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CARIBBEAN EXAMINATIONS COUNCIL
CARIBBEAN ADVANCED PROFICIENCY EXAMINATION@

LITERATURES IN ENGLISH

UNITl- Paper0l
t hour 45 minutes

READ THE FOLLOWING INSTRUCTIONS CAR"EFULLY.

1. This paper consists of FIFTEEN questions. Answer ALL questions

2. You are advised to take some time to read through the paper and plan your
answers

3 If you need to rewrite any answer and there is not enough space to do so on
the original page, you must use the extra lined page(s) provided at the back
of this booklet. Remember to draw a line through your original answer.

4. If you use the extra page(s) you MUST write the question number clearly
in the box provided at the top of the extra page(s) and, where relevant,
include the question part beside the answer.

DO NOT TURN THIS PAGE UNTIL YOU ARE TOLD TO DO SO.

Copyright O 2016 Caribbean Examinations Council


hE All rights reserved.

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MODULE T - DRAMA
QUESTIONS l-s
Read the extract below and answer Questions 1-5.

The Tivo Brothers


Evening time

For the first time the room is untidy. The beds are not mode, the table cluttered, the fioor is
littered with the strings and wrappings of the parcels of the previous day. MORfuIS is olone. He
sits lifelessly at the table, his headfallen on his chest, his arms hanging limp at his sides. On the
5 table is a small bundle. Then ZACHARIAH comes in. He behaves normally, going straight to the
bed and taking off his shoes. Only when this is done, does he realize something is wrong. The
footbath hasnt been prepared.

ZACHARIAH What's this? llooking around for the basinl Foot salts finished? Hell, man!
Couldn't you have seen? What must I do now? My feet are killing me again.
t0 I've been on them today, you know. lTouching the toes.f Eina! Eina! Forget
the salts then. Just give me some hot. A soak will do them good.
IMORRIS doesnt move.f
Some hot, Morrie! Please! fNothing happens) What's the matter with you?
Don't tell me the stove is clogged upt lGoes to the stove and feels the kettlel
15 Agh, no, man! What the hell's happened? A man works all day, his feet are
killing him and he comes home and finds this lthe stove)... and thislthe roomf.
Floor not swept! Beds not made!
fBeginning to realizel There is something wrong in here. You say nothing.
lMorris struggles tofind a word, butfails and drops his shoulders in a gesture
20 of defeat and resignation.f
You mean ... ldisbelief I ... you mean you got nothing to say? lA little laugh
but this quickly dlesl NO! It's not funny. Try to say something, Morrie. Please
[Desperatel Try telling me what happened. Ja! What happened?

MORRIS I've given up.

25 ZACHARIAH What?

MORRIS I mean, I can't carry on.

ZACHARIAH: Oh, so you've just stopped.

MORRIS Yes.

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But that won't do! Emphatically not! A man can't just stop like that, like you.
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30 That's definitely not good, because. . ..You want to know why? Because a man
must carry on. Most certainly. Otherwise who is going to sweep the floor? Ja.
Ever think about that? If everybody just gave up, just sat down, and couldn't
carry on ... me at the gate ... you in here ... why, nothing would happen. Isn't
that so? One by one we would just topple over and nothing would happen.
35 But we all know that something got to happen. So that proves it, doesn't it?
We must carry on. Okay? Feeling better? lSees the bundle on the table for the
first timel What's this bundle, Morrie?

MORRIS My belongings.

ZACHARIAH What's that?

40 MORRIS My Bible, my other shirt and my alarm clock.

ZACHARIAH: And what would they be doing in here?

MORRIS I was leaving,Zach.

ZACHARIAH: Leaving?

MORRIS: Going away.

45 ZACHARTAH Where?

MORRIS The road. Wherever it went.

ZACHARIAH Oht lPausel And what about me?

MORRIS I know, I know.

ZACHARIAH But you don't care, hey?

