keats When | have fears that | may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When | behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that | may never live to trace Their shadows, with the magic hand of chance; And when | feel, fair creature of an hour, That | shall never look upon thee more, Never have relish in the faery power Of unrefiecting love; — then on the shore Of the wide world | stand alone, and think Till love and fame to nothingness do sink. Write a mini-essay of approximately 200 words in which you discuss how the poet uses the sonnet structure to convey the message of the poem. Do NOT count the number of words. [15] TOTAL SECTION A: 40 Core memes MTA,English First Language/HG/P2 10 SCE SECTION B: DRAMA Answer ONE question from this section. OTHELLO — William Shakespeare QUESTION 7: ESSAY QUESTION DBE/2013 We admire Othello and condemn lago, because we understand fully what motivates each character. In an essay of 450-500 words, discuss the validity of this statement, using examples and textual references to support your argument Do NOT count the number of words. OR QUESTION 8: CONTEXTUAL QUESTION Read both extracts carefully, and answer the questions that follow. TEXT A IAGO: Thus do | ever make my fool my purse; For I mine own gained knowledge should profane, If would time expend with such a snipe But for my sport and profit. | hate the Moor, And it is thought abroad that ‘twixt my sheets 5 He has done my office. | know not ift be true, But |, for mere suspicion in that kind, Will do, as if for surety. He holds me well; The better shall my purpose work on him Cassio's a proper man. Let me see now: 10 To get his place, and to plume up my will In double knavery - how? how? Let's see. After some time, to abuse Othello's ear That he is too familiar with his wife. He hath a person and a smooth dispose 15 To be suspected - framed to make women false. The Moor is of a free and open nature That thinks men honest that but seem to be so; And will as tenderly be led by th’ nose As asses are. 20 Thave't! It is engendered! Hell and night Must bring this monstrous birth to the world's light. [Exit] [Act |, scene il Conyigt reserved TONITE A Please turn over [30]English First Language/HG/P2 11 8.1 Place this extract in context by describing what has just happened. SCE 8.2 Whatare lago's ‘sport’ and ‘profit’ (line 4)? DBE2013 8.3 What do lines 6-8 (‘I know ... surety’) show about the nature of lago? 84 — Whyis lago satisfied that Cassio is a ‘proper (line 10) man? 8.5 What do lines 10-12 (‘Let me see now ... abilities? 8.6 Describe lago's plan in detail 87 Discuss lago's imagery in the final lines of this soliloquy. AND TEXT B Enter OTHELLO and IAGO laGo: Ha! [like not that. OTHELLO: What dost thou say? lao: Nothing, my lord, or if — I know not what. OTHELLO: Was not that Cassio parted from my wife? lao: Cassio, my lord? No, sure, | cannot think it, That he would steal away so guilty-like, 5 Seeing you coming OTHELLO: | do believe ‘twas he. DESDEMONA: How now, my lord! Ihave been talking with a suitor here, ‘A man that languishes in your displeasure. OTHELLO: — Whois't you mean? 10 DESDEMONA: Why, your lieutenant, Cassio, Good my lord, If have any grace or power to move you, His present reconciliation take; For if he be not one that truly loves you, ‘That errs in ignorance and not in cunning, 15 Ihave no judgment in an honest face. | prithee, call him back. OTHELLO: Went he hence now? Copyright reserved 0 Let's see’) show about lago's Please turn over (2) (2) (3) (2) (2) (4) (3)English First Language/HG/P2 12 DBE/2013 SCE DESDEMONA: Ay, sooth; so humbled That he hath left part of his grief with me, To suffer with him. Good love, call him back. 20 OTHELLO: Not now, sweet Desdemona; some other time. DESDEMONA: But shallt be shortly? OTHELLO: The sooner, sweet, for you. DESDEMONA: Shalit be to-night at supper? 8.8 Whyis Othello angry and displeased with Cassio? (line 11) 2) 8.9 What role does lago play in what has happened to Cassio? 8) 8.10 Describe how lago's tactics in lines 5-7 are designed to influence Othello. ) 8.11 Considering Desdemona's words in line 7-20, do you think that Cassio is right (2) to speak to Desdemona? Justify your answer. 8.12 What theme is explored in line 16 (‘I have no judgment in an honest face’)? 