50 MORRIS I do care, Zacht.

ZACHARIAH fignoring the denia|: That's a fine thought for a loving brother. I'm surprised
at you. [n fact, I'm shocked.

MORRIS: Stop it, Zach! I'm still here. I know I can't go. You see, this morning when you
were at work, I thought it out. It's no use any more, I said. There's no future
55 left for us now, in here. So I wrapped up my Bible and my clock in my shirt
and wrote the farewell note. Four pages! I explained everything. I was ready
to go, man ... until I realized that you couldn't read. My God, that hurt! That
cut me deepl Zach can't read without nr,st lPause] So you see, I know I can't
go ... but I've given up.

Adapted from Anthol Fugard, "The Blood Knot". In New English Dramatists.
Penguin Books, 1968, pp. 163_165.

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-6-

Identify the setting of the extract and give THREE adjectives which can be used to describe the
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setting.

[4 marksl

2. Identify TWO props used in the opening stage directions (lines 1-7) and comment on the
significance of EACH prop.

Prop I

Significance

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Significance

[6 marks]

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3.
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Identify ONE trait that is revealed for EACH of the TWO characters. For EACH trait identified,
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support your answer with evidence from the extract.

(i) Morris

Trait:

Evidence

[2 marksl

(i i) Zachariah

Trait:

Evidence:

[2 marks]

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r 4. Comment on the dramatic significance of EACH of the following
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(i) Stage directions (lines l8-19)
(ii) Zachariah's questions (l ines 3 9-49)
(ii i) Repetition of "my Bible", "my clock" and "my shirt" (lines 40 and 55)

(i) Stage directions (lines 18-19):

[2 marks]
(ii) Zachariah's questions (lines 39-49)

[2 marks]
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Repetition of "my Bible", "my clock" and "my shirt" (lines 40 and 55)
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[2 marksl

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5. (a) Explain the irony in lines 51-57

[2 marks]

(b) Comment on the significance of this irony to the extract as a whole

[2 marks]

Total24 marks

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SECTION B
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MODULE 2 _ POETRY

QUESTTONS 6-10

Read the extract below and answer Questions 6-10.

Digging

Between my finger and my thumb


The squat pen rests; snug as a gun.

Under my window a clean rasping sound


When the spade sinks into gravelly ground:
s My father, digging. I look down

Till his straining rump among the flowerbeds


Bends low, comes up twenty years away
Stooping in rhythm through potato drillsr
Where he was digging.

10 The coarse boot nestled on the lug2, the shaft3


Against the inside knee was levered firmly.
He rooted out tall tops, buried the bright edge deep
To scatter new potatoes that we picked
Loving their cool hardness in our hands.

15 By God, the old man could handle a spade,


Just like his old man.

My grandfather could cut more turF in a day


Than any other man on Toner's bog.
Once I carried him milk in a bottle
20 Corked sloppily with paper. He straightened up
To drink it, then fell to right away
Nicking and slicing neatly, heaving sods
Over his shoulder, digging down and down
For the good turf. Digging.

25 The cold smell of potato mould, the squelch and slap


Of soggy peat, the curt cuts of an edge
Through living roots awaken in my head.
But I've no spade to follow men like them.

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Between my finger and mY thumb
30 The squat pen rests.
I'll dig with it.
Seamus Heaney, "Digging". In Death of a Naturalist. Faber & Faber 1966'
Retrieved from www.poetryfoundation.org/poem_andltoets/poems/detailslT 555.

lpotato drills parallel ridges in the earth for growing potatoes.


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,lug the flattened top edge of the spade blade, against which the digger pushes with his foot.
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3shaft the pole between the handle and the blade of the spade.
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oturf- a section ofpeat, cut from the ground for fuel.

6. Identify TWO different activities taking place in lines l-5 of the poem. Use evidence from the
lines to support your answer,

Activity I

Evidence

Activity 2

Evidence

[4 marks]

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Identify the literary device used in EACH of the following lines and comment on the significance
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of EACH device.