2) Bo] OR THE CRUCIBLE - Arthur Miller QUESTION 9: ESSAY QUESTION We admire and condemn both Proctor and Hale, because we understand fully what motivates each character. In an essay of 450-500 words, discuss the validity of this statement, using examples and textual references to support your argument. Do NOT count the number of words. [30] OR Conroe {NH Poss umEnglish First Language/HG/P2 13 DBE2013 SCE QUESTION 10: CONTEXTUAL QUESTION Read both extracts and answer the questions that follow. TEXT A MERCY: (both afraid of him and strangely tifilated): 'd best be off. | have my Ruth to watch. Good morning, Mister Proctor. MERCY sidles out. Since Proctor’s entrance, ABIGAIL has stood as though on tiptoe, absorbing his presence, wide-eyed. He glances at her, then goes to Betty on the bed. ABIGAIL: Gah! I'd almost forgot how strong you are, John Proctor! 5 PROCTOR: (looking at Abigail now, the faintest suggestion of a knowing smile on his face) What's this mischief here? ABIGAIL: (with a nervous laugh) Oh, she's only gone silly, somehow. PROCTOR: The road past my house is a pilgrimage to Salem all morning. The town's mumbling witchcraft. 40 ABIGAIL: — Oh, posh! (Winningly she comes a little closer, with a confidential, wicked air) We were dancin’ in the woods last night, and my uncle leaped in on us. She took fright, is all. PROCTOR: (his smile widening.) Ah, you're wicked yet, aren't y'! (A trill of expectant laughter escapes her, and she dares come closer, feverishly looking into 15 his eyes.) You'll be clapped in the stocks before you're twenty. He takes a step to go, and she springs into his path. ABIGAIL: Give me a word, John. A soft word. (Her concentrated desire destroys his smile.) PROCTOR: No, no, Abby. That's done with. 20 ABIGAIL: (tauntingiy) You come five mile to see a silly girl fly? | know you better. PROCTOR: (setting her firmly out of his path): | come to see what mischief your uncle's brewin' now. (With final emphasis.) Put it out of mind, Abby. ABIGAIL: (grasping his hand before he can release her) John — | am waitin’ for you every night. 25 PROCTOR: Abby, | never give you hope to wait for me. ABIGAIL: (now beginning to anger — she can't believe if) | have something better than hope, | think! 10.1 What has happened to Ruth and Betty? (2) 10.2 10.2.1 Why has the road past Proctor’s house been ‘a pilgrimage to Salem all morning’? (line 9) Q) 10.2.2 Explain why Miller has chosen the word ‘pilgrimage’. 2) 10.3 Why is Abigail's explanation about what has happened to Betty plausible? 2) 10.4 What does Proctor mean when he says ‘That's done with’? (line 20) 2) 10.5 10.5.1 How does the audience know from Abigail's behaviour that Abigail does not believe it is ‘done with'? (3) 10.5.2 What does Abigail mean when she asks Proctor for a ‘soft word’ (line 18)? @ 10.6 To what extent is Proctor’s behaviour in this extract flirtatious? Support your answer by discussing at least TWO references to the text. @) Conrad 0 Posse umEnglish First Language/HG/2 14 DBE/2013 SCE 10.7 At the end of the extract, Abigail begins to get angry. To what extent is her anger dangerous for Proctor and Elizabeth? 2) AND TEXT B PROCTOR: Mary, tel the Governor what they — (He has hardly got a word out, when, seeing him coming for her, she rushes out of his reach, screaming in horror.) MARY WARREN: Don't touch me — don't touch me! (At which the girls halt at the door.) PROCTOR: (astonished) Mary! MARY WARREN: (pointing at Proctor) You're the Devil's man! 5 He is stopped in his tracks. PARRIS: Praise God! GIRLS: Praise God! PROCTOR: (numbed) Mary, how -? MARY WARREN: _ I'llnot hang with you! | love God, | love God 10 DANFORTH: (to Mary) He bid you do the Devil's work? MARY WARREN: (hysterically, indicating Proctor) He come at me by night and every dey to sign, to sign, to — DANFORTH: Sign what? PARRIS: __ The Devils book? He come with a book? 15 MARY WARREN: (hysterically, pointing at Proctor, fearful of him) My name, he want my name. ‘I'l murder you,' he says, ‘if my wife hangs! We must go and overthrow the court,’ he says! Danforth's head jerks toward Proctor, shock and horror in his face. PROCTOR: (turning, appealing to Hale) Mr. Hale! 20 MARY WARREN: (her sobs beginning) He wake me every night, his eyes were like coals and his fingers claw my neck, and I sign, | sign... HALE: Excellency, this child's gone wild! PROCTOR: (as Danforth's wide eyes pour on him) Mary, Mary! MARY WARREN: (screaming at him) No, | love God; | go your way no more. | love 26 God, | bless God. (Sobbing, she rushes to Abigail.) Abby, Abby, I'll never hurt you more! (They all watch, as ABIGAIL, out of her infinite charity, reaches out and draws the sobbing Mary to her, and then looks up to Danforth.) DANFORTH: (to Proctor) What are you? (PROCTOR is beyond speech in his anger) 30 You are combined with anti-Christ, are