(i) "The squat pen rests; snug as a gun." (line 2)

[3 marksl
(ii) "curt cuts" (line 26)

[3 marks]

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8.
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Compare the persona's perception of himself with his perception of his father and grandfather'
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Use evidence from the poem to support your answer.

[4 marksl

Give TWO examples of the use of sensory language, and explain


how EACH of the examples
9.
enhances your understanding of the poem'

Example I

Explanation

[3 marks]
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Explanation

[3 marksl
10. comment on the significance of the title to the poem as a whole.

[4 marks]

Total24 marks
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NOTHING HAS BEEN OMITTED.

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SECTION C

MODULE3_PROSEFICTION

QUESTIONS 11_15

Read the extract below and answer Questions 11-15.

The Helper

With the death of her husband ...

It is a delicate matter to know how to deal with Rose. The ordinarily humane thing to do tell
her not to come back into the house to prepare dinner, take offa few days, recover from the-
shock
it is not the humane thing to do, for her. Under that bed of hers on iis brick stilts there quickly
s -will be a crate of bottles supplied by willing'friends'; it is quite
natural that someone with her
history will turn to drink. So the lady of the house makes a pot of tea and gently calls Rose to their
only common ground, the kitchen, and sits with her a while, drinking Ga with her on this rare
occasion, just as she will go to visit a friend she hasn't seen for y.ur., if he is dying, or
will put
in a duty appearance at a wedding in some branch of kin from which she has distanced herself
in
10 social status, tastes and interests.

Flesh and tears seem to fuse naturally on Rose's face; it is a sight that causes the
face itself to be
seen afresh, dissolved of so long a familiarity, here in the kitchen, drunk
and sober, cooking a leg
of lamb as only she can, or grovelling awfully, little plaited homs of dull hair sticking out und"-.
the respectability of her maid's cap fallen askew as she so far forgets herself, in
embarrassing
15 alcoholic remorse, to try to kiss the hand of the lady of the house. That face ft65s,s face has
changed, the lady of the house notices, just as she daily examines the ageing - of her own. The- fat
smooth brown cheeks have resting upon them beneath the eyes two holloweJ
stains. the colour of
a banana skin gone bad. The drinking has stored its poison there, its fatigue
and useless repentance.
The body is what the sea recently has been discovered to be: an entity into which
no abuse can be
20 thrown away, only cast up again.

Adaptedfrom Nadine Gordime4 "Blinder". In Crimes of Conscience. Heinemann, lggl, pp.


56-57.

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11.
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Identify THREE traits that are revealed in EACH of the following characters
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(D Rose

[3 marks]

(ii) The lady of the house

[3 marksl

12. State TWO ways in which Rose copes with her grief. Support your answer with evidence from
the extract.

Way I

Evidence

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Evidence

[4 marks]

13 Identify the literary device used in EACH of the following lines and comment on the effectiveness
of EACH device.

(i) "The ordinarily humane thing to do ... is not the humane thing to do" (lines 2-4)

[3 marksl

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,,The drinking has stored its poison there, its fatigue and useless repentance."
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(line 18)

[3 marksl

a pot of
14. (a) Explain the irony of the following statement: "So the lady of the house makes
tea and gently .ull, Ror" to their only common ground, the kitchen, and sits with her a
while." (lines 6-7)

[2 marks]

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[2 marksl

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Comment on the significance of the following sentence to the extract as a whole: "The body is
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what the sea recently has been discovered to be: an entity into which 4o abuse can be thrown away,
only cast up again." (lines l9-20)

[4 marks]

Total24 marks

END OF'TEST

IF YOU FINISH BEFORE TIME IS CALLBD, CHECK YOUR wbnx oN THrs rEsr.

The Council has made every efforr to tace copyright holders. Ilowever, if qny have been inadvertently
be pleased to correct this at
overlooked, or any material has been incorreitly acknowledged, CXC will
the earliest oPPortunitY.

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