you not? | have seen your power, you will not deny it! What say you, Mister? [Act 3] 10.8 Is Mary Warren's accusation, that Proctor has come to overthrow the court, fair? Discuss. (3) 10.9 Discuss the effect of the simile in lines 21-22 (‘his eyes were like coals’) 2) 10.10 Explain the irony of describing Abigail as having ‘infinite charity’ (line 28) when she comforts Mary. (2) 10.11 How do the characters of Danforth and Abigail in this extract develop the theme of power? (3) 0] TOTAL SECTIONB: 30 Coromores NAN HINEnglish First Language/HG/2 15 DBE/2013 SCE SECTION C: NOVEL ‘Answer ONE question from this section. LORD OF THE FLIES - William Golding QUESTION 11: ESSAY QUESTION Jack may be the stronger leader, but Ralph is the better one. In an essay of 450-500 words, discuss this statement with detailed reference to the novel. Do NOT count your words. [30] OR QUESTION 12: CONTEXTUAL QUESTION Read both extracts, and answer the questions that follow. TEXT A ‘Let's have vote.” ‘Yes!’ ‘Vote for chief! ‘Let's vote —' This toy of voting was almost as pleasing as the conch. Jack started to protest but the 5 clamour changed from the general wish for a chief to an election by acclaim of Ralph himself. None of the boys could have found good reason for this; what intelligence had been shown was traceable back to Piggy while the most obvious leader was Jack. But there was a stillness about Ralph as he sat that marked him out: there was his size, and attractive appearance; and most obscurely, yet most powerfully, there was the conch. 10 The being that had blown that, had sat waiting for them on the platform with the delicate thing balanced on his knees, was set apart. ‘Him with the shell.” ‘Ralph! Ralph!’ ‘Let him be chief with the trumpet-thing.” 15 Ralph raised his hand for silence. ‘All right. Who wants Jack for chief?" With dreary obedience the choir raised their hands. ‘Who wants me?’ Every hand outside the choir except Piggy's was raised immediately. Then Piggy, too, 20 raised his hand grudgingly into the air. Ralph counted. ‘I'm chief then." 12.1 Place this passage in context by describing what has just happened. ) 12.2 Why does Ralph think that a leader is necessary? (2) Sooromreones LN! seeEnglish First Language/HG/P2 16 DBE/2013 SCE 12.3 Whatis significant about the boys' choosing to vote for a leader? (2) 12.4 — Whatis significant about voting being described as a ‘toy’? 2) 12.5 12.5.1 Whatmakes Jack the ‘most obvious leader’ (line 8)? 2) 12.5.2 Why, then, is Ralph chosen? Use your own words when answering, (3) 12.6 Explain the significance of the choir's voting for Jack with ‘dreary obedience’ 2) TEXTB “But we'll leave a part of the kill for...” He knelt down again and was busy with his knife. The boys crowded round him He spoke over his shoulder to Roger. ‘Sharpen a stick at both ends.’ Presently he stood up, holding the dripping sow's head in his hands. 5 ‘Where's that stick?! ‘Here.” ‘Ram one end in the earth. Oh — i’s rock. Jam it in that crack. There.’ Jack held up the head and jammed the soft throat down on the pointed end of the stick which pierced through into the mouth. He stood back and the head hung there,a 10 little blood dribbling down the stick. Instinctively the boys drew back too; and the forest was very still. They listened, and the loudest noise was the buzzing of flies over the spilled guts. Jack spoke in a whisper, 'Pick up the pig.’ Maurice and Robert skewered the carcass, lifted the dead weight, and stood 15 ready. In the silence, and standing over the dry blood, they looked suddenly furtive. Jack spoke loudly. "This head is for the beast. It's a gift’ The silence accepted the gift and awed them. The head remained there, dim- eyed, grinning faintly, blood blackening between the teeth. All at once they were 20 running away, as fast as they could, through the forest towards the open beach. (Chapter 8] 12.7 Place this passage in context by describing what has happened shortly before this. (2) 12.8 12.8.1 For what or whom are the boys leaving ‘part of the kill (line 1)? (1) 12.8.2 Whydo they do this? 2) 12.9 With close reference to the language used, describe and comment on the boys' behaviour in this extract. (4) 12.10 Why do the boys run away once the pig's head has been placed on the stick? (2) 12.11 The pig's head on the stick is directly related to the title of the novel. Discuss. (4) [30] OR Ceomowresnes ANU EN) PPEnglish First Language/HG/P2 7 DBE2013 SCE ANIMAL FARM — George Orwell QUESTION 13: ESSAY QUESTION Towards the end of the novel, the Seven Commandments are replaced with the words, ‘All animals are equal, but some animals are more equal than others." In a well-reasoned essay of 450-500 words, discuss the extent to which the pigs’ approach to the running of Animal Farm depends on inequality and exploitation. Do NOT count the number of words. [30] OR QUESTION 14: CONTEXTUAL QUESTION Read both extracts, and answer the questions that follow. TEXT A “Comrades,’ he said, ‘here is a point that must be settled. The wild creatures, such as rats and rabbits — are they our friends or our enemies? Let us put it to the vote. | propose this question to the meeting: Are rats comrades?" The vote was taken at once, and it was agreed by an overwhelming majority that rats were comrades. There were only four dissentients, the three dogs and the cat, 5. who was afterwards discovered to have voted on both sides. Major continued: ‘I have little more to say. | merely repeat, remember always your duty of enmity towards Man and all his ways. Whatever goes upon two legs, is an enemy. Whatever goes upon four legs, or has wings, is a friend. And remember also that in fighting against Man, we must not come to resemble him. Even when you have conquered 10 him, do not adopt his vices. No animal must ever live in a house, or sleep in a bed, or wear clothes, or drink alcohol, or smoke tobacco, or touch money, or engage in trade. All the habits of Man are evil. And, above all, no animal must ever tyrannize over his own kind. Weak or strong, clever or simple, we are all brothers. No animal must ever kill any other animal. All animals are equal. 15 {Chapter 1] 14.1 Place this extract in context by describing what has just happened. (2) 14.2 What is significant about Old Major's asking the animals to vote before a (2) decision is taken? 14.3. 14.3.1 To what is Major's idea that ‘Whatever goes upon two legs, is an enemy. Whatever goes upon four legs, or has wings, is a friend’ simplified later in the novel? (1) 14.3.2 Later, however, Squealer modifies this chant. What does he change it to? (1) 14.4 What is Squealer's role in Napoleon's leadership of Animal Farm? Discuss fully and give examples. (4) 14.5 Describe clearly how two of Old Matjor's instructions (lines 10-12: 'No animal must ever live in a house ... engage in trade’) are disobeyed later in the novel. (4) corres AAT,English First Language/HG/P2 18 DBE/2013 SCE TEXT B However, Benjamin and Clover could only be with Boxer affer working hours, and Tt was in the middle of the day when the van came to take him away. The animals were all at work weeding turnips under the supervision of a pig, when they were astonished to see Benjamin come galloping from the direction of the farm buildings, braying at the top of his voice. It was the first time that they had ever seen Benjamin excited - 5 indeed, it was the first time that anyone had ever seen him gallop. ‘Quick, quick!' he shouted. ‘Come at once! They're taking Boxer away!’ Without waiting for orders from the pig, the animals broke off work and raced back to the farm buildings. Sure enough, there in the yard was a large closed van, drawn by horses, with lettering on its side and a sly-looking man in a low-crowned bowler hat sitting on the driver's seat. And Boxers 10 stall was empty. The animals crowded round the van. 'Good bye, Boxer!' they chorused, 'Good-bye.' ‘Fools! Fools!" shouted Benjamin, prancing round them and stamping the earth with his small hoofs. ‘Fools! Do you not see what is written on the side of that van?" 15 That gave the animals pause, and there was a hush. Muriel began to spell out the words. But Benjamin pushed her aside and in the midst of a deadly silence he read: ‘Alfred Simmonds, Horse Slaughterer and Glue Boiler, Willingdon. Dealer in Hides and Bone-Meal. Kenne’s Supplied. ‘Do you not understand what that means? They are taking Boxer to the knacker's.' 20 [Chapter 9] 14.6 Place this extract in context by describing what has just happened. 2) 14.7 14.7.1 Whyare the others surprised to see Benjamin galloping excitedly? 2) 14.7.2. Whyis Benjamin so agitated? @) 14.8 What did Napcleon and Squealer promise the animals would happen to them when they became too old or weak to work? 2) 14.9 Whyis it particularly appalling that Napoleon has deceived Boxer? 2) 14.10 How does Squealer explain away the writing on the van to the animals? 2) TEXTS A AND B 14.11 With reference to both TEXTS A and B, and the novel as a whole, describe and comment on the way in which Napoleon and Squealer take advantage of the animals' lack of education. (4) [30] TOTAL SECTIONC: 30 GRAND TOTAI 100 eee Hg